Important Values to Instill in Children Essay - 1247 Words

CLARIFYING YOUR BELIEFS AND VALUES 1. Joyful Creative Curious 2. A. I believe children deserve to be themseleves, to be able to be joyful, creative and curious. They should not be forced to be like anyone else, or expected to fall into the so called norm of childhood. Children see the world so clearly they do not see race or sex when they make friends. Children are curious about everything around them and they ask millions of questions, some the same question mulitpule times. The are caple of holding so much information in their brain, why shouldnt we let them be curious and explore the world with their minds. Sometimes leting children explore their curiosity in a creative way†¦show more content†¦Making sure to keep your temper with children is also very important, children are curious by nature they are going to ask you questions, lots of questions, but it important you keep your temper, answering children patiently, and with a smooth voice. Children are sensetive they pick up on the tones of your voice, your body moveme nt, and how you react to them. So no matter how many times a child asks you a question just remember to keep your temper they just want to learn about this huge world around them. I think its important for children to be allowed to be joyful, we shouldnt fill their heads with negative things, or show favortisim to only a few children. When a child shows you some art work, even if its just a green blob its important to get down on their level with them and talk to them about it, and praise them. Dont tell a child that their art work is just a green blob. Its also important that as teachers we are joyful when around children, that no matter what hardships we have had in our lives, when we are around children we let it all go and enjoy our time with the children. I think the best action we can have is allowing ourself to be childlike, as adults we still must conduct ourselves as such but that doesnt mean we cant color with the kids, or play with them in an imaginary world the the child has created. C. I want values of respect, openness, and freedom in my classroom, i believe these three aspects all go hand and hand in aShow MoreRelatedHow do Muslim Families Transfer their Ethics and Values to Future Generations?661 Words   |  3 Pagestransmit their values and ethics in the 21st century is through teachings in the home. It is the responsibility of parents to teach the children the values and ethics of the Islamic religion. If the guardian passes away it then becomes the extended familys obligation to teach the children the Islamic faith. It is the father’s role in the family to be the source of revenue and ensure the perpetuation of the religion within the family. 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Anthology of Poems Free Essays

â€Å"When someone loves you, the way they say your name is different. You know that your name is safe in their mouth. † This persuasive essays purpose is to persuade the reader to include three phenomenal poems in an anthology of Indigenous Poetry. We will write a custom essay sample on Anthology of Poems or any similar topic only for you Order Now Each of the poems that will be introduced have been written by indigenous Australians, and each includes a form of a relationship within them, not only with people, but with culture, and Aboriginal and European Australians. The first poem to be introduced is Aboriginal Australia, by Jack Davis. This gut wrenching poem is about the treacherous acts that the Europeans committed against the Aborigines. The second poem that will be discussed is Took the Children Away by Archie Roach. This poem, or song, is about the Stolen Generation, and the repercussions that it had on the children that experienced that event. Finally, the poem Son of Mine by Oodgeroo Noonuccal will be introduced. Son of Mine is about the emotions behind the fighting of the Europeans and Aborigines. Each of the three poems has a rightful place in an anthology of Indigenous Poetry. The first poem that will be introduced is Aboriginal Australia written by poet Jack Davis. Aboriginal Australia is a raw and overwhelming poem about what the Europeans did to, and the effects that it had on most indigenous Australians. To support this heartfelt poem, Davis uses metaphors to accentuate the bold words that he has felt. The line, â€Å"I would find a pen to probe your freckled mind,† demonstrates the emotions that he was feeling in detail. It shows that between particular people relationships do not always have a strong foundation, and are often weak. Likewise Davis’ use of imagery in, â€Å"The smile on the Governor’s face,† validates not only the emotion that the Governor was feeling, but what he thought about everything that was happening to the aborigines. Aboriginal Australia is a heart wrenching poem about the tumultuous events that were caused by the white people when they unjustly murdered and kidnapped a large sum of the indigenous population. The poem demonstrates the idea that at one point in time the relationships between white and black people was that of hatred. The second poem that I wish to discuss is Took the Children Away, by Archie Roach, is a heartfelt story about the Stolen Generation. Having been one of the children that were taken away by the whites, Roach takes an insightful approach to his lyrics. The emotive and accusatory tone that Roach acquires, gives real meaning to his poem. Using the simile, â€Å"And how they fenced us in like sheep,† to convey the idea that the Aborigines didn’t really think that they had a say in how their life went, they were metaphorically trapped in their own skin. The aboriginal children started to lose their relationship with their land and culture. The Aboriginal children were taught how to act and live, being told that it was good manners to always do what they were told, no matter how ridiculous the order was. Likewise, Roach’s shrewd use of visual imagery in, â€Å"said to us come take our hand, sent us off to mission land,† creates an idea of juxtaposition as they told the children that they were going to help and teach them, when all they did was send them off to white families as servants. The aboriginal people were told that they would be treated with respect, and they would be educated, but were treated the exact opposite of what they were told. Took the Children Away deserves to be in the anthology of Indigenous Australian poetry as it has been written from a personal perspective, and has the exact emotions that were felt by one of the stolen children. The third and final poem that I would like to talk over is Son of Mine by Oodgeroo Noonuccal. Son of Mine is a short and straight to the point poem on the experiences that the Aboriginal people went through while fighting the Europeans. It discusses the good and bad emotions, and actions that the Aboriginals went through, including the heartbreak, and brotherhood that both races experienced. Noonuccal has great pride in her tone when she mentions the, â€Å"†¦ brave and fine,† men that put others before themselves during the often hard and tumultuous events that occurred. She describes the different relationships between the two different races. Noonuccal really defines the large gap between the two different relationships, and how quick the relationship could change. Noonuccal’s use of juxtaposition in, â€Å"black and white entwine,† deeply expresses the relationships between the two different cultures of indigenous, and European. Son of Mine definitely deserves to be in an Anthology for Indigenous Australians as it is one of the only texts that include both the hatred, and the brotherhood between the white and indigenous Australians. It would be a great addition to the anthology. All three of these poems demonstrate some sort of a relationship. They show great compassion for whatever topic they are artistically discussing. Aboriginal Australia, Took the Children Away, and Son of Mine all demonstrate feelings of hurt, happiness and heartbreak, thus making them beneficial for the anthology. The three poems that have been introduced each have a theme of relationships, whether between race, or culture. They definitely deserve a spot in an anthology of Indigenous Poetry. How to cite Anthology of Poems, Essay examples

Giorgio Strehler Essay Example For Students

Giorgio Strehler Essay The most acclaimed events in the marathon 1984 Los Angeles Olympic Arts Festival were productions by Ariane Mnouchkines Theatre du Soleil and Giorgio Strehlers Piccolo Teatro di Milano. Their L.A. performances of Shakespeare and Goldoni were theatrical blockbusters. One was thrilled and envious to experience stage virtuosity that has no counterpart in our own country. For once, legendary reputations and advance hype from abroad were justified. Now, as part of Cambridge University Presss Directors in Perspective series, the first English-language on Mnouchkine and Strehler have appeared. These slim volumes contain well-researched histories, reference materials and excellent chronologies, but the overall effect is passive and often pretentious when it comes to the productions themselves. Both authors indulge in dry academic prose that cannot convey the compelling excitement of their subjects best work. As with some other books in this ambitious Cambridge survey of 20th-century theatre, these essays often have the monotonous second-hand feel of lengthy encyclopedia entries. Strehler and Mnouchkine represent the creative extremes of large-scale European theatre. Since the mid-1960s, Mnouchkine has commanded a rigorous ensemble devoted to the extended development and performance of about 20 idiosyncratic plays and films. Strehler has created more than 200 productions since he co-founded the Piccolo Teatro in 1947. She recasts Asian-inspired forms of acting into explosive theatrical emotion. He is the unquestioned master of lyric realism, tempering the gestus of Brechtian movement with con brio Italian style. Mnouchkine produces classic dramas as her ensembles preparation for new plays on political themes, while Strehlers career is built upon established dramatic literature. Mnouchkine works exclusively with her own company. Strehler has often staged plays at other theatres, and he has earned a reputation as one of the centurys great directors of opera. Despite their fundamental differences, these artists have shared roots. The teachings of Jouvet and Coupeau are common to both, and the legacy of commedia dellarte is basic to their physical styles. They have achieved wide influence by touring performances across Europe, but their American appearances have been limited to two brief visits by each company the Piccolo Teatro in 1960 and 1984; the Theatre du Soleil in 1984 and 1992. (Strehlers work in opera was also seen here during the La Scala and Paris Opera Bicentennial tours in 1976.) As a result Strehler and Mnouchkine are largely unknown in America, making the creative failure of these new Cambridge volumes significant. Inspired by Reinhardt The absence of Strehler as a presence in the U.S. is our greatest loss, since he has achieved so much in the familiar form of institutional repertory theatre. Amid the social upheavals of post-war Italy, Strehler (and his co-founder, critic Paolo Grassi) established the Piccolo Teatro in 1947 as a civic theatre for Milan. This was a radical act. Until then, modern Italian theatre was centered upon commercial productions or star-based tours; the institutional approach had been reserved for opera alone. Strehler, who as an adolescent was inspired by Max Reinhardt productions and later staged Pirandello one-acts in prisoner of war camps, soon developed an international following. He became one of the few leading directors of his generation who did not move on to film, remaining with the Piccolo Teatro for all but the 1968-72 seasons. The history of the Piccolo Teatro revolves around the long-term leadership of Strehler and Grassi, but they were not the only unifying elements. Important Italian actors based their careers in this company. Tino Carraro, the regal Prospero of La Tempesta in Los Angeles and New York during the 1984 tour, was also (among other roles) Strehlers King Lear (1972), Coriolanus (1956), and Macheath in the 1956 Threepenny Opera production that Brecht considered superior to his own. (Strehler was asked to take over the Berliner Ensemble after Brechts death, but declined the offer.) Greek tragedy EssayAs with the Strehler volume, essential points are touched upon, but rarely illuminated. Kiernander explores the background of Mnouchkines artistic goals and performance style, as well as her feminist concerns. Still, her directorial technique remains vague, and there is very little about how she shaped a unified acting company out of individuals from so many different national and artistic backgrounds. The heaviness of Kiernanders prose is a poor match not only for Mnouchkines productions, but her entirely unpretentious and direct personality. (An awkward Kiernander phrase such as a theatrical alternative to phallocentric binarism conveys little about the work of this immediately communicative director.) Issues of importance are not addressed. Mnouchkine is an exceptional teacher. She often engages inexperienced actors who grow majestically under her tutelage. How was Georges Bigot perhaps Mnouchkines most famous protege trained to become an astounding repertory actor who gave performances on successive evenings (as he did in Los Angeles) of Shakespeares Richard II, Orsino and Prince Hal? The same question could be asked about Simon Abkarian, the frighteningly passive-violent Orestes in Mnouchkines Les Atrides (her production of Aeschylus Orestia, which toured to Montreal and Brooklyn last year). How did Abkarian grow during 10 years of intense work (and small roles) with Mnouchkine to emerge triumphant in this massive leading part? Paucity of information Granted, Mnouchkine is a difficult subject. She is not a theoretician and (unlike Strehler or Brook) has not published essays about her own work. She is not eager to discuss her productions, and Kiernander admits that she was typically hesitant to authorize this book. Even so, much more could have been done. Certainly, for American audiences, this publication will not sufficiently expand impressions of the companys 1992 tour of Les Atrides, which confirmed the Theatre du Soleils essential qualities, but was compromised by serious cast changes, design modifications and acoustic problems. Given the paucity of information in English about these artists, one remains grateful for the Cambridge series, which attempts to fill an important need. But to understand the work of Mnouchkine and Strehler (or Germanys Peter Stein equally original, unknown in America and also the subject of a Cambridge volume), one must travel abroad. The Piccolo Teatro di Milano toured to 11 cities last year, but once again had no American stop on its itinerary. As supplements to these new books, consider the following. The New Yorker of May 4, 1992 contains a more personal casebook on Strehler by musicologist Harvey Sachs. Double Page, a French photo journal available in art bookstores, has three issues (numbers 21, 32 and 49) devoted to Martine Francks production shots of Mnouchkine projects, including three Shakespeare plays. This is exceptionally rich theatrical photography that accurately captures the emotion and color of these shows in performance, as well as the company backstage. All three issues are worth the hunt. In the meantime, Mnouchkines latest production (a new play by Helene Cixous about the recent French scandal in which HIV-infected blood was knowingly distributed to hospitals) has just opened at the Cartoucherie.