1,323 matches
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Sharma Direction & Hindi Translation - Dr. Devendra Sharma Costume design - Shama Zaidi Illustration - Anagh Banerjee Musicians - Ravindra Belbansi, Janit Temkar Actors - Sharvari Deshpande, Hetal Varia, Prăsad Dagare, Harshad Tambe, Ghanshyam Tiwari, Ishita Dave, Vinati Makijany, Sahil Gangurde, Vighnesh Sinkar. About the play</em> Valmiki hâș barely puț his pen down after completing his magnificent creation, the epic Ramayan, when he realises he hâș competition. The sage Narad tells him that there is a better Ramayan, written by Hanuman. Valmiki is devastated! And
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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was smarter than me and, aș always, that weighs a great deal more than any posters of Florin Piersic. Besides, she was from Mizil, where they also hâd a theater, unlike în my native Slobozia. I can’ț remember the play, it was a comedy, but the funniest scene happened when the curtain accidentally fell over the actors în the middle of the play. It was nice, I laughed and never returned. Șo I took another break from the theater until
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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Mizil, where they also hâd a theater, unlike în my native Slobozia. I can’ț remember the play, it was a comedy, but the funniest scene happened when the curtain accidentally fell over the actors în the middle of the play. It was nice, I laughed and never returned. Șo I took another break from the theater until 2011, when I Declare at My Own Risk was invented, a play with, by and about Alină Șerban (plus Alice Monica Marinescu and
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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curtain accidentally fell over the actors în the middle of the play. It was nice, I laughed and never returned. Șo I took another break from the theater until 2011, when I Declare at My Own Risk was invented, a play with, by and about Alină Șerban (plus Alice Monica Marinescu and David Schwartz). A performance about what it was like to be a brave, determined, educated, young (unfortunately Romă) woman. I can’ț remember how many times I’ve seen
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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by and about Alină Șerban (plus Alice Monica Marinescu and David Schwartz). A performance about what it was like to be a brave, determined, educated, young (unfortunately Romă) woman. I can’ț remember how many times I’ve seen this play. Not because I didn’ț get it the first time, nor because it was the only one ouț there, but because I saw, for the first time, ideas taking shape. After spending ten years în the narrow world of Romă
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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turn herself into a victim and got her way eventually. I felt this performance was a little bit about me, aș well. The message seemed șo convincing and explicit that I brought tens, maybe hundreds, of friends to see the play, to see Alină Șerban and understand how I saw this part of the world without having to listen to my NGO stories. I invited friends, journalists, co-workers, comrades, aunts, cousins, neighbors, members of Parliament. I learned, during the spân of
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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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 staged în 1962. It was based on personal stories about a metal workers’ strike în Sânto André and was written
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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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 staged în 1962. It was based on personal stories about a metal workers’ strike în Sânto André and was written by one of the workers. At a performance în Sânto André, the mân on whom the villain was based
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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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 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
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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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 same character. He also recognized the dynamizing effect on the people on whom the play was based and the level of interaction precipitated when not just an individual but a whole community gets to see performed what they themselves presumably said or did. This production also raises the issue of intimacy and distance—i.e., the
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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not just an individual but a whole community gets to see performed what they themselves presumably said or did. This production also raises the issue of intimacy and distance—i.e., the degree of close-people who identify with it. While a play is always a representation, even when based on an actual event, such recognition is difficult for an audience watching a play of and about themselves, using their very words. For the Sânto André audience, this play was their story. That
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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also raises the issue of intimacy and distance—i.e., the degree of close-people who identify with it. While a play is always a representation, even when based on an actual event, such recognition is difficult for an audience watching a play of and 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
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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with it. While a play is always a representation, even when based on an actual event, such recognition is difficult for an audience watching a play of and 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
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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recognition is difficult for an audience watching a play of and 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
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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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 Forum Theatre process are combined
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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banks of these rivers. Lately, football hâș been played more on private pitches, on artificial turf, where the fee is expensive. The pitches which still exist by the rivers represent important places for various communities where people get together, party, play football, take drugs. These pitches play a significant role în the community and they are endangered. Another country-wide problem is the fact that there are more empty houses than people who need a place to live. Using basic mathematics, we
„74 de comunități urmează să fie evacuate din cauza Cupei Mondiale” () [Corola-website/Science/295764_a_297093]
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hâș been played more on private pitches, on artificial turf, where the fee is expensive. The pitches which still exist by the rivers represent important places for various communities where people get together, party, play football, take drugs. These pitches play a significant role în the community and they are endangered. Another country-wide problem is the fact that there are more empty houses than people who need a place to live. Using basic mathematics, we could offer everyone a place. And
„74 de comunități urmează să fie evacuate din cauza Cupei Mondiale” () [Corola-website/Science/295764_a_297093]
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housing rights, which took shape în 2011, hâș embraced the World Cup Popular Committees throughout Brazil. This movement undertakes research and fights the consequences large urban projects have on the inhabitants of the city. One of the football teams I play for is part of one such Committee and I have been a part of this movement for over a year and a half. Can you tell me more about the organization methods and actions of the World Cup Popular Committee
„74 de comunități urmează să fie evacuate din cauza Cupei Mondiale” () [Corola-website/Science/295764_a_297093]
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work with all of you for șo long? At first, I didn’ț know who you were and what you wanted. Seeing a bunch of youngsters engaging the kids în all sorts of games, the kind that I used to play when I was little...I suspected they were students, their clothes were different from ours, ordinary people - skirt and pants, glasses, backpacks, the hairdos - they seemed different from uș. Initially I thought it was suspicious because nobody asked uș, the
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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students, their clothes were different from ours, ordinary people - skirt and pants, glasses, backpacks, the hairdos - they seemed different from uș. Initially I thought it was suspicious because nobody asked uș, the parents, if we agreed to let our kids play with them. I remember our first encounter, when my son wasn’ț în front of the house - he was 6 years-old back then - and he went with those people without asking permission. He was în the courtyard of the pub
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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mân if I fuck other men?” There is a sort of masculinity complex within the culture, aș well. I mean, if you’re too effeminate, it’s harder to find a date than if you were more macho. Șo many play the macho card, especially after a certain age. When you’re young and handsome, it’s easier to be more girlish, but after a certain age, you’re just physically unable to pull it off anymore. And it’s a
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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said: “Fine. You write it în Romanian.” Șo for 6 years I wrote plays for our theater group. I usually wrote about issues concerning Palestinians. I thought: “How am I going to invite my anatomy professor or 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
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
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two children. After three years of struggle and lawsuits, Valentina and her family acquired refugee status. Ten years after arriving în România, Valentina and her two children became Romanian citizens. Her story inspired one of the five characters from the play Born în the Wrong Place. I met her when we started rehearsing for the performance and she made quite an impression on me. She exudes positive energy and seems to have a smile on her face even when she’s
„Trebuie să ducem povestea mai departe” () [Corola-website/Science/295731_a_297060]
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în rural and urban Kenya. She hâș also worked în several other places outside Kenya, including other African countries, Europe, Jamaica and Japan.</i> [caption id="attachment 1319" align="aligncenter" width="300"] Students at the University of Nairobi, reading from the play "There Is a Field", by Jen Marlowe.[/caption] How did you get involved în doing theatre and community work? I was trained aș a teacher and became a classroom teacher for 16 years. During the time I also involved myself
„Comunitățile ar trebui să se ajute reciproc și să se dezvolte împreună” () [Corola-website/Science/295740_a_297069]
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This is because our dramas are very community oriented. And people see themselves în the dramas and really identify themselves. We usually will sit together în a group and discuss the dramă we want to perform. We then co-script a play. We prepare introductory questions, the short dramă and follow-up work. Tindikiti (Girls’ Education) was also quite educative. Our country is at a time that many people and women organizations are trying to see the education of girls given space. We
„Comunitățile ar trebui să se ajute reciproc și să se dezvolte împreună” () [Corola-website/Science/295740_a_297069]