2,037 matches
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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 (officially: “accumulatively unprivileged”) children are Romă. Șo where we go, there are usually a lot of Romă kids, but Romă or not, they are deprived of
Clovnii () [Corola-website/Science/295693_a_297022]
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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 (officially: “accumulatively unprivileged”) children are Romă. Șo where we go, there are usually a lot of Romă kids, but Romă or not, they are deprived of a lot of possibilities other children - în other regions and with different backgrounds - benefit from. These children have very often never seen a theater
Clovnii () [Corola-website/Science/295693_a_297022]
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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 thing is that they just want to stay and talk to uș. The girls usually go to the actresses and the boys go to our male actor. The little ones go to anyone. Two ouț of our five actors are Romă, one actress is half-Roma. The biggest star of the first two shows is Tamás, who
Clovnii () [Corola-website/Science/295693_a_297022]
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all copy, if we can. They love it and it may continue quite a while at times. Another thing is that they just want to stay and talk to uș. The girls usually go to the actresses and the boys go to our male actor. The little ones go to anyone. Two ouț of our five actors are Romă, one actress is half-Roma. The biggest star of the first two shows is Tamás, who is Romă and plays a gentle but
Clovnii () [Corola-website/Science/295693_a_297022]
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and it may continue quite a while at times. Another thing is that they just want to stay and talk to uș. The girls usually go to the actresses and the boys go to our male actor. The little ones go to anyone. Two ouț of our five actors are Romă, one actress is half-Roma. The biggest star of the first two shows is Tamás, who is Romă and plays a gentle but strong, idealistic male character. The boys love him
Clovnii () [Corola-website/Science/295693_a_297022]
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ideological lobbying, but for refining and adding depth to the discussion. A good novel capturing the issues of migration will have to be more than a tearjerker or an NGO report. A good novel tackling rural poverty will have to go beyond stupid urban ironies, but also beyond the teary swarms of philanthropy. În order to do that, artists should get a taste for ideological fighting. Because we might wake up to find libraries stacked with the fashionable downtrodden groups, but
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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days when we were scheduled to perform, the theater managers chose to rent ouț the venues for other events în order to make some money. And even if you organize everything to the last detail, promoting the performance doesn’ț go aș smoothly aș it does în Bucharest. În the Jiu Valley, people are skeptical, they need a lot of information, you have to explain everything very clearly and they don’ț trust strangers very much. [caption id="attachment 1208" align="aligncenter
„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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heard we were from Bucharest, they asked “What do you know about the Jiu Valley? Do you know how we live down în the mines? Have you ever been down there?” And then we would tell them that we did go down în the mines, we did talk to people and șo they became more trusting and realized our research wasn’ț a superficial one. Katia: And our performance didn’ț involve only miners, because everyone thinks only of miners 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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but even he admits he sees no future for him there. [...] Alexandru: The first person I play is a retired miner from Aninoasa who used to work for the mining rescue unit. Whenever there were explosions and accidents, he would go down to recover the bodies of his workmates. He talks about some gruesome events. But he also talks about the lack of solidarity between miners, which is something I heard my grandfather talk about. There were people from very different
„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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with disabilities, even though the principal admits they have no disability. The final scene, where we see them trying to fit în, is the key-scene. Who is în fact responsible for the repeated and abusive disintegration and re-integration these children go through? How humiliating is the condition of the child who witnesses the prejudice-ridden kindness of the “benevolent” authorities on a daily basis? Whom do our schools belong to? (<b>Mihaela Michailov</b>)</i> [caption id="attachment 1139" align="aligncenter" width="300
„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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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 beyond. And they are now more eager to learn new things. This entire journey seems like an experiment, not în the form but more an experiment on the artists. Swaang-geet hâș helped uș extend ourselves aș performers and understand the
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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or thousands. Sometimes this space is made available by the village chaupal; 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
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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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, hâș never been în one, doesn’ț care about it and doesn’ț go 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
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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later, she gave her testimony publicly: “Relinquishing the first-person grammatical form, she translated her personal experience into a collective narrative,” embodying the “new Jew” that fought Nazism and “thus answered a collective need” to know that some Jews did not go to their slaughter like sheep (Rabinowitz, cited în Lubin 2002: 133). Lubin analyzes the expanded role of the witnesses to Lubetkin’s testimony: “Lubetkin allows her listeners to do more than enable the testimony; she allows them to mold it
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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the terrain of the theatre artist. He emphasizes that TO “is the theatre of the first person plural. It is absolutely vital to begin with an individual account, but if it does not pluralize of its own accord we must go beyond it by means of analogical induction”—that is, proceeding by analogy rather than identification (1995: 45). I have by and large been astounded by the significant discoveries people have made through this process. Although Boal counsels participants to make
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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all quality manuscripts that we receive. Aș a result, we recommend most of the writers to other publishing houses. But with the little that we publish, Femrite is still the major literary publishing house în Uganda. Profits from the books go to authors în form of royalties and whatever remains is plunged back into activities of the organization to nurture more writers and to publish other women’s works. În addition to publishing and training, we also do a lot of
„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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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 off the scene anytime soon. Some people have been supportive though. For instance individual lecturers and scholars see the importance of women’s literature în balancing Uganda’s literary scene, the literary arena. Șo our books are taught în some
„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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cutting is against their will, isn’ț it? Culture is kind of a double-edged sword. Yes, it’s against their will, but tradition hâș made it seem like a good thing for the women. Șo în some cases, the women go for it because they have been told that if they are not cut, they are not women and they will never know the secrets of womanhood. This is assimilation. The traditions are șo entrenched that it’s difficult to uproot
„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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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 also bring and host other writers
„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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optimism and harmlessness into the three problematic events mentioned above. Their deeply political character is obscured by the bohemianism and avant-gardism of the others. The workshop with law enforcement officers - about “how to avoid pickpockets and be safe wherever you go” - clearly outlines the position of the festival. The “pickpockets” are symbolic representations of the local population: a poor one, plagued by lawlessness. The middle-class, led by its “creative” avant-garde, “the citizens”, will learn how to guard their possessions once they
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
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knew it hâd been empty for 7 or 8 years. After the Revolution, half of it was made up of revolutionaries, the other half was office space. We didn’ț know who the landlord was. M. C.: Why did you go into the building?</b> M. I.: We hâd nowhere to go. Where I and Silvia were staying, on Banu Mantă, they demolished it to make a business. A. S.: How was your life în the building?</b> M. I.: It was
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
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the Revolution, half of it was made up of revolutionaries, the other half was office space. We didn’ț know who the landlord was. M. C.: Why did you go into the building?</b> M. I.: We hâd nowhere to go. Where I and Silvia were staying, on Banu Mantă, they demolished it to make a business. A. S.: How was your life în the building?</b> M. I.: It was fine. We stayed upstairs for about 4 days until the architect
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
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meet with the Iakabs again and talked to Mărită Iakab, Sorin Murariu and Dorin Mincu. M. C.: În the summer of 2012 you were kicked ouț of Carol 53, where you hâd been staying for several weeks. Where did you go from there?</b> Dorin Mincu: I’ll tell you about Carol 53: one of them won the project, the other talked to the landlord behind our backs and we were ouț. Four of the boys helped uș ouț with the
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
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file is a fun endeavor not only because one can easily imagine the fascination the investigating officer hâd with the poet - an officer extremely careful with the details regarding her private life - but also because the informants were prepared to go to any lengths to please their boss or even shared his fascination. This combination resulted în the poet being associated not only with flirting that actually took place, but also with lesbian affairs, flings with fishermen or hanky-panky with complete
Nina Cassian: despre cum să trăiești idealul nobil al comunismului () [Corola-website/Science/295776_a_297105]
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self-loathing. You’ve also been accused of racist fetishizing. How do you reply to that? I didn’ț mean to fetishize anything. I lived there for 4 years. This is actually annoying, because I feel like saying “Fuck you, you go live there for 4 years then come and teach me a lesson.” This really pisses me off: when someone hanging ouț only în the city center, going only to bars and parties în that area and maybe doing some volunteer
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]