Excursie
Bruma cazuta pe un palc de muschi de pe platoul din Rodnei mai are putin si dispare, topita de razele soarelui.
Da. Peisajul e frumos, vremea e perfecta. Plaja?
Vita De Vie - Traditie CN "Petru Rares"
17 octombrie. Toamna. Bal. Boboci. Actori. Vita De Vie. Public.
Mult asteptatul bal al Colegiului National "Petru Rares" a impresionat si de asta data. Regizori si actori s-au "infruntat" pentru a crea un spectacol cu adevarat frumos. Coordonarea perfecta dintre tema balului "Wild West" si momentele propriu-zise din bal a fost excelenta. Simuland greseli, infuriind "regizorul", actorii si-au facut treaba cat de bine au putut, iar daca nu reuseau, "salariul" era drastic micsorat:))). De remarcat au fost si tinutele "actorilor principali" (bobocii); "jeans in cizme, camasi in jeans" + accesoriul obligatoriu: palaria de cowboy.
Unul dinre cele mai asteptate momente ale serii a fost momentul Vita de Vie. "Vina", "Vino la mine", "Basul si cu toba mare", "Visare", "Praf de stele", "Varza" , au facut Casa De Cultura a Sindicatelor si spectatorii din sala sa se zguduie ("casa la figurat si spectatorii la propriu").
"Cel mai tare si coerent refren "varza" din cate am auzit!" spunea Despot in timp ce surprindea momentul cu "cel mai prost telefon":)).
"Vita!!" rasuna din sala de spectacol, in timp ce trupa reaparea pe scena pentru ultimele urale, multumind publicului cu ultima plecaciune a serii.
Un bal luat parca de pe platourile de filamre Media Pro ( :)) ) si adus in scena la Suceava, la CN "Petru Rares" pentru a servi drept unul dintre evenimentele principale ale anului scolar.
Felicitari!
Spune Nu
Am participat anul trecut la un concurs national de film (scurt metraj) pentru promovarea campaniei "Mesajul meu antidrog" si cica am castigat un premiu. Am postat clipul si vreau sa aud si alte pareri (inafara de profesori/organizatori). Astept comentarii si pareri.
Gara din centru
Nu stiu... Voua vi se pare orasul Suceava ca seamana cu o gara? E foarte ciudat. De vreo luna in coace, din turnul prefecturii orasului, se aud niste cantece la intervale de treizeci de minute. La si jumatate, se aude melodia care se gaseste si in gara Burdujeni, gara principala a orasului, care este folosita la anuntarea sosirii trenurilor. La ora fixa este alta melodie (acelasi ton de gara infundata), dar care este putin mai imbietoare. Sincer, mie nu-mi place. Nu stiu a cui a fost ideea, dar cred ca cel care a propus-o, a primit calatorii la CFR gratis mult timp. Nu vreau sa ma trezesc la 7 dimineata si in drumul somnoros catre scoala sa-mi atraga atentia si gara din centrul orasului. Nimanui nu cred ca i-ar placea. Merita rascolit repertoriul trompetei din varful prefecturii? Poate se gaseste ceva mai frumos.
Do not forget
Good morning and welcome to the Holocaust Memorial Museum for this extraordinary program Bearing Witness for Darfur: Can We Prevent Genocide in Sudan? It’s extraordinary that we’re bringing to a halt the normal activities of the Holocaust Museum to stress the danger of genocide today. I’d like to begin by welcoming our Holocaust survivor volunteers. They survived the Holocaust six decades ago and have gone on to become the heart and the soul of our institution, and we appreciate they’re being with us here this morning. I also wish to welcome and to thank for coming Ms. Amal Allagabo and other Darfurians who are so concerned and so worried about their families still in Darfur. And I thank especially members of Congress Senator Corzine, Senator Brownback, Mr. Payne who will join us shortly, well he’s right on cue Mr. Payne, Donald Paine of New Jersey, and Mr. Wolf who has been so supportive of this effort, but unfortunately was unable to be here this morning.
Sixty years ago in 1944, the Nazis and their Hungarian allies began the deportation and murder of the last intact community of Jews in Nazi occupied Europe, the Hungarian Jews. By that time the contours of what we today call the Holocaust were known. They were known in Washington; they were known in London; they were known all over the world. Warnings were received but little was done. One young boy caught up in those deportations was Elie Wiesel. He survived but his family did not. When this museum opened in 1993, Elie Wiesel delivered the keynote address. And he asked a litany of painful questions. Why were the Hungarian Jews not warned? Why were the railways to Birkenau not bombed? Why, why was there no public outcry? And he said that this museum does not offer answer to those questions; he said there aren’t any answers. He said this museum is a question. If there is a response, he said, it is a response in responsibility. A response in responsibility.
Nineteen-forty-four was also the year that the word genocide was introduced. A Polish refugee created the word to describe what was happening in Nazi occupied Europe. The Holocaust ended, but the problem of genocide did not. In 1994, ten years ago, in Rwanda, warnings were received and ignored. What is our responsibility when we receive those warnings?
It was with that idea in mind that last month I went to the African country of Chad to interview refugees from Sudan who had fled Darfur. And I heard so many stories, and just one in particular I’ll share with you, that has stuck with me and will forever. I was sitting in a small makeshift shelter, talking to a woman with her four kids and an older neighbor, and outside it was about 115 degrees and it was stuffy in there. And she told me, she told me about when her village was attacked, and her father was killed, and her brother was killed, and her cousin was killed. Thirty people in her village were killed that day. And her mother disappeared. I took all of this in and I took notes and I thanked her for sharing her story with me. And I started to go and she just started talking in a really low voice. And I looked at her and tears were splashing down on her cheeks and she said, she said, “What about my mother? What about my mother? I don’t know where my mother is, I don’t even know if she’s dead or if she’s alive.” And what could I say to her? What could I say to her? All I could say is, “tell me your mother’s name, and I will take her name back and I will tell people about her.” And her mother’s name is Hadiya Ahmed, Hadiya Ahmed. And we don’t know if she’s dead or if she’s alive, and we won’t know until peace and security is brought to Darfur.
The time to act in Darfur is now. It’s now. The obligation to prevent genocide is a legal one and a moral one. Too often in the past, as this Museum starkly illustrates, warnings have been received and ignored and the result has been death and suffering on a massive scale. It’s time for us to stop saying “never again,” and start saying, “not this time.”
Diamonds are forever
Diamonds are forever,
They are all I need to please me,
They can stimulate and tease me,
They won't leave in the night,
I've no fear that they might desert me.
Diamonds are forever,
Hold one up and then caress it,
Touch it, stroke it and undress it,
I can see every part,
Nothing hides in the heart to hurt me.
I don't need love,
For what good will love do me?
Diamonds never lie to me,
For when love's gone,
They'll luster on.
Diamonds are forever,
Sparkling round my little finger.
Unlike men, the diamonds linger;
Men are mere mortals who
Are not worth going to your grave for.
I don't need love,
For what good will love do me?
Diamonds never lie to me,
For when love's gone,
They are all I need to please me,
They can stimulate and tease me,
They won't leave in the night,
I've no fear that they might desert me.
Diamonds are forever,
Hold one up and then caress it,
Touch it, stroke it and undress it,
I can see every part,
Nothing hides in the heart to hurt me.
I don't need love,
For what good will love do me?
Diamonds never lie to me,
For when love's gone,
They'll luster on.
Diamonds are forever,
Sparkling round my little finger.
Unlike men, the diamonds linger;
Men are mere mortals who
Are not worth going to your grave for.
I don't need love,
For what good will love do me?
Diamonds never lie to me,
For when love's gone,
They'll luster on.
Abonați-vă la:
Postări (Atom)
