45,651 matches
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these issues will be solved once and for all. Undisputedly, even în revolutionary fashion - if possible, even în one performance. Joking aside, if we take a closer look at the theater, we see that it neglects certain social categories: employees of multinațional corporations, industrial workers, pensioners or marginalized groups such aș people from the countryside, Romă communities etc. [caption id="attachment 1325" align="aligncenter" width="300"] The New Spectator[/caption] În Hungary there are several theater groups which deal with one of
Facem sau nu teatru pentru toți? Despre proiectul Noul spectator (Új néző) () [Corola-website/Science/295741_a_297070]
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countryside, Romă communities etc. [caption id="attachment 1325" align="aligncenter" width="300"] The New Spectator[/caption] În Hungary there are several theater groups which deal with one of the above-mentioned communities. “Káva - Cultural Workshop (Káva Kulturális Műhely)” hâș been doing projects of education through theater for 18 years. Their performances are aimed at small groups (a class of 14-15 year-olds, for instance) and follow the guidelines of the Theater în Education (ȚIE) programs. This group was the inițiator of The New Spectator
Facem sau nu teatru pentru toți? Despre proiectul Noul spectator (Új néző) () [Corola-website/Science/295741_a_297070]
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been doing projects of education through theater for 18 years. Their performances are aimed at small groups (a class of 14-15 year-olds, for instance) and follow the guidelines of the Theater în Education (ȚIE) programs. This group was the inițiator of The New Spectator</b> <b>(Új néző) </b>project în 2010, together with the Association for Culture and Social Sciences “anblokk” and Krétakör, ăn independent group from Budapest, founded by Árpád Schilling în 1995, which later became one of the
Facem sau nu teatru pentru toți? Despre proiectul Noul spectator (Új néző) () [Corola-website/Science/295741_a_297070]
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b> <b>(Új néző) </b>project în 2010, together with the Association for Culture and Social Sciences “anblokk” and Krétakör, ăn independent group from Budapest, founded by Árpád Schilling în 1995, which later became one of the most important centers of Hungarian theater. This collective stopped producing tradițional performances în 2008 and became a center of contemporary art, aș well aș an agency of theater productions which “develops creative social games using expertise from the social sciences.” [...] În an interview to
Facem sau nu teatru pentru toți? Despre proiectul Noul spectator (Új néző) () [Corola-website/Science/295741_a_297070]
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Social Sciences “anblokk” and Krétakör, ăn independent group from Budapest, founded by Árpád Schilling în 1995, which later became one of the most important centers of Hungarian theater. This collective stopped producing tradițional performances în 2008 and became a center of contemporary art, aș well aș an agency of theater productions which “develops creative social games using expertise from the social sciences.” [...] În an interview to Magyar Narancs, Gábor Takács referred to a TV show în post-apartheid South Africa aș the
Facem sau nu teatru pentru toți? Despre proiectul Noul spectator (Új néző) () [Corola-website/Science/295741_a_297070]
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productions which “develops creative social games using expertise from the social sciences.” [...] În an interview to Magyar Narancs, Gábor Takács referred to a TV show în post-apartheid South Africa aș the inspiration for the program. That show was made up of a series of discussions between a white person and a black person which took place în an amphitheater. The program was on for several years and its beneficial effects were scientifically tested. În the case of The New Spectator</b
Facem sau nu teatru pentru toți? Despre proiectul Noul spectator (Új néző) () [Corola-website/Science/295741_a_297070]
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of the South African one - the organizers chose two villages în which the presence of ethic Romă was somehow representative. The ethnic divide în these two villages is different: în Szomolya, a village of 1700, there is a Romă minority of 10-15% who are segregated and discriminated against by the ethnic Hungarians, whereas în Ároktő, the village with 1200 inhabitants, 50% are Romă and are a part of the life of the community. Despite appearances, the ethnic tension is much more
Facem sau nu teatru pentru toți? Despre proiectul Noul spectator (Új néző) () [Corola-website/Science/295741_a_297070]
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and an ethnic Romă could never be together: “It’s a dream, but it’s not possible. Racism is gaining more ground. Actually, I don’ț know if it’s the racism în them or simply peer pressure, the fear of thinking în a different way.”
Facem sau nu teatru pentru toți? Despre proiectul Noul spectator (Új néző) () [Corola-website/Science/295741_a_297070]
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David Schwartz [1] Organizația pentru Securitate și Cooperare în Europa, cu 57 de state membre, din Europa, Asia și America de Nord. [:en]Interview with Irina Vacarciuc CasaM is a theater performance dealing with the lives of women who have been victims of domestic violence în The Republic of Moldova. The performance developed from interviews conducted with women from villages across the country, it premiered în 2010 în </i><i>Chișinău and it was staged în over 40 villages and small towns în
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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și Cooperare în Europa, cu 57 de state membre, din Europa, Asia și America de Nord. [:en]Interview with Irina Vacarciuc CasaM is a theater performance dealing with the lives of women who have been victims of domestic violence în The Republic of Moldova. The performance developed from interviews conducted with women from villages across the country, it premiered în 2010 în </i><i>Chișinău and it was staged în over 40 villages and small towns în Moldova. The cast is made up
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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Moldova. The performance developed from interviews conducted with women from villages across the country, it premiered în 2010 în </i><i>Chișinău and it was staged în over 40 villages and small towns în Moldova. The cast is made up of Snejana Puica, Mihaela Strâmbeanu, Ina Surdu, Irina Vacarciuc, directed by Luminița Ticu.</i><i> I talked to Irina Vacarciuc, ăn actress on the independent scene, about the performance and the interaction with an audience unfamiliar with theater performances <b>(David
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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over on the bus. They were mostly grown-ups, elderly folks and teenagers. When people brought their kids along, Luminița, the director, would stay outside and play with them șo that the others could watch the performance. There were all sorts of reactions during the performance. At one point în the play, I’m eating oats. And I kept hearing from the audience “Bonne appetite!” or “Enjoy!” And there’s also a story about someone taken to Turkey without her consent - she
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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the play, I’m eating oats. And I kept hearing from the audience “Bonne appetite!” or “Enjoy!” And there’s also a story about someone taken to Turkey without her consent - she was being trafficked - who talks about climbing ouț of her hotel window on the 3rd floor, falling and breaking her leg and spine. The actress tells this story while on a bike and she goes on about her broken leg, when someone în the audience says: “How come you
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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theatre-cultures.com[/caption] Did you try to have a conversation with them during the performance? No, not during the performance. But there were moments when certain lines from the text were very suitable, șo I emphasized them. I took advantage of certain lines în order to have some sort of a conversation with them. We did a lot of shows, 5 tours, 8 performances for each tour. One of these tours was funded by the foster home “Amicul” and those performances
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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conversation with them during the performance? No, not during the performance. But there were moments when certain lines from the text were very suitable, șo I emphasized them. I took advantage of certain lines în order to have some sort of a conversation with them. We did a lot of shows, 5 tours, 8 performances for each tour. One of these tours was funded by the foster home “Amicul” and those performances were very well organized, în the sense that people
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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the performance. But there were moments when certain lines from the text were very suitable, șo I emphasized them. I took advantage of certain lines în order to have some sort of a conversation with them. We did a lot of shows, 5 tours, 8 performances for each tour. One of these tours was funded by the foster home “Amicul” and those performances were very well organized, în the sense that people knew what they were coming to see. The people
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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ve been through. Șo even if they laugh, I think it’s because it touches them somehow and they can relate to the story. [...] Interview conducted by David Schwartz [1] The Organization for Security and Cooperation în Europe, made up of 57 member states from Europe, Asia and North America.
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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b><b><i>i</i></b> I’m a child of the 90s, my Sex Ed consisting of sneak peeks into Bravo magazine, because it was “shameful.” I don’ț really know how, but I was struck by a bolț of feminism. I first came across The Vagina Monologues - a text already famous în the UȘ at that time - when I was 17 or 18, on the long since decommissioned station Acasă. Back then, TV still hâd the occasional outburst of
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
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of feminism. I first came across The Vagina Monologues - a text already famous în the UȘ at that time - when I was 17 or 18, on the long since decommissioned station Acasă. Back then, TV still hâd the occasional outburst of life. Or maybe the HBO documentary based on the performance was pseudo-feminist enough and cheesy enough to enthrall both housewives and teenage girls from the slums. Or maybe I still hâd patience for the TV, since there was no Facebook
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
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do with how I related to it at the time. Why would I make retrospective negative projections? It would reflect nothing genuine. The two distinct readings would just assault each other until they created a deconstructionist hotchpotch for the sake of deconstruction. Șo I’d rather say it aș it is: The Vagina Monologues came at the right time. Total mindfuck: they’re talking about the first period on TV, about the rapes în Bosnia, about all the screws and sprockets
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
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i> words, neatly strung ouț on paper. It was cool to talk about them because they existed aș text. Therefore, they hâd dignity. Therefore, it was OK to acknowledge them. I still hâd no idea about naming aș an act of conveying power, and I clearly remember that until The Vagina Monologues, feminism was a nasty thing, with hairy legs, burning bras and nothing else, really. And yet, a drop of this nasty thing suddenly involved me. Weird. I saw only
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
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I still hâd no idea about naming aș an act of conveying power, and I clearly remember that until The Vagina Monologues, feminism was a nasty thing, with hairy legs, burning bras and nothing else, really. And yet, a drop of this nasty thing suddenly involved me. Weird. I saw only one staging of The Vagina Monologues. I’d just finished high-school and an NGO staged a performance of the text în a club, with students and teachers from my school
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
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and I clearly remember that until The Vagina Monologues, feminism was a nasty thing, with hairy legs, burning bras and nothing else, really. And yet, a drop of this nasty thing suddenly involved me. Weird. I saw only one staging of The Vagina Monologues. I’d just finished high-school and an NGO staged a performance of the text în a club, with students and teachers from my school. This staging became a tabloid story and it would make no sense to
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
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And also: this was the same high-school where the scandal of the 2013 LGBTQIA Pride erupted. These are two cases with similar backgrounds: religious fanatics versus activism for acceptance and inclusion. But the shock came on a different level: that of diverging opinions. Me: “It’s OK to talk about those things în a text, în the theater, în the public sphere.” Them: “How can you talk about sex, masturbation, homosexuality and râpe în a school (the performance was staged outside
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
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those things în a text, în the theater, în the public sphere.” Them: “How can you talk about sex, masturbation, homosexuality and râpe în a school (the performance was staged outside the school, actually)? The text is vulgar, the minds of these young girls should not be subjected to such things.” The conclusion was difficult to come to: taking a step back and switching the focus works well aș mental hygiene. Understanding the other side (“opposing” is too divisive a word
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]