45,651 matches
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în a theater. On the contrary, this type of viewer watches himself and his peers act during the performance, not after it, genuinely living the enacted events. This gaze thus becomes a political act, a radical intervention into a type of social structure which the viewer needs to comment on because it is his/her world. The theatrical experience contains the dată of the everyday experience of those for whom the performance is a double encounter. It is, on the one
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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he/she sees în real time and acts accordingly). Disruptive viewers have the experience of life which is enacted before them and therefore, their direct intervention is an immediate reaction to what they see. Their gaze is <i>a gaze of acknowledgement through participation în the reality which they are a part of</i>. The viewers live what they see and spontaneously start a conversation with those before them, who are no longer actors în a performance, but ordinary people like
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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of</i>. The viewers live what they see and spontaneously start a conversation with those before them, who are no longer actors în a performance, but ordinary people like themselves. The reality în the performance is, to them, the reality of their own existence. <i>An inclusive reality</i>, which fundamentally alters the relation of the people with the marginality they usually experience by adding surplus value to their legitimating stories. [...] The viewer is no longer a passive individual, culturally immunized
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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their legitimating stories. [...] The viewer is no longer a passive individual, culturally immunized, observing a ficțional reality with which he/she hâș no relation, but is the one who interferes and changes both the reality and those who are part of it. The question that follows is: what kind of actor does this viewer need în order to have a conversation and how non-self-centered must the performance become în order to encapsulate the existence of the people interfering în its dynamics
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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must the performance become în order to encapsulate the existence of the people interfering în its dynamics? The actor, în this instance, is no longer a creator of neutral fiction, but an activist actor, one who communicates the political biographies of those he/she hâș researched. The researcher-actor must regulate his presence on stage în agreement with what is going on off-stage. The actor replies immediately to the person who regards him/her aș someone with whom he/she is sharing
Teatrul spectatorului indecent () [Corola-website/Science/295711_a_297040]
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multe state, printre care și cele socialiste. Nu însă și de SUA. [caption id="attachment 1133" align="aligncenter" width="280"] Art Young, "Capitalism". Sursa: http://www.peteykins.com/sparklepics 5/ArtYoungCapitalism.jpgCredits: Paul Buhle, Mike Alewitz, "Insurgent Images. The Agitprop Murals of Mike Alewitz", Monthly Review Press, 2002, p. 7.[/caption] Haymarket Square, Chicago, 4 mai 1886 de Art Young Nu trebuie să insist prea mult asupra celor întâmplate în Haymarket Square în seara zilei de 4 mai 1886 - la trei zile
Munca salarizată și ziua de 1 mai () [Corola-website/Science/295712_a_297041]
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the boy insisted. “Who did you see it with?” “With you”. Slightly confused, his mother said: “You couldn’ț have seen it with me”. “Yes, I saw it last week”. “No, last week we saw something different”. After a couple of seconds, the boy said: “This was the same show from last week, from two weeks ago and the week before that...” Then the boy stopped. Multiplying a type of performance which remains roughly the same, regardless of the main narrative
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
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boy stopped. Multiplying a type of performance which remains roughly the same, regardless of the main narrative, seals off the child’s imaginary. The child sees what he/she hâș already seen before and becomes the prisoner of a construct of confirmation of well-known stories, which limits his/her possibilities of understanding his/her life experiences. Instead of broadening these experiences, children learn to recognize patterns and types. În România, children’s theater privileges heritage stories, passed down from generation to
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
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of understanding his/her life experiences. Instead of broadening these experiences, children learn to recognize patterns and types. În România, children’s theater privileges heritage stories, passed down from generation to generation. Such stories keep childhood inside a closed circuit of narrative figures: Snow White, the prince, the princess, the ogre etc. and protect children’s imagination instead of provoking it. For the most part, children’s theaters recycle fairytales, preserving the authority of the sleeping beauties and enchanted horses. The
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
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with children at the Azuga Summer School, a little girl told me: “Once upon a time there was a piglet. That’s how a real story starts”. This “real” restricts the freedom of fantasy and allows for a limited frame of expression for stories depicting children’s current realities. Children’s theater does not șo much belong to the children aș it does to the grown-ups. It is not conceptualized with the children’s help, it doesn’ț build on their
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
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to develop specific projects. Aș long aș each of them can relate to the performances and projects aimed at them, the theater is alive and can legitimately clăim to belong to the community. Children relate to it aș a place of their own, where their opinion matters, where they can meet others like them and even their own selves.” (Gavril Cadariu, Ariel Theater manager) [caption id="attachment 1147" align="aligncenter" width="300"] Sectorul S. Director: Emanoil Pârvu, 2013.[/caption] A theater without
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
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a few exceptions, I find that the tons of published fiction keep floating în two distinct bubbles: the aesthetic chimera and the commercial one. Writers în the first group have old-fashion dreams, they reject any trace of manifesto, any sense of urgency dictated by the present and, în blatant disregard of their own aesthetic ambitions, they reject the lessons of realism served up by great writers în the past two centuries. Writers în the second group dream of inventing a Romanian
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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fiction keep floating în two distinct bubbles: the aesthetic chimera and the commercial one. Writers în the first group have old-fashion dreams, they reject any trace of manifesto, any sense of urgency dictated by the present and, în blatant disregard of their own aesthetic ambitions, they reject the lessons of realism served up by great writers în the past two centuries. Writers în the second group dream of inventing a Romanian commercial literary language. It’s not a bad idea, but
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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manifesto, any sense of urgency dictated by the present and, în blatant disregard of their own aesthetic ambitions, they reject the lessons of realism served up by great writers în the past two centuries. Writers în the second group dream of inventing a Romanian commercial literary language. It’s not a bad idea, but considering you’re dealing with a huge market exercising pressure very effectively on the reader at a global level, it’s even more work than writing an
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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a bad idea, but considering you’re dealing with a huge market exercising pressure very effectively on the reader at a global level, it’s even more work than writing an aesthetic masterpiece. My pitch is not for a type of literature written according to a rigid social program. I’m not thinking of quotas on literature about the Romă, LGBTQ, migrants etc. My problem is that we seem to be missing the tremendous stakes of realism în literature. We have
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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he insists on calling it a love story, not a story with a certain direction). Dan Sociu’s delirium from <b>Combină</b><b>ția </b><b>(The Trick) </b>is also an explosion of frustration în an ocean ouț of touch with reality. The exasperation caused by this void of reality triggers experiments such aș <b>Combină</b><b>ția</b>, wherein the guy pours ouț his rhetorical delirium aș a wake-up call. When people start shooting up fantasy films
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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think they’re consuming. The answer to abuse is escape. It’s obviously NOT! But just aș obviously, it works: after a crappy day at work, I’d watch the whole <b>Lord of the Rings</b> series. Only ouț of a realist scheme of receiving and writing literature do the marginal and marginalized eventually show up. This is how we get to the paradox some great thinkers on the left never understood, namely that you can have novels extremely relevant
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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The answer to abuse is escape. It’s obviously NOT! But just aș obviously, it works: after a crappy day at work, I’d watch the whole <b>Lord of the Rings</b> series. Only ouț of a realist scheme of receiving and writing literature do the marginal and marginalized eventually show up. This is how we get to the paradox some great thinkers on the left never understood, namely that you can have novels extremely relevant for the “left-wing eye
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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writers be changed? By cementing the social dimension (vague, I know, but increasingly understood by many kick-ass artists) în literary criticism. It’s enough to open your eyes, turn on your deșire for artistic communication, for the production and reproduction of new realities and thousands of sidetracked issues will surface. Social literature is not a requirement for ideological lobbying, but for refining and adding depth to the discussion. A good novel capturing the issues of migration will have to be more
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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the social dimension (vague, I know, but increasingly understood by many kick-ass artists) în literary criticism. It’s enough to open your eyes, turn on your deșire for artistic communication, for the production and reproduction of new realities and thousands of sidetracked issues will surface. Social literature is not a requirement for ideological lobbying, but for refining and adding depth to the discussion. A good novel capturing the issues of migration will have to be more than a tearjerker or an
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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A good novel capturing the issues of migration will have to be more than a tearjerker or an NGO report. A good novel tackling rural poverty will have to go beyond stupid urban ironies, but also beyond the teary swarms of philanthropy. În order to do that, artists should get a taste for ideological fighting. Because we might wake up to find libraries stacked with the fashionable downtrodden groups, but with no real gain în artistic expression. And there’s also
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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order to do that, artists should get a taste for ideological fighting. Because we might wake up to find libraries stacked with the fashionable downtrodden groups, but with no real gain în artistic expression. And there’s also the question of inventing or gaining a new audience. I think there’s room for that, too, but it might be a good idea not to conveniently bore that audience either with aesthetic chimeras meant for the juries who don’ț understand today
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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to document the economic status, the lives and work of the miners în Post-Socialism. UnderGround is a project of performative reconstruction of the stories which fuel the history of the Jiu Valley communities, communities which find themselves on the border of survival, migration, extinction and possible reconstruction. The performance is based on research undertaken în the Jiu Valley and coordinated by Mihaela Michailov (playwright), Vlad Petri (photographer) and David Schwartz (director). The cast is made up of Alice Monica Marinescu, Katia
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
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themselves on the border of survival, migration, extinction and possible reconstruction. The performance is based on research undertaken în the Jiu Valley and coordinated by Mihaela Michailov (playwright), Vlad Petri (photographer) and David Schwartz (director). The cast is made up of Alice Monica Marinescu, Katia Pascariu, Alexandru Potocean and Andrei Șerban. The research was manifold: workshops, informal talks and interviews with miners, miners’ wives, pensioners, children, mine security guards, union leaders and people who make a living ouț of stealing coal
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
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made up of Alice Monica Marinescu, Katia Pascariu, Alexandru Potocean and Andrei Șerban. The research was manifold: workshops, informal talks and interviews with miners, miners’ wives, pensioners, children, mine security guards, union leaders and people who make a living ouț of stealing coal.</i> Where were you on tour with UnderGround în 2012? Alexandru: We went on tour twice, once during the summer and again în autumn. The first tour was în the Jiu Valley, în almost all the mining colonies
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]