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Wyszukujesz frazę "Natya Shastra" wg kryterium: Temat


Wyświetlanie 1-2 z 2
Tytuł:
Bieda jako czynnik wymuszający pozytywne innowacje w edukacji. Prezentacja innowacyjnych projektów edukacyjnych ze slumsów Brazylii i Indii
Poverty as a Factor Forcing Positive Innovations in Education. Presentation of Innovative Educational Projects from the Slums of Brazil and India
Autorzy:
Gałecka, Jolanta
Powiązania:
https://bibliotekanauki.pl/articles/2029491.pdf
Data publikacji:
2021
Wydawca:
Ośrodek Badawczy Facta Ficta
Tematy:
poverty
constraints
storytelling
literacy
communities in education
holistic education
Education in India
Katha
Natya Shastra
innovative pedagogy
Opis:
Jolanta Gałecka proposes a slightly different view on poverty – as a limiting factor for the circumstances related to the compulsory nature of education, taken for granted. Giving some examples of innovative educational projects from her own experience, she describes in detail one of the most interesting projects in an Indian slum that she had the opportunity to observe. In this project, over 10 million children had the opportunity to experience the joy of reading. They were often children who did not go to school only a few months ago. In environments where families cannot afford to 'waste' a few hours a day at school – which is exactly how their parents often perceive this time, going to school is not always the norm. During the 6 or 8 hours that would be spent in school, you can earn a few cents, which is often more important than a boring and "who-knows-what-for" school education. In such conditions, the assumptions, indisputable in the developed countries, such as compulsory education, universal usefulness or the necessity of education, and the general acceptance of the obviousness of school, disappear. If someone wants to have children go to school, he or she has to look at school from a completely different perspective – look at the children, their needs and the environment from which they come. As a result, some projects are being created that are also worth imitating in European schools. One of them is the pedagogical approach of Geeta Dharmarajan, the founder of the Katha organization, invented over 30 years ago and developed in the student community and in cooperation with it. Katha has been teaching children the joy of reading, the joy of development and the joy of being in school for 33 years. The joy of reading, or rather the will to provide it to all the children in India, is a consistently implemented keynote of all activities carried out by Geeta. The real key to success, however, was not to provide books (Katha has already published over 300 different titles), but to understand the needs of local communities and work closely with them.
Źródło:
Facta Ficta. Journal of Theory, Narrative & Media; 2021, 8, 2; 59-81
2719-8278
Pojawia się w:
Facta Ficta. Journal of Theory, Narrative & Media
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kontemplacja i ekspresja - Śakuntala Kalidasy według Jerzego Grotowskiego
Autorzy:
Kołdrzak, Elżbieta
Powiązania:
https://bibliotekanauki.pl/articles/973938.pdf
Data publikacji:
2012-06-01
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Jerzy Grotowski
Natya Shastra / Natjaśastra
Sakuntala / Śakuntala
theatre anthropology / konwencja teatralna
philosophy of the theatre / filozofia teatru
theatre convention
rhythm / rytm
score / partytura
script / scenopis
Opis:
Kalidas’s Sakuntala, which was presented by Jerzy Grotowki in the Theatre of 13 Rows nearly fifty years ago, has entered history not only as one of successiveWestern stage versions of this famous Indian drama, but primarily as a benchmark of Grotowski’s troupe’s theatrical exploration and examination of a new paradigm of acting technique. Both the manner of developing Kalidas’s original text (the prologue containing the Shiva mantra, the reduction of the action to the love story, the bipartite structure of the action - reflecting sensual and metaphysical experience - the tripartite structure of each of these parts, the addition to the play’s script of fragments from the Manusmriti and Kamasutra and songs and a recitation addressed to Shiva), as well as the manner of staging (the spatial organisation around a Shiva lingam, the environmental space) and the acting technique indicate Grotowski’s conscious reference to Indian tradition related to Shiva, and to the tantric conception of the dance of Shiva and Parwati. It would seem that in Grotowski’s vision the intention of expressing and experiencing a transformation, through theatre, of subjectivity (the character, the actor and the spectator) from temporal to transcendental, psychological to ecstatic, is dominant. It would also seem that the dynamic of such a transformation was central to the concept of ‘secular ritual’ and to Grotowski’s later theatre productions, which from the viewpoint of history designated a new theatrical convention.
Źródło:
Kultura i Społeczeństwo; 2012, 56, 2; 21-52
2300-195X
Pojawia się w:
Kultura i Społeczeństwo
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-2 z 2

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