45,651 matches
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to their realities? To what extent does the children’s theatre take itself seriously and takes the children seriously? And from here, of course, the adequacy questions: which children does it address? from which perspective? from which position? confirming which of their expectations? deconstructing what kind of clichés? bringing them closer to what kind of language? Answers to the recurrent “which”/ “what kind of” questions identify the theatre experience. How does the children’s theatre integrate or oppose the tactile and
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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does the children’s theatre take itself seriously and takes the children seriously? And from here, of course, the adequacy questions: which children does it address? from which perspective? from which position? confirming which of their expectations? deconstructing what kind of clichés? bringing them closer to what kind of language? Answers to the recurrent “which”/ “what kind of” questions identify the theatre experience. How does the children’s theatre integrate or oppose the tactile and visual abundance marking the children’s
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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and takes the children seriously? And from here, of course, the adequacy questions: which children does it address? from which perspective? from which position? confirming which of their expectations? deconstructing what kind of clichés? bringing them closer to what kind of language? Answers to the recurrent “which”/ “what kind of” questions identify the theatre experience. How does the children’s theatre integrate or oppose the tactile and visual abundance marking the children’s everyday lives? How does it detach them from
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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course, the adequacy questions: which children does it address? from which perspective? from which position? confirming which of their expectations? deconstructing what kind of clichés? bringing them closer to what kind of language? Answers to the recurrent “which”/ “what kind of” questions identify the theatre experience. How does the children’s theatre integrate or oppose the tactile and visual abundance marking the children’s everyday lives? How does it detach them from the screen? How does it generate the kind of
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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of” questions identify the theatre experience. How does the children’s theatre integrate or oppose the tactile and visual abundance marking the children’s everyday lives? How does it detach them from the screen? How does it generate the kind of experience that embeds the need to be repeated? And how does it generate the parents’ deșire to “risks a different narrative” which does not fit the well-known repertoire, which does not consume Snow Whites, Charming Princes, ... on an endless loop
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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consume Snow Whites, Charming Princes, ... on an endless loop? a narrative that destabilizes the tranquillity of the well-known story? The children’s theatre is, somehow, the theatre for parents. For those parents who choose, most of the times, the stories of their own childhood. [caption id="attachment 3703" align="aligncenter" width="1024"] Familia Offline - children theatre[/caption] The theatre for children younger than 9 years of age often falls into the trap of infantilizing the child, automatically followed by the play’s
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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somehow, the theatre for parents. For those parents who choose, most of the times, the stories of their own childhood. [caption id="attachment 3703" align="aligncenter" width="1024"] Familia Offline - children theatre[/caption] The theatre for children younger than 9 years of age often falls into the trap of infantilizing the child, automatically followed by the play’s formal and content falling into cliché. Focusing mostly on the excessive and easy entertainment, considered to be the main attraction keeping the child glued
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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of the Other’s existence aș the fundamental base for understanding the world around. This understanding is mediated by revealing experiences, through which the child grows open towards everything that’s not like her/him, towards everything situated în contexts of differentiating specificities. The theatre is the sum of possible experiences and encounters which the child could test în a safe environment, în order to later expand în diverse existențial contexts. The theatre opens the possibility of nuancing, refining, and framing
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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up în power struggles, suddenly modify their hitherto inflexible territories of authority and transform themselves into activators of struggles for solidarity, social justice, and equal rights. The highest stake of the children’s theatre is, on one hand, the construction of “narratives of otherness” and, on the other hand, the representation of narratives unsubordinated to prefabricated realities. The narratives of otherness balance and refine the perspective from which the child tells stories and is taught to give verdicts, thus it does
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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horizon and dedicates a very special role to the interaction between the child and the world she/he lives în. The child can thus acknowledge and understand everything that she/he does not live first hand, building up a pool of connections to new experiences. În her article “Why Children’s Theatre Matters”, published în 2013 în The Guardian (www.theguardian.com/stage/theatreblog/2013/oct/23/why-childrens-theatre-matters), Lyn Gardner, the well known author of theatre reviews, critically discusses the ignorant
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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first hand, building up a pool of connections to new experiences. În her article “Why Children’s Theatre Matters”, published în 2013 în The Guardian (www.theguardian.com/stage/theatreblog/2013/oct/23/why-childrens-theatre-matters), Lyn Gardner, the well known author of theatre reviews, critically discusses the ignorant and restrictive view of those who consider the children’s theatre not worth being reviewed, because something meant for and created for children can’ț have the same value aș a play by Tom
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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experiences. În her article “Why Children’s Theatre Matters”, published în 2013 în The Guardian (www.theguardian.com/stage/theatreblog/2013/oct/23/why-childrens-theatre-matters), Lyn Gardner, the well known author of theatre reviews, critically discusses the ignorant and restrictive view of those who consider the children’s theatre not worth being reviewed, because something meant for and created for children can’ț have the same value aș a play by Tom Stoppard or aș King Lear</strong>. The author regards this
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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or aș King Lear</strong>. The author regards this kind of approach to be revealing of the programmed contempt the children’s theatre hâș always faced: considered to be a minor genre, unrepresentative, unworthy of attention due to its lack of depth, unable to develop relevant subjects and topics addressing a wide audience. Approached through this narrow paradigm - aș superficial and lacking substance - the children’s theatre is pushed at the periphery of the significant and “heavy” theatre, the theatre of
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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evolution. The theatre for children and teens is usually seen aș merely touching the lift of the heel of the really important art theatre, the one for adult and smart people who know all about life and destiny. Despite tens of examples contradicting the peripheral positioning of the theatre for youth - valuable plays proving this genre’s significance and its multiple meanings for diverse public categories - the contempt against the theatre for youth persists. To cîte only one recent example - the
Flecul de la tocul Cenușăresei. Teatrul copiilor ascultați () [Corola-website/Science/296114_a_297443]
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în the 1990s</b></i></spân></spân></p> Like many Romanians, after the Revolution, Criști went to work în Germany. He crossed the border, he occupied an abandoned house, and passed by Rostock în the very night when some hundreds of fascists were attacking a home that was sheltering thousands of migrants and asylum seekers from Eastern Europe (including România). </spân></spân></p> I went to Germany în 1992-1993. A sister of mine hâd went there with her husband and we
Te așteptai să-ți dea ce e mai bun () [Corola-website/Science/296092_a_297421]
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Romanians, after the Revolution, Criști went to work în Germany. He crossed the border, he occupied an abandoned house, and passed by Rostock în the very night when some hundreds of fascists were attacking a home that was sheltering thousands of migrants and asylum seekers from Eastern Europe (including România). </spân></spân></p> I went to Germany în 1992-1993. A sister of mine hâd went there with her husband and we were talking on the phone every night and she was
Te așteptai să-ți dea ce e mai bun () [Corola-website/Science/296092_a_297421]
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and în a while you realized you hâd returned to the same place you hâd just left! Three times we went through this. It was just like the Bermuda Triangle! It was dark and unfamiliar...</p> We were a group of eleven people: we hâd all met în Warsaw, we hâd common acquaintances and we all wanted to cross over. (...) We were tired, our clothes were wet... At some point the mist dissolved and we saw some villas. We went there
Te așteptai să-ți dea ce e mai bun () [Corola-website/Science/296092_a_297421]
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We went în, there was no furniture, but we were șo cold, there snow outside... We stayed inside for two or three hours. We took a ladder from the basement - they hâd some țin stoves - we made a fire ouț of it, but it wasn’ț good, aș the smoke was visible. A police car went by, and lit the lights on the house, but they didn’ț get ouț of the car; they would have caught uș. <spân style="color
Te așteptai să-ți dea ce e mai bun () [Corola-website/Science/296092_a_297421]
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This is how we got to Germany, where we stayed for one year and nine months.</spân></spân></p> When we got there, we received a residence permit. It was harder to get work, for a longer period, but first of all they would get you a residence permit. (...)</spân></spân></p> After that, you were supposed to file an asylum request, and they would place you somewhere, and provide meals. It was a special place, like a home, we stayed
Te așteptai să-ți dea ce e mai bun () [Corola-website/Science/296092_a_297421]
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somewhere, and provide meals. It was a special place, like a home, we stayed there for two weeks. It was like a boarding house, we hâd a private room and a shared kitchen. Everyone stayed there for a limited period of time, until they managed to send you somewhere else. These new places were probably homes that no one was using and the owners probably received money from the state, because each such home hâd a manager, ăn owner.</spân></spân
Te așteptai să-ți dea ce e mai bun () [Corola-website/Science/296092_a_297421]
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he acted. He would go to his car, walk around some more, and then come back. The house was outside the city.</spân></spân></p> It was a small villa, with two bedrooms, a kitchen, a bathroom. They took care of everything. I suppose it’s the same now with refugees. We would get payed 180 marks a month each. There was furniture în the houses, everything was brand new - bed sheets, tableware, pans... Everything was supposed to meet the standards
Te așteptai să-ți dea ce e mai bun () [Corola-website/Science/296092_a_297421]
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hâd a contract, she found a job. There was this hotel that needed a maid and she went to the employment office and they approved for her to work there. There is this overpopulated island, one can have a lot of fun there, it is called Westerland Sylt, it is an island în the North Șea. You can get there by train, and at the flood tide, the railway is covered în water, you can’ț see it...</spân></spân></p
Te așteptai să-ți dea ce e mai bun () [Corola-website/Science/296092_a_297421]
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we make wine, and I think they got dizzy and died.</spân></spân></p> I was rather alone at the North Șea. During my time there, I saved some money and then I left. (...)</spân></spân></p> Yes, a lot of bad things happened, too. I know people that worked without legal forms în restaurants, în bars, în small factories. They earned about 2000 marks per month and they started to trust the manager and they told him: here, you keep
Te așteptai să-ți dea ce e mai bun () [Corola-website/Science/296092_a_297421]
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aur în Finlanda. Ulterior, în primăvara anului 2005, cântăreața a înregistrat un duet cu artistul de origine germană Martin Kesici, intitulat „Leaving You for Me”. După înregistrarea în "Hartwall Areena" (Helsinki) pe 21 octombrie 2005 a albumului în concert End of an Era (realizat în iunie 2006), patru dintre membrii formației Nightwish au decis că e mai bine să continue fără . Sentimentele lor au fost exprimate într-o scrisoare care a fost dată Tarjei de Tuomas Holopainen după concert, și apoi
Tarja Turunen () [Corola-website/Science/297560_a_298889]
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specialitate cu privire la materialul "Once" au fost favorabile: „Tarja Turunen își completează tehnica clasică cu un stil interpretativ mult mai convențional și sună mai bine ca niciodată.” De asemenea, odată cu lansarea albumelor în concert "From Wishes to Eternity" (2001) și "End of an Era" (2005), recenzorii au apreciat abilitatea Tarjei de a menține calitatea înaltă a interpretărilor de studio chiar și în timpul concertelor. Odată cu înregistrarea albumului "My Winter Storm" (2007) Turunen a îmbinat stilul interpretativ clasic cu cel rock, iar editorul Frank
Tarja Turunen () [Corola-website/Science/297560_a_298889]