45,651 matches
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the political changes în the 1990s. The project aims to document the economic situation, the life and work of miners during the post-socialist regime. <b>Theatre Underground</b> proposes a performative reconstruction of the documentary stories that structure the history of Jiu Valley communities, on the edge between survival, migration, extinction and possible reconstruction.</em> Underground is a performative archive of testimonies from disappearing communities. The show aims to revalue the stories, problems and culture of a social category often ignored
”Locurile de muncă ar trebui trecute în categoria bunurilor publice” () [Corola-website/Science/295659_a_296988]
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during the post-socialist regime. <b>Theatre Underground</b> proposes a performative reconstruction of the documentary stories that structure the history of Jiu Valley communities, on the edge between survival, migration, extinction and possible reconstruction.</em> Underground is a performative archive of testimonies from disappearing communities. The show aims to revalue the stories, problems and culture of a social category often ignored în post-socialist Romanian theatre - the workers' communities.</em> The <b>Underground</b> theatre performance is based on research în the
”Locurile de muncă ar trebui trecute în categoria bunurilor publice” () [Corola-website/Science/295659_a_296988]
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used to be here 10.000 sheep, only în Aninoasa. There were 7 herds. Șo I think the best solution would be to go back to animal farming. Miner - electrician (Petrila): I noticed that everybody accepts very easily this concept of „survival” instead of the terms of growing and sustainability. I think we have to ask ourselves this question: when and why is „survival” really the solution? and for whom? I would like to hear the opinion of the directors, actors
”Locurile de muncă ar trebui trecute în categoria bunurilor publice” () [Corola-website/Science/295659_a_296988]
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growing and sustainability. I think we have to ask ourselves this question: when and why is „survival” really the solution? and for whom? I would like to hear the opinion of the directors, actors, everybody here. Because I think instead of living a decent life we are now forced to think only în terms of survival. (...) I think the problem is this one: jobs should be thought of aș public goods! Jobs should be considered public goods and become a național
”Locurile de muncă ar trebui trecute în categoria bunurilor publice” () [Corola-website/Science/295659_a_296988]
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hear the opinion of the directors, actors, everybody here. Because I think instead of living a decent life we are now forced to think only în terms of survival. (...) I think the problem is this one: jobs should be thought of aș public goods! Jobs should be considered public goods and become a național priority! Waitress (Hațeg): În Communist times we were going ouț of town, every week-end we used to go for a barbeque, or go to the river, somewhere
”Locurile de muncă ar trebui trecute în categoria bunurilor publice” () [Corola-website/Science/295659_a_296988]
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only în terms of survival. (...) I think the problem is this one: jobs should be thought of aș public goods! Jobs should be considered public goods and become a național priority! Waitress (Hațeg): În Communist times we were going ouț of town, every week-end we used to go for a barbeque, or go to the river, somewhere. Now you wait for 2 or 3 weeks or a month to go somewhere. And you think a million times if you afford to
”Locurile de muncă ar trebui trecute în categoria bunurilor publice” () [Corola-website/Science/295659_a_296988]
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Colivăresei</b> (<b>The Funeral Cake Maker’s Lover</b>), <b>Îngerul încălecat</b> (<b>The Mounted Angel</b>), <b>Istoria eroilor unui ținut de verdeață și răcoare </b></i><i>(<b>The Story of the Heroes în a Land of Green and Chill</b>), <b>Proorocii Ierusalimului </b>(<b>The Prophets of Jerusalem</b>), <b>Mirii nemuririi </b>(<b>Immortality’s Bridegrooms</b>), <b>Ana-Maria și îngerii </b>(<b>Ana-Maria and the Angels</b>)<b>.</b> He co-wrote the script
„La noi n-a existat o solidaritate între intelectuali și muncitori nici înainte și nici după ’89” () [Corola-website/Science/295664_a_296993]
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Ana-Maria și îngerii </b>(<b>Ana-Maria and the Angels</b>)<b>.</b> He co-wrote the script for <b>Terminus Paradis</b>, a movie directed by Lucian Pintilie.</i> Some seem surprised that you would choose to write about a ‘world of those who dwell on the periphery’, aș one of your writer colleagues would say.</b><b> </b> Not only do I write about the so-called ‘losers’, but I also empathize with my characters. Research and empathize with the characters and
„La noi n-a existat o solidaritate între intelectuali și muncitori nici înainte și nici după ’89” () [Corola-website/Science/295664_a_296993]
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ț know?</b> They didn’ț want to know. And în’87 the strike în Brașov took place, which, once again, was overlooked by the intellectuals. And that intellectual elite is still maintaining that same position - it is totally ouț of touch with this world, to the point where a book like Parabolele lui Iisus (Jesus’ Parables) comes ouț, written by Andrei Pleșu, where he offers uș the image of a personal Jesus, which hâș nothing to do with the masses
„La noi n-a existat o solidaritate între intelectuali și muncitori nici înainte și nici după ’89” () [Corola-website/Science/295664_a_296993]
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becomes a participant observer, a subject of the documented work: “I made smokers for pork and used them with the people în the neighborhoods în the 90s, I made over-sized clothes în a Romanian textile mill, considering the profit rate of a Western company operating în România at the time, I made jam în Barcelona from the strawberries picked by our ‘căpșunari’, I made a public choreography performance with more than 200 Romanians în London...”. Interview conducted by Mihaela Michailov [caption
„Am făcut gem în Barcelona din căpşunile culese de căpşunarii noştri” () [Corola-website/Science/295668_a_296997]
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Film production company for failing to pay what they owed him. I talked to Criști about working conditions în the film/commercial production industries, about the (im)possibility of unionizing and about taking production companies to court aș a method of fighting back. </i>(David Schwartz) Did you ever discuss with other props masters the possibility of unionizing, or maybe just adopting some common work principles, to prevent companies from imposing their own contracts and terms & conditions? Yes, we did, but
”Munceam pe degeaba. Adică sclavie direct!”. Interviu cu Cristi Badea. () [Corola-website/Science/295661_a_296990]
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and we get around five teams which agree not to go work and set some clear fees. That leaves ten other teams which will go work. They don’ț care, they’re going to work anyways. There’s a lack of solidarity. I think the only solution might be a union led by a racketeer. Seriously! I think someone like Nicu Gheara might be very good at this. You know he’s the head of the union and you’re bullied
”Munceam pe degeaba. Adică sclavie direct!”. Interviu cu Cristi Badea. () [Corola-website/Science/295661_a_296990]
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unpaid overtime, no shooting frantically for an entire day, for 12 hours, we’d have normal lunch breaks... How are these things regulated right now? I think for the past one or two years there hasn’ț really been much of a lunch break anywhere. Everything is running lunch, you eat aș you go, these production people are obsessed, they keep saying “come on, eat faster!” And there’s not much you can do about it, production people are basically your
”Munceam pe degeaba. Adică sclavie direct!”. Interviu cu Cristi Badea. () [Corola-website/Science/295661_a_296990]
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Young care a murit în 2006 din cauza epuizării. [:en]Review by Ionuț Sociu ForTheWin Performance by Bogdan Georgescu, with Andreea Eșanu, Andrei Ioniță, Sânziana Nicola Corporation v. community ACTIVE ART Galeria 26 (OTA), Bucharest În ForTheWin, there is a lot of talking about death (a ski accident, a case of suicide due to debt, a case of overworking), but the manner of speaking is detached and blând, lacking în voice variations. Here, death seems to be just another piece of information
Noul aur (For The Win, vineri 17 mai, ora 21.00, Galeria26) () [Corola-website/Science/295663_a_296992]
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Bogdan Georgescu, with Andreea Eșanu, Andrei Ioniță, Sânziana Nicola Corporation v. community ACTIVE ART Galeria 26 (OTA), Bucharest În ForTheWin, there is a lot of talking about death (a ski accident, a case of suicide due to debt, a case of overworking), but the manner of speaking is detached and blând, lacking în voice variations. Here, death seems to be just another piece of information among others, and one of the merits of this performance is that it captures a type
Noul aur (For The Win, vineri 17 mai, ora 21.00, Galeria26) () [Corola-website/Science/295663_a_296992]
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Andrei Ioniță, Sânziana Nicola Corporation v. community ACTIVE ART Galeria 26 (OTA), Bucharest În ForTheWin, there is a lot of talking about death (a ski accident, a case of suicide due to debt, a case of overworking), but the manner of speaking is detached and blând, lacking în voice variations. Here, death seems to be just another piece of information among others, and one of the merits of this performance is that it captures a type of homogenous communication în which
Noul aur (For The Win, vineri 17 mai, ora 21.00, Galeria26) () [Corola-website/Science/295663_a_296992]
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lot of talking about death (a ski accident, a case of suicide due to debt, a case of overworking), but the manner of speaking is detached and blând, lacking în voice variations. Here, death seems to be just another piece of information among others, and one of the merits of this performance is that it captures a type of homogenous communication în which banal observations are în the same league with more serious issues. Continuously connected to her handsfree device, Raluca
Noul aur (For The Win, vineri 17 mai, ora 21.00, Galeria26) () [Corola-website/Science/295663_a_296992]
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case of suicide due to debt, a case of overworking), but the manner of speaking is detached and blând, lacking în voice variations. Here, death seems to be just another piece of information among others, and one of the merits of this performance is that it captures a type of homogenous communication în which banal observations are în the same league with more serious issues. Continuously connected to her handsfree device, Raluca[1]</a> (Sânziana Nicola) ceases to communicate în full
Noul aur (For The Win, vineri 17 mai, ora 21.00, Galeria26) () [Corola-website/Science/295663_a_296992]
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her discourse no longer reflects any emoțional translation from one register to another. What’s surprising about ForTheWin is the slow pace of events and the subtle way în which it dismantles the stereotype of the corporation aș a space of hyperactivity, aș it is often perceived from the outside. ForTheWin is, above anything else, a performance about fear and about the way în which workaholism ends up augmenting this fear. The fear of hoping you could do something else, the
Noul aur (For The Win, vineri 17 mai, ora 21.00, Galeria26) () [Corola-website/Science/295663_a_296992]
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stereotype of the corporation aș a space of hyperactivity, aș it is often perceived from the outside. ForTheWin is, above anything else, a performance about fear and about the way în which workaholism ends up augmenting this fear. The fear of hoping you could do something else, the fear of talking about your personal issues: when talking about her employees, Andreea ((Andreea Eșanu) says she respects and admires them “for minding their own business and for keeping their fears to themselves
Noul aur (For The Win, vineri 17 mai, ora 21.00, Galeria26) () [Corola-website/Science/295663_a_296992]
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aș it is often perceived from the outside. ForTheWin is, above anything else, a performance about fear and about the way în which workaholism ends up augmenting this fear. The fear of hoping you could do something else, the fear of talking about your personal issues: when talking about her employees, Andreea ((Andreea Eșanu) says she respects and admires them “for minding their own business and for keeping their fears to themselves;” the fear of not being seen aș a team-player
Noul aur (For The Win, vineri 17 mai, ora 21.00, Galeria26) () [Corola-website/Science/295663_a_296992]
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now” which gives you the chance to get a blood test (“a blood sugar test takes one minute and fourteen seconds”) and to communicate with those around you. </a></p> [1] Her story în ForTheWin</b> is inspired by that of Raluca Stroescu, the young woman who was working aș an audit manager for Ernst & Young and died of exhaustion în 2006.
Noul aur (For The Win, vineri 17 mai, ora 21.00, Galeria26) () [Corola-website/Science/295663_a_296992]
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în self- and collective reflection to gain clarity about the issue under investigation, (c) a joint decision to engage în individual and/or collective action that leads to a useful solution that benefits the people involved, and (d) the building of alliances between researchers and participants în the planning, implementation, and dissemination of the research process”[1]. O astfel de abordare angajată și subiectivă nu dihotomizează îndepărtarea academică a cercetării și relativă dezangajare în raport cu angajamentul activismului cetățenesc, ci se concentrează pe
Antropologie performativă. Cazul ghetoului Pata Rât (partea II) () [Corola-website/Science/295671_a_297000]
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chestionare a perspectivei proprii, a pasiunii morale și a rolului jucat): Anthropologists are not pure scientists. Their diaries, ethnographic novels, poems and monographs form a very important branch of literature akin to travel writing. Reflexivity is what defines this aspect of literariness în anthropological texts. [...] Reflexivity is constructed based on the psychological concept of catharsis and the autobiographical pact (Bourdieu). Its reliability is based on a reconstruction après coup of a distanced look, a normative exigence and translatable aspirations. It is
Antropologie performativă. Cazul ghetoului Pata Rât (partea II) () [Corola-website/Science/295671_a_297000]
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coup of a distanced look, a normative exigence and translatable aspirations. It is based on an exaltation of the faux-concret, and a micromania enticed by anecdotes. The diachronical perspective is considered essential towards a signum authenticum and a higher concept of self. For, if biography is not everything, everything is biography (Leon Edel). The same can be said of reflexivity. Reflexivity galvanizes discourse precisely because it expresses the silence within uș, the indicible[2]. O a treia latura a antropologiei performative
Antropologie performativă. Cazul ghetoului Pata Rât (partea II) () [Corola-website/Science/295671_a_297000]