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The Player and the Playing: an Interpretive Study of Richard
DOCUMENT RESUME ED 442 143 CS 510 330 AUTHOR Henry, Mallika TITLE The Player and the Playing: AA Interpretive Study of Richard Courtney's Texts on Learning through Drama. PUB DATE 1999-00-00 NOTE 411p.; Doctoral dissertation, School of Education, New York University. PUB TYPE Dissertations/Theses Doctoral Dissertations (041) EDRS PRICE MFO1 /PC17 Plus Postage. DESCRIPTORS *Drama; *Learning Processes; Metaphors; Qualitative Research; *Scholarship ABSTRACT Using qualitative and interpretive methodologies, this dissertation analyzed Richard Courtney's writings to interpret his basic ideas on learning through drama. It focused on later writings (1989, 1990, 1995, 1997) in which Courtney distilled ideas he had been working on for as many as 30 years. It approached Courtney's texts using dramatistic metaphors which concretized his predominantly abstract writings. These metaphors focused on finding the basic elements of a drama: the setting, the act, the actor, and the Other. Through the lenses afforded by these metaphors, the thesis examined Courtney's wide-ranging, eclectic and often imprecise ideas to distill major themes. Courtney used notions like metaphor, symbol, ritual, Being, mind, perspective, oscillation and quaternity with apparently shifting definitions and loosely circumscribed meanings. It collected and analyzed Courtney's meanings recursively, both distilling Courtney's meanings and expanding them through concrete hypothetical examples. Courtney wrote about drama in abstract terms, using notions he had garnered from other disciplines to describe the process of learning through drama. The final construction that emerged in this dissertation represents the experience of the actor/learner: it is concentric, radiating from a nub which represents the feelings and imagination of the actor. -
Writer of the Peter Falk Act (“Columbo”)
Catherine Falk Founder, Catherine Falk Foundation; Writer of the Peter Falk Act (“Columbo”) http://www.caregiversummit.org/portfolio/6318/ (Columbo)The Falk Family: Peter Falk & Alyce Falk with Daughters, Jackie & Catherine Peter Falk: Financial Exploitation of the Elderly! 2003 Peter Falk (Columbo) Family Tribute 2015 ‘Columbo’ daughter pushes for bill that protects the right to visit sick parents http://www.foxnews.com/politics/2015/06/06/columbos-daughter-p ushes-for-bill-that-protects-right-to-visit-sick-parents.html Actor Peter Falk’s Daughter Urges Change in Colorado Law to promote Guardianship rights Actor Peter Falk’s Daughter Pushing For Change In Legal Guardianship Law DENVER (CBS4) – Some Colorado lawmakers want to strip some the decision making power from legal guardians, and they’re getting help from the daughter of a famous actor. The bill is named after Peter Falk, the actor who played Columbo on TV. What it does seems basic — it simply allows families to see their loved ones when they become incapacitated. It’s about the power of guardians and the rights of some of the most vulnerable Coloradans. Peter Falk was known to TV viewers as the disheveled, endearing detective Columbo. Catherine Falk knew him as “Dad. “He was exactly the same on screen as off screen,” Catherine Falk said. “He was just this tender, really funny, goofy person.” But Peter Falk’s life would take a tragic turn when he developed Alzheimer’s disease. His second wife isolated him, forcing his daughter to go to probate court just to see her father before he died. -
Adventure Playground: Essentially, to a Place of Pleasure—That Today It Surrounds Us, Everywhere, Having Quietly John V
The city’s onscreen prominence is so taken for granted today that it is hard to imagine that as late as 1965, the last year of Robert F. Wagner’s mayoralty, New York hardly appeared in films at all. That year, only two features were shot substantially in the city: The Pawnbroker, an early landmark in the career of veteran New York director Sidney Lumet, and A Thousand Clowns, directed by Fred Coe, which used extensive location work to “open up” a Broadway stage hit of a few years earlier by the playwright Herb Gardner. The big change came with Wagner’s successor, John V. Lindsay—who, soon after taking office in 1966, made New York the first city in history to encourage location filmmaking: establishing a simple, one-stop permit process through a newly created agency (now called the Mayor’s Office of Film, Theatre and Broadcasting), creating a special unit of the Police Department to assist filmmakers, and ordering all city agencies and departments to cooperate with producers and directors (1). The founding of the Mayor’s Film Office—the first agency of its kind in the world—remains to this day one of the Lindsay administration’s signal achievements, an innovation in governance which has been replicated by agencies or commissions in almost every city and state in the Union, and scores of countries and provinces around the world. In New York, it helped to usher in a new industry, now generating over five billion dollars a year in economic activity and bringing work to more than 100,000 New Yorkers: renowned directors and stars, working actors and technicians, and tens of thousands of men and women employed by supporting businesses—from equipment rental houses, to scenery shops, to major studio complexes that now rival those of Southern California. -
PUNKS! TOPICALITY and the 1950S GANGSTER BIO-PIC CYCLE
cHAPTER 6 PUnKs! TOPIcALItY AnD tHe 1950s gANGSTER BIo-PIc cYcLe ------------------------------- PeteR stAnfield “This is a re-creation of an era. An era of jazz Jalopies Prohibition And Trigger-Happy Punks.” — Baby Face Nelson this essay examines a distinctive and coherent cycle of films, pro- duced in the late 1950s and early 1960s, which exploited the notoriety of Prohibition-era gangsters such as Baby Face Nelson, Al Capone, Bonnie Parker, Ma Barker, Mad Dog Coll, Pretty Boy Floyd, Machine Gun Kelly, John Dillinger, and Legs Diamond. Despite the historical specificity of the gangsters portrayed in these “bio-pics,” the films each display a marked interest in relating their exploits to contemporary topical con- cerns. Not the least of these was a desire to exploit headline-grabbing, sensational stories of delinquent youth in the 1950s and to link these to equally sensational stories of punk hoodlums from 1920s and 1930s. In the following pages, some of the crossovers and overlaps between cycles of juvenile delinquency films and gangster bio-pics will be critically eval- uated. At the centre of analysis is the manner in which many of the films in the 1950s bio-pic gangster cycle present only a passing interest in pe- riod verisimilitude; producing a display of complex alignments between the historical and the contemporary. 185 peter stanfield DeLInQUENTS, gANGSTERs, AnD PUnKs In the 1950s, the representation of gangsters and of juvenile delinquents shared a common concern with explaining deviancy in terms of a rudi- mentary psychology, -
Painfully Funny the Complete Directorial Works of Elaine May
THE BADLANDS COLLECTIVE presents PAINFULLY FUNNY THE COMPLETE DIRECTORIAL WORKS OF ELAINE MAY INSTITUTE OF CONTEMPORARY ARTS, LONDON SEPTEMBER 21-23, 2018 PAINFULLY FUNNY THE COMPLETE DIRECTORIAL WORKS OF ELAINE MAY Elaine May is a legend in the world of comedy – acknowledged as an influence by comics such as Steve Martin, Lily Tomlin, Woody Allen and countless others – but her work as a movie director has become curiously and unjustly obscure. While other filmmakers who emerged in the New Hollywood of the 1970s have become venerated icons, Elaine May’s films have fallen out of the conversation, and in some cases have fallen out of circulation entirely. With this retrospective, we’re pleased to bring her back into the limelight and hail her as one of the most brilliant artists from that exalted generation of American directors. May directed four theatrical feature films, three of which resulted in fierce behind-the- scenes battles before they finally reached cinemas, with May fighting to protect the integrity of her vision. Her background in improvisation – developed with the Compass Players, before she and Mike Nichols revolutionised American comedy in the late 1950s – led to her taking an exacting, exploratory approach to filmmaking. She would shoot dozens of takes for a single scene, exhausting every possible variation and often filming with multiple cameras in a constant attempt to capture spontaneous moments of inspiration, humour and truth. When editing she relished pauses, dead spots and extended moments of awkwardness, adding a tension underneath the films’ comic surface. May’s filmmaking style inevitably led to her amassing mountains of footage, missing deadlines, going over budget and falling out of favour with the studios, but it also produced films with an energy, rhythm and edge that distinguishes them from their contemporaries and elevates them beyond genre conventions. -
TOPICALITY and the 1950S GANGSTER BIO-PIC CYCLE
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kent Academic Repository CHAPTER 6 PUNKS! TOPICALITY AND THE 1950s gANgSTER BIO-PIC CYCLE ------------------------------- peter Stanfield “This is a re-creation of an era. An era of jazz Jalopies Prohibition And Trigger-Happy Punks” — Baby Face Nelson this essay examines a distinctive and coherent cycle of films, pro- duced in the late 1950s and early 1960s, which exploited the notoriety of Prohibition-era gangsters such as Baby Face Nelson, Al Capone, Bonnie Parker, Ma Barker, Mad Dog Coll, Pretty Boy Floyd, Machine Gun Kelly, John Dillinger, and Legs Diamond. Despite the historical specificity of the gangsters portrayed in these “bio-pics,” the films each display a marked interest in relating their exploits to contemporary topical con- cerns. Not the least of these was a desire to exploit headline-grabbing, sensational stories of delinquent youth in the 1950s and to link these to equally sensational stories of punk hoodlums from 1920s and 1930s. In the following pages, some of the crossovers and overlaps between cycles of juvenile delinquency films and gangster bio-pics will be critically eval- uated. At the centre of analysis is the manner in which many of the films in the 1950s bio-pic gangster cycle present only a passing interest in pe- riod verisimilitude; producing a display of complex alignments between the historical and the contemporary. 15 peter stanfield DELINQUENTS, gANgSTERS AND PUNKS In the 1950s, the representation of gangsters and of juvenile delinquents shared a common concern with explaining deviancy in terms of a rudi- mentary psychology, which held that criminality was fostered by psycho- pathic personalities. -
Jennifer Saunders
Profile Jennifer Saunders Jennifer Saunders with Joanna Lumley in a scene from the Absolutely Fabulous film “Turning can’t be that bad” Home is where the heart is for this 6versatile0 comedienne. By Simon Evans T IS the winter of 1980 and replacement. An impatient Alexei Sayle backstage at The Comic Strip, did it for them: “Ladies and gentlemen, London’s trendiest hang-out, French and Saunders”, he told the The Menopause Sisters are boisterous, baying audience. waiting to make their entrance. On this, their first night at the IThe setting is the Boulevard Theatre, Comedy Strip, the previous act had above Soho’s Raymond Revuebar strip been interrupted by a racist heckler. club, an unlikely host for what would Bottles were thrown, a fight broke out turn out to be a comedy revolution. The and the police were called, but Comic Strip had been running at French and Saunders ploughed on. the venue since October, and The “We were complete novices, we’d Menopause Sisters, better known to you come straight from college and had never and me as Dawn come across anything French and “I don’t need to know like this before,” Jennifer Saunders, recalled Saunders had breezed about everything many years later. through the club that’s happening all The profile of both audition largely performers and because of their the time.” audience at The gender. In those Comic Strip in those days female comedians were distinctly days was very male-dominated, but on thin on the ground. that night, and on many more to follow, Getting through the audition was the duo held their own and found an just the start of it, however. -
The Great Race - Riverside
Issue #154 Editor: Lynette Loveland Research by History Research Committee April - June 2019 The Great Race - Riverside Saturday June 22nd was a beautiful day in downtown Riverside for the start of the Hemmings Motor News Great Race. The race is a time speed endurance rally for vintage cars (before 1974 model year). The course started at the Mission Inn Hotel and Spa with much fanfare from the City of Riverside Chamber of Commerce. Ford Model A’s lined the parking lot across from the Municipal Auditorium. The Model A’s were provided by the local chapter of MAFCA. Contestants came from as far away as New York. Racers proceeded to the Route 66 Museum in Victorville, California where a luncheon was served, before finishing the day in Lancaster, California. The first leg was won by 2-time Grand Champion team of Howard (father, driver) and Doug (son, navigator) Sharp. This team eventually won the overall event. The Race concluded on Sunday June 30th in Tacoma, Washington after passing through 4 states (California, Nevada, Oregon, and Washington) and traveling over 2,300 miles. This is the first time the rally has started in Riverside but not the first time through Riverside. In 1983 the race started at Knott’s Berry Farm in Buena Park, California on its way to Indianapolis Motor Speedway in Indiana. This year was another first for the rally – the first time the race was entirely on the West Coast. The Hemmings Motor News Great Race was inspired from the 1965 movie “The Great Race” starring Jack Lemmon, Tony Curtis, Natalie Wood and Peter Falk. -
Recommended Reading
C O R E Y P A R K E R Recommended Reading Books on Acting –––––––––– “The Power of The Actor” by Ivana Chubbuck “Respect for Acting” by Uta Hagen “A Challenge For The Actor” by Uta Hagen “Being And Doing” by Eric Morris “Truth” by Susan Batson “The Technique of Acting” by Stella Adler “Intent to Live” by Larry Moss “Towards A Poor Theater” by Jerzy Grotowski “The Art of Acting” by Stella Adler “Acting 2.0” by Anthony Abeson “Acting Class” by Milton Katselas “The Actor’s Eye” by Morris Carnovsky “All About Method Acting” by Ned Manderino “The Vakhtangov Sourcebook” by Andrei Malaev-Babel “Audition” by Michael Shurtleff “The Open Door” by Peter Brook “Stanislavski in Rehearsal” by Vasili Toporkov “The Presence of The Actor” by Joseph Chaikin “Strasberg At The Actors Studio” edited by Robert Hethmon “The War of Art” “On Acting” by Steven Pressfield by Sanford Meisner W W W . C O R E Y P A R K E R A C T I N G . C O M “On The Technique of Acting” by Michael Chekhov “The Existential Actor” by Jeff Zinn “The Theater And Its Double” by Antonin Artaud “An Acrobat of The Heart” by Stephen Wangh “Auditioning” by Joanna Merlin “Richard Burton in Hamlet” by Richard Sterne “Acting: The First Six Steps” by Richard Boleslavsky “The Empty Space” by Peter Brook “Advice to The Players” by Robert Lewis “On Acting” by Laurence Olivier “An Actor’s Work: Stanislavski” (An Actor Prepares) “Juilliard to Jail” retranslated and edited by Leah Joki by Jean Benedetti “On Screen Acting” “Advanced Teaching for The Actor, Teacher by Edward Dmytryk and Director” by Terry Schreiber “The Actor's Art and Craft” by William Esper & Damon DiMarco “How to Stop Acting” by Harold Guskin “Acting and Living in Discovery” by Carol Rosenfeld Books on Directing –––––––––– “On Directing” “No Tricks in My Pocket: Paul Newman Directs” by Elia Kazan by Stewart Stern “On Directing” “Cassavetes on Cassavetes” by Harold Clurman by John Cassavetes and Ray Carney “Stanislavsky Directs” “Levinson on Levinson” by Nikolai Gorchakov edited by David Thompson W W W . -
Season 7 • Sundays at 8Pm 2 August 2020
Member Guide August 2020 Powered by You® SEASON 7 • SUNDAYS AT 8PM 2 AUGUST 2020 Communications Building 1003 Mail Code 6602 Southern Illinois University 1100 Lincoln Drive Carbondale, IL 62901 AUGUST 2020 • VOL. 40, NO. 2 SIU Printing and Duplication Services POSTMASTER: Please send address changes to address shown above. WSIU | WUSI WSEC | WQEC | WMEC WSIU RADIO Listen online WSIU Public Broadcasting HD 8.1, 16.1 HD 14.1, 27.1, 22.1 WSIU 91.9FM at wsiu.org and Interim Executive Director: Jak Tichenor: [email protected] CREATE 8.2, 16.2 CREATE 14.2, 27.2, 22.2 WUSI 90.3FM via the WSIU Associate Director, Finance & Administration: [email protected] WORLD 8.3, 16.3 WORLD 14.3, 27.3, 22.3 WVSI 88.9FM Mobile App! KIDS 24/7 8.4 KIDS 24/7 14.4, 27.4, 22.4 Associate Director, TV & Video Services: [email protected] Associate Director, Radio: [email protected] facebook.com/wsiutv @wsiutv | @wsiuradio Associate Director, News & Public Affairs:[email protected] facebook.com/wsiuradio @wsiuliteracy Associate Director, Technology & Planning (Springfield): [email protected] facebook.com/wsiuliteracy @wsectv Associate Director, Development: [email protected] Associate Director, Corporate Support: [email protected] Assistant Director, Marketing & Digital Services: [email protected] Main Office: (618) 453-4343 or (866) 498-5561 Assistant Director, Corporate Support (Carbondale): [email protected] Contact Us Fax: (618) 453-6186 | FM News: (618) 453-6101 Assistant Director, Corporate Support (Springfield):[email protected] -
MOVIES! TV Network
Schedule for 10/2/21 to 10/8/21 (Central Time) SATURDAY 10/2/21 TIME TITLE GENRE 5:00am Fractured Flickers (1963) Comedy Hans Conried and celebrity guests present dubbed over silent picture film clips. Featuring: Hans Conried, , Hans Conried, 5:30am Hopalong Cassidy: Bar 20 Justice (1938) Western Featuring: William Boyd, George Hayes 7:00am Night Owls (1930) Comedy Stan and Ollie help a police officer. Featuring: Oliver Hardy, Stan Laurel 7:00am "The Real Winning Edge" features three young achievers per episode who have overcome obstacles in their lives through perseverance and making right choices. 7:25am The Live Ghost (1934) Comedy Stanley and Oliver join a crew on a ship that may be haunted. Featuring: Oliver Hardy, Stan Laurel 7:50am Our Wife (1931) Comedy Ollie's married is thwarted by his future father-in-law. Featuring: Oliver Hardy, Stan Laurel 8:20am See description above 8:30am Blondie's Lucky Day (1946) Comedy Dagwood is fired. So he goes into competition with his boss. His partner, a beautiful lady architect, falls in love with the son of Mr. Dithers' biggest client. Featuring: Penny Singleton, Arthur Lake 10:10am Batman: The Movie (1966) Adventure The world's most notorious criminal minds team up to conquer Gotham City and it's up to the Caped Crusaders to defeat the nefarious foes and restore order. Featuring: Adam West, Burt Ward 12:25pm You'll Find Out (1940) Comedy-Sports Kay Kyser and his band fight to save a young girl trapped in a haunted mansion. Featuring: Kay Kyser, Peter Lorre 2:30pm The Ghost & Mrs. -
Saffy Free Download
SAFFY FREE DOWNLOAD Paola Opal | 24 pages | 18 Mar 2010 | SIMPLY READ BOOKS | 9781897476024 | English | Vancouver, Canada Saffron Monsoon Clear your history. Hermine Demoriane sang the theme song with a French accent over Saffy closing credits of the series 4 episode "Paris" in A Comic Relief sketch was broadcast in In addition Saffy the official Saffy song, inPet Shop Boys recorded a song for Comic Relief using excerpts of dialogue from the series put Saffy dance music. Nikki Saffy. Series 1. Discuss these Saffy definitions with the community: 0 Comments. Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist. The stage for the kitchen in Ab Fab was subsequently used as the stage for the shop in the British comedy Miranda. Daniel British. The first three series were broadcast on Saffy BBC from toSaffy by a series finale in the form of Saffy two-part television film Saffy The Last Shout Saffy Original series: 12 November Saffy 7 November Revived series: 31 August — 25 December 20th anniversary specials: 25 December — 23 July Thanks for your vote! Little matter however as even after the trip to Morocco Saffy is still defending herself by Saffy criticising her mother and Patsy, remorselessly assuming the moral high ground and the voice of reason. See the list. Back to School Picks. Lydia Bennet. Sign In. Retrieved 10 June Episode 5. Both channels also co-produced the 20th Anniversary episodes, although Logo removed some scenes for its airings. Self - Narrator. She would do it for no other reason than to have her alter-ego and Patsy walk down the red carpet at the film's premiere.