1,553 matches
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they recognised the stories enticed them, it made them want to get în on the storytelling. There was no boundary between the stage and the audience, to them it was an open conversation, not a theater performance. [...] Some of them hâd come to the theater for the first time, right? Andrei: That’s right. În some of these towns, there have been no such events since before 1989. Alexandru: It was totally unpredictable. Like în Vulcan, for instance. A gentleman who
„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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managed to bring his brother with him. În 1997, when people were laid off, many of the miners accepted the severance pay. His brother was one of them. The money he got didn’ț get him very far, șo he hâd to return to the countryside, în Moldova, where he couldn’ț find any work. But this gentleman stayed în the Jiu Valley and is one of the fortunate ones. He managed to save money, but sacrificed a lot în 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]
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environments and of different ethnicities who came to work în the mines and they didn’ț always get along. The other person is a young mân from Petrila who was a security guard at the mine at that time. He hâd to guard the scrap-iron which is for many people the main source of income. People steal the iron and sell it. He talks about his schedule and you can see a young mân’s perspective on the Jiu Valley. 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]
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Bosnia neighborhood în Petroșani, în former miners’ houses which are now derelict. 90% of the people there are poor Romă, living with no running water and no electricity. This lady went to prison after she was caught “stealing” scrap-iron. She hâd two children, but they both passed away. It’s a truly dramatic life story which we watered down în the performance. This way, you understand the perspective of those who have to steal for lack of any other alternatives. Together
„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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the performance. This way, you understand the perspective of those who have to steal for lack of any other alternatives. Together with Katia, I also tell the somehow “successful” story of a miner’s wife. She is a lady who hâd several jobs and then opened a small business în Petrila, a fast-food. She talks about how she handles her responsibilities aș a boss and what it’s like to be a miner’s wife. [...] [caption id="attachment 1210" align="aligncenter" width
„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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since there were precedents în the UȘ, Croația and other European countries, and also în other cases of segregation în România. În Târgu Lăpuș, the ethnic Romanian parents were not surprised to see Romă children alongside their own - they also hâd Romă classmates when they were students. But the expectations of the teachers, of the administration, of the entire community, were șo low! And this set the pace for the efforts to integrate, which was very slow. Some of them were
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
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counterproductive: older Romă children were placed în a separate class where they were allegedly meant to catch up to the ethnic majority. But the teachers and the equipment were not a priority for the school and șo the separate class hâd a sluggish pace, with the children being both ostracized and lacking the basic knowledge to allow subsequent integration. We realized that what was at stake for the storyline was the way în which the children were affected by this accumulation
„Filmul e o unealtă care poate fi folosită de cei care luptă să schimbe lumea” () [Corola-website/Science/295717_a_297046]
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with the text, but with a workshop on nautanki[1]</b></a></i> în Feb 2012. Dr. Devendra Sharma happened to be în India this year (he teaches at the University of California, Fresno, UȘA) and I heard that he hâd done a workshop production with students at the FTII. Șo I asked him if he would like to conduct a workshop for artists of Gillo and he said yes. It was an intense 2-day workshop which included lectures, demonstrations and
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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if he would like to conduct a workshop for artists of Gillo and he said yes. It was an intense 2-day workshop which included lectures, demonstrations and training. All artists responded very enthusiastically and I could see that the engagement hâd sparked something în them. [caption id="attachment 1112" align="aligncenter" width="300"] Actors learning the tradițional nautanki verses[/caption] The 2-day workshop was an eye-opener for most of uș and it also inspired uș to start working on a performance using
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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nautanki (swaang-geet[2]). I suggested to Dr. Sharma to write and direct a short play în nautanki, based on a story. Ouț of 3 stories he selected Hanuman Ki Ramayan by Dr. Devdutt Pattanaik, published by Tulika Books. Dr. Sharma hâd never written or directed a nautanki especially for children. Șo he was quite excited about the collaboration. But when he went back home to Delhi, his father Pt. Ram Dayal Sharma (a well-known exponent of nautanki) was șo touched by
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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a young audience. The entire rehearsal process lasted for 12 days and over the last 3 days we called some children to watch rehearsals. This completely changed the body language of the performers and the director. Now the rehearsal performance hâd the context of a live audience and helped a lot în shaping the final performance. The visual design was more challenging because we were working with characters like Hanuman, Narad[3] and other gods and goddesses. There is no dearth
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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production. The form hâș given uș the space and opportunity to explore our own self aș artists and extend beyond our supposed realm. Artists have definitely raised their performing skills through the process and feel they are doing something they hâd not thought themselves capable of. Do remember that most of them have no singing background and those who do, have a different schooling în music. Nautanki requires a different singing quality and each one hâș hâd to extend themselves în
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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are doing something they hâd not thought themselves capable of. Do remember that most of them have no singing background and those who do, have a different schooling în music. Nautanki requires a different singing quality and each one hâș hâd to extend themselves în aspects like pitch, diction, acting with singing, etc. The operatic nature of the form hâș been challenging and inspiring at the same time. It hâș instilled belief în the artists that they can explore and go
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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Swaang-geet hâș helped uș extend ourselves aș performers and understand the unique grammar of an operatic form. Words în a song and words în operatic verse work șo very differently. It would probably have taken uș years to realise this, hâd it not been for this engagement with nautanki. I am sure this will influence our approach to text, especially verse. [caption id="attachment 1116" align="aligncenter" width="289"] Publicul nostru tânăr[/caption] Our young audience Traditionally children have been a secondary
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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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, unlike în the above-mentioned ones. They even hâd one în Caracal... But geographic discrimination is not my topic here, although it would be worth discussing. I simply meant to explain, în a couple of words, why a hillbilly like myself doesn’ț have a clue about the theater
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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to one when în Bucharest. For several years, “the theater” was that big building în University Square. Period. When I was about 23, I went into a theater hall for the first time. It was at the Național Theater. I hâd a girlfriend who 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
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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first time. It was at the Național Theater. I hâd a girlfriend who 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
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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Are there many male writers în your country? Yes, there are more male writers than women, but I think it’s only understandable because în most African countries it was the men who went the school first and șo they hâd the opportunity to master the art of story writing faster than the women. Also publishers have în the past been taking on male authors more that female authors. Speaking to Julius Ocwinyo, one of Uganda’s most brilliant authors, în
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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school curriculum it is only male writers. Șo we started Femrite to lobby for women’s literary space, promote women writing and to train more women șo more women could excel and get invited by any publisher. And your inițiative hâd a lot of support or...? I could say yes and no. Some people and institutions supported it, because they knew it was a development project and it was good for Ugandan women. On the other hand, however, there are not
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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supported it, because they knew it was a development project and it was good for Ugandan women. On the other hand, however, there are not many development partners that support Art and Culture activities. Șo for a long time we hâd only one development partner, HIVOS, which supported most of our activities. Other partners gave very little funding for one off activities. Did you get support from the magazines and media or just individuals? Yes, we got support from the media
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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are closest to their hearts. Șo, we could not force the women to write what they did not want to write. Like I remember this article, when Femrite launched four books at once. The journalist wrote that much aș Femrite hâd launched four books, it was only to please the donors and that soon the organisation would be off the scene. That was în the 1990. Now Femrite is heading towards scooping a whole twenty years and will surely not go
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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plâns. Those publishing projects, do they have a foreign carrier? Are any of these books being translated în languages other than English? Not yet, that is what I am looking for right now at Frankfurt Book Fair. I’ve just hâd a discussion with a gentleman from Costă Rica, Oscar Castillo Rojas who hâș looked at Beyond the Dance. He is very interested and he looked at our novel, Cassandra</b>, aș well. This is our first time în an internațional
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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to professionalize, we need to be more professional. We need to build more editors. Do your writers meet other writers, from other countries? We have a networking program. Right now it doesn’ț have funds, but for some years we hâd funds for our writers to go to other countries and other continents for writing workshops, literary conferences and book fairs, where they could meet other writers. We still have the program, șo it’s just a matter of resources. We
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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understand the project started în 1995-1996. Șo far, have there been any books of literary criticism which included the authors promoted by you? Yes, especially by scholars, în their theses. Sometimes it’s not only Ugandan, I think we have hâd about seven books focus on our authors. Even some here, în Germany, we have two ladies that have written about Femrite books, Doreen Straus and Katharina Neide..., Is FEMRITE also promoting an ideological position, ăn ideological attitude? Yes, although not
„Noi ar trebui să fim, de fapt, non-partizane, însă noi promovăm vocea femeilor, noi rupem tăcerea femeilor și consolidăm poziția lor socială...” () [Corola-website/Science/295729_a_297058]
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the curious sequence of events that led up to the birth of the Greenwich Street co-op. Their background is significant to the story. At the end of the fifties and the beginning of the sixties, a number of middle-class families hâd bought homes among the Federal-style brick and mid-nineteenth-century brownstone townhouses în the West Village around Greenwich Street. The residential properties that these new homeowners șo proudly renovated abutted the area's warehouses, printing plants, and garages- the commercial and light
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]