1,891 matches
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aș a middle-class kid. That’s pretty much what the class conflict meant to me în the early ‘90s. It’s not like I think about this stuff every day. Still, it was the ‘90s... ancient history. The thing is some friends of mine asked me a while back if I was OK with being on cameră în a mini-interview on the “mineriade” (the coal miners’ attempts to storm Bucharest în the 1990s). They’d worked really hard, interviewed a lot
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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monologues: 20 minutes one part, 20 minutes the next one and șo on. Awesome guy! I remember his portrayal of president Iliescu was really funny - that distinct way of speaking... and Miron Cozma (the leader of the miners) was saying some funny nonsense. That was pretty much it. These two were the ones I recognized from television. I don’ț know who the others were, but they were saying some things about June 1990 which at the time seemed to be
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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speaking... and Miron Cozma (the leader of the miners) was saying some funny nonsense. That was pretty much it. These two were the ones I recognized from television. I don’ț know who the others were, but they were saying some things about June 1990 which at the time seemed to be a bit far-fetched. Like în sensationalist news reports, only worse. Not to mention the fact that, even though they were all talking about the same thing, each of them
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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people were talking about were for real. And that convoluted, grotesque, yet dramatic story, made up of pieces that didn’ț match, was mostly true. I say ”mostly” because each of those people remembered things differently and hâd obviously left some bits ouț, just like I have în my story. For about two weeks I watched on youtube all the interviews these guys hâd taken for the performance. All în all, roughly 25 hours în which those people talk about mind-boggling
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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youtube all the interviews these guys hâd taken for the performance. All în all, roughly 25 hours în which those people talk about mind-boggling things. For the final cut, they’d only chosen parts of them and maybe edited ouț some commas, but all those things about the Securitate, the Piața Universității phenomenon (University Square), FSN (Național Salvation Front), dark-skinned people and people wearing dark, prisons în Măgurele, vicious beatings and hatred on both sides, they were all there în the
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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do it because I couldn’ț get the visa. Șo I stayed here and went to Medical School, and I joined the college theater group. I joined the Palestinian Students’ Association în Bucharest șo that I could get involved în some form of art and I started acting în theater plays. Most of the texts were în Arabic, șo I told them: “If you want to address audiences here, you have to write în Romanian!” And they said: “Fine. You write
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
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wrote plays for our theater group. I usually wrote about issues concerning Palestinians. I thought: “How am I going to invite my anatomy professor or whoever to a play în Arabic?” It was absurd. I chose to ignore the jokes some people made, like “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
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
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taxes and also the consulate tax. But the latter was paid by ARCA, I have to say. They paid half of it the first time I applied for a residence. What do you feel about the role of the theater? Some say the theater should talk about beautiful things, not embark on a social critique. People have to see the other side of life, too. Maybe the good side covers up the bad side, except în life there’s more bad
„Trebuie să ducem povestea mai departe” () [Corola-website/Science/295731_a_297060]
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not what people will pay for because they don’ț have that sort of money. Earn.... If the work is funded, I get paid depending on work and project funder. If I work say, with organizations, they will also pay some little money. Churches will hardly give anything towards work done. They call it ministry. În the context of Kenyan and African theatre în general, how important is the community involved theatre? Is it given much importance, is it considered art
„Comunitățile ar trebui să se ajute reciproc și să se dezvolte împreună” () [Corola-website/Science/295740_a_297069]
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take a really long time. How important is the work of the internațional foundations or NGOs în Kenya? Do they work for the people, or rather do wrong? They have been funding and supported NGO work în Kenya and în some sectors have done tremendously well. But now aș we speak there is donor fatigue aș a lot of NGOs did not use donor money appropriately. That is the good answer and the easy one, but personally I also think communities
„Comunitățile ar trebui să se ajute reciproc și să se dezvolte împreună” () [Corola-website/Science/295740_a_297069]
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are confronted by issues such aș “what’s more important: the house or the car?”, “to what extent should you help ouț family members?”, “is it a bad thing to say ‘enough is enough’ and kick the relatives ouț at some point?”. Another exercise - improvised by the young volunteers from Szomolya - depicts a typical situation: an ethnic Hungarian mân and a Romă woman fall în love. How will the families and the village react? Can love defeat prejudice and racism? În
Facem sau nu teatru pentru toți? Despre proiectul Noul spectator (Új néző) () [Corola-website/Science/295741_a_297070]
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directed by Luminița Ticu.</i><i> I talked to Irina Vacarciuc, ăn actress on the independent scene, about the performance and the interaction with an audience unfamiliar with theater performances <b>(David Schwartz)</b>.</i> În România în recent years, some artists have begun taking performances to small towns and villages across the country. I’d like to talk to you about your experience with CasaM<i>. How did you get to perform în those venues and how did your first
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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have a conversation with them during the performance? No, not during the performance. But there were moments when certain lines from the text were very suitable, șo I emphasized them. I took advantage of certain lines în order to have some sort of a conversation with them. We did a lot of shows, 5 tours, 8 performances for each tour. One of these tours was funded by the foster home “Amicul” and those performances were very well organized, în the sense
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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for and they said they came to the concert. Șo the organizers didn’ț even bother to tell people that the performance was not suitable for children. The OSCE was basically checking another box on their activity roster. They receive some funds and they have to spend it. What do you think of the audience în these small towns? Are the people interested? Can they relate to the stories? It’s really complicated. I think people do relate, but their reactions
„Spectacolul nostru era practic o luptă cu spectatorii” () [Corola-website/Science/295736_a_297065]
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în structuring and developing a critical discourse which hâș shattered the fundamental inequalities between women and men. Initially focused on claims for judicial regulation and political rights for white, heterosexual women, the feminist discourse - or to puț it more accurately, some radical feminist positions - also focuses on sexual and gender minorities. The need to question the state-endorsed heteronormativity joined forces with the freedom from the patriarchal logic and sexism: “Until all of uș are free, all of uș are prisoners” is
Apel la texte și intervenții: GAP 6 – Artă, Gen, Sexualitate () [Corola-website/Science/295759_a_297088]
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pre-socialist owners (real or fabricated) to urban landscape changes. The cultural-artistic environment în România hâș hâd various positions, most of them ambiguous and sometimes în cahoots with the agents of these processes. Issue 5 of Gazeta de Artă Politică investigates some of these scenarios, especially those connected with the local, Romanian context, but also with the European one (Poland and Portugal) and the internațional one (Brazil). The texts and interviews are structured în several directions: - The critical theoretical approaches to gentrification
Artă, cultură și gentrificare () [Corola-website/Science/295767_a_297096]
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Berceni, loading and unloading stuff for the market. I was sleeping în his small booth. Wasted life. I knew I could get away from this life, but it was hard. I learnt a lot from that experience. Then I did some time [for drug dealing, trans.n.]. For how long? Two years and two moths. Towards the end, knowing I would be ouț soon, I started thinking: how will I react? Being ouț, it felt like I’ve been în prison
„Orice om pe lumea asta trebuie să aibă un loc unde să doarmă, să mănânce și să se spele” () [Corola-website/Science/296060_a_297389]
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dare to wish for. I don’ț want to jump head first. I want to have a steady income, to become more socially involved, to organize painting workshops with disadvantaged kids and cool artists, maybe even a summer câmp at some point. I was thinking to do massages în residential centres for the elderly. I’d like to be part of socially involved theatre projects - because the original theatre was purely social, and only later it became entertainment. I’d like
„Orice om pe lumea asta trebuie să aibă un loc unde să doarmă, să mănânce și să se spele” () [Corola-website/Science/296060_a_297389]
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happened to me; and I think only really strong people get to live things like that. I feel it’s a really heavy burden. But I managed to feel good with myself în the end. I carry a database inside. Some dată fade away, disappear, some remain. Interview by MIHAELA MICHAILOV
„Orice om pe lumea asta trebuie să aibă un loc unde să doarmă, să mănânce și să se spele” () [Corola-website/Science/296060_a_297389]
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think only really strong people get to live things like that. I feel it’s a really heavy burden. But I managed to feel good with myself în the end. I carry a database inside. Some dată fade away, disappear, some remain. Interview by MIHAELA MICHAILOV
„Orice om pe lumea asta trebuie să aibă un loc unde să doarmă, să mănânce și să se spele” () [Corola-website/Science/296060_a_297389]
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at all, even though I hadn’ț given them a reason to dislike me. It ended în divorce once again, after one and a half years. I was disappointed, but I filed for divorce and moved on. În 2005, after some tests, my mother was diagnosed with cancer. În spring, lacking any other means, I contracted a loan for 6000 euro. I used a notary public, but there were no banks involved, I borrowed from someone. Not loan-sharks, just a regular
„Nu aș mai face niciodată credit ipotecar” () [Corola-website/Science/296064_a_297393]
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means, I contracted a loan for 6000 euro. I used a notary public, but there were no banks involved, I borrowed from someone. Not loan-sharks, just a regular, legal contract. I hâd to, for my mother’s tests, medication, radiotherapy. Some of these are free of charge, but if you wait for these...the appointments take long and they’re always running ouț of supplies, like cobalt isotopes. You have to go to the private hospitals șo you can get swift
„Nu aș mai face niciodată credit ipotecar” () [Corola-website/Science/296064_a_297393]
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barely pay the mortgage anymore. I tried to find a decent job. I didn’ț make a large amount, but I was better paid than în a state school, not to mention the extra tutoring. I’d hâd to drop some classes when I started looking after my mother, șo I was falling behind on my mortgage payments. I hâd no other installments to pay, I hâd never taken ouț a loan for anything else before, not even for a TV
„Nu aș mai face niciodată credit ipotecar” () [Corola-website/Science/296064_a_297393]
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is. Ant that the war în Transnistria is not fought only at the point of “Oh, God, they stole our land”, but also at the point of the soldiers’ traumă, the soldiers who are often their own parents, not just some abstract soldiers. This is the real gain for me. History does not belong to the elites and is not the history of conquests or of heads of state. This was one of the main stakes of the performance, to depict
„Despre aceste lucruri nu se vorbește nici acolo, nici aici.” () [Corola-website/Science/295807_a_297136]
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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 the washroom...’ The furnace heats up quickly and Simion, who can’ț go back to sleep, gets up, gets dressed and starts fiddling with a kettle. ‘What are you doing?’ ‘Just some coffee
Zile de lagăr () [Corola-website/Science/295839_a_297168]