New Century's Eve with the Creative Paragons
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Principal Acquisitions
The Rothschild Archive | Principal Acquisitions Principal acquisitions 1 April 2001 – 31 March 2002 Children’s essays and school Property documents: List of Lady Rothschild’s This list is not comprehensive but attempts to record all acquisitions of most immediate relevance to research. Some reports, 1854-1908; Plans and title deeds relating pensioners, 1934; items listed here may, however, remain closed to access for some time and for a variety of reasons. Researchers should Catalogue of some of the collection to 23-25 avenue Marigny, Summary of the estate of Lady always enquire as to the availability of specific items before visiting the Archive, quoting the reference number which of works of art of Nathaniel Paris, 1837-1924; Rothschild, deceased, c.1935; von Rothschild, 1903; Auction-purchase of Hotel appears at the end of each paragraph. Copy deed of endowment of Photographs of members of the Talleyrand, 2 rue St. Florentin, the Clementine Children’s Rothschild family, c.1903-1937. Paris, 27 June 1838; Hospital, Frankfurt, 1887, Title deeds and acquisition and other associated papers; 3. FAMILY PAPERS RELATING details for various properties List of plate from Frankfurt PRIMARILY TO THE FRENCH in Cannes, 1881-1913; at 148 Piccadilly, 1887; ROTHSCHILD FAMILY (000/1037) Title deeds for avenue du Deed of gift of collection Faubourg St. Honoré, 1767-1848; of birds’ eggs from Lionel Inventories: Title deeds for 13 avenue Walter Rothschild to his brother Inventory following the death de Marigny, 1859; Nathaniel Charles, 1891. of Alphonse de Rothschild, 1905; Title deeds for 21 avenue 1. BUSINESS RECORDS OF Hungarian Boden Credit Anstalt: Nathaniel von Rothschild Inventory following the death of de Marigny, 1829-1869; 5. -
BOEING BOEING by Marc Camoletti Translated by Beverley Cross & Francis Evans
March 7 – April 2, 2017 on the OneAmerica Mainstage STUDY GUIDE edited by Richard J Roberts with contributions by Janet Allen • Laura Gordon Vicki Smith • Matthew LeFebvre • Charles cooper Indiana Repertory Theatre • 140 West Washington Street • Indianapolis, Indiana 46204 Janet Allen, Executive Artistic Director • Suzanne Sweeney, Managing Director www.irtlive.com SEASON SPONSOR 2016-2017 SUPPORTERS 2 INDIANA REPERTORY THEATRE BOEING BOEING by Marc Camoletti translated by Beverley Cross & Francis Evans Paris has long been known as the city of love. However, in Bernard’s case, it is the city of interlocking flight schedules, an impeccable bachelor pad, and three well-vetted flight attendants who also happen to be his fiancées! In classic farcical tradition, Bernard and his American friend, Robert, hold on by the skin of their teeth as their affair is threatened with delayed flights and mistaken identity. In the tradition of early Roman comedy, Marc Camoletti offers his audience uproarious models of the knave, the fool, and the clever servant through Bernard, Robert, and Berthe. These three, accompanied by three foreign fiancées, present a whirlwind of slamming doors and romance while challenging and, ultimately, being reined in by the authority of monogamy. Student Matinee: March 22, 2017 Estimated length: 2 hours & 30 minutes THEMES & TOPICS Love and Marriage, Physical Comedy, Genre and Farce, European Culture CONTENT ADVISORY Boeing Boeing is a fun-filled farce that contains references to infidelity and mild sexual innuendo. Recommended -
La Dame De Chez Maxim De Georges Feydeau Mise En Scène Hervé Van Der Meulen
du 28 au 31 décembre 2011 du mercredi au samedi | 20h © Laurencine Lot La dame de chez Maxim de Georges Feydeau mise en scène Hervé Van der Meulen Saison 2011-2012 | Dossier de presse Benoît Frachebourg · chargé de communication | [email protected] | +41 (0) 32 717 82 05 Théâtre du Passage | 4, passage Maximilien-de-Meuron · CP 3172 · 2000 Neuchâtel | www.theatredupassage.ch Dossier de presse LA DAME DE CHEZ MAXIM de Georges Feydeau mise en scène, Hervé Van der Meulen co-production Le Studio d’Asnières, Théâtre de l’Ouest Parisien et le festival des Rendez-vous de Cormatin. Avec la participation artistique du CFA des Comédiens. Création Théâtre de l’Ouest Parisien de Boulogne-Billancourt / 6-21 mai 2010 Festival d’Anjou / 22 juin 2010 Studio-Théâtre 3 rue Edmond-Fantin 92600 Festival de Sarlat / 25 juillet 2010 Asnières-sur-Seine Les Rendez-vous de Cormatin / août 2010 Tél. 01 47 90 95 33 Fax. 01 40 86 93 41 [email protected] www.studio-asnieres.com La Dame de chez Maxim Georges Feydeau mise en scène Hervé Van der Meulen chorégraphie Jean-Marc Hoolbecq conseiller musical Jean-Pierre Gesbert décors Claire Belloc assistée d’Antoine Milian costumes Isabelle Pasquier assistée de Julie Lance lumières Pascal Sautelet maquillage Audrey Millon assistants à la mise en scène Clément Beauvoir Elisabeth de Ereño Distribution Guarani Feitosa Décors construits par les Ateliers municipaux de la Ville d’Asnières-sur-Seine avec Clémentine Claire Barrabès Marollier / Monsieur Vidauban Clément Beauvoir Le Général Petypon du Grêlé Henri Courseaux -
Alfred Hitchcock's the 39 STEPS
Alfred Hitchcock's THE 39 STEPS Play Guide Arizona Theatre Company Play Guide 1 TABLE OF CONTENTS Alfred Hitchcock's THE 39 STEPS 3 WHO WE ARE 19 COMMEDIA DELL’ARTE AND LAZZI 21 PASTICHE CONTENTS 4 INTRODUCTION TO THE PLAY 4 SYNOPSIS 21 DISCUSSION QUESTIONS AND ACTIVITIES 5 THE CHARACTERS 6 JOHN BUCHAN 7 ALFRED HITCHCOCK 8 HOW ALFRED HITCHCOCK'S THE 39 STEPS CAME TO BE 10 RICHARD HANNAY – THE JAMES BOND OF HIS DAY 11 LOCATION, LOCATION, LOCATION 12 BRITAIN IN 1935 13 BRITISH DIALECTS 15 HISTORY OF FARCE It is Arizona Theatre Company’s goal to share the enriching experience of live theatre. This play guide is intended to help you prepare for your visit to Arizona Theatre Company. Should you have comments or suggestions regarding the play guide, or if you need more information about scheduling trips to see an ATC production, please feel free to contact us: Tucson: April Jackson Phoenix: Cale Epps Associate Education Manager Education Manager (520) 884-8210 ext 8506 (602) 256-6899 ext 6503 (520) 628-9129 fax (602) 256-7399 fax Alfred Hitchcock's THE 39 STEPS Play Guide compiled and written by Jennifer Bazzell, Literary Manager and Katherine Monberg, Artistic Intern. Discussion questions and activities prepared by April Jackson, Associate Education Manager and Amber Tibbitts, Education Manager. Layout by Gabriel Armijo. Support for ATC’s Education and Community Programming has been provided by: Organizations Mrs. Laura Grafman Ms. Norma Martens APS Individuals Kristie Graham Hamilton McRae Arizona Commission on the Arts Ms. Jessica L. Andrews and Mr. and Mrs. -
Opernaufführungen in Stuttgart
Opernaufführungen in Stuttgart ORIGINALTITEL AUFFÜHRUNGSTITEL GATTUNG LIBRETTIST KOMPONIST AUFFÜHRUNGSDATEN (G=Gastspiel)(L=Ludwigsburg)(C=Cannstatt) Euryanthe Euryanthe Oper Helemine von Chezy C(arl M(aria) von 1833: 13.03. ; 28.04. - 1863: 01.02. - 1864: 17.01. - Weber 1881; 12.02. (Ouverture) - 1887: 20.06 (Ouverture) - 1890: 16.02. ; 26.03. ; 25.09. ; 02.11. - 1893: 07.06 - Abu Hassan Oper in 1 Akt Franz Karl Hiemer Carl Maria von Weber 1811: 10.07. - 1824: 08.12. - 1825: 07.01. Achille Achilles Große heroische Nach dem Ferdinand Paer 1803: 30.09. ; 03.10. ; 31.10. ; 18.11. - 1804: Oper in 3 Akten Italienischen des 23.03. ; 18.11. - 1805: 17.06. ; 03.11. ; 01.12. - Giovanni DeGamerra 1806: 18.05. - 1807: 14.06. ; 01.12. - 1808: 18.09. - von Franz Anton 1809: 08.09. - 1810: 01.04. ; 29.07. - 1812: 09.02. ; Maurer 01.11. - 1813: 31.10. - 1816: 11.02. ; 09.06. - 1817: 01.06. - 1818: 01.03. - 1820: 15.01. - 1823: 17.12. - 1826: 08.02. Adelaide di Adelheit von Guesclin Große heroische Aus dem Italienischen Simon Mayr 1805: 21.07. ; 02.08. ; 22.09. - 1806: 02.03. ; 14. 09. Guescelino Oper in 2 Akten ; 16.09. (L). - 1807: 22.02. ; 30.08.(L) ; 06.09. - 1809: 07.04. - 1810: 11.04. - 1814: 28.08.(L) ; 09.10. - 1816: 05.05. ; 18.08. Adelina (auch Adeline Oper in 1 Akt Nach dem Pietro Generali 1818: 23.03. Luigina, Luisina) Italienischen von Franz Karl Hiemer - Des Adlers Horst Romantisch- Carl von Holtei Franz Gläser 1852: 30.04. ; 02.05. -
Witch, Warlock, and Magician, by 1
Witch, Warlock, and Magician, by 1 Witch, Warlock, and Magician, by William Henry Davenport Adams This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Witch, Warlock, and Magician Historical Sketches of Magic and Witchcraft in England and Scotland Author: William Henry Davenport Adams Release Date: February 4, 2012 [EBook #38763] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK WITCH, WARLOCK, AND MAGICIAN *** Produced by Irma äpehar, Sam W. and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.) Transcriber's Note Greek text has been transliterated and is surrounded with + signs, e.g. +biblos+. Characters with a macron (straight line) above are indicated as [=x], where x is the letter. Witch, Warlock, and Magician, by 2 Characters with a caron (v shaped symbol) above are indicated as [vx], where x is the letter. Superscripted characters are surrounded with braces, e.g. D{ni}. There is one instance of a symbol, indicated with {+++}, which in the original text appeared as three + signs arranged in an inverted triangle. WITCH, WARLOCK, AND MAGICIAN Historical Sketches of Magic and Witchcraft in England and Scotland BY W. H. DAVENPORT ADAMS 'Dreams and the light imaginings of men' Shelley J. W. BOUTON 706 & 1152 BROADWAY NEW YORK 1889 PREFACE. -
L'opérette Est-Elle Amenée À Disparaître ? Christiane Dupuy
L'opérette est-elle amenée à disparaître ? Christiane Dupuy-Stutzmann Un grand historien de la danse à dit : « la France a ceci de particulier, qu’elle possède une terre féconde, une terre qui crée beaucoup de choses dans tous les domaines, mais qui contrairement aux autres, oublie son passé ». Ce triste constat est également valable pour ce spectacle total qu’est l’opérette, dont l’influence universelle, née sur les bords de la Seine, a donné lieu à un répertoire immense. Le metteur en scène argentin Jérôme Savary décédé en 2013, disait à ce propos, « la France est un pays bizarre qui condamne son opérette en ne la faisant plus représenter alors que lorsqu’on me demande de mettre en scène au Théâtre du Châtelet ou au Théâtre des Champs-Elysées « La Vie Parisienne » ou « La Périchole», la billetterie est littéralement prise d’assaut par le public parisien dès le 1er jour d’ouverture de la location ! » Comme on peut le constater, le goût du public n’est nullement en cause ! Les amateurs d’opérette, certes plus nombreux parmi les séniors, réclament inlassablement le retour d’une programmation même restreinte ! L’argument de ses détracteurs consiste à faire passer l’opérette pour un genre dépassé qui ne serait plus du goût des jeunes générations alors qu’en réalité, c’est plutôt par ignorance de ce répertoire et parce qu’on ne le programme plus que les jeunes ne s’y intéressent plus ! Il est avéré que l’opérette n’est pratiquement plus programmée dans les saisons lyriques de nos théâtres français. -
Divers Things: Collecting the World Under Water
Hist. Sci., xlix (2011) DIVERS THINGS: COLLECTING THE WORLD UNDER WATER James Delbourgo Rutgers University I do not pretend to have been to the bottom of the sea. Robert Boyle, 1670 matter out of place Consider the following object as shown in an early eighteenth-century engraving (Figure 1). It is a piece of wood — not a highly worked thing, not ingeniously wrought, though it is an artefact of human labour rather than a natural body. Or is it? In the engraving, the piece of wood disappears: it is visible towards the bottom of the image, a sober pointed stump, but it is quickly subsumed by a second, enveloping entity that swirls about it in an embroidering corkscrew. What elements are here intertwin- ing? The legend beneath the engraving identifies the artefact thus: “Navis, prope Hispaniolam ann Dom 1659. Naufragium passae, asser, a clavo ferreo transfixus, corallio aspero candicante I. B. Obsitus, & a fundo maris anno 1687 expiscatus.” It describes a stake or spar from a ship wrecked off Hispaniola in 1659, which is transfixed by both an iron bolt and rough whitish coral, fished out of the depths in 1687. This collector’s item is neither the cliché of exemplarily beautiful coral nor straightforwardly a historical relic, but an intertwining of the two: the “transfixing” of a remnant of maritime technology by an aquatic agent. It exhibits the very proc- ess of encrustation. The spar is juxtaposed with the image of a jellyfish, and more proximately, engravings of Spanish silver coins, also encrusted with coral: “Nummus argenteus Hispanicus … incrustatus”, one of the labels reads.1 Still another illustra- tion, in a separate engraving, bears the legend “Frustum ligni e mari atlantico erutum cui adhaerescunt conchae anatiferae margine muricata” — a piece of “drift wood beset with bernecle [sic] shells”. -
The Synagogue of Satan
http://www.iamthewitness.com/books/Andrew.Carrington.Hitchcock/Synagogue.of.Satan/0740- 1818.htm The Synagogue of Satan By Andrew Carrington Hitchcock 740 Khazaria (Click on map) In 740 A.D. in a land locked between the Black Sea and the Caspian Sea, known as Khazaria, a land which today is predominantly occupied by Georgia, but also reaches into Russia, Poland, Lithuania, Hungary, and Romania, the modern Jewish race is born. A modern Jewish race that incidentally is not Jewish. How can this be, you ask? Well at that time, the Khazarian people felt a vulnerable people as they had Muslims one side of them and Christians the other side of them, and thus constantly feared attack from either side. Furthermore, the Khazarian people were of neither faith and instead practiced idol worship, which made them ripe for invasion by a people who wished to convert them to an established faith. The Khazarian King, King Bulan, decided in order to protect themselves against attack, the Khazarian people must convert to one of these faiths, but which one? If they converted to the Muslim faith they would risk attack by the Christians and if they converted to the Christian faith they would risk attack by the Muslims. He had an idea. There was another race that he was aware were able to deal with both the Muslims and the Christians either side of him, predominantly in matters of trade. A race which also dealt with Khazarians in the same manner. That race was the Jews. King Bulan decided if he instructed his people to convert to Judaism he could keep both the Muslims and the Christians happy, as they were both already willing to trade with the Jews, so this is what he did. -
20,000 Leagues Under the Sea
20,000 Leagues Under the Sea By Jules Verne 1 Part One. o Chapter 1: A Shifting Reef o Chapter 2: Pro and Con o Chapter 3: I Form My Resolution o Chapter 4: Ned Land o Chapter 5: At A Venture o Chapter 6: At Full Steam o Chapter 7: An Unknown Species of Whale o Chapter 8: Mobilis in Mobili o Chapter 9: Ned Land's Tempers o Chapter 10: The Man of the Seas o Chapter 11: All by Electricity o Chapter 12: Some Figures o Chapter 13: The Black River o Chapter 14: A Note of Invitation o Chapter 15: A Walk On the Bottom of the Sea o Chapter 16: A Submarine Forest o Chapter 17: Four Thousand Leagues Under the Pacific o Chapter 18: Vanikoro o Chapter 19: Torres Straits o Chapter 20: A Few Days on Land o Chapter 21: Captain Nemo's Thunderbolt o Chapter 22: "Aegri Somnia" o Chapter 23: The Coral Kingdom Part Two. o Chapter 1: The Indian Ocean o Chapter 2: A Novel Proposal of Captain Nemo's o Chapter 3: A Pearl of Ten Millions o Chapter 4: The Red Sea o Chapter 5: The Arabian Tunnel o Chapter 6: The Grecian Archipelago o Chapter 7: The Mediterranean In Forty-Eight Hours o Chapter 8: Vigo Bay o Chapter 9: A Vanished Continent o Chapter 10: The Submarine Coal-Mines o Chapter 11: The Sargasso Sea 2 o Chapter 12: Cachalots and Whales o Chapter 13: The Iceberg o Chapter 14: The South Pole o Chapter 15: Accident or Incident o Chapter 16: Want of Air o Chapter 17: From Cape Horn to the Amazon o Chapter 18: The Poulps o Chapter 19: The Gulf Stream o Chapter 20: From Latitude 47@ 24' to Longitude 17@ 28' o Chapter 21: A Hecatomb o Chapter 22: The Last Words of Captain Nemo o Chapter 23: Conclusion 3 Part One. -
The Moving Picture World (August 1907)
£.:5SS? sSPF'TS fc' •;-/ .-;;; p l£&]kilbU©s,s Association Offtdal Or^an ©£ the M©v£2a^'PSc£u^ev only 8nfla©f»©n.d!©i2a<t WooI&Sst: Journal pu&Bioifoodl la-* the interests of Manufkcturert casta] OpsffatoM ©£? <A.Eail2iaaS©<s2 PE^ofiojrJ^^Tphs aac3 Cinematograph Projection* 2BBus&raftce3 Sosags» Lantern LeeSures and Lantern Slide Matters THE WOBLD PHOTOGBAPHIC FUBUSHING COMPANY, 361 BROADWAY, NEW TOBK >1. 1., No. 2SS. August lO, 1907 Price, 1Q Cents *M~ A Blew Falsa of asa ©lei Ibn&t E£ves* IKFew Subject [GRAND GAI ISM ie CLIFF DWELLERS [The surpassing wonder and beauty of the Grand Canyon beggars description, but our picture is an ambitious [realization of the grandest and most astounding feature of nature in the known world and presents |it in such realistic fashion as to make it of more popular interest than any story or comedy film produced. The Curious SZosnos of the Aboriginal Cliff Dwellers. The Native Blanttot Weaver© and Silversmiths. The Petrified EToroot off Stone. ...... The Grand Canyon. The Colorado River and Oho daring ascent of Bright Angel Trail make up a picture of absorbing interest. One which outrivals any feature subject recently shown. (Length 600 Feet . Code Word—Arizona Ei©li@i kate ©rax© [is the limitation of laughs. If you want good clean wholesome laughs, then it is up to you to fill the [Ml, and you can do it with "Roller Skate Craze," which is the funniest picture since January ist, 1907, [and than some time back. Send for it if you haven't had it. -
Poetik Und Dramaturgie Der Komischen Operette
9 Romanische Literaturen und Kulturen Albert Gier ‚ Wär es auch nichts als ein Augenblick Poetik und Dramaturgie der komischen Operette ‘ 9 Romanische Literaturen und Kulturen Romanische Literaturen und Kulturen hrsg. von Dina De Rentiies, Albert Gier und Enrique Rodrigues-Moura Band 9 2014 ‚ Wär es auch nichts als ein Augenblick Poetik und Dramaturgie der komischen Operette Albert Gier 2014 Bibliographische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deut- schen Nationalbibliographie; detaillierte bibliographische Informationen sind im Internet über http://dnb.ddb.de/ abrufbar. Dieses Werk ist als freie Onlineversion über den Hochschulschriften-Server (OPUS; http://www.opus-bayern.de/uni-bamberg/) der Universitätsbibliothek Bamberg erreichbar. Kopien und Ausdrucke dürfen nur zum privaten und sons- tigen eigenen Gebrauch angefertigt werden. Herstellung und Druck: Digital Print Group, Nürnberg Umschlaggestaltung: University of Bamberg Press Titelbild: Johann Strauß, Die Fledermaus, Regie Christof Loy, Bühnenbild und Kostüme Herbert Murauer, Oper Frankfurt (2011). Bild Monika Rittershaus. Abdruck mit freundlicher Genehmigung von Monika Rittershaus (Berlin). © University of Bamberg Press Bamberg 2014 http://www.uni-bamberg.de/ubp/ ISSN: 1867-5042 ISBN: 978-3-86309-258-0 (Druckausgabe) eISBN: 978-3-86309-259-7 (Online-Ausgabe) URN: urn:nbn:de:bvb:473-opus4-106760 Inhalt Einleitung 7 Kapitel I: Eine Gattung wird besichtigt 17 Eigentlichkeit 18; Uneigentliche Eigentlichkeit