1,891 matches
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transformations: “If social art ends up being consumed and puț on a pedestal by the art system, it’s not enough. I’m not naïve, I don’ț believe art can change the world. But if it manages to știr some discussions on certain delicate issues, then it’s an important step forward.” For Matei Bejenaru, making art with workers represents a form of social involvement from the part of the artist, who then becomes a participant observer, a subject of
„Am făcut gem în Barcelona din căpşunile culese de căpşunarii noştri” () [Corola-website/Science/295668_a_296997]
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production industries, about the (im)possibility of unionizing and about taking production companies to court aș a method of fighting back. </i>(David Schwartz) Did you ever discuss with other props masters the possibility of unionizing, or maybe just adopting some common work principles, to prevent companies from imposing their own contracts and terms & conditions? Yes, we did, but it’s not doable. How do you keep everyone în check? How do we keep ourselves în check, for that matter? Let
”Munceam pe degeaba. Adică sclavie direct!”. Interviu cu Cristi Badea. () [Corola-website/Science/295661_a_296990]
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you keep everyone în check? How do we keep ourselves în check, for that matter? Let’s say I have a team, others bring their teams and we get around five teams which agree not to go work and set some clear fees. That leaves ten other teams which will go work. They don’ț care, they’re going to work anyways. There’s a lack of solidarity. I think the only solution might be a union led by a racketeer
”Munceam pe degeaba. Adică sclavie direct!”. Interviu cu Cristi Badea. () [Corola-website/Science/295661_a_296990]
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The main emoțional dramă of life, aside from the perpetual conflict between deșire and reality hostile to deșire, seems to be the sensation of the passage of time. În contrast to the aesthetic modes that strive to fix and eternalize some emotion, the situaționist attitude consists în going with the flow of time. În șo doing, în pushing ever further the game of creating new, emotionally provocative situations, the situationists are gambling that change will usually be for the better. În
Antropologie performativă. Cazul ghetoului Pata Rât (partea II) () [Corola-website/Science/295671_a_297000]
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the benefit of society; to make Planet Earth a more livable, just and equal place. (I am still working on the first two beliefs, but they have managed to completely convince me about the third one.) The theater department hâd some excellent teachers who were themselves living proof of the type of artist SLC believed în: they created (wrote, produced, directed, etc.) their own material that was both artistically excellent and socially important. It was în the UȘ that I started
Clovnii () [Corola-website/Science/295693_a_297022]
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and socially important. It was în the UȘ that I started learning about teaching dramă to young people, violence prevention în schools through arts and play creation with original material from students. 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
Clovnii () [Corola-website/Science/295693_a_297022]
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the intrinsic injustice of capitalism (topics approached using art aș both an instrument and a pretext). It is also a subject which enables modes of work which are non-hierarchical, rely on dialogue, emphasize the process and not the end-result etc. [...] Some of the schools we work în are elite high-schools (în Timișoara - translator’s note), others enroll students whose lives are marred by poverty and racism.
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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been maintained since the Renaissance. The last place în this hierarchy belongs to visual education, right behind musical education. This subject is looked upon aș something laughable, kept alive mostly to fill the teaching norms of tenured teachers în case some of them are left without any classes because of drop-outs. Whenever I receive classes, I feel they’re offered to me ouț of pity. Such classes are usually held by the principals, Math, Biology, Music teachers etc., șo that visual
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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conscience through various jocular ways that would get pupils to relate to certain topics. I try to get them to think about other areas, such aș the political and social ones or the public sphere, șo that they can at some point take a critical (or non-critical) stând through creative visual means. [...] From my more limited experience of working with high-school students, I noticed that many of them are more aware of the current socio-political issues than I was at their
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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other countries aș well. I proposed a mimicking of the protester; the students’ drawings would be protest placards. Their creativity, at a conceptual level, is amazing, due to the relaxed relation they have with the discipline. After they were finished, some students refused to show their drawings, maybe because of certain fears or a lack of confidence în their work stemming from their exposure to tradițional models. They threw them în the trash can and I hâd to pick them up
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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work, I’d watch the whole <b>Lord of the Rings</b> series. Only ouț of a realist scheme of receiving and writing literature do the marginal and marginalized eventually show up. This is how we get to the paradox some great thinkers on the left never understood, namely that you can have novels extremely relevant for the “left-wing eye” written by conservatives. Right now, I’m reading Franzen, even if some of his interpretations of current events boggle the mind
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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up. This is how we get to the paradox some great thinkers on the left never understood, namely that you can have novels extremely relevant for the “left-wing eye” written by conservatives. Right now, I’m reading Franzen, even if some of his interpretations of current events boggle the mind. But the mân is obsessed with capturing everyday struggles. Incidentally, he writes one novel a decade and tries to capture the essence of each period. Șo far he’s succeeded în
Unde-s marginalii în literatura nouă? () [Corola-website/Science/295732_a_297061]
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Hațeg. Finally, we went to Maramureș County, în Tăuții Măgherăuș, Baia Sprie, Baia Mare and Cavnic. How did 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
„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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Deva and Petroșani, especially with the state theaters, the most reluctant of all institutions. Katia: On the 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
„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 fact that 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
„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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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 didn’ț know what was going on entered the theater. He interrupted me during 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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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 environments and of different ethnicities who came to work în the mines
„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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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="300"] A performance în Petrila, 2012.[/caption] Some of the people whose stories you performed came to see the show. There are various ethical implications here, since we’re talking about other people’s lives. How would you describe the experience? Andrei: It was very emoțional for me
„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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other for a lifetime. After I started my monologue, he stood up, raised his hand and said “That’s me!” And he was standing right în front me. It was very touching. He recognized his story and wanted to add some more information. I felt the text was being written then and there and we were writing it together. Sometimes he approved: “That’s right!” It is, indeed, a huge responsibility, especially since there was a significant age gap and there
„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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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 even 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
„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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Mumbai, India Yes, the title of this essay may sound a bit preposterous! But before I continue, I would like to say that this project is more for the individual growth of each artist involved în the production, rather than some larger service to society or reference to the politics of the arts. Background</em> For a few years now I have been thinking about what it means to be an ‘urban’ theatre practitioner. One is bombarded with accusations from within
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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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 the final performance. The visual design was
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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second time, two days 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
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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part of an assets-based approach to dismantling racism. One artist, one educator, and one activist în each of several towns collaborate around the local legacy of civil rights. The artist gathers personal stories on the subject that are used în some way thereafter with the help of the educator and the activist. The idea is that people may have limited material resources but are rich în experience. The stories are vessels for what people have learned and what they find meaningful
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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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 many development partners that support Art and Culture activities. Șo for a
„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]