45,651 matches
-
of furthering the social goal. Orly Lubin describes an example of imbalance between the value for the individual and for the collective în the uses of the testimony of Zivia Lubetkin. One of the leaders of the Warsaw ghetto uprising of April 1943, Lubetkin immigrated to Palestine and gave her testimony twice. The first time she told her story privately to two Zionist leaders, one of whom writes: “She told us—in tears, with pauses, în Yiddish, în Hebrew, în silences
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
told her story privately to two Zionist leaders, one of whom writes: “She told us—in tears, with pauses, în Yiddish, în Hebrew, în silences—what was în her heart. The story was unimaginably tragic. There was nothing în it of heroism, no glory, but it was aș if she herself was bearing the entire six million” (Rabinowitz, cited în Lubin 2002: 133). The second time, two days later, she gave her testimony publicly: “Relinquishing the first-person grammatical form, she translated
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
Jim Crow-era laws segregating people of color to the back of the bus, she was not the first. The previous March, “a feisty high school student named Claudette Colvin. . . defended her right to the seat în language that brought words of disapproval from passengers of both races” (Branch 1988: 120). În October, Mary Louise Smith likewise refused to give up her seat for a white woman. Yet civil rights leaders decided that Smith’s alcoholic father and substandard living conditions—“one
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
and substandard living conditions—“one of those see-through clapboard shacks”— made her “no better suited to stând at the rally point than was Claudette Colvin” (Branch 1988: 127). Parks, on the other hand, was considered șo beyond reproach by people of color and whites alike that her personal story of injustice was selected for courtroom dramatization. The timing was șo ripe that the Montgomery Bus Boycott was organized to protest her arrest. Parks’ story became the story through which the community
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
shacks”— made her “no better suited to stând at the rally point than was Claudette Colvin” (Branch 1988: 127). Parks, on the other hand, was considered șo beyond reproach by people of color and whites alike that her personal story of injustice was selected for courtroom dramatization. The timing was șo ripe that the Montgomery Bus Boycott was organized to protest her arrest. Parks’ story became the story through which the community organized and drew a line: no more arresting Negroes
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
up their seats to white people în public buses. Aș the Reverend Martin Luther King Jr. articulated when rallying the community to join the boycott, [N]obody can doubt the boundless outreach of [Parks’] integrity. Nobody can doubt the height of her character, nobody can doubt the depth of her Christian commitment . . . And you know, my friends, there comes a time when people get tired of being trampled over by the iron feet of oppression. (King, cited în Branch 1988: 138
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
Parks’] integrity. Nobody can doubt the height of her character, nobody can doubt the depth of her Christian commitment . . . And you know, my friends, there comes a time when people get tired of being trampled over by the iron feet of oppression. (King, cited în Branch 1988: 138) And yes, the crowd responded, yes, their voices roșe up, yes. A play, too, can resituate personal stories aș the expression of a particular group. Boalexperienced such a dynamic with a play he
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
with other audience members upon whom other characters were based. What followed spontaneously anticipated Forum Theatre în the active audience involvement elicited: “The real people other characters were modeled upon got up on stage and each incarnated themselves în front of their actors, the scene fragmenting into explosive simultaneous dialogues with worker-models of characters pitted against actors and their characters” (Boal 2001: 203). În the ensuing mayhem, Boal tried to convince angry spectators that it was just a play, a fiction
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
spontaneously anticipated Forum Theatre în the active audience involvement elicited: “The real people other characters were modeled upon got up on stage and each incarnated themselves în front of their actors, the scene fragmenting into explosive simultaneous dialogues with worker-models of characters pitted against actors and their characters” (Boal 2001: 203). În the ensuing mayhem, Boal tried to convince angry spectators that it was just a play, a fiction, not them. They would have none of Boal’s explanation, feeling grievously
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
explosive simultaneous dialogues with worker-models of characters pitted against actors and their characters” (Boal 2001: 203). În the ensuing mayhem, Boal tried to convince angry spectators that it was just a play, a fiction, not them. They would have none of Boal’s explanation, feeling grievously misrepresented. Finally they agreed that the actors could continue to speak the script but they would correct them aș necessary. This performance intrigued Boal în its interaction of the image and the reality of the
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
about themselves, using their very words. For the Sânto André audience, this play was their story. That intimacy caused a problematic but ultimately productive level of engagement, resituating the play at the intersection between an aesthetic event and a documentary of their very lives. [caption id="attachment 1196" align="aligncenter" width="216"] Laurențiu Ridichie. No title, 2012.[/caption] Critical storytelling în theatrical practice: O’Neal, Lacy, Boal Not all storytelling is liberating. One might use personal stories to come to any conclusions
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
agency în people who were at once the least powerful and most affected. Rather than telling them what to do or think, the company’s performances were intended to stimulate post-show discussion. The exchange of stories proved a better way of having dialogue than argument because, explains O’Neal, Adversarial debates reward people who are trained în their techniques. Those tend to be people who have the largest vocabularies and largest egos and most willingness to clăim ground and hold it
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
O’Neal 2002) În O’Neal’s current inițiative, The Color Line, story gathering is part of an assets-based approach to dismantling racism. One artist, one educator, and one activist în each of several towns collaborate around the local legacy of civil rights. The artist gathers personal stories on the subject that are used în some way thereafter with the help of the educator and the activist. The idea is that people may have limited material resources but are rich în
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
their personal relationships, to their instituțional and familial alliances, and then to their public position: “We’d ask, ‘How do people treat you on the bus?’ and they began to make the links. The kids operate aș beings în terms of their own personal narrative but they also operate aș symbols for a culture, with a political impact” (Lacy 2002). Personal stories raise awareness of the kids aș both “beings” and “symbols,” real individuals who are often treated generically aș representatives
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
their own personal narrative but they also operate aș symbols for a culture, with a political impact” (Lacy 2002). Personal stories raise awareness of the kids aș both “beings” and “symbols,” real individuals who are often treated generically aș representatives of a (maligned) group. The movement of Lacy’s work with young people, from their individual experience to the social implications, resonates with Boal’s concept of ascesis. Aș Adrian Jackson describes, [W]e work on the case of an individual
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
aș both “beings” and “symbols,” real individuals who are often treated generically aș representatives of a (maligned) group. The movement of Lacy’s work with young people, from their individual experience to the social implications, resonates with Boal’s concept of ascesis. Aș Adrian Jackson describes, [W]e work on the case of an individual, and from that individual case we extrapolate into the group present, and then, sometimes, from that group into the larger society of which it is a
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
then, sometimes, from that group into the larger society of which it is a microcosm or a fragment. This process Boal calls “ascesis,” the movement from the phenomenon to the law which regulates phenomena of that kind; and his concept of “osmosis” enables this free play from one arena to the other, suggesting aș it does that no individual consciousness can remain unmarked by societal values. (Jackson, cited în Boal 1995: xx) With ascesis aș an underpinning, personal stories în the
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
în the Forum Theatre process are combined, and invented elements inserted to get to the scenario that the actors will perform. Boal writes, “All the singular elements of the individual story must acquire a symbolic character, and shed the constraints of singularity, uniqueness” (1995: 40). Boal identifies singularity aș the domain of the psychotherapist, and generalization aș the terrain of the theatre artist. He emphasizes that TO “is the theatre of the first person plural. It is absolutely vital to begin
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
story brought to forum, given the degree of self-assertion required, it is questionable if people necessarily do șo. And does the collectivization of the story inadvertently take it away from the teller? Attention must be paid to balancing the usefulness of stories for both the identifying group and the individual teller. Boal, O’Neal, and Lacy all fulfill what Benhabib [...] calls redefining the “private, non-public, and non-political” aș “matters of public concern, issues of justice, and sites of power”, but they
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
the “private, non-public, and non-political” aș “matters of public concern, issues of justice, and sites of power”, but they do șo în different ways. Boal proposes a structured approach to illuminating the political realities embedded în personal stories. The subject of these embryonic stories always encounters, struggles with, but does not overcome oppression. Thus an opening is provided for public problem-solving. The structure of O’Neal’s story circles is looser than the structures of TO, inviting any kind of story
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
ways. Boal proposes a structured approach to illuminating the political realities embedded în personal stories. The subject of these embryonic stories always encounters, struggles with, but does not overcome oppression. Thus an opening is provided for public problem-solving. The structure of O’Neal’s story circles is looser than the structures of TO, inviting any kind of story rather than one focused on oppression. O’Neal sees dialoguing through story rather than arguing aș providing an accessible point of entry into
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
The structure of O’Neal’s story circles is looser than the structures of TO, inviting any kind of story rather than one focused on oppression. O’Neal sees dialoguing through story rather than arguing aș providing an accessible point of entry into a liberatory practice. Whereas Boal’s Forum Theatre typically begins by people identifying an oppression and then bringing specifics of people’s lives to illustrate it, Lacy begins with personal stories to lead to political revelations. For example
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
one focused on oppression. O’Neal sees dialoguing through story rather than arguing aș providing an accessible point of entry into a liberatory practice. Whereas Boal’s Forum Theatre typically begins by people identifying an oppression and then bringing specifics of people’s lives to illustrate it, Lacy begins with personal stories to lead to political revelations. For example, aș long aș râpe was considered a private matter, it was beyond the ken of political guidelines. The very act of speaking
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
specifics of people’s lives to illustrate it, Lacy begins with personal stories to lead to political revelations. For example, aș long aș râpe was considered a private matter, it was beyond the ken of political guidelines. The very act of speaking about it publicly helped move it into a domain where regulations could be set. [1] Fragments from Jan Cohen-Cruz, Mady Schutzman (eds.), A Boal Companion. Dialogues on theatre and cultural politics, New York: Routledge, 2006.
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
Twongyeirwe este mamă a doi fii și o fiică, autoare de poezie și proza scurtă, cercetătoare pe subiecte legate de situația femeilor, editoare și posesoarea Certificatului de Recunoaștere pentru contribuția la literatura pentru copii (2008) acordat de către Național Book Trust of Uganda pentru volumul Fină the Dancer (2007). Este membră fondatoare a Uniunii Scriitoarelor din Uganda (FEMRITE), organizație pe care o coordonează în prezent. A publicat numeroase cărți de ficțiune și nonficțiune, cea mai cunoscută pe plan internațional fiind I Dare
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]