3,990 matches
-
those daily issues which they can now regard with a more critical eye because the issues are presented în a more neutral setting (through the voices of other people). On the other hand, it is an encounter with their own role, both individual and collective, în an attempt to find a solution to those issues. We can, therefore, talk about a difference which I find significant: the one between the cultural viewer</i> (who hâș learned the standard, ritualistic theater behavior
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
-
personal frustration aș an activist: în the past 20 years, I’ve seen hundreds of reports and strategies for Romă people that have changed little în our collective understanding of the issues the Romă are confronted with and of our role în solving them. I was hoping a different approach - a real, simple story, with people you get to know - could help uș understand, at least on an individual level, the mechanisms and cures of discrimination. I’ve been working on
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
-
reflexes, mere carelessness and immobility. Many of these are not linked to a particular individual, a “guilty party”, but at the same time they are all a result of the way în which the members of the community understood their role and responsibility (or lack thereof) în the integration of Romă children.
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
-
and compositions, capturing the essence of nautanki în this short 40 minute piece! The training and rehearsals were structured by Dr. Sharma and aș Artistic Director I would observe and give feedback aș and when I felt was necessary. My role was more aș a pedagogue making connections between the performance and the perspective of a young audience. The entire rehearsal process lasted for 12 days and over the last 3 days we called some children to watch rehearsals. This completely
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
-
of the character. Șo, we have Sharvari Deshpande playing Valmiki[6] and Narad hâș been played by male (Harshad Tambe and Ghanshyam Tiwari) and female (Vinati Makijany) artists. Gender of the performer was not a concern while casting for a role. The performance was of utmost importance, especially the singing talent. Apart from the singing, the aspect of improvisation is very important and integral to nautanki. But I asked the performers and the director to refrain from too much add-lib and
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
-
others with experiences of the same oppression and are both affirmed în the reality of their struggle and joined with potențial allies to fight against it. Storytelling literally makes knowledge through group interaction around hitherto private experiences. Such was the role of personal storytelling în the context of grass-roots consciousness-raising (CR) groups, one of the seminal processes of the 1970s’ women’s movement. În my own experience, a group of six or seven women would meet every two weeks în one
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
into a collective narrative,” embodying the “new Jew” that fought Nazism and “thus answered a collective need” to know that some Jews did not go to their slaughter like sheep (Rabinowitz, cited în Lubin 2002: 133). Lubin analyzes the expanded role of the witnesses to Lubetkin’s testimony: “Lubetkin allows her listeners to do more than enable the testimony; she allows them to mold it, to determine its narrative form and its symbolic use. Making herself subservient to the group, she
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
markets and state support for the arts indicates that the symbolism is also connected with motifs of power. There is yet a third factor that explains the value of an arts presence to contemporary cities. This refers to the crucial role that arts production - involving the creation aș well aș the presentation or the performance of artwork- plays în deindustrialization. Both materially and symbolically, artists' lofts serve aș infra-structure of a very special sort în the transition from an industrial to
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
-
Housing Subsidy for Artists [...] Although the impetus for subsidizing artists' housing în loft neighborhoods originated în the upper-class patron-artist connection, the idea became popular because of the active support of a middle-class arts constituency. This constituency played the midwife's role în the curious sequence of events that led up to the birth of the Greenwich Street co-op. Their background is significant to the story. At the end of the fifties and the beginning of the sixties, a number of middle-class
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
-
one of the leading manifestations of the discourse emphasizing heritage. The program also included events typical for the “creative class”, such aș handmade workshops , “creative” merchandise or discussions/presentations on heritage issues. The latter is an event which hâș the role of infusing the aesthetics of optimism and harmlessness into the three problematic events mentioned above. Their deeply political character is obscured by the bohemianism and avant-gardism of the others. The workshop with law enforcement officers - about “how to avoid pickpockets
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
-
Lower East Side: “Immigrants accepted into the country from the middle of the 19th century up to World War 1 belong to a dislocated, fluid workforce, which follows capital [...]. The current inhabitants of the area do not have a corresponding role în today’s economy.” În Deutsche and Ryan, The Fine Art of Gentrification</b>, <i>October</i> 31, 1984, p. 100. [3] The 2-day festival was the result of a partnership between an agent of social entrepreneurship (Cărturești Foundation), a
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
-
more on private pitches, on artificial turf, where the fee is expensive. The pitches which still exist by the rivers represent important places for various communities where people get together, party, play football, take drugs. These pitches play a significant role în the community and they are endangered. Another country-wide problem is the fact that there are more empty houses than people who need a place to live. Using basic mathematics, we could offer everyone a place. And Sao Paulo hâș
„74 de comunități urmează să fie evacuate din cauza Cupei Mondiale” () [Corola-website/Science/295764_a_297093]
-
who, în relation to the mân, is reduced to “erotic object, stimulus and satisfaction of deșire, the warranty of male stability, the prize which acknowledges his efforts, the expression of his virility”[6] and 2) the woman fulfilling a family role, therefore chaste, sacred, embodying the purity and beauty of creation. În other words, the trophy-hypersexuality and the passive availability of woman versus beauty aș a symbol of purity and maternity. Beauty is therefore created aș a typically feminine attribute: “The
Patriarhatul, mașina de vise. Metamorfoză și hipersexualizare () [Corola-website/Science/295778_a_297107]
-
still believe today that being a classic of modernity [...] becomes the attribute of performatively active modernism. And we forget or simply do not know it yet: în the theatrical concept of modern, the present of direct experience plays a meaningful role. But Romanian theatre nowadays is running away from this present!” Marian Popescu, Oglindă spartă. Teatrul românesc după 1989, (București: Unitext, 1997), quoted în Ț. C. Popescu, Surplus</b>..., p. 35, footnote 63.
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
-
their life with you, you cannot help feeling responsible for the way în which you transmit their life story further. It’s touching, it’s important and the stakes are higher than personal success, a positive review or one more role în your résumé. You become the bearer of a message, and to me, Valentina is the messenger of peace. (Katia Pascariu)</i> [caption id="attachment 1242" align="aligncenter" width="225"] Valentina Ivanov at 14. Photo: Personal archive.[/caption] What made you
„Trebuie să ducem povestea mai departe” () [Corola-website/Science/295731_a_297060]
-
to pay the state taxes and also the consulate tax. But the latter was paid by ARCA, I have to say. They paid half of it the first time I applied for a residence. What do you feel about the role of the theater? Some say the theater should talk about beautiful things, not embark on a social critique. People have to see the other side of life, too. Maybe the good side covers up the bad side, except în life
„Trebuie să ducem povestea mai departe” () [Corola-website/Science/295731_a_297060]
-
work. We also use the churches a lot aș they are very receptive. We make people think about their situations, what is possible and how change can be achieved. Our message is usually discreet, but visible. How important is the role of music and movement în your work? Are your shows text-based or rather musical/visual/sensorial? They can be both, depending on audiences. Africans for starters are very visual and music and movement are important. Using dramă, mime, song and
„Comunitățile ar trebui să se ajute reciproc și să se dezvolte împreună” () [Corola-website/Science/295740_a_297069]
-
for community education Turneu la țară (On Tour in the Countryside)<b>[1]</b></a></b>, a project with an important socio-cultural stake: the rehabilitation of community cultural centers - almost entirely abandoned after 1989 - with an emphasis on their unifying role as environments of social cohesion, participative education and artistic exchange to the benefit of communities which are nowadays removed from the circuit of “high culture.” <b>Turneu la țară </b>debated the significance of certain areas of solidarity which might
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
-
Loft Living. Culture and Capital în Urban Change, published by Sharon Zukin în 1982.[1] Her argument revolves around industrial warehouses în New York which appeared on the real-estate market and were turned into housing for the middle class, discussing the role played by art and artists în the process. Although Zukin talks about a significant change în the global political economy and adjacent transformations în the organization of capitalist production, her arguments have been often reduced to a simple formulă: artistic
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]
-
special dynamic due to the city’s position în the global political economy. În 2000, Liviu Chelcea published a study on the gentrification of an area în downtown Bucharest wherein he argued that “special emphasis must be placed on the role and transformations of property rights.”[2] În his study, he described this aș a process of primitive accumulation, meaning a way to obtain a profit with little or no investment. Chelcea described this accumulation în the following terms: “[...] a dynamic
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]
-
the gentrification described by Zukin and that described by Chelcea reside în the transformations of the structure of social classes. However, if between 1960 and 1990, New York’s middle class was expanding through the embourgeoisement of artists who were becoming role 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
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]
-
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 and gentrification în the Romanian and European contexts - Political strategies of resistance and sabotage using artistic means
Artă, cultură și gentrificare () [Corola-website/Science/295767_a_297096]
-
David Schwartz is a theatre director interested în the genealogy of naționalism în România and în histories of progressive resistance movements în the local context. V: România hâș recently elected a new president and it is symptomatic how relevant a role - essential, even - the manipulation of the deșire of belonging to Europe hâș played în the legitimation of this presidency. Not only hâș the intellectual obsession for Europe not receded, but it is now stronger than ever. D: I agree, I
Națiune, subalternitate și dorința de Europa. O discuție despre identitate națională și nevoia apartenenței europene () [Corola-website/Science/295826_a_297155]
-
cu condiția ca valoarea lor totală să nu depășească 30 % din prețul franco fabrică al produsului Fabricare în care valoarea tuturor materialelor utilizate nu trebuie să depășească 40 % din prețul franco fabrică al produsului 3702 Pelicule fotografice sensibilizate, neexpuse, în role, din alte materiale decât hârtie, carton sau textile; pelicule fotografice cu developare și tragere instantanee în role, sensibilizate, neexpuse Fabricare din materiale de la orice poziție, cu excepția materialelor de la nr. 3701 și 3702. Fabricare în care valoarea tuturor materialelor utilizate nu
jrc6107as2003 by Guvernul României () [Corola-website/Law/91279_a_92066]
-
în care valoarea tuturor materialelor utilizate nu trebuie să depășească 40 % din prețul franco fabrică al produsului 3702 Pelicule fotografice sensibilizate, neexpuse, în role, din alte materiale decât hârtie, carton sau textile; pelicule fotografice cu developare și tragere instantanee în role, sensibilizate, neexpuse Fabricare din materiale de la orice poziție, cu excepția materialelor de la nr. 3701 și 3702. Fabricare în care valoarea tuturor materialelor utilizate nu trebuie să depășească 40 % din prețul franco fabrică al produsului 3704 Plăci, pelicule, filme, hârtii, cartoane și
jrc6107as2003 by Guvernul României () [Corola-website/Law/91279_a_92066]