Istoria Advice, prima parte

Deși pentru marea majoritate am răsărit peste noapte ca ciupercile câștigători ai premiului III de pe advertising la Olimpiadele Comunicării, povestea succesului își are rădăcinile în prima zi de facultate. Primul seminar ținut la FSPAC  a fost la bazele comunicării politice, cu domnul Răzvan Cherecheș, în sala III/2, unde am ținut și ținem mai toate seminariile.

După ce ne-a jucat clasica farsă cu plecatul în străinătate – ca să ne demonstreze cât de importantă este politica pentru bunul mers al societății – ne-a propovăduit despre viețile studenților, despre marii mucenici care și-a sacrificat tinerețile în numele ONG-urilor, despre o nouă venire unde statuia lui Iancu va fi acoperită cu un prezervativ. A mai grăit despre fericirea acestor timpuri sacre ale studenției, despre pilda studentului samaritean – care face campanii pro bono și a celui xeroxist care acum grăiește cu limbă de aur ca un adevărat copywriter.

Acolo am auzit cuvintele sfinte: ONG, campanii, buget, implicare, succes. Datorită discursurilor motivaționale ale domnului Cherecheș, eu m-am înscris repede în SSE (Societate Studenților Europeniști), iar Diana în AIESEC. Din păcate/fericire nu mai suntem activi în nici una din aceste ONG-uri, cu excepția statutului de Alumni al Dianei…

Aflată în AIESEC, Diana s-a abonat după ce a văzut ploaia de mail-uri la o colegă la Resurse Tineret, site și grup Yahoo care se ocupă cu proiecte de tineret. În scurt timp, am copiat și eu inițiativa și am început să primesc câte 15 mailuri pe zi legate de proiecte, întâlniri, petreceri, tabere adresate studențimii. Dintre sute de mailuri primite mi-a sărit în ochi ca scânteia de la polizor unul care trâmbița cu caractere mari și colorate existența pe acestă lume a unui training pe comunicare și relații publice, desfășurat la Telciu, BN. Ne-am făcut hârtiile necesare (mai mult Diana), am sperat două săptămâni că ne vor accepta, până am primit telefonul salvator care ne scotea din cotidianul clujean și ne târa în locuri fără semnal, dar cu Wi-Fi.

Așadar, am ajuns la Telciu, pe 1 Martie 2008, într-o zi ploioasă, destul de rece. Am călătorit alături de Oana Iorgulescu, studentă la FSEGA, ulterior prietenă. În restaurantul hotelului la care am fost cazați aveam surprinzător Wi-Fi și la fel de surprinzător, foarte rapid. Atât de rapid încât ne-am uitat la Miss Universitaria 2008 Botoșani on-demand și la… situl Olimpiadelor Comunicării, pentru prima dată. N-am să-l înțeleg niciodată mi-am spus, văzând dunga galben-portocalie de sus, plină de linkuri neînțelese și pagina albă plină de scrisuri neînțelese…

Din acea dimineață de 1 Martie 2008 mi-am dorit să înțeleg situl și ce prezintă el, să fiu și eu nominalizat între atâtea pagini, să trimită un link și spre mine. Trainingul a fost un succes pentru noi, am învățat multe și am venit mai luminați cu o candelă de acolo. (candela e unitatea de măsură strandard a intensității luminii). Ajunși cu bine la Cluj, ne-am dorit echipă. Larisa a intrat în echipă stând la masa de la intrarea din Insomnia, sorbind din cana de lapte în timp ce Fanta mea era adusă de un barman supratactat. Larisa ne-a recomandat-o pe Casandra, fata brunetă cu părul în colți (colți îi zic eu, cred că era  bob). Cristina a acceptat corvoada de a participa la o plimbare pe Titulescu și așa s-a format echipa 1.0. Au botezat-o – pentru că eu eram la Șuie Paparude în Obsession și îmi plăcea orice nume – la Cristina acasă, cu masa din bucătărie plină de carți și hârtii mâzgălite.

M-au sunat și mi-au spus în final de un nume: Advice. Ad de la advertising, ad-uri și vice de la viciu, toxic, suprasaturare cu reclame, cu publicitate. Apoi sloganul Might cause creativity! și ideea ca litera V să fie sub formă de bifă, de un verde crud.

Experiențele ce urmează de aici până la a doua participare sunt în mare parte de blog, la sfârșitul lui – începutul nostru. Am fost nevoiți să ne facem blog, ne-am plâns atunci, pentru că nu aveam ce spune. Ne aducem cu plăcerea aminte de nopțile albe la Casi acasă, de Pune-te în locul lor, Sufletele la control!, de Captain Planet și apoi de skateri, Spune pe bune!, scandalul cu sexul de după, stand-up-ul meu din Casa Poporului, de dezamăgiri…

Începutul de an II ne-a prins în mijlocul unei schimbări și a unei nedumeriri totale. Nu știam dacă vom mai merge la Olimpiade, cu cine mai exact, la ce secțiune. Greu, lucrurile s-au așezat: am hotărât să mai participăm încă o dată, pe Advertising și cu Oana, de această dată.

Ce s-a întâmplat după aceea, vă voi povesti într-un post viitor…

Pinter’s work is contemporary literature that supports the thesis that lack of communication between people. The writing is concerned to portray a world of insecurity, a world hardly decipherable, where mankind lives in danger panda is unknown. The world is full of the obscure, the contradictions. Writer’s intention is to present the daily uncertainties in a time where social relations have become complicated and hidden. Pinter’s works begin with = banala a situation where all of a sudden fall mystery. Thus begin to outline a series of threatening secret, never clarified. Author refuses to enigma apart and = maintain spectators in an unsettled question of reality. Pinter’s characters do not ever say what they are or what they want. = They are still enveloped in mystery. Creative core of Harold Pinter il forms of social distress, insecurity in the face of life, confidence in the future. So there becomes a terror.
Since the show began sending fragments that think the shadowy, shadow creioneaza atmosphere (picture in a bucket hanging from the ceiling, trantirea door, the voices crushed). Davies, old character, has the ink from the start an attitude violence. Riposteaza in coffee out of his condition. Even tight fist bump to denote a lack of behavior, attitudes brutal. Davies tells about patzania then the bar where he worked, in which a young man who puts it to something, although his powers were only washing and closely meals. The old man felt very offended and respond with violence again: “dak as fi younger, I would break in the second. Violence comes from their lack of communication. An example of this is the sequence repeats forever Davies noted that the drawn curtains of the windows next door. Among Pinter’s characters there is no fluid communication, a normal conversation. There are many breaks in speech, many repetitions it difficult discussion, which leads to a non-verbal communication.
Note also the sophisticated characters who have the language of the district and above, suffer and rasim (black neighbors and Indians). Instead to solve problems on a inovensiva, calling people to violence. In this respect we as an example the scene in which Davies is caught for the first time in the house by Mick. It rests on old arm, it twists, it tranteste down, it hit the leg, while Davies sigh, shake, girl. This episode pictures the violence a direct body to tempt some of the absurd, as a man almost 30 years their wits with a poor old man. Also we can say that the scene is funny and effective, even ironic, because Davies is a fight without even being asked what are they doing there. Then follows a series of replicas that absurd talk about the type characters. Mick is interested first name of old man you believe intruder, it asks if you slept well in that bed, if he likes the camera, then begins to tell him how well look like a relative of his then with a friend. Noticed that people have a handicat from the discursive. Instead to solve nedumeririle, they are not just to the mystery intetzeasca situation. After a seemingly peaceful dialogue, Mick racneste strongly to a sudden movement of his Davies. Say therefore that oscillates voltage events, not kept constant, extreme knows what unforeseen occurs.
Davies interpret pretended character type, devoid of principles. After that it offers a shelter, it tradeaza on ASTON, who invited in the house. The action culminates in the grotesque and the second knife to remove Davies ASTON. The story ends in the good end is still quite ambiguous.
As a conclusion the “keeper”, we can say that violence is born from lack of comnunicare, the issues they raise the question time and despicable character of the characters.

Another important work of Harold Pinter is “the dumb waiter. The author was influenced by the theater of the absurd, element that I found in previous work. Another similarity would be restricted space in which action unfolds. In “the dumb waiter”, the characters are caught in a basement room representing a prison cell. Observe that both frames (untidy room of “the caretaken and the basement room of” the dumb waiter “) are spaces that enhance the performance of violence. Spaces are closed, isolated, dangerous. Thus, the characters may be characterized according to the place in which. If Ben and Gus in a living cell, is providing evidence of their offender.

In his TSeliot “murder in the cathedral” shine concerns of Christian spirituality. (This drama contains essential Catholic conceptions: a world heritage ruins, sense of social unity, the feeling of self respect and the spiritual certainty.) TSeliot manages to express in his cutremuratoarea historical religious drama, the way in which Christian values face values pagane . Conflict dramatic effect as well. The main themes of his work are: intelligence, will power and meaning of sacrifice. In his writings, Eliot uses terms more concrete and more obnoxious with little to create a greater impact on the reader.
From the beginning the danger announced by the choir of women: “we are drawn ny danger?” Then followed by inability to act “for us, the poor, there is no action, / but only to wait and to witness” . This last phrase makes us establish a relationship with Pinter’s work “the caretaken”, in which people say they have never dreamed of, that is are trapped in their social condition, they have the opportunity to evolve. However, work with Eliot, the company presented more directly, reaching even more political: “I see nothing quite conclusive in the art of government time, / but violence, duplicity and frequent malversation.. Observe that violence is put on the political issues.
The third priest also says: “what peace can be found / to grow between the hammer and the anvil? “Phrases that create a paradox.
The second priest comes to the question: is it peace or war? “Who is responsible at all promising, the messenger:” I think that this peace / is nothing like an end, or like a beginning. “
Snippet of the chorus sang (chorus): “the evil wind, and the bitter sea, the sky gray and” give up and that nature feels the tragedy, the horror below. Thomas, the hero work, but is aware that “that action is suffering, / and suffering is action.” Opera has a unique pessimism that strengthens drama “and the suffering, that the wheel may turn and still / Be forever still.” threatening feelings of hatred on the watching il thomas: some who hold me in the bitterest hate.
. The following snippet is very clear in terms of violence. Choir, as a representative of the people, very clearly describes the sufferings of contemporary times: “we know of oppression and torture, / we know of extortion and violence / destitution, disease, / without the old fire in winter / the child without milk in summer / our labor taken away from us / our sins made heavier upon us. / we have seen the young man mutilated / torn the girl trembling by the mill-stream. “The passage continues with a sign of hope that can be interpreted as a resignation, “and meanwhile we have gone on living.”
Threatened by evil culminates snippet: “the Lords of Hell are here.” Courage Thomas reached maximum levels, it’s not afraid of death “and i am not in danger: only near to death.” Physical violence only starts here. Scenes with a brutal murder, using a language shocking “Numb the hand and dry the eyelid, / still the horror, but more horror / than when tearing in the belly. / Still the horror, but more horror / than when twisting in the fingers, / than when splitting in the skull. Note rehearsal of “horror” that describes the word in a whole scene.
By snippet: “I am dust, to dust we bending” is made to the human condition, which is consciously thomas. Hero sacrificing work of the love of God, of faith lit that the “help me Lord, for death is near,” or “i will not have (…) turned the sanctuary into a fortress / (. ..) the church shall be open, even to our enemies. “
Thomas ready to suffer with his blood, he says, practically moral of this work, a Christian morality, “for my Lord I am ready to die, / His Church that may have peace and liberty.” Thus, acceptance of violence and suffering are reasoned, thomas remaining a hero.