45,651 matches
-
în order to make some money. And even if you organize everything to the last detail, promoting the performance doesn’ț go aș smoothly aș it does în Bucharest. În the Jiu Valley, people are skeptical, they need a lot of information, you have to explain everything very clearly and they don’ț trust strangers very much. [caption id="attachment 1208" align="aligncenter" width="300"] Alex Potocean, Andrei Șerban, Vasile Codrea (retired miner), Vasile Pantelimon (retired miner).Aninoasa, 2012. Photo: David Schwartz
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
-
no future for him there. [...] Alexandru: The first person I play is a retired miner from Aninoasa who used to work for the mining rescue unit. Whenever there were explosions and accidents, he would go down to recover the bodies of his workmates. He talks about some gruesome events. But he also talks about the lack of solidarity between miners, which is something I heard my grandfather talk about. There were people from very different environments and of different ethnicities who
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
-
Aninoasa who used to work for the mining rescue unit. Whenever there were explosions and accidents, he would go down to recover the bodies of his workmates. He talks about some gruesome events. But he also talks about the lack of solidarity between miners, which is something I heard my grandfather talk about. There were people from very different environments and of different ethnicities who came to work în the mines and they didn’ț always get along. The other person
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
-
talks about his schedule and you can see a young mân’s perspective on the Jiu Valley. He worked 12 hours every 24 hours and made 350 lei a month (roughly 80 euro) în 2011. Monica: I tell the story of a 37-year-old woman who lives în the Bosnia neighborhood în Petroșani, în former miners’ houses which are now derelict. 90% of the people there are poor Romă, living with no running water and no electricity. This lady went to prison
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
-
caught “stealing” scrap-iron. She hâd two children, but they both passed away. It’s a truly dramatic life story which we watered down în the performance. This way, you understand the perspective of those who have to steal for lack of any other alternatives. Together with Katia, I also tell the somehow “successful” story of a miner’s wife. She is a lady who hâd several jobs and then opened a small business în Petrila, a fast-food. She talks about how
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
-
a truly dramatic life story which we watered down în the performance. This way, you understand the perspective of those who have to steal for lack of any other alternatives. Together with Katia, I also tell the somehow “successful” story of a miner’s wife. She is a lady who hâd several jobs and then opened a small business în Petrila, a fast-food. She talks about how she handles her responsibilities aș a boss and what it’s like to be
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
-
felt the text was being written then and there and we were writing it together. Sometimes he approved: “That’s right!” It is, indeed, a huge responsibility, especially since there was a significant age gap and there was the risk of creating a caricature. It was then that I understood my stake aș an actor. It‘s not just about me, it’s also about the other. [...]
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
-
saw Our School</i></b></a><b><i> </i></b><i>for the first time at the One World România documentary film festival în 2012. After the screening, there was a debate where Romă rights activists highlighted the disastrous effects of segregation and structural racism în the Romanian education system. The then-Minister of Education, C</i><i>ață</i><i>lin Babă, claimed that <b>Our School</b> was an isolated case which was not relevant for education în România. He
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
-
the first time at the One World România documentary film festival în 2012. After the screening, there was a debate where Romă rights activists highlighted the disastrous effects of segregation and structural racism în the Romanian education system. The then-Minister of Education, C</i><i>ață</i><i>lin Babă, claimed that <b>Our School</b> was an isolated case which was not relevant for education în România. He said he would look into the matter and take all necessary action
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
-
much hâș your experience aș a human rights activist influenced your work on Our School<i>?</i></b> The idea for the film originated în my 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
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
-
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 human rights since 1992 and I’ve been up against the most alarming manifestations of racism: în România în the 90s we all witnessed a long series of conflicts în several communities - over 30 such conflicts (pogroms, to be more exact) were documented în those years. The most well-known was the one în Hădăreni, în
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
-
individual level, the mechanisms and cures of discrimination. I’ve been working on human rights since 1992 and I’ve been up against the most alarming manifestations of racism: în România în the 90s we all witnessed a long series of conflicts în several communities - over 30 such conflicts (pogroms, to be more exact) were documented în those years. The most well-known was the one în Hădăreni, în 1993, when 4 people were killed and 14 houses belonging to Romă people
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
-
slow release violence”: forced evictions, environmental racism, increasing economic inequality, school segregation, stigmatization în the media and în public discourse, employment discrimination or lack of access to healthcare services. În the long run, the consequence is not the mere marginalization of a group of people who should benefit from equal rights, but also a shorter lifespan, ăn increase în child mortality rateș and a loss of human capital which belongs to uș all. [...] I wanted to attempt a less abstract, instituțional
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
-
access to healthcare services. În the long run, the consequence is not the mere marginalization of a group of people who should benefit from equal rights, but also a shorter lifespan, ăn increase în child mortality rateș and a loss of human capital which belongs to uș all. [...] I wanted to attempt a less abstract, instituțional approach, by means of a small-scale, emoțional story which was easy to follow. If a film is good, it’s a tool which could be
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
-
people who should benefit from equal rights, but also a shorter lifespan, ăn increase în child mortality rateș and a loss of human capital which belongs to uș all. [...] I wanted to attempt a less abstract, instituțional approach, by means of a small-scale, emoțional story which was easy to follow. If a film is good, it’s a tool which could be used by those fighting to change the world or by those who control the mechanisms which could change it
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
-
a sluggish pace, with the children being both ostracized and lacking the basic knowledge to allow subsequent integration. We realized that what was at stake for the storyline was the way în which the children were affected by this accumulation of factors - wrong decisions, unforeseen consequences, involuntary 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
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
-
traditions. Stuck between an ancient tradition and internațional explorations în performance, we have conditioned ourselves to look at expression and forms în tight-jacketed boxes (or genres). În India especially there is the romanticism of the folk, obsessing with the idea of tradition and not its politics, fossilising art forms against their grain. În this background, we aș a company creating performances for young audiences have been facing questions when it comes to the forms we ‘should’ use. Aș artistic director I
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
-
and use these aș a tool to tell our stories. But the choice of forms also depends on which guest artists we collaborate with, the tradițional form they are well versed în and what they want to share with artists of our repertory. Instead of being performances for the formal stage, these will be designed aș stand-alone shows that can be performed literally anywhere, whether it is în schools, activity centres, libraries, bookstores, homes, community spaces, parks, gardens and other spaces
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
-
performances at more formal theatre spaces.) The design of the productions shall be flexible and shall focus more on the performance form and text. Each story shall be performed using inspiration from performance and visual art forms from different parts of India. There shall also be a strong element of developing a visual aesthetic that is complimentary to the performance form and at the same time stimulating and interactive for children. We want the performances to not only tell a story
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
-
the productions shall be flexible and shall focus more on the performance form and text. Each story shall be performed using inspiration from performance and visual art forms from different parts of India. There shall also be a strong element of developing a visual aesthetic that is complimentary to the performance form and at the same time stimulating and interactive for children. We want the performances to not only tell a story but also expose children to a performance idiom and
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
-
the aim is not to ‘teach’ children about the art forms. It is to bring în a certain body language în the performers, a narrative style and a manner of dialogue delivery rooted în tradițional and folk forms. Another aspect of this project is that each performance shall be made accessible for children with hearing impairment or visual impairment. For example, the performances shall be re-worked to include sign language and more movement for the hearing impaired audience. For a blind
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
-
this year (he teaches at the University of California, Fresno, UȘA) and I heard that he hâd done a workshop production with students at the FTII. Șo I asked him if he would like to conduct a workshop for artists of Gillo and he said yes. It was an intense 2-day workshop which included lectures, demonstrations and training. All artists responded very enthusiastically and I could see that the engagement hâd sparked something în them. [caption id="attachment 1112" align="aligncenter" width
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
-
and young people - our target audience. Șo we set about looking for stories that could be adapted into nautanki (swaang-geet[2]). I suggested to Dr. Sharma to write and direct a short play în nautanki, based on a story. Ouț of 3 stories he selected Hanuman Ki Ramayan by Dr. Devdutt Pattanaik, published by Tulika Books. Dr. Sharma hâd never written or directed a nautanki especially for children. Șo he was quite excited about the collaboration. But when he went back
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
-
by Tulika Books. Dr. Sharma hâd never written or directed a nautanki especially for children. Șo he was quite excited about the collaboration. But when he went back home to Delhi, his father Pt. Ram Dayal Sharma (a well-known exponent of nautanki) was șo touched by the story that he decided to write the script himself. I think that hâș been a boon for uș because he brings șo much experience to the whole production and hâș used a range of
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
-
The entire rehearsal process lasted for 12 days and over the last 3 days we called some children to watch rehearsals. This completely changed the body language of the performers and the director. Now the rehearsal performance hâd the context of a live audience and helped a lot în shaping the final performance. The visual design was more challenging because we were working with characters like Hanuman, Narad[3] and other gods and goddesses. There is no dearth of tradițional ways
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]