2,190 matches
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on an exaltation of the faux-concret, and a micromania enticed by anecdotes. The diachronical perspective is considered essential towards a signum authenticum and a higher concept of self. For, if biography is not everything, everything is biography (Leon Edel). The same can be said of reflexivity. Reflexivity galvanizes discourse precisely because it expresses the silence within uș, the indicible[2]. O a treia latura a antropologiei performative este practică spectaculara, artistico-politică ce deviază din tradiția avangardei, cu trei filiații apropiate în
Antropologie performativă. Cazul ghetoului Pata Rât (partea II) () [Corola-website/Science/295671_a_297000]
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their living room? Remember, you are advertising a new way of life to people. Watch TV commercials. See how they are able to convey everything they need to be effective în such a short time and limited space. At the same time you're mocking the shit they are pushing, steal their techniques[6]. Pasionat de cercetarea mișcărilor sociale și de avangardă ale anilor 1960, curentul Arte Povera m-a încurajat să întrevăd posibilități estetice și conceptuale în folosirea unor material
Antropologie performativă. Cazul ghetoului Pata Rât (partea II) () [Corola-website/Science/295671_a_297000]
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of refugees and migrants în general. The performance aims to problematize and discuss în the public sphere issues which are of crucial importance în the current global context, issues such aș the instituțional fight against migration taking place at the same time aș the need for migrants în the development of the capitalist economy grows, the need for asylum, the right to travel aș the fundamental right of every individual and the instrumentalization of “the foreigner” aș a scapegoat for social
NU NE-AM NĂSCUT ÎN LOCUL POTRIVIT / 12#038;13 OCTOMBRIE / ORA 19.30 / SPAȚIUL PLATFORMA / BUCUREȘTI () [Corola-website/Science/295688_a_297017]
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his (before and after the Revolution) theories prove the politically motivated development of his theatre-making: by rejecting the pre-Revolutionary theatre and its bourgeois baggage based on oppression and inequality, the former theatrical knowledge was abandoned and un-learned, while at the same time new subject positions and a revolutionary theatre could emerge. By connecting his theatrical explorations with the popular scientific ideas of the time, Meyerhold developed a style: he revealed his poetics by connecting science, art, politics and labor productivity. For
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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major campaign of the mid-1930s against modernism în all branches of art, the modernist theatre was fit only for “the perverted tastes of the bourgeois audience” and was perceived aș a dangerous trend în Soviet culture, emerging from the demonized “same source aș leftist grotesquerie în painting, poetry, pedagogy and science”, the same obsession with novelty and shock which inevitably “leads to alienation from genuine art, from genuine science, from genuine literature.”[26] Nevertheless, the impact of Meyerholdism în Russian art
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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the modernist theatre was fit only for “the perverted tastes of the bourgeois audience” and was perceived aș a dangerous trend în Soviet culture, emerging from the demonized “same source aș leftist grotesquerie în painting, poetry, pedagogy and science”, the same obsession with novelty and shock which inevitably “leads to alienation from genuine art, from genuine science, from genuine literature.”[26] Nevertheless, the impact of Meyerholdism în Russian art was impressive. Years after Meyerhold’s death, Vasily Toporkov remembered the 1930s
Teatrul ca muncă şi muncitorul de teatru () [Corola-website/Science/295675_a_297004]
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uș to leave after the show and they ask uș to come back the next day. They sometimes send uș poems and beautiful drawings. Tamás is obviously a potențial role model for the young men we encounter. We experience the same în the dramă câmp every summer. Our boys (now 13-14 years) have a strong need to talk to someone who is like them, is from where they are, and comes back to be with them, teach them, entertain them, etc.
Clovnii () [Corola-website/Science/295693_a_297022]
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their own ideas, use their imagination or acting skills. They love that-even those children who are otherwise shy. On the other hand, when we talk to directors and teachers în the schools year around they almost always complain about the same thing: children are unmotivated. Why learn anything, if there are no jobs available în town? Unemployment is rocketing high, and there are generations who grow up without seeing their parents work. Because there is NO WORK AVAILABLE. Teachers say not
Clovnii () [Corola-website/Science/295693_a_297022]
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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 age. At the same time, there seems to be a general apathy - we know everything’s a mess, but nothing can be done about it. În this context, to what extent can art and artistic education function aș stimuli for rebellion and action among
Școala de artă activistă () [Corola-website/Science/295701_a_297030]
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with?” “With you”. Slightly confused, his mother said: “You couldn’ț have seen it with me”. “Yes, I saw it last week”. “No, last week we saw something different”. After a couple of seconds, the boy said: “This was the same show from last week, from two weeks ago and the week before that...” Then the boy stopped. Multiplying a type of performance which remains roughly the same, regardless of the main narrative, seals off the child’s imaginary. The child
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
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something different”. After a couple of seconds, the boy said: “This was the same show from last week, from two weeks ago and the week before that...” Then the boy stopped. Multiplying a type of performance which remains roughly the same, regardless of the main narrative, seals off the child’s imaginary. The child sees what he/she hâș already seen before and becomes the prisoner of a construct of confirmation of well-known stories, which limits his/her possibilities of understanding
Al cui este teatrul pentru copii și adolescenți? () [Corola-website/Science/295713_a_297042]
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was the way în which the children were affected by this accumulation of factors - wrong decisions, unforeseen consequences, involuntary reflexes, mere carelessness and immobility. Many of these are not linked to a particular individual, a “guilty party”, but at the same time they are all a result of the way în which the members of the community understood their role and responsibility (or lack thereof) în the integration of Romă children.
„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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Each story shall be performed using inspiration from performance and visual art forms from different parts of India. There shall also be a strong element of developing a visual aesthetic that is complimentary to the performance form and at the same time stimulating and interactive for children. We want the performances to not only tell a story but also expose children to a performance idiom and an aesthetic that they may not normally engage with. But the aim is not to
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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different schooling în music. Nautanki requires a different singing quality and each one hâș 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
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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the larger inequities that underlie their personal experiences rise to the surface. Stories în TO (Theater of the Oppressed) are unresolved, because that is the opening through which spect-actors intervene with potențial solutions. Participants find others with experiences of the same oppression and are both affirmed în the reality of their struggle and joined with potențial allies to fight against it. Storytelling literally makes knowledge through group interaction around hitherto private experiences. Such was the role of personal storytelling în the
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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Boal’s explanation, feeling grievously misrepresented. Finally they agreed that the actors could continue to speak the script but they would correct them aș necessary. This performance intrigued Boal în its interaction of the image and the reality of the same character. He also recognized the dynamizing effect on the people on whom the play was based and the level of interaction precipitated when not just an individual but a whole community gets to see performed what they themselves presumably said
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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women writers through training workshops. Our main activity is to train women în creative writing skills and to provide space for them to write. We however have writing programs where we also consider men because sometimes they also face the same challenges, such aș lack of writing space. The Organization started în 1995, but it was officially launched on May 3rd 1996. What kind of association is this? A government one or an NGO? It is an NGO. When we started
„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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because publishers are more interested în maleș than they are în females. “From the past, male writers have been taken more seriously în Uganda. Although this is not fair, it is the truth,” he stated. Well, it hâș been the same even în Europe... And șo, the men started the writing craft first before the women and they got more opportunities and became more recognized than the women. When I was în school, I read only a few women; Barbara Kimenye
„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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internațional rights market. Are there book fairs în Uganda? Yes, there is a small book fair în Uganda where you find about 28 or 30 exhibitors and very few visitors. Well, în Moldova, where I come from, it’s the same situation... Oh, really? Well, Moldova is a very small country, I don’ț know if we have there more than 100 bookshops. We also have very few bookshops. Do you distribute your books în those bookshops? There are only two
„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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Because artists wanted to live and work în lofts the way they were, they offered the possibility of having a stabilizing rather than an accelerating effect on a neighborhood în transition. Surely this seemed reasonable at the time. Initially, the same middle-class dream also dominated the efforts of SoHo's artist-residents to secure the right to their lofts. But SoHo was different from the West Village. În contrast to the narrow strip of land along the Hudson, SoHo took up a
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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they carne to uș. All the press secretaries were there, and the journalists. The klieg lights went on, and the cameras started to 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
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
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an event from the recent past (from World War 2 to the present day), excluded form historiography or from history textbooks, can reveal the multitude of meanings which have been attributed to that event by various social actors. At the same time, such a project can reveal the perspective of certain marginalized groups on everyday life during a certain historical period, thus opening the way for debating the selection of historical elements regarded aș relevant for historiography and questioning the dominant
Apel la texte și intervenții – GAP 7: Teatrul istoriilor recente () [Corola-website/Science/295780_a_297109]
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an event from the recent past (from World War 2 to the present day), excluded form historiography or from history textbooks, can reveal the multitude of meanings which have been attributed to that event by various social actors. At the same time, such a project can reveal the perspective of certain marginalized groups on everyday life during a certain historical period, thus paving the way for debating the selection of historical elements regarded aș relevant for historiography and questioning the dominant
Teatrul istoriilor recente () [Corola-website/Science/295786_a_297115]
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restrained by the very structures of power through which emancipation is sought. [...] Identity, Sex and the Metaphysics of Substance What can be meant by “identity,” then, and what grounds the presumption that identities are self-identical, persisting through time aș the same, unified and internally coherent? More importantly, how do these assumptions inform the discourses on “gender identity”? It would be wrong to think that the discussion of “identity” ought to proceed prior to a discussion of gender identity for the simple
Feminismul și subversiunea identității () [Corola-website/Science/295774_a_297103]
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în which compulsory heterosexuality merely takes the place of phallogocentrism aș the monolithic căușe of gender oppression? [...] Within the terms of feminist sexual theory, it is clear that the presence of power dynamics within sexuality is în no sense the same aș the simple consolidation or augmentation of a heterosexist or phallogocentric power regime. The “presence” of so-called heterosexual conventions within homosexual contexts aș well aș the proliferation of specifically gay discourses of sexual difference, aș în the case of “butch
Feminismul și subversiunea identității () [Corola-website/Science/295774_a_297103]