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Class of 1991 25Th Reunion Yearbook
CLASS OF 1991 TH 25 REUNION Brandeis University TH 25 REUNION Dear Classmates, It’s been twenty-five years! Can you believe it?!? The pages of this yearbook are filled with the stories, memories and histories that describe what our experiences at Brandeis mean to each of us, and how those experiences shaped who we became. There is no doubt about it: our time at Brandeis — and the knowledge and experiences we gained there — played an important role in determining our worldviews and impacted how we would live our lives. For many of us, our years at Brandeis also cemented some of our most meaningful and transformative personal relationships. As we perused the pages of our 25th Reunion yearbook, we couldn’t help but reflect on the fact that as much as Brandeis shaped us, we shaped Brandeis. We each contributed to the tapestry of experiences, perspectives and opinions that, together, created an intellectual, educational and social environment that was unique to our undergraduate years. So, this book is as much a celebration of us as it is a celebration of Brandeis itself. We hope you enjoy it as much as we do! Our 25th Reunion, June 3-5, is truly a milestone. Our committee has created an exciting line-up of events, all of which promise to be great. It will be amazing to come together as a class and rekindle fond — though perhaps long-forgotten — memories. Those of you who haven’t been back for a while will be dazzled by the campus transformation, but rest assured, we will be nostalgic seeing our old haunts as well. -
Drained Wanting More
Stories of People Who Wanted More Johann ChriStoPh arnold Published by Plough Publishing House Walden, New York Robertsbridge, England Elsmore, NSW, Australia www.plough.com © 2015, 2011 by Plough Publishing House All Rights Reserved. table of Contents Prologue: Wanting More 1 1 Life in the Slow Lane 5 2 Noise Pollution 9 3 Let Go 13 4 The Lost Art 19 5 Get Real 26 6 Burn Your Fingers (Again) 33 7 Turn Around 38 8 What You Really, Really Want 43 9 Choose Life 51 10 Say Thank-you 51 11 That Gnawing Feeling 56 12 Forget Yourself 69 13 The Golden Rule 76 14 Living on a Prayer 75 15 Lights, Camera 81 16 Say You Want a Revolution 96 Epilogue: Keep the Faith 103 The Author 108 Drained wanting more Prologue: Wanting More Only when you have made peace within yourself will you be able to make peace in the world. rabbi SiMCha buniM hile working on this book, I came across an advert featuring a picture of a woman curled up in a lawn chair, Wgazing out over a lake toward a brilliant sunset. The advert reads: ‘A dream job. Beautiful kids. The best marriage. And a gnawing feeling of absolute emptiness.’ How many millions share her unspoken anxiety? We work hard, play hard, love hard – and try to isolate ourselves on little islands of sanity in the midst of a raging sea in which stock markets surge and crash, biotech engineers redefine life’s boundaries and fashion designers dictate dress code. But somehow the tide keeps rising… And sometimes we’re too tired – too drained – even to care. -
The Effects of Satire and Farce in the Plays of David Williamson
i “Sugared Placebos”? The effects of satire and farce in the plays of David Williamson Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Education Faculty of Human Development Victoria University By Elvira Sammut DipTeach(WASTC), BEd(ECU), MEd(ECU), LTCL(Drama) 2008 ii Declaration This Thesis contains no material which has been submitted for examination in any other course or accepted for any degree or diploma in any University. To the best of my knowledge and belief, it contains no material previously published or written by another person, except where due reference is made in the text Signed …………………………………………………………………………… Elvira Sammut. July 2008 iii This Thesis is dedicated to the memory of my Mother, Elena Suarez Gallagher Corbett, whose passion and vision instilled in me her love of reading and her deep belief in education. She travels with me. iv Acknowledgements I would like to express my thanks to Dr. Tarquam McKenna and Dr. Mary Weaven at Victoria University for supervising this thesis. I am very grateful for their generous support, constructive criticism, and many kindnesses. And for the sheer niceness of their manner. This thesis was commenced at Curtin University, Perth, Western Australia. Mention must be made of Dr. Donald Pulford and Dr. Paul Genoni who supervised the drafts of the early chapters. Thank you both. I am grateful to Dr. Felicity Haynes of University of Western Australia for her expertise, help and encouragement in enabling me to complete this project. I am also deeply indebted to Victoria University, Footscray, Victoria, for giving me the opportunity to complete this work. -
Theatre Australia
University of Wollongong Research Online Theatre Australia 8-1979 Theatre Australia: Australia's magazine of the performing arts 4(1) August 1979 Robert Page Editor Lucy Wagner Editor Follow this and additional works at: http://ro.uow.edu.au/theatreaustralia Recommended Citation Page, Robert and Wagner, Lucy, (1979), Theatre Australia: Australia's magazine of the performing arts 4(1) August 1979, Theatre Publications Ltd., New Lambton Heights, 58p. http://ro.uow.edu.au/theatreaustralia/33 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Theatre Australia: Australia's magazine of the performing arts 4(1) August 1979 Description Contents: Departments: 2 Comment 3 Quotes and Queries 5 Whispers, Rumours and Facts 6 Letters 46 Guide — Theatre, Opera, Dance Spotlight: 7 Carol Burns — Suzanne Spunner 8 Youthful Dancers Make Box-Office Waves — David K Wheatley 9 Cooke’s Cordon Bleu Tours — Ray Stanley 10 Theatre of the Deaf— Ian Watson Features: 11 A-Polo Gies for MTCee-ats — Barry Dickins 12 From Theatre to Film — Christine Schofield 14 Sydney's Lost Theatres Part One — Ross Thorne 17 TA Enquiry: Big Business and the Arts Pt 2 — Do we need A. R. T.S. 35 Writer’s View: Roger Pulvers 37 Children’s Theatre: Children in Children's Theatre International: 33 Dances of Death in London — Irving Wardle Opera: 39 Three AO openings; QLO duo; and Seymour single — David Gyger Dance: 41 Wildstars — William Shoubridge Theatre Reviews: 19 ACT -
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EDITORIAL NOTES Editors’ Preface Lynette Hunter, Alex Lichtenfels, Heather Nolan, and John Zibell Copresence with the Camera emerged through a series of ongoing conversations between politically motivated artists. These conversations started informally, between collaborators at various events, exhibitions, and conferences, and among colleagues and friends working on filmmaking and critical approaches to working with a camera. Over three years of listening to and talking with each other, unexpected resonances between artistic practices led to collaborations that were proposed and later actualized, and to excitement over the revelation of common goals. Together, we felt there was an opportunity to put together a collection of critically engaged artists’ writings and documents about the art we were and are still making, and this is the work this journal issue continues. It is our intention that these pieces exist in a dialogue with both one another and the works that they document. The relationship between artmaking practice and academic writing is complex. However, we firmly believe that reading a piece about a work can never provide an adequate substitute for experiencing the work itself. For this reason, where it is feasible and appropriate, we have provided links to the works that have been written about, and we encourage you to watch them alongside their documents. The exploration of these conversations in the materials of this journal is intended to be both stimulating and constructive in whatever field of creative practice you may work, or indeed if you are reading for general interest. Aside from these contexts of working with a camera, one element that has consistently motivated us to put together this journal issue is that it is often a great pleasure to learn about how artists make their work—what they do and why, and how it affects both them and their audiences. -
PATSY CLINE Glossary October 2017, Jewel Theatre Company Shaun Carroll, Director © Susan Myer Silton, Dramaturge
1 ALWAYS … PATSY CLINE Glossary October 2017, Jewel Theatre Company Shaun Carroll, Director © Susan Myer Silton, Dramaturge Note: this glossary not only provides word definitions, but includes additional information relevant to the play and its characters Key: DJ (disc jockey), LA (Los Angeles), NYC (New York City), UK (United Kingdom), US (United States), WWI (World War I) ACT I Cast, p. 5 All page numbers refer to the numbers imprinted on the script in the lower right of the page Patsy Cline: Patsy Cline was born Virginia Patterson Hensley on September 8, 1932, in the Winchester (Virginia) Memorial Hospital. She died in a plane crash March 6, 1963 in the hill country near Camden, Tennessee, at the age of 30, just as her career was at its highest peak. Country performers Hawkshaw Hawkins and Cowboy Copas died with her, as did her manager, Randy Hughes. Hughes was piloting all of them in his Piper Comanche home from a benefit concert in Kansas City, Kansas for Jack Wesley Call, aka “Cactus Jack”, one of Country’s well-known Midwestern DJs, who had died in a car crash a month earlier. Also performing in the show were George Jones, George Riddle and The Jones Boys, Billy Walker, Dottie West, Wilma Lee and Stoney Cooper, George McCormick, and the Clinch Mountain. According to Margaret Jones in her biography, Patsy: The Life and Times of Patsy Cline, “Country people are famous for coming to the aid of those in need”. Sam and Hilda’s home in Gore, where they lived before Patsy’s birth 2 When Patsy was born, her parents had been married for six days. -
Theatre Australia Historical & Cultural Collections
University of Wollongong Research Online Theatre Australia Historical & Cultural Collections 6-1977 Theatre Australia: Australia's magazine of the performing arts 2(2) June 1977 Robert Page Editor Lucy Wagner Editor Bruce Knappett Associate Editor Follow this and additional works at: https://ro.uow.edu.au/theatreaustralia Recommended Citation Page, Robert; Wagner, Lucy; and Knappett, Bruce, (1977), Theatre Australia: Australia's magazine of the performing arts 2(2) June 1977, Theatre Publications Ltd., New Lambton Heights, 82p. https://ro.uow.edu.au/theatreaustralia/10 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Theatre Australia: Australia's magazine of the performing arts 2(2) June 1977 Description Contents: Departments 2 Comment 3 Quotes and Queries 76 Guide: Theatre, Opera, Dance 5 Letters 74 Whispers, Rumours and Facts 69 International Theatre Institute Features 8 Chorus Line A photoessay of the Sydney production by Peter Holderness with a preview by William Shoubridge 13 Cover story: Thring interviewed by Raymond Stanley 32 Floating Parachute Wilton Morley, entrepreneur, talks to Robert Page 22 Fred Schepisi Australia Focus on Tasmania 16 Hobart's Historic Theatre Royal Ross Thorne 20 The Tasmanian Theatre Company Karl Hubert 20 Small State, Big Plans John Unicomb talks to Stan Marks 30 They tell it like it was Axel Kruse Playscript 35 The Fall Guy: Act One 36 Playwright, Linda Aronson, on the drama behind the play Opera 65 Lingwood’s Crisis of Identity David Gyger International 24 New Zealand Theatre Reviews 47 Queensland The Merchant of Venice Something’s Afoot Three Queensland Plays Queensland Playwright’s Conference 50 A.C.T. -
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Faith with Doubt: American Muslims, Secularity, and the “Crisis of Faith” by Zaid Adhami Graduate Program in Religion Duke University Date: November 6, 2017 Approved: ___________________________ Leela Prasad, Chair ___________________________ Ebrahim Moosa, Co-Chair ___________________________ David Morgan ___________________________ Juliane Hammer Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Religion in the Graduate School of Duke University 2017 i v ABSTRACT Faith with Doubt: American Muslims, Secularity, and the “Crisis of Faith” by Zaid Adhami Graduate Program in Religion Duke University Date: November 6, 2017 Approved: ___________________________ Leela Prasad, Chair ___________________________ Ebrahim Moosa, Co-Chair ___________________________ David Morgan ___________________________ Juliane Hammer An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Religion in the Graduate School of Duke University 2017 Copyright by Zaid Adhami 2017 Acknowledgments It has become conventional to note that it would not have been possible for a project like this to come into existence were it not for a very long list of family members, friends, peers, colleagues, mentors, teachers, and even students. While commonplace, this standard note reflects something that is profoundly true. I am indeed indebted to a long list of individuals in my personal and professional life who have guided me through the PhD process, and who have contributed to my growth and development more broadly. These many people have cumulatively made it possible for me to arrive at this point of having successfully completed my PhD dissertation. -
STUDY GUIDE: the Club
CurrenCy Press STUDY GUIDE The performing arts publisher www.currency.com.au DAVID WILLIAMSON’S THE CLUB by Peter Fitzpatrick . Introducing the play 1 2. The playwright comments 1 3. The critics’ views 1 4. Questions for discussion 1 5. Further reading 1. Introducing the play disparaged, figure in contemporary Australian theatre. He is, in a non-pejorative sense, an old- In 1976 some jeremiahs greeted the news fashioned playwright; his plays are not avant- that Australia’s most popular playwright was garde in their forms or expectations, and only working on a play about football—Australia’s in his unexpurgated dialogue does he take any most consuming form of popular theatre—with developed advantage of the freedoms won for his mutterings about the dangers of sacrilege, or generation of writers. All his plays are naturalistic of pandering to the public. But it didn’t take in form, suited to the proscenium stages and an expert to tip the success of The Club at the convincingly solid sets of the subsidised State box office. The degree of success has, however, companies who have found a new Williamson play exceeded anyone’s expectations, even in a godsend. Melbourne, the football culture in which the play Williamson’s earliest work was performed in is set. The Club, in its premiere season which 1970 at the tiny La Mama theatre in Melbourne, opened on 24 May 1977 at the Russell Street perhaps the main focus of the so-called ‘new Theatre, played to packed houses for an extended wave’ in Australian theatre in the late 1960s and four-month run, and brought unprecedented early 1970s; but since 1971, when The Removalists profits to the Melbourne Theatre Company; and Don’s Party were taken up by ‘establishment’ twenty months later it was back again, the laughs companies, all of his plays have first appeared in and full houses showing no signs of flagging. -
Module Details
Paper: 07; Module No: 33: E Text (A) Personal Details: Role Name Affiliation Principal Investigator: Prof. Tutun Mukherjee University of Hyderabad Paper Coordinator: Prof. Suchorita Chattopadhyay Jadavpur University Coordinator for This Module: Prof. Tutun Mukherjee University of Hyderabad Content Writer: Sanchayita Paul Chakraborty Bankura University Content Reviewer: Prof. Tutun Mukherjee University of Hyderabad Language Editor: Prof. Tutun Mukherjee University of Hyderabad (B) Description of Module: Items Description of Module Subject Name: English Paper No & Name: 07; Canadian, Australian and South Pacific Literatures in English Module No& Title: 33; Australian Play by a Writer of European Descent: David Williamson – Don’s Party (1971) Pre-requisites: Basic understanding of English Objectives: Introduction to the Australian Play by the writers of European Descent. Introduction to David Williamson as a leading Australian dramatist. Discussion of major plays of David Williamson. Specific focus on Don’s Party. Themes and dramatic style of David Williamson’s plays. Key Words: Australian uniqueness, naturalism, Australian Theatre, social documentation. 1 Content of the Module: This module aims to introduce the Australian plays by the writers of European descent. It will provide a detailed discussion of David Williamson as the Australian playwright of European descent, The module will focus on David Williamson’s famous play, Don’s Party (1971) in specific. It will further analyse the themes and dramatic style of Williamson’s plays. 1. Introduction When in 1788 the First Fleet came to Australia with a bunch of convicts, not only the Europeans set foot in the unknown land, but the European cultural tradition also found a new land to proliferate. -
TRUST NEWS Began Late in 1971 As an Attempt to Tell Trust Mem Bers and Interested Theatre People About Trust Activites
Editor: Margaret Leask contentr Assisted by Susan Paterson Interview with Ray Lawler .......... ......... .... ..... .. ... ... ... .. 3 Third Time Lucky - Linda Jacoby .. ... .. ........... .. .... .... .... 5 Silence is Golden - Susan Paterson .... ...... ........ .... .. ... ... 7 Dame Alicia Markova .......... .. ........ .. ... .. ..... .. .. ... .. 8 Remember the Puppet has Eyes - Katharine Brisbane .... .. ........ .. 10 Western Australian News - George Mulgrue .. .. .. ... ..... ....... .... 12 Books .. ............. ........ ... ... .. .......... .. ... 13 Sarah Bernhardt, Salome and Divine Extravagance - Interview with Lindsay Kemp .. 14 Committee's Diary .. .. .. .. .. ..... .. ....... ... ... .. .. .. 16 International Theatre Institute Newsletter - June Collis .... .. .. .. .. .. .. 17 Melbourne Scene - Barry Balmer...... ...... .... .. .. ..... .... 21 Innovation for the Sake of Innovation? - Linda Jacoby .. ..... .. .. .. 22 Polish Theatre - Roger Pulvers ... .... .... ......... .... .. ...... 24 Stageworld .. .... .... .. ..... .. .......... .. ... ....... .... 26 Showguide ..... ............. .............. .... .... ... ... 27 editorial The present form of TRUST NEWS began late in 1971 as an attempt to tell Trust mem bers and interested theatre people about Trust activites. Since then it has developed in size and content to include many aspects of the performing arts, outside of Trust involvement, in Australia and overseas. Perhaps it has not grown enough, or interest is not great enough, but there is an urgent need, -
Unit 2 David Williamson's Dramatic World
UNIT 2 DAVID WILLIAMSON'S DRAMATIC WORLD Structure Objectives Introduction Williamson's Early Plays (1970s) 2.2.1 The Coming of Stork 2.2.2 Don's Party 2.2.3 Jugglers Three 2.2.4 What if You Died Tomorrow 2.2.5. The Department 2.2.6 A Handful of Friends 2.2.7 The Club 2.2.8 Travelling North Williamson's Later Plays 2.3.1 Celluloid Heroes 2.3.2 The Perfectionist 2.3.3 Sons of Cain 2.3.4 Top Silk An Approach to Williamson's Plays Let Us Sum Up Questions Glossary Suggested Reading 2.0 OBJECTIVES In this unit we will look at the entire range of Williamson's plays. Williamson has also written for movies and has directed plays as well. In this unit we will look closely at his early period (1970s, the period to which The Removalists belongs) and refer to all his plays in chronological sequence, and try to identify his principal themes and concerns, and mark out the parameters of his theater. ' 2.1 INTRODUCTION As we saw in Unit 1, David Wiliiamson is one of the few Australian dramatists of the First Wave to have a long and successful career. Willia~nsonis important not just because of his success in commercial terms but because of his continued success in representing the contemporary concerns of white urban middle class Australia. Predominantly satirical of his chosen territory, Williamson's plays over the last thirty years of the twentieth century chalk out the social history of white middle class Australia.