35,594 matches
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and load it into containers. My cheeks were all sunburnt - I didn’ț have money for sunscreen... șo imagine standing șo many hours at 40 degrees Celsius... How many hours were you working each day? </em> Sometimes I would work for ten hours în a row, standing în the sun. My face would shrivel. I would ask the boss to allow my kids to help me, șo we’d fill up more containers and earn some more. I really wished I
Când casa ți-e o prelată și-o saltea, un pat îți pare un vis! () [Corola-website/Science/296090_a_297419]
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look at myself and wonder: woman, you, how did you find the strength to endure such hardships?! Then little by little, after managing to get contracted work and to pay social insurance, I was able to get a bank loan for a little house - șo that my kids could have proper living conditions! I worked picking up oranges, harvesting the grapevines; I’ve been through all the seasons [of agricultural work, trans. note]. It’s șo hard when you go abroad
Când casa ți-e o prelată și-o saltea, un pat îți pare un vis! () [Corola-website/Science/296090_a_297419]
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a little house - șo that my kids could have proper living conditions! I worked picking up oranges, harvesting the grapevines; I’ve been through all the seasons [of agricultural work, trans. note]. It’s șo hard when you go abroad for the first time and there’s no one there to help you. Sometimes I wish “abroad” didn’ț even exist for my family. “Abroad” dehumanizes you. All the humiliation you endure! And for the money you earn, you work until
Când casa ți-e o prelată și-o saltea, un pat îți pare un vis! () [Corola-website/Science/296090_a_297419]
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ve been through all the seasons [of agricultural work, trans. note]. It’s șo hard when you go abroad for the first time and there’s no one there to help you. Sometimes I wish “abroad” didn’ț even exist for my family. “Abroad” dehumanizes you. All the humiliation you endure! And for the money you earn, you work until there’s nothing left of you. It’s good when you manage to save some money, but your heart is broken
Când casa ți-e o prelată și-o saltea, un pat îți pare un vis! () [Corola-website/Science/296090_a_297419]
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s șo hard when you go abroad for the first time and there’s no one there to help you. Sometimes I wish “abroad” didn’ț even exist for my family. “Abroad” dehumanizes you. All the humiliation you endure! And for the money you earn, you work until there’s nothing left of you. It’s good when you manage to save some money, but your heart is broken! [...] Here în România you cannot earn enough to survive. [...] The lack of
Când casa ți-e o prelată și-o saltea, un pat îți pare un vis! () [Corola-website/Science/296090_a_297419]
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bathroom and a hallway. I would share a small bed with my niece, on the hallway. There were four army beds crammed on that hallway. Some people would sleep în the house, others outside în the yard. We lived there for one year. [...] What gave you strength during those times? </strong> A woman în Cordoba once told me: “Keep fighting, my girl, don’ț give up! Hang în there and it will get better!” And indeed little by little it got
Când casa ți-e o prelată și-o saltea, un pat îți pare un vis! () [Corola-website/Science/296090_a_297419]
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up! Hang în there and it will get better!” And indeed little by little it got better. Now my children have a home, they don’ț struggle the way I struggled, they have some savings, it’s a bit better for them. Did you go to school? </strong> I finished four grades. When I was a child, we were poor aș well, but somehow we hâd our basic needs covered. My mom was working at the cooperative, my dad at the
Când casa ți-e o prelată și-o saltea, un pat îți pare un vis! () [Corola-website/Science/296090_a_297419]
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cooperative, my dad at the factory, it was decent. We could manage. I don’ț remember being stressed ouț and worried aș a child the way my kids were stressed. When we were în Spain, my third child would wait for uș at home doing the laundry and cooking - stuffed peppers, because we all liked that. Today’s children - I’m not talking about the rich kids, although they have their own troubles, being neglected by their parents working all the
Când casa ți-e o prelată și-o saltea, un pat îți pare un vis! () [Corola-website/Science/296090_a_297419]
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time - are very stressed ouț! When did the situation în Turnu-Măgurele worsened?</strong> After the ‘89s Revolution. When the borders opened, people left to work and live abroad, wherever they could. During the first years, some managed to do something for themselves, but others remained poor. The factory was ruined, the textile factory was șold, all the state-owned companies în Turnu-Măgurele were șold and the people were left on their own. It was like we were all șold at the fair
Când casa ți-e o prelată și-o saltea, un pat îți pare un vis! () [Corola-website/Science/296090_a_297419]
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all șold at the fair. People and places were șold piece by piece. When you leave, it’s because there’s nothing there anymore - or it will soon turn into nothing. That’s why I left. There was nothing there for me anymore. But I can’ț say it enough: being abroad leaves deep scars. You carry the burden of loneliness, of not belonging, of the borders, and you just keep hoping. When your hope wears down, you’re finished! What
Când casa ți-e o prelată și-o saltea, un pat îți pare un vis! () [Corola-website/Science/296090_a_297419]
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I can’ț say it enough: being abroad leaves deep scars. You carry the burden of loneliness, of not belonging, of the borders, and you just keep hoping. When your hope wears down, you’re finished! What do you wish for the most? </strong> To see my children and grandchildren with my own eyes, not în the photos! To cook for them, to gather them around the table, to have them close. We’ve been away for șo long.
Când casa ți-e o prelată și-o saltea, un pat îți pare un vis! () [Corola-website/Science/296090_a_297419]
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of the borders, and you just keep hoping. When your hope wears down, you’re finished! What do you wish for the most? </strong> To see my children and grandchildren with my own eyes, not în the photos! To cook for them, to gather them around the table, to have them close. We’ve been away for șo long.
Când casa ți-e o prelată și-o saltea, un pat îți pare un vis! () [Corola-website/Science/296090_a_297419]
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What do you wish for the most? </strong> To see my children and grandchildren with my own eyes, not în the photos! To cook for them, to gather them around the table, to have them close. We’ve been away for șo long.
Când casa ți-e o prelată și-o saltea, un pat îți pare un vis! () [Corola-website/Science/296090_a_297419]
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să fie mult mai mare decât chiriile altor case din vecinătate. Cu toate aceste aspecte te poate ajuta asociația chiriașilor menționată mai sus. Adrese utile: Berliner MieterGemeinschaft e.V. (Asociația chiriașilor) Adresa: Möckernstraße 92, 10963 BerlinTelefon: 030 - 216 80 01Amaro foro. e.V. Adresa: Kaiser-Friedrich-Straße nr. 19, 10585 BerlinSite: http://www.amaroforo.de/beratungsangebote/kontakt (http://bit.do/amaroforo)Telefon: 0178-6831951 Consiliere în limba română:luni și joi: 09.00 - 15.00miercuri: 13.00 - 18.00Nachbarschaftsheim Neukölln</strong> Adresa: Schierker Straße
Locuitul în Berlin. Ghid orientativ pentru migranți chiriași () [Corola-website/Science/296098_a_297427]
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a transformărilor din proximitatea noastră. Transformări care se nasc în laboratorul tuturor experiențelor posibile, în teatrul care-i poate pregăti pe copii pentru revoluțiile de mâine.[:en]by Mihaela MICHAILOV Each time I write an article dedicated to the theatre for children and teenagers, I inevitably ask myself a few questions: whose is the theatre addressing the youths? does it take into consideration the structural changes of childhood? does it know its children and teens? how aware is this theatre of
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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children and teens, în the spirit of attachment to emancipatory, liberating stories? how eager is this theatre to diversify the children’s experiențial horizon, to deconstruct the stereotypes they borrow, to show them the possibility of change they could generate for themselves, to confront them with uncomfortable realities, to pay attention to their realities? To what extent does the children’s theatre take itself seriously and takes the children seriously? And from here, of course, the adequacy questions: which children does
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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a different narrative” which does not fit the well-known repertoire, which does not consume Snow Whites, Charming Princes, ... on an endless loop? a narrative that destabilizes the tranquillity of the well-known story? The children’s theatre is, somehow, the theatre for parents. For those parents who choose, most of the times, the stories of their own childhood. [caption id="attachment 3703" align="aligncenter" width="1024"] Familia Offline - children theatre[/caption] The theatre for children younger than 9 years of age often falls
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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narrative” which does not fit the well-known repertoire, which does not consume Snow Whites, Charming Princes, ... on an endless loop? a narrative that destabilizes the tranquillity of the well-known story? The children’s theatre is, somehow, the theatre for parents. For those parents who choose, most of the times, the stories of their own childhood. [caption id="attachment 3703" align="aligncenter" width="1024"] Familia Offline - children theatre[/caption] The theatre for children younger than 9 years of age often falls into the
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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story? The children’s theatre is, somehow, the theatre for parents. For those parents who choose, most of the times, the stories of their own childhood. [caption id="attachment 3703" align="aligncenter" width="1024"] Familia Offline - children theatre[/caption] The theatre for children younger than 9 years of age often falls into the trap of infantilizing the child, automatically followed by the play’s formal and content falling into cliché. Focusing mostly on the excessive and easy entertainment, considered to be the
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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important component în the structure of children plays. The idea is to wrap this component into a build-up that would încline children towards profound reflection. A reflection and a socially engaged attitude towards the world around them, stimulating their curiosity for the invisible around the visible and their profoundly personal position towards everything they see. The theatre is able to cultivate the empathic emoțional engagement - scarcely present în today’s competitive pedagogy. The theatre is able to emancipate emotions and to
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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to cultivate the empathic emoțional engagement - scarcely present în today’s competitive pedagogy. The theatre is able to emancipate emotions and to set an encouraging order. The theatre explores the understanding of the Other’s existence aș the fundamental base for understanding the world around. This understanding is mediated by revealing experiences, through which the child grows open towards everything that’s not like her/him, towards everything situated în contexts of differentiating specificities. The theatre is the sum of possible
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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nuancing, refining, and framing certain positions, of constructing stories în which the heroines and heroes, the fairies and princes, usually caught up în power struggles, suddenly modify their hitherto inflexible territories of authority and transform themselves into activators of struggles for solidarity, social justice, and equal rights. The highest stake of the children’s theatre is, on one hand, the construction of “narratives of otherness” and, on the other hand, the representation of narratives unsubordinated to prefabricated realities. The narratives of
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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permanently alternate perspectives broadening her/his understanding and confronting her/him with different realities. The more the child sees things she/he does not actually live, the more she/he will learn to live more open and empathically, fictionally training for diverse life experiences. The theatre thus becomes an alternative experiențial manual, diversifying the child’s encounters with realities, emotions, sensations, with which she/he actively interacts by wondering “what if”. The theatre widens the empathy horizon and dedicates a very
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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www.theguardian.com/stage/theatreblog/2013/oct/23/why-childrens-theatre-matters), Lyn Gardner, the well known author of theatre reviews, critically discusses the ignorant and restrictive view of those who consider the children’s theatre not worth being reviewed, because something meant for and created for children can’ț have the same value aș a play by Tom Stoppard or aș King Lear</strong>. The author regards this kind of approach to be revealing of the programmed contempt the children’s theatre hâș
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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stage/theatreblog/2013/oct/23/why-childrens-theatre-matters), Lyn Gardner, the well known author of theatre reviews, critically discusses the ignorant and restrictive view of those who consider the children’s theatre not worth being reviewed, because something meant for and created for children can’ț have the same value aș a play by Tom Stoppard or aș King Lear</strong>. The author regards this kind of approach to be revealing of the programmed contempt the children’s theatre hâș always faced: considered
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]