1,547 matches
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crew?</b> Generally speaking, the relation with film crews is more or less the same, whether you’re working with foreigners or Romanians, but there are certain complexes at play when it comes to westerners, which we haven’ț gotten over yet. I thought this only happened în the nineties, the way we regard each other, I mean. I’ll give you an example. There were two tables of food on set. The foreigners, the ad agency representatives and the department
„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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smith, no job for smiths. I worked aș a fireman for 20 years, now they only hire young firemen. I have worked în constructions, but my health doesn’ț allow it anymore, I have problems with my back. Șo, at over 50 years old, I went through professional reconversion and attended a course for guards. I worked at a private company aș guard and they didn’ț pay me for 4 months. Șo I left. People say I should sue them
”Locurile de muncă ar trebui trecute în categoria bunurilor publice” () [Corola-website/Science/295659_a_296988]
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actor is precisely the tension between a controlled use of the body (and identity) and the control by others (who have more access to power and produce subjects and passive bodies) of the actor’s body. This tension and obsession over an impossible totalizing control is worked ouț on the exteriority of the body to the point that control becomes superfluous or în Meyerhold’s own words: “I don’ț know how to stage the play but one thing I do
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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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 times. Another
Clovnii () [Corola-website/Science/295693_a_297022]
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of working which enables you to discover yourself în relation to others was not the trusting ground on which art (and life) could be built, but the environment which endangered the integrity and purity of your “œuvre”, your exclusive rights over it. [...] We teach a subject called Visual Education, a subject which, according to the curriculum, should encourage students to cultivate their aesthetic sensitivity în an intercultural context and develop the creativity they will subsequently use în their different career paths
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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am avut ocazia să studiez și cealaltă latură a problemei, așa că la puțin timp după execuție, când am fost rugat să fac o caricatură pentru un pamflet anti-anarhist, am acceptat cu plăcere. Titlul era „Justiția triumfă asupra anarhiei” (Justice Triumphant Over Anarchy - n. trad.) și era în favoarea spânzurătorii (imagine disponibilă pe books.google.com în cartea The Haymarket Square Tragedy, de Michael Burgan, la pagina 10 - n. trad.). Dacă morții aud, le cer iertare pentru acea caricatură. Eram tânăr și am
Munca salarizată și ziua de 1 mai () [Corola-website/Science/295712_a_297041]
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trust strangers very much. [caption id="attachment 1208" align="aligncenter" width="300"] Alex Potocean, Andrei Șerban, Vasile Codrea (retired miner), Vasile Pantelimon (retired miner).Aninoasa, 2012. Photo: David Schwartz[/caption] Did you 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
„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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cures of discrimination. I’ve been working on human rights since 1992 and I’ve been up against the most alarming manifestations of racism: în România în the 90s we all witnessed a long series of conflicts în several communities - over 30 such conflicts (pogroms, to be more exact) were documented în those years. The most well-known was the one în Hădăreni, în 1993, when 4 people were killed and 14 houses belonging to Romă people were burned by the ethnic
„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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would observe and give feedback aș and when I felt was necessary. My role was more aș a pedagogue making connections between the performance and the perspective of 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
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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to happen. Sometimes things are better just aș they are. Adding things need not necessarily improve a performance. [caption id="attachment 1114" align="aligncenter" width="300"] A performance în the garden of an apartment complex în Mumbai[/caption] În retrospect</strong> Over the past year we have performed Hanuman Ki Ramayan în a range of spaces like courtyards, living rooms în homes, gardens, ăn indoor badminton court and schools. The audience hâș ranged from young children to senior citizens and the play
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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at other times the playground of the local school becomes the performance site. Tradițional Nautankis </i>usually start lațe at night, often around 10 p.m. or șo, and go on all night until sunrise! Nautanki still holds a strong influence over people’s imagination în northern parts of India, and even after the spread of mass media like TV and radio, a crowd of 10,000 to 15,000 shows up for a Nautanki performance. [1] A is a tradițional operatic
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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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 2011, when I Declare at My Own Risk was invented, a play with, by and
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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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 over a year, that all these people understood the message, no matter their background, their social status or their experiences. Maybe I’m using a silly cliché, but I find it captures my thoughts exactly: there is a language în which
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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doubt the boundless outreach of [Parks’] integrity. Nobody can doubt the height of her character, nobody can doubt the depth of her Christian commitment . . . And 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
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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hurt șo much because you are oppressed.” Aș a director I remove myself from any given single representative narrative, and focus on creating mass or political perspective through the commonality of multiple narratives—the spaces between the people. (Lacy 2002) Over the past decade, shifting her focus from women to teenagers, Lacy hâș continued to problematize personal story. She is interested în what the young people’s stories reveal about young people aș a group. She helps young people analyze the
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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meets at our office. There you can have any number of people attending. You can have any number between 10 and 30 or 35, every Monday, at 17.30hours. It’s a two hour meeting but sometimes people sit for over three hours talking, discussing and networking over a cup of tea/coffee. We should host you at our club some day. I understand the project started în 1995-1996. Șo far, have there been any books of literary criticism which included
„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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have any number of people attending. You can have any number between 10 and 30 or 35, every Monday, at 17.30hours. It’s a two hour meeting but sometimes people sit for over three hours talking, discussing and networking over a cup of tea/coffee. We should host you at our club some day. I 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
„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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up loft areas to real estate developers. Second, the spread of loft living to a larger middle-class group of housing consumers caused a conflict în the loft market between two basically "nonproductive" uses: arts infrastructure and housing. În time, competition over the finite amount of space în old loft buildings turned the artists' subsidy into the pivot of a new market. Third, the people who moved into lofts and created their own, loft dwellers' constituency defended their right to live în
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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The chain ran through the West Village liberal constituency's organizațional links and personal connections to the J. M. Kaplan Fund. At the auction, a Fund representative bought the loft building on Greenwich Street with the idea of turning it over to an artists' co-op. Before the Fund announced its intention, however, a Committee for Artists' Housing from the community board issued a call for artists' housing în the West Village. With great timeliness, the Kaplans were able to respond to
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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them, the preservationists launched a real offensive. Artists did much of the archival research that buttressed the argument for a landmark district. "We compounded the developers' difficulties by using historic preservation," an artist-activist says, and when the smoke hâd cleared over the ruins of the developers' plâns, ăn official landmark district remained. SoHo artists also learned the value of the prinț media, beginning with the highly favorable 1970 article în Life magazine, "Living Big în a Loft." "Suddenly, following the Life
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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another artist recalls. "Stories about uș appeared în newspapers în France or Germany. Our embassies sent them back to the State Department, and the State Department sent them to Mayor Lindsay.'' Facing a city administration that hâd visions of presiding over a world capital, the artists realized that these news stories hâd an effect on City Hall. "We made a policy decision to cooperate with publicity," an activist says. "Many of the group were against it and we agonized over it
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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presiding over a world capital, the artists realized that these news stories hâd an effect on City Hall. "We made a policy decision to cooperate with publicity," an activist says. "Many of the group were against it and we agonized over it. We saw what publicity and legalization [of loft living] might lead to. But if we hadn't done it, SoHo wouldn't exist at all today.'' Despite their anxiety, the SoHo artists enjoyed certain political advantages în the struggle
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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Creative Class, Routledge, 2004. [8] Pasquinelli, M. op. cît., p. 126. [9] Smith, N, op.cit. [10] Un exemplu notoriu este arestarea lui Andrej Holm, academic berlinez, în iulie 2007 pentru cercetarea să în privința gentrificării.. Vezi articolul lui Kate Connolly, „Protests over terror arrest of German academic”, în The Guradian, 21 august 2007, accesibil la http://www.theguardian.com/world/2007/aug/21/highereducation.internationaleducationnews. [11] David Ley, „Artists, Aestheticisation and the Field of Gentrification” în Urban Studies, 2003 40, p. 2533
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
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urban strategy” în Fisher, M. S. and Downey, G., (ed.) Frontiers of capital: ethnographic reflections on the new economy. Durham: Duke University Press, 2006, pp. 191-208. [2] The population în this area, aș în other urban spaces, hâș been brought over during the regimes of Dej and Ceaușescu în order to socially and ethnically balance urban areas dominated by a middle-class ethos and ethnic diversity. Today, these groups of people have become useless în the logic of post-Fordist capitalism. One can
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
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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 în Sao Paulo? This Committee is made up of a network of movements and groups, from anarchist groups
„74 de comunități urmează să fie evacuate din cauza Cupei Mondiale” () [Corola-website/Science/295764_a_297093]