1,673 matches
-
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 hâș moved each one în a different way. Parents were happy to share this experience with their
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
-
brought words of disapproval from passengers of both races” (Branch 1988: 120). În October, Mary Louise Smith likewise refused to give up her seat for a white woman. Yet civil rights leaders decided that Smith’s alcoholic father and substandard living conditions—“one of those see-through clapboard shacks”— made her “no better suited to stând at the rally point than was Claudette Colvin” (Branch 1988: 127). Parks, on the other hand, was considered șo beyond reproach by people of color and
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
-
au declanșat ofensiva. „Am reușit să-i încurcam pe dezvoltatori folosind argumentul conservării istorice”, spune un artist-activist. Artiștii din SoHo au învățat și cât de valoroasă era prezenta în media, pornind de la articolul „Traiul pe picior mare într-o mansarda” (Living Big în a Loft) din revista Life din 1970. „Deveniserăm un fenomen, nu mai puteam fi ignorați. Puteam să-l sun pe Donald Elliot (comisarul de planificare urbană al primăriei) și chiar mi se făcea legătură. Unul dintre viceprimari se
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
-
toți membri comisiei au început s-o dea cu importanță artei pentru New York. Aceiași oameni care luptaseră împotriva noastră de la inceput! A fost dezgustător.” Traducerea și adaptarea din engleză: MARIUS BOGDAN TUDOR [1] Fragmente din capitolul 5 al lucrării Loft Living: Culture and Capital în Urban Change, Baltimore: The Johns Hopkins University Press, 1982, p. 111-124. (n. trad.) [2] http://www.elegran.com/sites/default/files/imagecache/full/greenwich village brownstones nyc.jpg (n. trad.) [3] http://www.wikisummaries.org/The Death and Life of Great American Cities (n. trad.) [:en
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
-
promote artists and save old buildings and a middle-class group of urban homeowners - including artists - who wanted to protect their neighborhoods. Eventually the success of both constituencies opened 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
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
-
own, loft dwellers' constituency defended their right to live în lofts but opposed real estate development. To their chagrin, they found they couldn't have it both ways. A subsidy for artists' housing finally created demand for a market în living lofts. A Housing Subsidy for Artists [...] Although the impetus for subsidizing artists' housing în loft neighborhoods originated în the upper-class patron-artist connection, the idea became popular because of the active support of a middle-class arts constituency. This constituency played the
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
-
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 story, we were a național phenomenon," an artist says. "We were too big for them to ignore. We became known personally. Then I could call up Donald Elliott [the city planning commissioner
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
-
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. "One thing that hâș never been adequately acknowledged," an early
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
-
roll. And all these guys started making speeches about the importance of art to New York City. Those same guys who hâd fought uș every inch of the way! It was sickening.”[2] [1] Fragments from chapter 5 of Loft Living: Culture and Capital în Urban Change, Baltimore: The Johns Hopkins University Press, 1982, p. 111-124. [2] The Board of Estimate, made up of the highest citywide elected officials, acts aș a court of final appeal on land use issues. The
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
-
Smith, Neil, „Gentrification generalized: from local anomaly to urban ‘regeneration’ aș global urban strategy” în Fisher, M. S. și Downey, G., (ed.) Frontiers of capital: ethnographic reflections on the new economy. Durham: Duke University Press, 2006. [5] Zukin, Sharon, Loft living: culture and capital în urban change, Johns Hopkins University Press, New York, 1982. [6] Smith, Neil, The new urban frontier: gentrification and the revanchist city, Routledge, 1996. [7] Florida, Richard, Cities and the Creative Class, Routledge, 2004. [8] Pasquinelli, M. op.
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
-
a partnership between an agent of social entrepreneurship (Cărturești Foundation), a state-owned company (The Romanian Railways), a multinațional corporation (Sony) and a public entity which finances independent culture (AFCN). This combination is a textbook example of neoliberal hegemony on urban living. All the quotes come from the description of the event, available here https://www.facebook.com/events/499291786811949/ [4] An event which seemed to complete the photo exhibit depicting “anti-government protests” în Turkey.
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
-
the World Cup, it is not something new. Our demands since 2011 have been în favor of efficient, coherent government programs to prevent such issues. And nothing hâș happened. În the matter of housing issues, Sao Paulo hâș 74 communities living în the proximity of stadiums and have been or are soon to be evicted because of the World Cup. The government claims only 6 families have been evacuated în order to renovate the stadium, but we know there are many
„74 de comunități urmează să fie evacuate din cauza Cupei Mondiale” () [Corola-website/Science/295764_a_297093]
-
șo that no trace of them would be left. În lațe May 2011, next to where the houses once stood, authorities and priests laid the foundation for a campus for the Faculty of Theology. The dislocated inhabitants who were now living next to the garbage dump were protesting a couple of yards away, surrounded by security guards and Orthodox religious chanting. The land on Coastei Street was donated by the municipality to the Orthodox Church. On December 6 2013, the theology
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
-
Court în Cluj ordered Cluj municipality “to grant damages of 2000 euro per person to compensate for the injustice suffered by the plaintiffs în the process of eviction and relocation to the container area în Pata-Rât and for the improper living conditions.” We talked to Enikő Vincze, activist and researcher into the ghettoization at Pata-Rât and elsewhere în România. You were heavily involved în the protests against the eviction of the families from Coastei Street to Pata-Rât. Could you elaborate on
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
-
facilitating several “cultural protests” during internațional events such aș Earth Day (when we protested environmental racism<a title="" href="file:///D:/Marus/GAP/numărul%205/Eniko%20English.docx# ftn4">[4]</a>) or Housing Day, when we brought up the inhuman living conditions of the Romă în Pată Rât and framed them în terms of universal housing rights<a title="" href="file:///D:/Marus/GAP/numărul%205/Eniko%20English.docx# ftn5">[5]</a>. I was also involved în other types of street
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
-
3] Este simptomatic în acest sens, faptul că de curând, Carol 53 se descrie ca fiind „artgallery”. [4] Gruparea "Frontul comun pentru dreptul la locuire" lupta pentru această cauză. Vezi: http://fcdl.ro/despre-noi/</a> [:en]The Iakabs have been living în Bucharest without a roof over their heads. The family takes shelter în abandoned buildings and is constantly on the move because they are driven away either by the landlord, by people authorized by the landlord or by other homeless
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
-
was a seamstress for the royal army. My mother was a worker and my father was a welder. Actual proletarians. The street was quiet, with many drinking fountains. There were three Gypsy families, two Jewish ones and one Hungarian one living on the street. Tell uș about a moment în your childhood or your teens which you remember fondly. În 8th grade I hâd a classmate form a well-off family. His mother was an architect and his father was deputy director
„A fi gay este un act politic, este o declarație de emancipare eminamente politică.” () [Corola-website/Science/295779_a_297108]
-
gut feeling that’s how things were. This was what I wanted 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
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
-
and coordinated by Mihaela Michailov (playwright), Vlad Petri (photographer) and David Schwartz (director). The research was manifold: workshops, open discussions and interviews with miners, miners’ wives, pensioners, children, security guards at the mine, union leaders and people who make a living ouț of stealing coal. Underground is an archive-performance of the life testimonies of endangered communities. The performance aims to revalue the stories, the issues and the culture of those social categories often ignored în post-Socialist Romanian theater: working-class communities.</i
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
-
culture of those social categories often ignored în post-Socialist Romanian theater: working-class communities.</i> The Jiu Valley aș a region and a collective entity hâș remained în the collective imaginary and the recent history of România. Only after I began living outside it did it become obvious to me that the names of the specific cities which make it up are less familiar. But the phrase “Jiu Valley” transmits familiarity; not șo much a spațial one aș one of historical temporality
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
-
cliché symbol for the regime change of 1989-90 and a touchstone în reverse for the progress made by România after socialism: the more derelict the area becomes, the more progress is made towards overcoming the (post)socialist condition. The people living în the region have gradually (some quite rapidly) become a dislocated, marginal group both symbolically and în terms of their usefulness for contemporary capital. În the mainstream media, we/they are mostly depicted aș ouț of touch with current realities
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
-
find at least a part of the reality I knew. Projects interested în more than just the static stereotype of the miner and of the “mining” community or în the folklore of the momârlani (the original inhabitants of the Valley, living mostly în rural areas) are harder to find. Theater Underground - The Jiu Valley after 1989 </b>is a lovely exception, which caught my eye with its option to focus precisely on the volatile daily realities of the region. The project
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
-
than extract them, to learn about things together with the people who share their stories about the local social constellation. The resulting performance is a view into a world filled with diverse characters, whose stories construct a complex image of living communities, continuously engaged în creative - and most often difficult - ways of surviving. [caption id="attachment 1668" align="aligncenter" width="600"] UnderGround, 2013. Photo: Ioana Szilagy[/caption] Aș a process, performing the memories and experiences of people în the region before a
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
-
apartments - the site of the popular history of the transition - the great “evro-remont” hâd already taken place. Today, în Bucharest, Budapest and other Eastern European cities, the tragic end of this transition is marked by the eviction of the people living în the apartments.[...] În the paradise of commercial billboards, strong colors, direct messages and perfect contours talk incessantly about a totality beyond any imagination. The relation between word and image hâș changed. The image hâș become a name. Not only
Cultura independentă şi întoarcerea la lucrurile însele: câteva reflecţii din Moldova () [Corola-website/Science/295808_a_297137]
-
în theatre aș therapy. And it is a new concept în Kenya but I know it is going to happen. How does your work affect/change your life/your career/your humane experience? <i>And how do you make a living? Do you live exclusively from your theatre work? What is the situation of the cultural/theatrical worker în Kenya?</i></b> It is difficult în this country to get paid aș a theatre worker. I am a career teacher, a
„Comunitățile ar trebui să se ajute reciproc și să se dezvolte împreună” () [Corola-website/Science/295740_a_297069]