45,651 matches
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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 este practică spectaculara, artistico-politică ce deviază din tradiția avangardei, cu trei filiații apropiate în timp și legate de
Antropologie performativă. Cazul ghetoului Pata Rât (partea II) () [Corola-website/Science/295671_a_297000]
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viața cotidiană”[3]. Propunererile, adesea stradale, ale deturnării (détournement) și derivei (dérive), presupuneau, afirmă Guy Debord în <i>Raport al Construcției de Situatii</i>, transformarea momentana, calitativ superioară, a unor ambiante temporare cotidiene apolitice și utilitare: The main emoțional dramă of life, aside from the perpetual conflict between deșire and reality hostile to deșire, seems to be the sensation of the passage of time. În contrast to the aesthetic modes that strive to fix and eternalize some emotion, the situaționist attitude
Antropologie performativă. Cazul ghetoului Pata Rât (partea II) () [Corola-website/Science/295671_a_297000]
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aș short and to the point aș possible. Don't read from notes, look directly into the cameră. The usual television spot is one minute and twenty seconds. The cameras start buzzing on your opening statement and often run ouț of film before you finish. Șo make it brief and action packed. The question period should be even more dramatic. Use the questioner's first name when answering a question. This adds an air of informality and networks are more apt
Antropologie performativă. Cazul ghetoului Pata Rât (partea II) () [Corola-website/Science/295671_a_297000]
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convey that you are deeply excited or troubled or outraged about what you are saying, how do you expect it of others who are watching a little image box în their living room? Remember, you are advertising a new way of life to people. Watch TV commercials. See how they are able to convey everything they need to be effective în such a short time and limited space. At the same time you're mocking the shit they are pushing, steal
Antropologie performativă. Cazul ghetoului Pata Rât (partea II) () [Corola-website/Science/295671_a_297000]
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a>,</p> https://www.facebook.com/stagiuneadeteatrupolitic Contact rezervări: Alice Monica Marinescu +40726415514, mini meenoo@yahoo.com</p> [gallery ids="990,991,992"][:en]12/13 October, 19.30h Spațiul Platformă (Moșilor str. 62-68, close to Piața Sf. Gheorghe) The team of Migration Stories project and The Political Theatre Season invite you to the premiere of: BORN ÎN THE WRONG PLACE - with English subtitles! - The performance Born în the Wrong Place is based on the documentary text written by Alice Monica Marinescu
NU NE-AM NĂSCUT ÎN LOCUL POTRIVIT / 12#038;13 OCTOMBRIE / ORA 19.30 / SPAȚIUL PLATFORMA / BUCUREȘTI () [Corola-website/Science/295688_a_297017]
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în the Wrong Place is based on the documentary text written by Alice Monica Marinescu and David Schwartz în 2011. The text hâd its internațional premiere at Baadisches Staatstheater, Karlsruhe, Germany, în July 2013. The play intertwines the life stories of 5 people who have gone through the experience of seeking asylum with fragments from The Guide to Obtaining Romanian Citizenship for Foreign Citizens. The performance creates a favorable context for getting to know and understand the dynamics of migration and
NU NE-AM NĂSCUT ÎN LOCUL POTRIVIT / 12#038;13 OCTOMBRIE / ORA 19.30 / SPAȚIUL PLATFORMA / BUCUREȘTI () [Corola-website/Science/295688_a_297017]
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life stories of 5 people who have gone through the experience of seeking asylum with fragments from The Guide to Obtaining Romanian Citizenship for Foreign Citizens. The performance creates a favorable context for getting to know and understand the dynamics of migration and asylum, and the status of refugees and migrants în general. The performance aims to problematize and discuss în the public sphere issues which are of crucial importance în the current global context, issues such aș the instituțional fight
NU NE-AM NĂSCUT ÎN LOCUL POTRIVIT / 12#038;13 OCTOMBRIE / ORA 19.30 / SPAȚIUL PLATFORMA / BUCUREȘTI () [Corola-website/Science/295688_a_297017]
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Meyerhold employed theatre to consciously help the post-Revolutionary effort în the 1920-1930s Soviet Union and to manifest solidarity to workers and to the communist ideals. Radical changes în his (before and after the Revolution) theories prove the politically motivated development of his theatre-making: by rejecting the pre-Revolutionary theatre and its bourgeois baggage based on oppression and inequality, the former theatrical knowledge was abandoned and un-learned, while at the same time new subject positions and a revolutionary theatre could emerge. By connecting
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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a revolutionary theatre could emerge. By connecting his theatrical explorations with the popular scientific ideas of the time, Meyerhold developed a style: he revealed his poetics by connecting science, art, politics and labor productivity. For example, Ivan Pavlov’s ideas of chain of reflex responses, aș he developed them în the lab experimenting on dogs, were thoroughly explored by Meyerhold, not în the lab but în the rehearsal room, not on dogs but on his own and actors’ bodies. The premise
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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he developed them în the lab experimenting on dogs, were thoroughly explored by Meyerhold, not în the lab but în the rehearsal room, not on dogs but on his own and actors’ bodies. The premise was the long domino line of responses considered by Pavlov “the foundation of the nervous activities of both men and of animals.”[ 1] Frederick Winslow Taylor, on the other hand, offered the popular theory of efficiently executed, rhythmically economical actions în order to increase the productivity
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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an efficient and productive way. În order for this type of theatrical work to be effective, the actors requires two skills: “(1) the innate capacity for reflex excitability, which will enable him to cope with any employ within the limits of his physical characteristics; (2) ‘physical competence’, consisting of a true eye, a sense of balance, and the ability to sense at any given moment the location of his centre of gravity.”[ 2] Biomechanics was supposed to offer the method for
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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this type of theatrical work to be effective, the actors requires two skills: “(1) the innate capacity for reflex excitability, which will enable him to cope with any employ within the limits of his physical characteristics; (2) ‘physical competence’, consisting of a true eye, a sense of balance, and the ability to sense at any given moment the location of his centre of gravity.”[ 2] Biomechanics was supposed to offer the method for the process. Even if the actors were not
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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enable him to cope with any employ within the limits of his physical characteristics; (2) ‘physical competence’, consisting of a true eye, a sense of balance, and the ability to sense at any given moment the location of his centre of gravity.”[ 2] Biomechanics was supposed to offer the method for the process. Even if the actors were not working în factory conditions, Meyerhold developed his methods în an open solidarity with industry workers: performances were supposed to be effective and
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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any waste and to specification. The usage of the language of science and industry was not an accident: the new language used for theatrical thinking was expressing the conscious theoretical change în response to the Revolution. Meyerhold rejected any type of psychological or humanist understanding of theatre and, în the line of post-revolutionary science, puț all his efforts into transforming theatre into a post-human laboratory. First, he moved away from a psychological individualism: “theatre built on psychological foundations is aș certain
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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all his efforts into transforming theatre into a post-human laboratory. First, he moved away from a psychological individualism: “theatre built on psychological foundations is aș certain to collapse aș a house built on sand.” His exploration of biomechanics was full of technical flaws but nevertheless, “a theatre which relies on physical elements is at the very least assured of clarity.”[3] The technological understanding of theatre made Meyerhold emphasize the physical training of actors and puț a strong focus on the
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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aș certain to collapse aș a house built on sand.” His exploration of biomechanics was full of technical flaws but nevertheless, “a theatre which relies on physical elements is at the very least assured of clarity.”[3] The technological understanding of theatre made Meyerhold emphasize the physical training of actors and puț a strong focus on the bodies, which were conceptualized în a Pavlovian way: the actor was supposed to become a lab dog șo “thoroughly trained that he could respond
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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on sand.” His exploration of biomechanics was full of technical flaws but nevertheless, “a theatre which relies on physical elements is at the very least assured of clarity.”[3] The technological understanding of theatre made Meyerhold emphasize the physical training of actors and puț a strong focus on the bodies, which were conceptualized în a Pavlovian way: the actor was supposed to become a lab dog șo “thoroughly trained that he could respond immediately, aș if by reflex action, to the
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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mind relation, the actor gets stimulated by objects and situations and forms desires and movements that can move beyond the limits of the learned theatrical behavior. Meyerhold understood acting not aș a form of artistic relaxation, but aș a form of work which needed methods that can be applied “to any form of work with the aim of maximum productivity.”[7] By focusing on the theatrical unity of time, space and corporeality, he wanted to focus paradoxically on the social and
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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desires and movements that can move beyond the limits of the learned theatrical behavior. Meyerhold understood acting not aș a form of artistic relaxation, but aș a form of work which needed methods that can be applied “to any form of work with the aim of maximum productivity.”[7] By focusing on the theatrical unity of time, space and corporeality, he wanted to focus paradoxically on the social and political Soviet experience and to offer analyses and solutions for daily problems
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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maximum productivity.”[7] By focusing on the theatrical unity of time, space and corporeality, he wanted to focus paradoxically on the social and political Soviet experience and to offer analyses and solutions for daily problems. That was the primal purpose of biomechanics, which can be summarized în these technical terms: “a gymnastics based upon: preparation for action-pause-the action itself-pause-and its corresponding reaction.”[8] În constructing the performing event, directors like Meyerhold depend on the actor în a corporeal way, they are
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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în favour of a free play of workers at rest who spent part of their leisure time în a game that was perhaps improvised next to the temporarily abandoned workplace.”[ 11] Meyerhold was only a part of a dedicated group of directors, playwrights, stage-designers and actors who actively tried to apply în theatre the Leninist ideas of “complete overthrow of the status quo and the installation of a new, utterly different regime.”[ 12] But even when criticized from an anticommunist perspective
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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time în a game that was perhaps improvised next to the temporarily abandoned workplace.”[ 11] Meyerhold was only a part of a dedicated group of directors, playwrights, stage-designers and actors who actively tried to apply în theatre the Leninist ideas of “complete overthrow of the status quo and the installation of a new, utterly different regime.”[ 12] But even when criticized from an anticommunist perspective, Meyerhold stands alone: “Meyerhold, the major director-producer of the early Soviet dramă, was an extremist în
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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the temporarily abandoned workplace.”[ 11] Meyerhold was only a part of a dedicated group of directors, playwrights, stage-designers and actors who actively tried to apply în theatre the Leninist ideas of “complete overthrow of the status quo and the installation of a new, utterly different regime.”[ 12] But even when criticized from an anticommunist perspective, Meyerhold stands alone: “Meyerhold, the major director-producer of the early Soviet dramă, was an extremist în translating Communism into theatre.”[13] Meyerhold’s earlier experimentations with
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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and popular forms of theatre were combined with Marxism and avant-garde aesthetics coming from constructivism and futurism. The role of theatre în the Soviet Union grew stronger în the 1920s, being perceived aș an efficient propagandă tool (în the situation of a large population unable to read and with no talking pictures invented). Meyerhold used this opportunity to experiment his own Theatrical October</i>. Bolsheviks conceptualized theatre aș a political laboratory: social experiments, designs and analyses could be first tested on
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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Bolsheviks conceptualized theatre aș a political laboratory: social experiments, designs and analyses could be first tested on stage. The new theatrical worker could emerge only through radical transformations: “The psychological make-up of the actor will need to undergo a number of changes. There must be no pauses, no psychology, no ‘authentic emotions’ - either on the stage or whilst building a role. Here is our theatrical programme: plenty of light, plenty of high spirits, plenty of grandeur, plenty of infectious enthusiasm, unlaboured
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]