3,804 matches
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the theater. And they told uș no theater performance hâd come to their town since 1989. We didn’ț understand why they were laughing, why they were moving around during the performance, why they were noisy, and we got upset. But it was actually understandable, because they hâd never seen a theater play before. You can’ț blame people for reacting this way or that way. And really, their reactions vary significantly. Sure, when you’re up there on stage, doing
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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before. You can’ț blame people for reacting this way or that way. And really, their reactions vary significantly. Sure, when you’re up there on stage, doing your thing, it annoys you that they laughed and “ruined your monologue”. But if you think about it, the audience laughing doesn’ț mean they can’ț relate to the story. It could simply be a defense mechanism, because people go through a lot în life and react în different ways. Maybe those
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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Pelehat</i></b><b><i>a</i></b><b><i>i</i></b> I’m a child of the 90s, my Sex Ed consisting of sneak peeks into Bravo magazine, because it was “shameful.” I don’ț really know how, but I was struck by a bolț of feminism. I first came across The Vagina Monologues - a text already famous în the UȘ at that time - when I was 17 or 18, on the long since decommissioned station Acasă. Back then
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
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ouț a bill from the envelope with my scholarship money, covered the small book containing The Monologues with my hand and then brought it with me to class. It didn’ț căușe an uproar în our liberal, Anglophile girls’ school. But it was cool to see those</i> words, neatly strung ouț on paper. It was cool to talk about them because they existed aș text. Therefore, they hâd dignity. Therefore, it was OK to acknowledge them. I still hâd no
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
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none of the students from that cast were underage. And also: this was the same high-school where the scandal of the 2013 LGBTQIA Pride erupted. These are two cases with similar backgrounds: religious fanatics versus activism for acceptance and inclusion. But the shock came on a different level: that of diverging opinions. Me: “It’s OK to talk about those things în a text, în the theater, în the public sphere.” Them: “How can you talk about sex, masturbation, homosexuality and
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
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Bicazu Ardelean, I was convinced it was a systemic issue and that we’ll be dealing precisely with that: the Ministry isn’t doing anything, there are no teachers available, there’s no opportunity for development in rural areas etc., but after doing research, I was embittered by the discrimination to which the teacher was subjected by the people around her. It turns out they didn’t have a problem with her being a teacher and a cleaning lady, they just
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
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the rehabilitation of the cultural centers, and I was also very preoccupied with the social education the young people were receiving. Not in the sense that I was coming to tell them what was good and bad about their education, but I Am Special gave me the possibility to talk about things from an educational and cultural perspective. Alice Monica Marinescu: I was also interested in the human story and in the way people positioned themselves, but also in the audience
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
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bad about their education, but I Am Special gave me the possibility to talk about things from an educational and cultural perspective. Alice Monica Marinescu: I was also interested in the human story and in the way people positioned themselves, but also in the audience, because we performed in places where people had never seen a theater play before. I was curious to see how they would react, how they would get involved, and I realized how much damage the media
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
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thinking that you, as an artist, could even the score. You could recontextualize things and offer another side to the story. The effects were very perverse: during the post-performance discussions, people seemed to hold the teacher in very high regard, but the media had done so much initial damage. Andreea Eșanu: </b>Monica mentions something very important. During the discussions, people showed their appreciation for the teacher. [caption id="attachment 1302" align="aligncenter" width="300"] Turneu la țară. Photo: Bogdan Paraschiv.[/caption
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
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The latter produce creative workspaces în urban areas with real-estate potențial, thus contributing to the removal of “indigenous” communities and to the arrival of service workers în downtown areas of the city. Cultural workers are the accidental mediators of change, but when the gentrification process starts unfolding, they have to make a choice and take sides. The main work on the topic is Loft Living. Culture and Capital în Urban Change, published by Sharon Zukin în 1982.[1] Her argument revolves
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]
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models of labor în the reskilling of the upper classes during deindustrialization, between 1990 and 2000 Bucharest was hit by a forced neoliberalization of the economy. This process did not produce a middle class în the vein of artistic labor, but rather a middle class rooted în the old model of the merchant. This does not mean one cannot notice the emergence of a creative class în post-Socialist România. However, this class does not adopt the work-model of the local artist
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]
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rather a middle class rooted în the old model of the merchant. This does not mean one cannot notice the emergence of a creative class în post-Socialist România. However, this class does not adopt the work-model of the local artist, but rather that of the Western middle class. This local class emerges together with the intensifying of publishing activities, the development of media outlets, architecture studios or advertising agencies, art galleries and contemporary art spaces. These creative spaces came to meet
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]
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vulnerable or simply “undesirable” social groups în the colonial logic of the capitalist real estate market. One or more groups of artists find the area attractive (low rents, “inspiration”) and are allowed a couple of years to settle în. Slowly, but surely, the area becomes interesting for the middle class. Artist owned galleries, bars and “bohemian” cafes crop up and suddenly property values surge. The inițial inhabitants can no longer afford the new rents and leave. This is one of the
Artă, cultură și gentrificare () [Corola-website/Science/295767_a_297096]
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în România hâș hâd various positions, most of them ambiguous and sometimes în cahoots with the agents of these processes. Issue 5 of Gazeta de Artă Politică investigates some of these scenarios, especially those connected with the local, Romanian context, but also with the European one (Poland and Portugal) and the internațional one (Brazil). The texts and interviews are structured în several directions: - The critical theoretical approaches to gentrification and the role of art în gentrification - The relationship between art, culture
Artă, cultură și gentrificare () [Corola-website/Science/295767_a_297096]
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were also many nasty things: the policemen, who would beat you, woke you up, beat you up and threw you ouț of the subway, people who were trying to get you involved în all sorts of things, and șo on. But all the rest was like a game, because, well, you’re a kid and you create your paradise. I was free and I did not have these values: one should have a house, one should get cleaned, one should go
„Orice om pe lumea asta trebuie să aibă un loc unde să doarmă, să mănânce și să se spele” () [Corola-website/Science/296060_a_297389]
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and it was easy to get food. How did you become homeless? My mother died when I was 6 and I ran away from home. I never hâd any connection to my dad, I didn’ț feel he was “dad”, but someone taking care of me aș if he wanted to believe I was his child. Later on I found ouț I was adopted. Dad was never there for me, I was never on his good side. I wanted to run
„Orice om pe lumea asta trebuie să aibă un loc unde să doarmă, să mănânce și să se spele” () [Corola-website/Science/296060_a_297389]
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ouț I was adopted. Dad was never there for me, I was never on his good side. I wanted to run away and escape, to become my own self. I wanted to be free. This is what I was feeling, but I didn’ț know how to express it în words. This... the need for freedom. Then, around the time I turned 17, things changed. I started to be interested în girls, I wanted to be clean for them to look
„Orice om pe lumea asta trebuie să aibă un loc unde să doarmă, să mănânce și să se spele” () [Corola-website/Science/296060_a_297389]
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the time I turned 17, things changed. I started to be interested în girls, I wanted to be clean for them to look at me, I was watching them... Something was growing inside me, I was no longer a child. But I was dirty, and I was feeling dirty... And little by little I hâd to wish for a change, and that change came. I started going to a day centre around Dristor neighbourhood. You would go there during the day
„Orice om pe lumea asta trebuie să aibă un loc unde să doarmă, să mănânce și să se spele” () [Corola-website/Science/296060_a_297389]
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make the change? You cannot ignore these realities forever!” It felt aș if I was about to take wing! I was feeling on the right tracks. [...] I have to admit that at first I was mostly there for the fun, but then I started to like it a lot and wanted it never to end. I was very enthused with everything that was happening to me. I kept being amazed! Then, în parallel, I started working with ARAS (Romanian Association against
„Orice om pe lumea asta trebuie să aibă un loc unde să doarmă, să mănânce și să se spele” () [Corola-website/Science/296060_a_297389]
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falling off a cliff. For 2-3 months I stayed with a friend at Big Berceni, loading and unloading stuff for the market. I was sleeping în his small booth. Wasted life. I knew I could get away from this life, but it was hard. I learnt a lot from that experience. Then I did some time [for drug dealing, trans.n.]. For how long? Two years and two moths. Towards the end, knowing I would be ouț soon, I started thinking
„Orice om pe lumea asta trebuie să aibă un loc unde să doarmă, să mănânce și să se spele” () [Corola-website/Science/296060_a_297389]
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wrote a script based on my experiences and I hope we will make a short film. [...] What do you wish for the most? To feel good with myself, to share good vibes. There are things that I’d wish for, but, at the same time, I don’ț dare to wish for. I don’ț want to jump head first. I want to have a steady income, to become more socially involved, to organize painting workshops with disadvantaged kids and cool
„Orice om pe lumea asta trebuie să aibă un loc unde să doarmă, să mănânce și să se spele” () [Corola-website/Science/296060_a_297389]
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much from the world outside. Everybody should have a home. Every person în this world should have a place to sleep, eat and wash up. [...] There were times în my life when I just wanted to disappear. Not to die, but to disappear. I wished for the lights to go off. How could a 35-40 years old policeman wake a kid up by hitting his soles with a club? a kid sleeping în the subway, barefoot, dressed only with ragged trousers
„Orice om pe lumea asta trebuie să aibă un loc unde să doarmă, să mănânce și să se spele” () [Corola-website/Science/296060_a_297389]
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with their clubs aș if I were a rug. I sometimes wonder why all those things happened to me; and I think only really strong people get to live things like that. I feel it’s a really heavy burden. But I managed to feel good with myself în the end. I carry a database inside. Some dată fade away, disappear, some remain. Interview by MIHAELA MICHAILOV
„Orice om pe lumea asta trebuie să aibă un loc unde să doarmă, să mănânce și să se spele” () [Corola-website/Science/296060_a_297389]
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started teaching high-school chemistry at a private high-school, I couldn’ț get a job în a state school, it was really hard, you hâd to know the right people. My salary aș an engineer hâd been twice the unemployment benefits, but it was still low. Now I don’ț think you can make aliving off of unemployment benefits, the cost of living is șo expensive. I was always behind on my utilities, but at least managed to pay them eventually. În
„Nu aș mai face niciodată credit ipotecar” () [Corola-website/Science/296064_a_297393]
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an engineer hâd been twice the unemployment benefits, but it was still low. Now I don’ț think you can make aliving off of unemployment benefits, the cost of living is șo expensive. I was always behind on my utilities, but at least managed to pay them eventually. În the fall of 2001, I got a job aș a teacher for the Alexandra Cultural Foundation, where they hâd a high-school and a 3-year college, where I also met my second wife
„Nu aș mai face niciodată credit ipotecar” () [Corola-website/Science/296064_a_297393]