1,553 matches
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aș well. She’s very high-spirited and very observant. She’s fond of every performance and she’s very devoted to her job. When did you start working for Teatrul Foarte Mic? I was transferred here from Teatrul Mască. I hâd been working there for two years. The actors cried when I left. I came here at the end of 1998. I was pregnant. They assigned me straight to the dressing rooms, but there weren’ț aș many performances back then
„E important să fie respect în relațiile de muncă” () [Corola-website/Science/295673_a_297002]
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after two years, I was assigned to the delivery service. I spent six months there and then they sent me to the wardrobe. My colleague, Petronela, fell down the stairs, at dressing room 2. She was în a hurry, she hâd work to do both upstairs and downstairs at the dressing rooms. Then Mr. Mandiuc, the one în charge of all administrative issues, called me and said: “Zoe, get dressed now and come to the dressing rooms.” It happened during the
„E important să fie respect în relațiile de muncă” () [Corola-website/Science/295673_a_297002]
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line, meaning I checked if the fly and the pockets matched. I don’ț remember exactly how much I was making, but it was enough. I left Danubiana with 800 lei. It was a lot at the time. And we hâd food stamps, cold food, we hâd a lot of benefits. But it didn’ț last long. Is the money enough now? It’s not. I have to pay the bank and there’s șo much stuff to do. My husband
„E important să fie respect în relațiile de muncă” () [Corola-website/Science/295673_a_297002]
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fly and the pockets matched. I don’ț remember exactly how much I was making, but it was enough. I left Danubiana with 800 lei. It was a lot at the time. And we hâd food stamps, cold food, we hâd a lot of benefits. But it didn’ț last long. Is the money enough now? It’s not. I have to pay the bank and there’s șo much stuff to do. My husband works aș a taxi driver and
„E important să fie respect în relațiile de muncă” () [Corola-website/Science/295673_a_297002]
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aș to avert the threat of symbolic corrosion and contagion they are believed to carry. If the target population did not serve an essential economic function, it could be kept ouț of the city or expelled from it—as Jews hâd been periodically în medieval history. If that same group were not irremediably tainted, it would simply be exploited and allowed to mingle în the city în accordance with its position în the division of labor. It is the conflicting combination
Antropologie performativă. Cazul ghetoului Pata Rât (partea I) () [Corola-website/Science/295677_a_297006]
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being called a bum, a punk, a thief, a filth... That’s the way it’s going... (...) Before 1989, at least some basic rights of the worker were respected. You were not allowed to speak freely, but at least you hâd a decent life! School guard (Hațeg): I am qualified for 12 jobs. Twelve. But there are no working places. I am qualified to work în food industry, aș I used to work at the cans factory. It is useless now
”Locurile de muncă ar trebui trecute în categoria bunurilor publice” () [Corola-website/Science/295659_a_296988]
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write about the so-called ‘losers’, but I also empathize with my characters. Research and empathize with the characters and their universe, that’s what a writer is supposed to do. Many don’ț understand this, because they’re stuck. We hâd no solidarity between intellectuals and blue-collar workers, neither before, nor after 1989. The intellectual elite would aseptically distance themselves from what we refer to aș the profound România, the country’s backbone, the common people. May I remind you that
„La noi n-a existat o solidaritate între intelectuali și muncitori nici înainte și nici după ’89” () [Corola-website/Science/295664_a_296993]
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Season invite you to the premiere of: BORN ÎN THE WRONG PLACE - with English subtitles! - The performance Born în the Wrong Place is based on the documentary text written by Alice Monica Marinescu and David Schwartz în 2011. The text hâd its internațional premiere at Baadisches Staatstheater, Karlsruhe, Germany, în July 2013. The play intertwines the life stories of 5 people who have gone through the experience of seeking asylum with fragments from The Guide to Obtaining Romanian Citizenship for Foreign
NU NE-AM NĂSCUT ÎN LOCUL POTRIVIT / 12#038;13 OCTOMBRIE / ORA 19.30 / SPAȚIUL PLATFORMA / BUCUREȘTI () [Corola-website/Science/295688_a_297017]
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the future when a classless communist society could benefit from the avant-garde visions. Meyerhold’s next performance, Tretyakov’s The Earth în Turmoil, from 23 February 1923, în celebration of the fifth anniversary of the founding of the Red Army, hâd an immediate political goal: direct agitation. Lyubov Popova’s design was not abstract and technical but used real machine guns, motorcycles and other objects. Meyerhold explained the new direction: “the assembler attempts to achieve not an aesthetic effect, but an
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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their nature aș products is în the centre - no decorative embellishments, no theatrical tricks.”[ 22]</a> By emphasizing that everything on stage is “exactly aș în reality,” Meyerhold was aware of the theatrical function of the event, the real objects hâd a direct agitation function exactly by expressing something beyond their everyday function. Even if actors’ actions are real, difficult and acrobatic and not signs for ficțional actions, the theatricality of the performance is given by the parade or exhibition style
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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style. Helen Krich Chinoy observed a remarkable connection between different aesthetics based on a rather new element at that time: “The personal distillation of the director was the modern substitute for the whole complex of social and theatrical factors that hâd once made theatre the great collective art. Reinhardt illustrates this process în its baroque, Wagnerian aspect. Vsevolod Meyerhold illustrates it în its constructivist, Marxian aspect.”[23] Nevertheless, the spectators, mainly workers, were perplexed and offended by the strânge staging and
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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of all a political activist, able to recreate the language and every-day life of the working class for spectators ready to emulate it: under the social mask on stage there was the visible face of the worker. This new direction hâd the pretense to create a new socialist consciousness where the revolutionary avant-garde presumably failed by only confusing spectators. The decline of the old artistic leftists în the 1930s (with their two icons, Meyerhold and Mayakovski, who committed suicide în 1930
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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for the benefit of society; to make Planet Earth a more livable, just and equal place. (I am still working on the first two beliefs, but they have managed to completely convince me about the third one.) The theater department hâd some excellent teachers who were themselves living proof of the type of artist SLC believed în: they created (wrote, produced, directed, etc.) their own material that was both artistically excellent and socially important. It was în the UȘ that I
Clovnii () [Corola-website/Science/295693_a_297022]
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years now în a row we make a big donation gathering event for Christmas for a very poor region of the country. Our work hâș been made possible șo far mainly by the Open Society Foundation, but we also have hâd other resources. It is not voluntary work, even though part of our annual work is voluntary. We constantly write grants and do fundraising. We usually go to the poorest parts of the country. În Hungary, two third of the poorest
Clovnii () [Corola-website/Science/295693_a_297022]
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for the intellectual beauty of ideas and confront a reality which is often far more intricate, blurry and disappointing? We studied to become artists. Art was the context în which we met and started working together 12 years ago. We hâd just graduated from a department where the main effort consisted în finding a framework that hâd aș little to do with the concreteness of human life aș possible and was completely removed from daily events, feelings, bodies, anxieties about the
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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blurry and disappointing? We studied to become artists. Art was the context în which we met and started working together 12 years ago. We hâd just graduated from a department where the main effort consisted în finding a framework that hâd aș little to do with the concreteness of human life aș possible and was completely removed from daily events, feelings, bodies, anxieties about the future, about the conditions of artistic production or about the role of art în society. “The
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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elitist to me. The children generally look down on the teachers, and the pupils from villages have their minds set on leaving to the big city, where they believe the teachers are better. A sixth grader once told me I hâd to be a mediocre artist. I asked her how she knew that, since she hadn’ț seen any of my works. She replied: “If you were any good, you wouldn’ț have come to work here”. [caption id="attachment 1035" align
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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Lesson aș a Gallery Opening) from the school gym and în other drawings from 2009 posted online. There you can see, for instance, how the media reflected on the energy issue between Europe and Russia at that time. Those drawings hâd a significant impact on me and were a major influence în my teaching approach. For about four years I’ve been teaching grades 5 to 8. I took advantage of students’ lack of respect for teachers and their subsequent freedom
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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four years I’ve been teaching grades 5 to 8. I took advantage of students’ lack of respect for teachers and their subsequent freedom of expression and introduced them to topics that might remove them from the tradițional sphere they hâd been used to (painting Easter eggs, Christmas etc.). These new topics functioned aș creative and reflective exercises în relation to areas that do not usually preoccupy them at their age. One of the experiments was The Activist School</b>, which
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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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="attachment 1037" align="aligncenter" width="186"] Monument for Annoying Teachers[/caption]
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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prinții sentimentului, poeți și gânditori”.[:en]by Mihaela Michailov</b> Janusz Korczak revolutionized 20th century pedagogy by laying the emphasis on personalized education - understanding the subjectivity of every child, who thus became the social creator of a world he/she hâd to be allowed to experience; without being judged, without having their tiniest of mistakes scrutinized, without having their opinions minimized, without being asked to “play nice” for the amusement of those around. The child is not a small, playful entertainer
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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common space for reflection and action, regulated by the interventions of the children- pedagogues. During 1926-1939, Korczak published Mały Przegląd (The Little Review), which hosted materials written by children, documenting their everyday life, the transformations of the education system they hâd proposed and the projects they got involved în. În August 1942, the employees of the orphanage and all the children were deported to the extermination câmp at Treblinka and Korczak chose to leave with them, refusing an American passport. His
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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community together, a community based on trust and on everyone’s right to be who they are and stând up for themselves. He was against a prohibitive, passive pedagogy, which turned the child into a storage unit for information which hâd little to do with his own life: “It is not through despotic rule, imposed rigor or distrustful control, but by means of tactful understanding, belief în experience, cooperation and cohabitation.” All these principles are the bedrock of a pedagogy of
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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Sprie, Baia Mare and Cavnic. How did you create an audience în these areas? Did the local authorities help în any way? Monica: În Petrila, I felt we were receiving some support, but that was because David Schwartz and Mihaela Michailov hâd been there for longer and got to know many of them. But there were also areas were I felt like a complete stranger. We hâd problems în Deva and Petroșani, especially with the state theaters, the most reluctant of all
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]
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felt we were receiving some support, but that was because David Schwartz and Mihaela Michailov hâd been there for longer and got to know many of them. But there were also areas were I felt like a complete stranger. We hâd problems în Deva and Petroșani, especially with the state theaters, the most reluctant of all institutions. Katia: On the days when we were scheduled to perform, the theater managers chose to rent ouț the venues for other events în order
„Am înțeles care e miza mea ca actor. Nu e vorba doar despre mine, e și despre celălalt” () [Corola-website/Science/295718_a_297047]