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by the deșire to question the dynamics between the artists and the vulnerable social groups they work with, the themes of the articles and interviews în this issue of G.A.P. attempt to highlight the political aspects of the impact of several global issues at a local level: documenting and transmitting, through artistic means, the life stories and perspectives of people în economically and ideologically marginalized communities; creating a discussion platform for the understanding of the common ground on which both
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life stories and perspectives of people în economically and ideologically marginalized communities; creating a discussion platform for the understanding of the common ground on which both the struggle for gender equality and the class struggle take place; problematizing the limits of active art în the context of the withdrawal of public institutions from rural areas; debating the role of art în the discussion on domestic violence; the lack of exposure for community theater and the issues of its expansion into other
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for gender equality and the class struggle take place; problematizing the limits of active art în the context of the withdrawal of public institutions from rural areas; debating the role of art în the discussion on domestic violence; the lack of exposure for community theater and the issues of its expansion into other social groups aș a form of education.
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of the withdrawal of public institutions from rural areas; debating the role of art în the discussion on domestic violence; the lack of exposure for community theater and the issues of its expansion into other social groups aș a form of education.
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fragilitățile lor. Respect pentru ei - „prinții sentimentului, poeți și gânditori”.[:en]by Mihaela Michailov</b> Janusz Korczak revolutionized 20th century pedagogy by laying the emphasis on personalized education - understanding the subjectivity of every child, who thus became the social creator of a world he/she hâd to be allowed to experience; without being judged, without having their tiniest of mistakes scrutinized, without having their opinions minimized, without being asked to “play nice” for the amusement of those around. The child is
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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20th century pedagogy by laying the emphasis on personalized education - understanding the subjectivity of every child, who thus became the social creator of a world he/she hâd to be allowed to experience; without being judged, without having their tiniest of mistakes scrutinized, without having their opinions minimized, without being asked to “play nice” for the amusement of those around. The child is not a small, playful entertainer who does a balancing act on the high-wire of adult demands în order
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not, that they have to adapt to a world în which they mostly do not count for anything, that they have to become meek, trained, stiff. That every single day they have to postpone the joy of inventing new territories of anarchy. [caption id="attachment 1070" align="aligncenter" width="300"] Korczak and the children în the 1920s. Source: en.wikipedia.org[/caption] Against a Pedagogy of Prohibition Janusz Korczak (the pseudonym of Henryk Goldszmit) was a pediatrician, pedagogue, teacher, author of children
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political principles of self-government. The children formed a micro-society which functioned according to rules they themselves puț into practice, thus constructing a political model for a democratic participatory community. În 1919, Korczak set up “Our House” for the Polish children of Pruszkow - a common space for reflection and action, regulated by the interventions of the children- pedagogues. During 1926-1939, Korczak published Mały Przegląd (The Little Review), which hosted materials written by children, documenting their everyday life, the transformations of the education
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To live free and well aware of the changes he/she can bring about. To succeed, with every new experience, în representing him/herself and those alongside whom he/she grows up. Janusz Korczak never minimized the children’s sphere of knowledge and action, their rebellions, their whims, the brutal or innocent way they related to everything around them, their apparently meaningless actions, their everyday triumphs and emoțional catastrophes, the moments when they felt alone or happy. To Korczak, the child
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child was never a tiny little mân who doesn’ț understand what’s happening to him/her because he/she is small and helpless: “There is no such thing aș ‘children’, there are only humans - with a completely different scale of values, a different set of experiences, different impulses and another level of emotions. And remember we have no idea who they are.” Korczak militated for a team education în which the educator and the educated create a flexible community together
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little mân who doesn’ț understand what’s happening to him/her because he/she is small and helpless: “There is no such thing aș ‘children’, there are only humans - with a completely different scale of values, a different set of experiences, different impulses and another level of emotions. And remember we have no idea who they are.” Korczak militated for a team education în which the educator and the educated create a flexible community together, a community based on trust
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s happening to him/her because he/she is small and helpless: “There is no such thing aș ‘children’, there are only humans - with a completely different scale of values, a different set of experiences, different impulses and another level of emotions. And remember we have no idea who they are.” Korczak militated for a team education în which the educator and the educated create a flexible community together, a community based on trust and on everyone’s right to be
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He was against a prohibitive, passive pedagogy, which turned the child into a storage unit for information which hâd little to do with his own life: “It is not through despotic rule, imposed rigor or distrustful control, but by means of tactful understanding, belief în experience, cooperation and cohabitation.” All these principles are the bedrock of a pedagogy of participatory reciprocity în which the given social roles - teacher-student - entail a permanent exchange of experiences and knowledge. The newspaper plays an important
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for information which hâd little to do with his own life: “It is not through despotic rule, imposed rigor or distrustful control, but by means of tactful understanding, belief în experience, cooperation and cohabitation.” All these principles are the bedrock of a pedagogy of participatory reciprocity în which the given social roles - teacher-student - entail a permanent exchange of experiences and knowledge. The newspaper plays an important role în organizing the children’s community, becoming an archive of everyday existence. The newspaper
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principles are the bedrock of a pedagogy of participatory reciprocity în which the given social roles - teacher-student - entail a permanent exchange of experiences and knowledge. The newspaper plays an important role în organizing the children’s community, becoming an archive of everyday existence. The newspaper is a platform for children’s representation where everyone makes known their desires, their plâns for the future, their worries, their failures, their attempts at changing something: “The newspaper is a strong link. It connects one
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Rădescu, Viorel Cojanu, Mihaela Michailov, Radu Apostol, Maria Mandea, Bogdan Burlăcianu, Mugur Ciumăgeanu, Raluca Simion. [2] Alfred Adler, Psihologia școlarului greu educabil, București: Editură IRI, 1995. [3] Alexander Müller, You Shall Be a Blessing, Sân Francisco: The Alfred Adler Institute of Sân Francisco, 1992. [:en]by Radu Apostol The process of education by means of Educațional Theater is an extension of the way education is conducted within the household. A classroom during a class of educațional theater strongly resembles the floor
Educația prin Teatrul Educaţional () [Corola-website/Science/295709_a_297038]
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Sân Francisco: The Alfred Adler Institute of Sân Francisco, 1992. [:en]by Radu Apostol The process of education by means of Educațional Theater is an extension of the way education is conducted within the household. A classroom during a class of educațional theater strongly resembles the floor în “the children’s room”; în fact, it resembles the floor în any room where there are children. There are no predetermined “better seats” or “worse seats”, there are no insecurities induced by “the
Educația prin Teatrul Educaţional () [Corola-website/Science/295709_a_297038]
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desk”, because encounters leading to a performance scene can occur anywhere within this space, anywhere the imagination of the participants takes them. There is no teacher’s desk, and therefore no single direction to channel a dominant interest, no “position of force” aș the only depository of knowledge and information relevant for the student. There is no relation of dominance between the teacher and the student, aș the classroom architecture în the tradițional education system often induces. The role of the
Educația prin Teatrul Educaţional () [Corola-website/Science/295709_a_297038]
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classroom architecture în the tradițional education system often induces. The role of the teacher în Educațional Theater is similar to that of the parent, the grandfather, the older sister/brother or friends. The teacher represents first and foremost a reference of security and safety for the student, not one of authority; he/she represents a partner în playtime. The most painful break occurring în a child’s universe upon leaving “the home” and entering “the classroom” is the one în the
Educația prin Teatrul Educaţional () [Corola-website/Science/295709_a_297038]
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he/she represents a partner în playtime. The most painful break occurring în a child’s universe upon leaving “the home” and entering “the classroom” is the one în the relation between the surrounding reality and his/her imagination. All of a sudden, the chair ceases to be anything else and becomes a mere piece of furniture which you MUSTN’Ț smash, you MUSTN’Ț drag around, but simply sit on, obediently, waiting for the lesson to begin; toys have to
Educația prin Teatrul Educaţional () [Corola-website/Science/295709_a_297038]
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will not behave spontaneously and creatively, but will strictly reproduce standardized patterns of success, because his/her only stake is being like the one who is number 1. Educațional Theater is not a platform for talented children, but a medium of education and development for any child by means of theatrical games which challenge the children to express themselves creatively, spontaneously and artistically.
Educația prin Teatrul Educaţional () [Corola-website/Science/295709_a_297038]
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and the Politics of Spectatorship, London, Verso, 2012. [:en]by Mihaela Michailov I keep hearing comments such aș “we need educated viewers who understand our art” and two questions spring into my mind: educated for what, exactly? And what kind of art? If we need viewers who are tamed and educated to gobble up heaps of exclusivist art which might give them the feeling of belonging to the category of “values inaccessible to the inane multitude”, then education misses its main
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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spring into my mind: educated for what, exactly? And what kind of art? If we need viewers who are tamed and educated to gobble up heaps of exclusivist art which might give them the feeling of belonging to the category of “values inaccessible to the inane multitude”, then education misses its main critical stake and becomes a sort of high-class training. Thanks, but no thanks. [caption id="attachment 1200" align="aligncenter" width="300"] "Stop! You're a Gypsy! You're not allowed
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5th grade student, during the workshop Școală Activistă, Cluj, 2012.[/caption] The radical change which theater brings to marginal groups and communities pertains to the reformation of the relation between performance, viewers and performers. The performance becomes a cultural act of participant observation în the middle of the realities with which a group of people is confronted, one of its main stakes being on-site performance. This means being în the very center of the marginality which inspired the performance în the
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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marginal groups and communities pertains to the reformation of the relation between performance, viewers and performers. The performance becomes a cultural act of participant observation în the middle of the realities with which a group of people is confronted, one of its main stakes being on-site performance. This means being în the very center of the marginality which inspired the performance în the first place. The research creates a strong human bond between those who communicate a documented reality - the project
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]