45,651 matches
-
în two directions. For those involved în the project, who share personal developments, and for those în the Valley, who listen to them, the staging of narrations about the past and the present reaffirms common points, draws and redraws connections of a common history, of belonging to a group. At the same time, it is a reminder and a reliving of certain events at an individual level, aș well aș at the group level. For those who have a chance to
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
-
the same time, it is a reminder and a reliving of certain events at an individual level, aș well aș at the group level. For those who have a chance to watch the collages made up, on the one hand, of historical moments already entered în “official” history, such aș strikes, mining accidents, “mineriade” (coal miners storming Bucharest în the nineties), layoffs, and on the other hand private moments, bits of everyday life and a wide range of emotions, the performance
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
-
to watch the collages made up, on the one hand, of historical moments already entered în “official” history, such aș strikes, mining accidents, “mineriade” (coal miners storming Bucharest în the nineties), layoffs, and on the other hand private moments, bits of everyday life and a wide range of emotions, the performance contributes to an understanding of the complexity of recent history în the Jiu Valley. Performing the inhabitants’ narratives using the actors’ bodies, the words of the people, movement, gestures and
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
-
The affective vibrations embedded în the stories make them more powerful, more memorable and therefore more resistant to erasure from memory. The need for a structure to coagulate all the stories meaningfully poses obvious problems, but framing them aș part of a museum is somewhat questionable. The life of the locals hâș no doubt been shaped by the evolution of mining, and the pit closures have disrupted forms of sociability and practices which supported ways of life and connected people. The
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
-
2] Judith Butler, Ces Corps qui comptent. De la matérialité et des limites discursives du „sexe”, Paris: Éditions Amsterdam, 2009, pp. 15-38. [3] Lauren Berlant și Michael Warner, Sex in Public în Critical Inquiry, Vol. 24, Nr. 2, Intimacy, The University of Chicago Press, 1998, p. 21. [4] Fragment din textul spectacolului Habemus bebe. [5] Interviu cu Elena Vlădăreanu, http://www.bookaholic.ro/habemus-bebe.html [6] Elif Shafak, Lapte negru, Iași: Editura Polirom, 2012, p. 258. [7] Elena Vlădăreanu, extras din prezentarea
De ce tații merg în rai și mamele în bucătărie? () [Corola-website/Science/295795_a_297124]
-
they inevitably end up dancing around the same story - how and how much we suffered under Communism. It little matters whether they are direct victims of the regime or not, anticommunist suffering is a family heirloom, transmissible to anyone independent of their own will. Anticommunist suffering is, în fact, a viral suffering, with jolts of alcohol-induced fever, discussions about politics and the future (yours, ours, that of the future couple, the company or the country). The routine “grandpa went to jail
Teatrul istoriei recente: o scenă cu bunici () [Corola-website/Science/295804_a_297133]
-
suffered under Communism. It little matters whether they are direct victims of the regime or not, anticommunist suffering is a family heirloom, transmissible to anyone independent of their own will. Anticommunist suffering is, în fact, a viral suffering, with jolts of alcohol-induced fever, discussions about politics and the future (yours, ours, that of the future couple, the company or the country). The routine “grandpa went to jail, he was a well-off peasant, but he was hard-working and he hâd a bit
Teatrul istoriei recente: o scenă cu bunici () [Corola-website/Science/295804_a_297133]
-
losers of the transition, either, and neither do we care about the projects of the radicals. Even worse, we have no patience to listen to those carrying stories of persecution more horrid than our grandpa’s: Communist strikers, Romă dispossessed of their gold and horses, gay grandparents, Jewish, Hungarian or German grandparents affected by Ceaușescu’s ethnic naționalism. These stories are not just too extreme to fit with the official history (which some of uș teach), but în all honesty, these
Teatrul istoriei recente: o scenă cu bunici () [Corola-website/Science/295804_a_297133]
-
too extreme to fit with the official history (which some of uș teach), but în all honesty, these stories are too uncomfortable and ambiguous even for our time. Every now and then, another challenge comes up în the cultural sphere of Bucharest - a lesson în alternative history which attempts to prove that not all grandparents were persecuted because they were hard-working peasants. Some of them seem to have suffered and continue to suffer because of love... definitely because of love for
Teatrul istoriei recente: o scenă cu bunici () [Corola-website/Science/295804_a_297133]
-
și neavând experiență de lucru în restaurante, mi-a luat două săptămâni până mi-am găsit de lucru. Am primit o ofertă de la Metatec. Mi-au spus că ei sunt o altă companie care lucrează pe același șantier la Mall of Berlin. Și tipul ăsta, Mehmet, de la Metatec Fundus GmbH mi-a promis: „Tu începi lucrul, iar eu mă ocup să-ți fac actele. Vorbești direct cu mine și nu cu vreun alt român. Îți promit. Sunt om de cuvânt, așa că
MALL-UL DIN BERLIN. O POVESTE DESPRE EXPLOATARE CU MUNCITORI ROMÂNI () [Corola-website/Science/295805_a_297134]
-
deeming some of the information irrelevant for his account and excluding them from the narrative. On the other hand, în his effort to reconstruct a certain historical period “aș it was”, the historian cannot exclude from his narrative an account of an event or series of events for which there isn’ț enough dată to allow a plausible explanation. This means the historian hâș to “interpret” the material by filling the gaps în research through speculation and inference.[ 1] But on
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
-
irrelevant for his account and excluding them from the narrative. On the other hand, în his effort to reconstruct a certain historical period “aș it was”, the historian cannot exclude from his narrative an account of an event or series of events for which there isn’ț enough dată to allow a plausible explanation. This means the historian hâș to “interpret” the material by filling the gaps în research through speculation and inference.[ 1] But on what criteria would such a
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
-
is this interpretation perceived by various social groups? Aș a follow-up on these research questions, I propose three ways of framing perspectives on the past[2], ways which are critically explored în certain theatrical practices în post-socialist România. The first of them is the so-called “usable past”, a set of historical references aimed at shaping contemporary attempts at social consensus. A “usable past” is an invention, or at least a retrospective reconstruction serving the needs of the present.[3] For sure
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
-
influenced by institutions and power structures which have legitimated certain official versions about the past according to certain interests (for instance, the heroization or demonization of certain historical periods în order to legitimize the dominant ideology which allowed the reproduction of those institutions).[4]</a> Hence, the life experience of certain social groups (women, slaves, industrial workers, immigrants, peasants etc.) have been “selected” and “interpreted” aș irrelevant for historicization according to the dominant ideology of the respective period (the discipline of
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
-
certain official versions about the past according to certain interests (for instance, the heroization or demonization of certain historical periods în order to legitimize the dominant ideology which allowed the reproduction of those institutions).[4]</a> Hence, the life experience of certain social groups (women, slaves, industrial workers, immigrants, peasants etc.) have been “selected” and “interpreted” aș irrelevant for historicization according to the dominant ideology of the respective period (the discipline of history serving the formation and evolution of the idea
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
-
relatively immune to attempts at remaking it “from above.” Moreover, ăn exclusively presentist approach would explain where present interests come from. The instrumentalist approach is also not considered suitable to explain why the past functions șo well aș an instrument of present interests. Therefore, this second way of approaching the relation between past and present seeks to understand why the past would be usable at all. The question which the proponents of this model ask themselves is “what does the past
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
-
why the past functions șo well aș an instrument of present interests. Therefore, this second way of approaching the relation between past and present seeks to understand why the past would be usable at all. The question which the proponents of this model ask themselves is “what does the past do for uș?”[5] This type of conceptualizing doesn’ț differ much from the first one, but its underlying principles are funcționalist: history, a sense of the past, tradition, collective memory
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
-
is faithful to its essence only if it is critical towards contemporary life. Photography, cinema and television have spared theatre the obligation of reflecting life and compensating it with stories. It can, at long last, become itself: the critical conscience of an era [...].”[6] Theatre artists în the 20th century begin using archival documents, oral history testimonies, newspaper articles or diaries to question - through performative means and from a socially engaged perspective - the politics of the present and to place ignored
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
-
though they use different ways of understanding and performing archives. One of the main concerns of these theatre practitioners is the recovery of the critical - and implicitly political - function of the artistic act, în a local context where the idea of “art” is associated with imperviousness to everyday issues, apolitical behavior and “harmlessness” în shaping the public agenda.[ 7] These productions do not necessarily represent an ethos of Romanian independent theatre aș a whole, but I estimate they are a reaction
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
-
political - function of the artistic act, în a local context where the idea of “art” is associated with imperviousness to everyday issues, apolitical behavior and “harmlessness” în shaping the public agenda.[ 7] These productions do not necessarily represent an ethos of Romanian independent theatre aș a whole, but I estimate they are a reaction to two post-socialist directions în the theatre which could hardly have occurred elsewhere. First of all, “running away from the present” în state-funded theatres - meaning a rejection
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
-
running away from the present” în state-funded theatres - meaning a rejection of contemporary texts and revolving around the same symbols of the classics - hâș facilitated the unproblematic reproduction of the institution and of the artists’ status, thus fueling the alienation of theatre practitioners who were aiming for “riskier”, more lively topics which reflected the present and the ways în which that present hâd come to be.[8] Secondly, the unilateral and shallow approaches - în public discourse and instituțional practice - of issues
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
-
alienation of theatre practitioners who were aiming for “riskier”, more lively topics which reflected the present and the ways în which that present hâd come to be.[8] Secondly, the unilateral and shallow approaches - în public discourse and instituțional practice - of issues such aș the social effects of privatization, migration to the West, daily life before 1990 or ethnic/social/sexual discrimination hâș augmented the deșire of certain theatre artists to research such phenomena and subject them to debate în performances
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
-
for “riskier”, more lively topics which reflected the present and the ways în which that present hâd come to be.[8] Secondly, the unilateral and shallow approaches - în public discourse and instituțional practice - of issues such aș the social effects of privatization, migration to the West, daily life before 1990 or ethnic/social/sexual discrimination hâș augmented the deșire of certain theatre artists to research such phenomena and subject them to debate în performances which bluntly raise socio-political concerns and question
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
-
lifestyles în România prior to 1989 (După Traian și Decebal - After Trajan and Deceballus), the various perspectives on the events which took place on June 13-15 1990 în Bucharest (Capete înfierbântate - Heated Minds)</b>, life-stories about the causes and effects of migration (<b>Nu ne-am născut în locul potrivit - Born în the Wrong Place</b>) or the life of mining communities în the Jiu Valley during post-socialism (<b>SubPământ. Valea Jiului după 1989 - Underground. The Jiu Vally after 1989</b>), these enterprises
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
-
în ArtLeaks Gazette, </i>May 2013, p. 41-50. [8] “We still believe today that being a classic of modernity [...] becomes the attribute of performatively active modernism. And we forget or simply do not know it yet: în the theatrical concept of modern, the present of direct experience plays a meaningful role. But Romanian theatre nowadays is running away from this present!” Marian Popescu, Oglindă spartă. Teatrul românesc după 1989, (București: Unitext, 1997), quoted în Ț. C. Popescu, Surplus</b>..., p. 35
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]