1,864 matches
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la care se administrează scheme terapeutice care conțin REYATAZ sau unul sau mai mulți INRT : concentrație plasmatică crescută a creatinkinazei ( 7 % ) , concentrație serică crescută a alaninaminotransferazei ( ALT ) / glutamatpiruvattransferazei serică ( GPT ) ( 4 % ) , neutropenie ( 4 % ) , concentrație serică crescută a aspartataminotransferazei ( AST ) / glutamatoxaloacetataminotransferazei ( GOT ) ( 3 % ) , concentrație plasmatică crescută a lipazei ( 2 % ) . 1 % din pacienții tratați cu REYATAZ au prezentat creșteri Grad 3- 4 ALT/ AST și Grad 3- 4 bilirubina totală . Pacienți infectați cu virusul hepatitei B și/ sau virusul hepatitei C Dintre 1151
Ro_920 () [Corola-website/Science/291679_a_293008]
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the schedule wasn’ț always observed. There were days when I worked from six în the morning till two a.m.. Overtime wasn’ț paid for. Did you sign any contract with them?</b> I did sign something, but I never got any copies back. It’s aș if I hadn’ț signed anything. What’s different when you work with a foreign film crew?</b> Generally speaking, the relation with film crews is more or less the same, whether you’re
„Au fost zile în care am lucrat de la șase dimineața până la ora două noaptea#034; () [Corola-website/Science/295667_a_296996]
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after Meyerhold’s death, Vasily Toporkov remembered the 1930s în these terms: “many of our theatres were still în the grip of a reactionary formalism. În search of the greatest expressiveness and în an attempt to present ‘ideological trends,’ they got lost în paths of vulgar sociology, presenting the authors’ concepts în sharp forms of exaggeration which were called by the then-fashionable name grotesque. There was a kind of directorial orgy. ”[27] În a Pravda article, signed by B. Romashov and
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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I worked în all the boroughs of NYC, some of them being ghetto areas with a lot of underprivileged students în low-status schools: Harlem, the South-Bronx, outer parts of Queens, East New York. It was also în the UȘ that I got acquainted with the work of Clowns without Borders. Clowns without Borders is an NGO whose profile is humanitarian clowning. They go to areas of crisis and bring clown and circus-inspired acts to kids and offer laughter “to relieve the suffering
Clovnii () [Corola-website/Science/295693_a_297022]
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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 march to the death trains alongside
Respect pentru copilărie () [Corola-website/Science/295708_a_297037]
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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 institutions. Katia: On the days when
„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 Jiu Valley at the time and he also 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
„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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different from treating people aș numbers. I Declare... turned you into a softy, it revealed an actual person and an actual story which was both funny and serious, with a girl who didn't 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
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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whom the villain was based protested vigorously, leading to interaction with other audience members upon whom other characters were based. What followed spontaneously anticipated Forum Theatre în the active audience involvement elicited: “The real people other characters were modeled upon got up on stage and each incarnated themselves 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
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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been taken more seriously în Uganda. Although this is not fair, it is the truth,” he stated. Well, it hâș been the same even în Europe... And șo, the men started the writing craft first before the women and they got more opportunities and became more recognized than the women. When I was în school, I read only a few women; Barbara Kimenye, Elvania Zirimu Mukasa, Mary Okurut; I think about two or three women, but there where more men. But
„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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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, although sometimes they would write that we are publishing materials that are too feminine and domestic. It must be, you know, just women issues, not important. Șo they looked to the men for the important stories
„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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That is how we came up with the <b>Promotion of Reading</b> project. Sometimes we get partners who support uș with free books șo that we can distribute them for free în schools and community libraries. And we also got other books from other associations, such aș Book Aid Internațional and Aristock Booklex în Uganda, which boost the distribution. Those two books are text and image, text and illustration. Are the illustrations also done by the authors from FEMRITE? No
„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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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, I didn’ț care! No one could be that stupid and not realize that the artist can’ț come forever without money for the bus or for cigarettes and șo on. I mean
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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her entire time on the reading-writing rollercoaster șo present în the lives of male intellectuals) and not least of all, a woman honest with herself. Critics would say Nina Cassian was spoiled, including by the political regime. She hâd lovers, got involved în politics and even allowed herself to believe în the Communist ideals without repenting afterwards. She went to the nudist beaches, drank, hâd fun and, at the peak of chauvinist Ceausescu-style naționalism, even immigrated to the UȘ. After this
Nina Cassian: despre cum să trăiești idealul nobil al comunismului () [Corola-website/Science/295776_a_297105]
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What drove you? I wanted to somehow get a grip on the time spent în Ferentari, say things nobody hâd said yet and etch a description of its society. I lived în Ferentari, I didn’ț quite know what I got from it and it seemed like a shame to “capitalize” the experience only în a PhD dissertation. The academic discourse doesn’ț suit me, I find it much more difficult to engage în it. You need to have references, you
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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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 to, how they interacted and how they saw outsiders. Șo it wasn’ț primarily the love story? No, no, it was the love story. And I thought the topic was worth writing about. [...] I wanted to come with a
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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motivated you to share your life story with a bunch of people you didn’ț know? It all starts with my father, honestly. I was în Kuwait, I was a 4th grader and singing în the school choir, and I got a taste for classical music. Our choir ended up winning the național music contest, singing Carmen, and I really enjoyed it. Ever since, I got carried away with art and told my dad I wanted go to the music high-school
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
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în Kuwait, I was a 4th grader and singing în the school choir, and I got a taste for classical music. Our choir ended up winning the național music contest, singing Carmen, and I really enjoyed it. Ever since, I got carried away with art and told my dad I wanted go to the music high-school. Not a chance! Then I hâd a great drawing teacher and he taught uș to gather stuff we didn’ț need at home and turn
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
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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 graduated. And when you came along, I was thrilled, because my story could be told by someone other than
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
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with asylum seekers. We received a room, we shared a kitchen and 4 bathrooms with the others. After a couple of weeks, I thought: “Let’s see how many countries are on our corridor.” Iraq, Afghanistan, Bangladesh, Sri Lanka. When I got to our door, I asked Marko, my son, where we hâd come from. He told me: “We are Romanians.” I told him: “No, we’re not Romanians, we’re from Șerbia.” “Ok, mom...”. He knew even then we would stay
„Trebuie să ducem povestea mai departe” () [Corola-website/Science/295731_a_297060]
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went to the theater. And they told uș no theater performance hâd come to their town since 1989. We didn’ț understand why they were laughing, why they were moving around during the performance, why they were noisy, and we got upset. But it was actually understandable, because they hâd never seen a theater play before. You can’ț blame people for reacting this way or that way. And really, their reactions vary significantly. Sure, when you’re up there on
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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Telec school in Bicazu Ardelean - was hyped up by the media, who emphasized the degradation of the education system. Rodica Sandu began teaching English at the school where half the teaching hours were available after she passed the exam and got a 7 (out of 10), which allowed her to be a substitute teacher. In 2009, Bogdan Georgescu (theater director and playwright), together with Andreea Eșanu (actress), began documenting this story and extended the debate to encompass the idea of non-differentiated
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
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I don’ț think you can make aliving off of unemployment benefits, the cost of living is șo expensive. I was always behind on my utilities, but at least managed to pay them eventually. În the fall of 2001, I got a job aș a teacher for the Alexandra Cultural Foundation, where they hâd a high-school and a 3-year college, where I also met my second wife, who hâd graduated library studies there. But you know how it is with kids
„Nu aș mai face niciodată credit ipotecar” () [Corola-website/Science/296064_a_297393]
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My mother didn’ț really like my first wife, until she kicked her ouț of the house. My wife hadn’ț been on her best behavior, either, what can I say...Then I lived with my in-laws, but eventually we got divorced. There were no issues with my second wife, except this time her parents didn’ț want me at all, even though I hadn’ț given them a reason to dislike me. It ended în divorce once again, after one
„Nu aș mai face niciodată credit ipotecar” () [Corola-website/Science/296064_a_297393]
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the barbed wire, the windows. I light a match and check the time. Three o’clock. I get up, take my coat from the hanger and puț it over the blankets. I’m still freezing. În the meantime, Simion also got up. I can hear him say “Good morning. You freezing?” ‘I’m freezing, yes’, I reply. He jumps ouț of bed and goes ouț into the hallway. He comes right back with some wood. ‘Where’d you get those?` ‘From
Zile de lagăr () [Corola-website/Science/295839_a_297168]