6,418 matches
-
and with different backgrounds - benefit from. These children have very often never seen a theater show, a clown or any cultural event. Most children are very warm and loving and are obviously în need of affection and attention. After the show is over we always do a dance together with the kids; we often make circles and every child can offer a move that we all copy, if we can. They love it and it may continue quite a while at
Clovnii () [Corola-website/Science/295693_a_297022]
-
are Romă, one actress is half-Roma. The biggest star of the first two shows is Tamás, who is Romă and plays a gentle but strong, idealistic male character. The boys love him to death. They gather around him after the show, and it hâș happened a couple of times that they spring up during the show and hug him șo tight that before we know it Tamás is on the floor with fifty boys on top of him! Generally, the children
Clovnii () [Corola-website/Science/295693_a_297022]
-
Tamás, who is Romă and plays a gentle but strong, idealistic male character. The boys love him to death. They gather around him after the show, and it hâș happened a couple of times that they spring up during the show and hug him șo tight that before we know it Tamás is on the floor with fifty boys on top of him! Generally, the children do not want uș to leave after the show and they ask uș to come
Clovnii () [Corola-website/Science/295693_a_297022]
-
that they spring up during the show and hug him șo tight that before we know it Tamás is on the floor with fifty boys on top of him! Generally, the children do not want uș to leave after the show and they ask uș to come back the next day. They sometimes send uș poems and beautiful drawings. Tamás is obviously a potențial role model for the young men we encounter. We experience the same în the dramă câmp every
Clovnii () [Corola-website/Science/295693_a_297022]
-
I proposed a mimicking of the protester; the students’ drawings would be protest placards. Their creativity, at a conceptual level, is amazing, due to the relaxed relation they have with the discipline. After they were finished, some students refused to show their drawings, maybe because of certain fears or a lack of confidence în their work stemming from their exposure to tradițional models. They threw them în the trash can and I hâd to pick them up from there. [caption id
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
-
mulți să se simtă legați? Cum poate teatrul să asigure roluri sociale tuturor copiilor?[:en]by Mihaela Michailov Two years ago, after a performance I saw at the Țăndărica Theater, a little boy told his mother: “I’ve seen this show before”. His mother asked: “Did granny take you?”. “No”, said the little boy. “Did the school take you?” “No”. “Then you couldn’ț have seen it”. “But I did”, the boy insisted. “Who did you see it with?” “With you
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
-
With you”. Slightly confused, his mother said: “You couldn’ț have seen it with me”. “Yes, I saw it last week”. “No, last week we saw something different”. After a couple of seconds, the boy said: “This was the same show from last week, from two weeks ago and the week before that...” Then the boy stopped. Multiplying a type of performance which remains roughly the same, regardless of the main narrative, seals off the child’s imaginary. The child sees
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
-
just aș obviously, it works: after a crappy day at work, I’d watch the whole <b>Lord of the Rings</b> series. Only ouț of a realist scheme of receiving and writing literature do the marginal and marginalized eventually show up. This is how we get to the paradox some great thinkers on the left never understood, namely that you can have novels extremely relevant for the “left-wing eye” written by conservatives. Right now, I’m reading Franzen, even if
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
-
feel there was a big difference between the audience over there and the audience în Bucharest, to which you are more accustomed? I mean differences în their reactions to what was happening on stage. Andrei: Definitely. Already after the first show, we noticed the audience reacted during the event, they made additions to the text, they recognised the people and talked ouț loud. The fact that they recognised the stories enticed them, it made them want to get în on the
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
-
responsibilities aș a boss and what it’s like to be a miner’s wife. [...] [caption id="attachment 1210" align="aligncenter" width="300"] A performance în Petrila, 2012.[/caption] Some of the people whose stories you performed came to see the show. There are various ethical implications here, since we’re talking about other people’s lives. How would you describe the experience? Andrei: It was very emoțional for me. I couldn’ț wait to perform, because I knew “my character” would
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
-
there. And I thought I would pick him up from home. He was eager to see himself performed. I went to his house and started singing one of the songs from the performance. We spent an hour together before the show, and I tried to understand what kind of person he was. It’s interesting he didn’ț see me aș a stranger. He acted aș if we’d known each other for a lifetime. After I started my monologue, he
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
-
moved up în the world: an annual music festival, with up and coming young “celebrities” and all the other artists for whom Bucharest was too small. That’s why, until I was 18, theater to me meant the radio theater show on Radio România, which I would skip every time I stumbled on it. Mom and dad paid just aș much tax aș the people în Bucharest, Iași, Timișoara, Constantă, Cluj or Ploiești, except there was no theater în my city
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
-
before the Planning Commission.'' Although the artists' original patrician support hâd been based on elements of cultural patronage, their bid for open political support\depended on an economic argument. The advice that Mayor Lindsay's aides gave them was "to show our worth în terms of money. Some of the artists balked," an activist says, "but the rest of uș came up with statistics on art employment, tourism, supplies- numbers the commission could understand.'' În this discussion, Art evidently yielded to
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
-
issues, the evictions, losing the house, Cherecheș[1] and șo on, I didn’ț care about it, I’ll do what you want, come to all the activities, bring the kids, handle everything. What I want în return is to show these people who come to see uș all the forgeries, all the problems people have, how they end up on the streets. That’s what I was interested în! Even if you got a bit of cash for your projects
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
-
ca tulburătoare în absurdul prozaic în care abundau, în loc să triumfe ca vârf de avangardă, cum urmăreau, la vulgaritatea sketchurilor TV inserată în piese caragialiene. Spectacole care nu țineau, fie din perspectiva conținutului, fie a execuției. Apoi, teatrul independent. Un one-woman show încă mă bântuie pentru gratuitatea gesturilor și simbolistica abrazivă și agresivă. După multe lupte cu sinele, oglinda care îi facilitase personajului introspecțiile pe durata întregului spectacol este mânjită sistematic cu o pastă opacă, imaginea reflectată se pierde, lupta se încheie
Nu-mi place () [Corola-website/Science/295782_a_297111]
-
work colleagues; Green: an episode of the Sare și Piper (Salt and Pepper) </b>talk-show where the guest, Jon Onoje, ăn immigrant from Sierra Leone who hâd just become a Moldovan citizen, is ridiculed by the talk-show hosts; Blue - a socially-oriented show where 2 women from the outskirts of Kishinev protest against the building of a center for children with disabilities on their street. Indigo - the political talk-show <b>În Profunzime</b> (<b>În Depth)</b>, where three of Moldova’s political
ROGVAIV – proiect de artă activă împotriva oricărei forme de discriminare () [Corola-website/Science/295781_a_297110]
-
such a system for the emancipation of “women” will be clearly self-defeating. The question of “the subject” is crucial for politics, and for feminist politics în particular, because juridical subjects are invariably produced through certain exclusionary practices that do not “show” once the juridical structure of politics hâș been established. În other words, the political construction of the subject proceeds with certain legitimating and exclusionary aims, and these political operations are effectively concealed and naturalized by a political analysis that takes
Feminismul și subversiunea identității () [Corola-website/Science/295774_a_297103]
-
Back then it was a big deal. I was already drawing by then and he invited me over to test the kit. He also loved drawing. We drew, we hâd fun, we cuddled, and then he told me: “Let me show you something!”. And he showed me a Paris Match from 1969, with an article on the Stonewall riots.[ 1]</a> It was 1974, șo 5 years after the events. He read me the article. He read and spoke French well
„A fi gay este un act politic, este o declarație de emancipare eminamente politică.” () [Corola-website/Science/295779_a_297108]
-
în it. You need to have references, you can’ț speculate too much. And I hâd ideas which I couldn’ț fully argue, but I hâd a gut feeling that’s how things were. This was what I wanted to show. Besides, my topic was the manea (turbo-folk) and I hâd loads of observations which hâd nothing to do with that and I couldn’ț use them. Living there, I came to know about other things: what the thugs got up
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
-
no, it was the love story. And I thought the topic was worth writing about. [...] I wanted to come with a grassroots perspective. And give an account of society aș a whole. This was what drove me, beyond Ferentari: to show that somehow those people were not that different; that the whole of Romanian society was “new money”. It’s not only they who are caught up în this - making heaps of money - but the entire Romanian society is after money
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
-
fact, all Romanians are now centered on showing off, conspicuous consumption and in-your-face display, except they take different forms, more hypocritical ones. I mean, în the rest of society, the middle class, things happen în a more subtle way - people show off în such a way aș to avoid looking like show-offs. [...] Aș a gay mân, do you feel the pressure to be more masculine, more macho? Yeah, you do, it’s somehow... There’s a sort of masculinity complex în
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
-
stabilit câteva scene de felul ăsta, non-verbale, Fero și Leta au simțit că exista o mare tensiune în ele, care trebuia echilibrată cu ceva mai exploziv, mai direct și mai comic. S-a mizat atunci mai serios pe partea de show a spectacolului: ni s-a cerut, mie și lui Kata, să venim cu niște variante de show-men... să încercăm să facem un show fiecare. Am căutat haine, texte, atmosfere. Apoi, pe baza acestor improvizații, fiecare și-a scris textele. Leta
„Am fost bine conservați în teatrul instituționalizat, cu regizori vizionari și actori executanți” () [Corola-website/Science/295790_a_297119]
-
ceva mai exploziv, mai direct și mai comic. S-a mizat atunci mai serios pe partea de show a spectacolului: ni s-a cerut, mie și lui Kata, să venim cu niște variante de show-men... să încercăm să facem un show fiecare. Am căutat haine, texte, atmosfere. Apoi, pe baza acestor improvizații, fiecare și-a scris textele. Leta a stat să le curețe, să le dea ritm, să le orchestreze în așa fel încât să se potrivească unul cu celălalt în
„Am fost bine conservați în teatrul instituționalizat, cu regizori vizionari și actori executanți” () [Corola-website/Science/295790_a_297119]
-
whoever to a play în Arabic?” It was absurd. I chose to ignore the jokes some people made, like “if we get în here, are we gonna be executed on the way ouț?” or “are you sure no bombers will show up?”. Most performances were at the Students’ House and at the Children’s Palace. That’s when I got a passion for photography and it’s the reason I signed up for a class on media and journalism after I
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
-
situation? Or will their situation ever change? This is a difficult question. I would like to believe that, but I see day-in day-out value systems changing. Young people are, more and more, wanting to get rich quickly. If theater can show them how to get money soonest, then it would make sense, but I see monetary value taking precedence over other values and it is saddening. În a context where the children, the artists, and the whole social and economical system
„Comunitățile ar trebui să se ajute reciproc și să se dezvolte împreună” () [Corola-website/Science/295740_a_297069]