2,794 matches
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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 hâd a girlfriend who was smarter than me and, aș always, that weighs
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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and publishers, I really think that we should pressure the state to create a section of Ugandan literature on the național curriculum. I don’ț see why not. But Femrite seems to be a lonely voice în this advocacy. Our big publishing houses such aș Fountain Publishers MK Publishers and others, publish only one literary title a year and șo it is not really their area of interest. It is sad to see that Ugandan literature is not given any priority
„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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coming, by Otim Jackson Dre, was painted by Paul Ndema. My poem, By the Nile was painted by Ntensibe. What else are you involved în? Aș I said, our main program is developing women writers. We have started a new big project, a regional project called The Regional Residency for African Women Writers. Through this new project, we are trying to reach ouț to other writers initiatives and other șo that we work together to build a stronger writing community în
„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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a field that is vibrant? Are writers very visible, are they aș popular aș the musicians, for example, or the visual artists and the painters? Do you know any writer from România? No, I don’ț. Well, we have some big publishing houses în România who are here, at the Romanian Pavilion... I saw the pavilion. It is very big! 100sqm în which are promoted the good writers, many of them have been translated în a lot of foreign languages and
„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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the visual artists and the painters? Do you know any writer from România? No, I don’ț. Well, we have some big publishing houses în România who are here, at the Romanian Pavilion... I saw the pavilion. It is very big! 100sqm în which are promoted the good writers, many of them have been translated în a lot of foreign languages and even one of the authors won yesterday the European Council Prize for Literature. Actually, în my opinion, that’s
„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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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 ocupă
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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West Village. În contrast to the narrow strip of land along the Hudson, SoHo took up a sizable chunk of the middle of the island. Aș a future gateway to a redeveloped Lower Manhattan, the area attracted the interest of big real estate investors and planners. There were also the zoning regulations that prohibited residential use în a manufacturing zone. Șo în order to assure a housing subsidy în SoHo, artists hâd to rely on the direct intervention of powerful forces
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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of people with money and power. Several times during the 1960s, these people hâd suggested that a landmark "Cast Iron District" be declared în SoHo to protect the distinctive loft buildings on Greene Street from being torn down. But the big real estate developers who wanted to redevelop the area hâd held the historic preservationists to small-scale tactics. Once the artists joined them, the preservationists launched a real offensive. Artists did much of the archival research that buttressed the argument for
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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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] and
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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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] and sometimes get through to him. We hâd a deputy mayor assigned to uș.'' "We learned to use the foreign media
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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A relevant example would be the debates surrounding the resistance to the urban project Berzei-Buzesti, but the key element în this situation is proximity to Piața Victoriei, a political center (the Government building) aș well aș an economic one (several big banks are located there). The controversial Berzei-Buzesti project offers a great opportunity to demolish a couple of dozen houses associated with poverty and provincialism[2] and “clean up” the area. Buzești Street hâd previously been the most revealing expression of
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
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really hard, they used to come and hurry uș. But we worked 3 days for nothing, just because we trusted them when they said they wouldn’ț throw uș ouț. No tools, no gloves, no nothing. And the rats were big. They’d bite your legs if you weren’ț careful. [...] A. </b><b><i>S.: Did they pay you eventually?</i></b> S. M.: Yes, they gave uș 50 lei each. Three people - 150 lei. When people came to rent the
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
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În 8th grade I hâd a classmate form a well-off family. His mother was an architect and his father was deputy director at a design institute and he received a Rothring drawing kit from Germany. Back then it was a big deal. I was already drawing by then and he invited me over to test the kit. He also loved drawing. We drew, we hâd fun, we cuddled, and then he told me: “Let me show you something!”. And he showed
„A fi gay este un act politic, este o declarație de emancipare eminamente politică.” () [Corola-website/Science/295779_a_297108]
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se mărită la vârsta mea dar eu nu mă simțeam pregătită la 13 ani să devin soție și nici mamă!” „Mi‑a dăruit un C.D. cu albumul lui pe care mi‑a scris: «the best two days of my life, big kiss for my future wife». Când am ajuns în Olanda am aflat că el era dealer de marijuana. Acolo mi se spunea Romanian gipsy girl. Toți erau curioși să afle lucruri despre mine, despre familia mea <i>gipsy </i>de parcă
Platforma de Teatru Educațional (4−29 octombrie) () [Corola-website/Science/295789_a_297118]
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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 at all? În România we have sometimes big sterile discussions about whether this kind of work is art or just social work... It is the same here. Theatre în general is usually not considered art at all. I understand how important this work is but I also know
„Comunitățile ar trebui să se ajute reciproc și să se dezvolte împreună” () [Corola-website/Science/295740_a_297069]
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at the right time. Total mindfuck: they’re talking about the first period on TV, about the rapes în Bosnia, about all the screws and sprockets which make up the vulva, about the words that never appear în subtitles. About - big deal! - things everyone’s familiar with nowadays. Allegedly. I was about 18. At the next book fair I went to (with my parents, aș always), I took ouț a bill from the envelope with my scholarship money, covered the small
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
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și european Strategii politice de rezistență și sabotaj, uneori cu componente artistice [caption id="attachment 1411" align="aligncenter" width="540"] Alexandra Horghidan. Humans, 2014.[/caption] The art scene hâș been involved more or less innocently involved în the urban gentrification of big cities ever since the 1970s (în New York). The mechanism was usually simple: gentrification occurred în a neighborhood eyed by realtors and inhabited by vulnerable or simply “undesirable” social groups în the colonial logic of the capitalist real estate market. One
Artă, cultură și gentrificare () [Corola-website/Science/295767_a_297096]
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values surge. The inițial inhabitants can no longer afford the new rents and leave. This is one of the many scenarios în which art is involved în easing the aggressive takeover of urban space by capital. At an internațional level, big cultural events (mostly sports-related) with their implicit massive construction work have also been and still are pretexts for the acceleration of gentrification processes. The Winter Olympics în Sochi (2014), the World Cup 2014 and the Summer Olympics of 2016 în
Artă, cultură și gentrificare () [Corola-website/Science/295767_a_297096]
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să te speli, să mergi la școală ca să ajungi ce vrei tu... Totul era o joacă pentru mine. Era acolo, atunci, si era magic, pentru că eram mic și nu percepeam totul așa cum am perceput mai tarziu. Stăteam pe la metrou pe la Big Berceni. Era un loc bun pentru că era aproape de piață și era ușor să-ți procuri mâncarea. Ai stat și-n canal? Da, am stat. Percepeam atunci canalul... uau... țestoasele Ninja! N-am stat foarte mult în canal. Îmi plăcea mai
„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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au fost mici, la Albă că Zăpadă, si de-atunci nu mai fuseseră. Le ziceam: haideți și voi să vedeți cum e la teatru! După ce-am plecat din apartament a fost o prăpastie. Am stat vreo 2-3 luni la Big, la piata, la un prieten care ajută acolo la încărcat-descărcat. Dormeam într-o ghereta în care dormea și el. Boschetăreală. Știam că pot să ies de-acolo, dar a fost greu. A fost așa, ca un workshop, experiența aia. Dup-
„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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and adults în the public about abused “under-childhoods”, about childhoods lived în the airways of the sewage system where each day was a struggle to survive. <strong>Acasă</strong> proposed a theatre of the permanently threatened precariousness, sheltered on the big stage, where the invisibles’ transformation into visible was possible, where the play could give political revenge to a marginalized reality. Where things uncomfortable to watch were confronting uș with a radical sight. Face-to-face, children and adults lived the reality of
„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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to school and become something... Everything was a game to me. It was “here and now”, and it was magic, because I was șo young and I did not perceive everything aș I did later on. I was staying around Big Berceni metro station. It was a good place because the market was near and it was easy to get food. How did you become homeless? My mother died when I was 6 and I ran away from home. I never
„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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kids, to see Snow White, and haven’ț been there since. I would tell them: come to see how it’s like! Leaving the apartment felt like falling off a cliff. For 2-3 months I stayed with a friend at Big 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
„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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now everything will stink here” and “Why should we help these bastards?” and șo on. And then we decided that we have to do a film about it, because this is not possible. Șo the film is about the very big gap - the official big discourse about the Holocaust on the one hand and what is really happening. Is it a big discourse în România? It is not. I was just referring to the big event în 2007, when president Băsescu
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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here” and “Why should we help these bastards?” and șo on. And then we decided that we have to do a film about it, because this is not possible. Șo the film is about the very big gap - the official big discourse about the Holocaust on the one hand and what is really happening. Is it a big discourse în România? It is not. I was just referring to the big event în 2007, when president Băsescu actually honoured all the
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]