DOCSLIB.ORG

NCFA Unimpressed with Government's Covid-19 Scheme

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NCFA Unimpressed with Government's Covid-19 Scheme Sound Post VOLUME 18 NO. 2 - SUMMER 2020 IN THIS ISSUE: National Campaign for the Arts unim- pressed with Government’s Covid-19 scheme Unions secure improvements in tem- porary wage subsidy scheme Covid-19 unemployment payment helpdesk SIPTU launches working women’s charter 2020 Launch of MUI Executive Committee member, Francis Devine’s latest album Windmill Lane recording studio opens ‘Visitor Experience’ Angela Dorgan, Chairwoman of the National Campaign for the Arts. Photo: Irish Times ICTU Women’s Conference backs Stop 67Campaign NCFA unimpressed with International Federation of Musicians (FIM) a participant in ‘Make Music Government’s Covid-19 Scheme Safe’ initiative Possible NCH programming changes As part of a Government plan to support Ireland’s artistic and raise alarm bells cultural life during the Covid-19 crisis, the Minister for Culture, Josepha Madigan, announced in April an allocation of €1 million Reviews to support Irish-based professional artists creating new writing, Times Past music, painting, photography and sculpture. Comprising 334 grants of €3,000 each, the initiative is being jointly funded by the Obituaries Department of Arts and the Arts Council. It was stated that these MUI RTÉ freelance orchestral daily rates payments would be administered rapidly. Interval Quiz Declaring that the Arts Council was fully aware of the huge impact the crisis is having on the livelihoods of everyone working in the Gillian Smith on the National Youth arts, its chairperson, Kevin Rafter, said that the new work would be Orchestra of Ireland presented on a digital platform created by the Council. Roger Doyle on a composer’s strategies However, the National Campaign for the Arts (NCFA) expressed ex- Fintan Moran on Josef Strauss treme disappointment at the Department’s response to the effects of Covid-19 on the arts community. Conor Pyle on the Dublin Orchestral Players Continued on page 2 Sound Post | SUMMER 2020 did not qualify for the COVID-19 Unions secure payment or are still having diffi- culties accessing it would use this improvements facility so that the Department can see first hand the extent of the in Temporary problem we are pressing them on. Wage Subsidy NCFA Scheme unimpressed The Irish Congress of Trade Gerry McCormack, SIPTU Deputy General Unions and SIPTU have secured Secretary with Covid-19 changes to the Temporary Wage Subsidy Scheme (TWSS) to cor- Scheme rect anomalies. Covid-19 Continued from page 1 On 15th April, the Government announced measures to improve In a statement, NCFA Chair- the operation of the Scheme, Unemployment woman, Angela Dorgan, said: which include: Payment “In a time when the Irish Govern- 1. Workers with net pay of up to ment has acted swiftly and deci- €412 per week will now see helpdesk sively to allay fears and secure the welfare of Irish citizens in this the subsidy increase from 70% unprecedented crisis, we are dis- to 85% of their net weekly pay. There is now a helpdesk available mayed by the lack of vision shown from the Department of Culture, This will benefit workers on in relation to the arts”. € Heritage and the Gaeltacht in re- pay of up to 24,400 per year. lation to the COVID-19 Emergency Citing other countries that had made Payment. The Department has 2. For employees with previous provision for significant Covid-19 agreed to handle individual queries average net pay of between arts supports, including England from artists and arts workers about €412 and €500 per week (€160 million), Wales (€7 million) the payment, so if you’ve been re- € and Germany (€50 million), the NCFA (equivalent to 24,400- fused the payment or have a que- € said providing just €1 million to 31,000 per year), the subsidy stion about your eligibility, you can create online work was a small will now rise to €350 per contact the Department directly investment in individual artists. week. as follows and an official will con- tact you to discuss your query. An Arts Council survey revealed the This means no one will fall below massive scale of the Covid-19 crisis Please email [email protected] the level of the emergency Pan- in the arts sector, with a loss of with the following information: demic Unemployment Payment. audiences between March and May In addition, workers above • your telephone number of some 2.4 million, more than €38,000 per annum will now • a short description of your question 12,000 cancellations and 112,000 have pay reductions taken into tickets sold for events not proceeding. account when calculating the It is important that all of you who amount of the Temporary Wage Subsidy provided to the employer. SIPTU Deputy General Secretary, Gerry McCormack, said: “I would ask all staff to enter discussions with any member/company where the workers remain on payroll but are being paid less than €350 through the TWSS, to ensure that this amount is now increased to the minimum pay- ment of €350.” 2 Sound Post | SUMMER 2020 our Charter,” Monahan added, SIPTU launches “such as the legal right to flexi- ble working arrangements so working women can better balance work and caring responsibilities. women’s “This includes maternity, pater- nity and parental leave benefits charter 2020 on a pay-related basis so that parents don’t experience a A working women’s charter out- major drop in income when car- lining key demands that will im- ing for young children, and that prove rights for women in the women workers caring for el- derly relatives have their work workplace was launched by SIPTU Vice-President, Michelle valued and appreciated.” SIPTU Vice-President Michelle Monahan launches the 10-point Working Women’s Monahan, on 8th March – Inter- Charter on International Women’s Day. national Women’s Day – in Lib- SIPTU member and Big Start ac- erty Hall, Dublin. The 10-point tivist, Aisling Silke, told the Working Women’s Charter deals launch: “Today we have a situa- Services Division Organiser, with issues such as the gender tion where we are providing care Teresa Hannick. It also included pay gap, flexible working ar- in a society that refuses to value the launch of a photographic ex- rangements and properly valu- care. As we move into a new hibition featuring images of ing care work. Monahan decade we need and must begin women in the trade union move- described it as “a road map for to value care. As a union, SIPTU ment. Following the launch, the our union for the coming decade can do this by committing to film, Naila and the Uprising, in our organising and campaign- embed the Working Women’s about Palestinian resistance ing agenda for women work- Charter 2020 into all of our poli- leader, Naila Ayesh, was ers”. She said the Charter cies and objectives.” screened followed by a discus- underlined the union’s “key pri- sion with the film’s producer, orities and initiatives” on the The event, attended by more than Rula Salameh. issue. “Other mechanisms for 100 activists, was also addressed changing the game for women by SIPTU Deputy General Secre- The charter is available here. workers in Ireland are set out in tary, Ethel Buckley and SIPTU I The launch of Francy Devine’s album, an ownerless corner of earth, Teachers’ Club, 36 Parnell Square, Dublin, 27th February 2020, l-r: Steve Byrne (Scots Traditional Musician of the Year and MU member), Shona Donaldson Anderson, Dave McClean, Mark Dunlop (Makinky) and Paul Anderson. Francis (Francy) Devine is an Executive Committee member of the Musicians’ Union of Ireland. 3 Sound Post | SUMMER 2020 Windmill Lane Recording Studios, launch of ‘Visitor Experience’, 20 February 2020, from left: Sabina Higgins, Paul Brady, Donal Lunny, Aidan Alcock (Director), President Higgins, Tony Perrey (Director), Brian Masterson (Director), Naomi Moore (CEO), Fiachna Ó Broanáin and Paul Kelly (CEO, Fáilte Ireland). Photo: Naoise Culhane President Michael D Higgins was Speaking to Sound Post, SIPTU Windmill Lane the guest of honour at the studios Deputy General Secretary, Ethel for the launch of the new visitor Buckley, said the raising of the Recording Studios experience on 20th February, at State pension age affects all work- which singer Paul Brady per- ers but it has a more detrimental opens ‘Visitor formed alongside Donal Lunny. effect on women. She said: “Women are more likely to have Experience’ The one-hour tour provides visi- interrupted contribution records tors with an insight into the cre- Dublin’s world-famous Windmill and caring duties and forced to ation and production of some of rely on means-tested unemploy- Lane Recording Studios has the albums and songs of the past opened a new “visitor experi- ment payments between retire- forty years through a mix of tech- ence”, which Fáilte Éireann has ment age and the age we can said will be a “huge draw” for nology, audio-visual media and access the State pension. That is both domestic and international storytelling. Visitors can also ob- why stopping the raising of the age tourists. The original studio serve the music recording and of pension entitlements is one of buildings were famously covered production process. the key demands of SIPTU’s Work- in graffiti by U2 fans who visited ing Women’s Charter. Pensions from all over the world. are a workers’ issue and a women’s issue. We are committed Since then, some of the artists ICTU Women’s to winning the battle for pensions who have recorded there include fairness in order to ensure that Kate Bush, The Rolling Stones, conference older workers will not be forced The Cranberries, The Spice Girls into poverty, working more years and, more recently, Lady Gaga, Ed than they want to or pushed on to Sheeran, Westlife, The Script and backs Stop67 the dole.” Hozier.
Load more

Recommended publications
  • Irish Film and Television – 2019
    Estudios Irlandeses, Issue 15, March 2020-Feb. 2021, pp. 296-329 __________________________________________________________________________________________ AEDEI IRISH FILM AND TELEVISION – 2019 THE YEAR IN REVIEW Roddy Flynn, Tony Tracy (eds.) Copyright (c) 2020 by the authors. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Introduction. Roddy Flynn…………….……………...………………………………………………..…..297 Getting on with the Extra Ordinary Extra Ordinary (Mike Ahern and Enda Loughman, 2019) Harvey O’Brien..…………….………..……………….………………………………….…302 Ordinary Love (Lisa Barros D’Sa and Glenn Leyburn, 2019) Tony Tracy...………….…………….………………….………………………….………...305 Postcard from the edge Losing Alaska (Tom Burke, 2018) David Robbins………………….…………..…………………………..…………………...308 The Hole in the Ground (Lee Cronin, 2019) Denis Murphy ……………………………………………………………………………....311 Dark Lies the Island (Ian Fitzgibbon, 2019) Siobhán Kane.……………………………………..…………………………..…………….314 The Curious Works of Roger Doyle (Brian Lally, 2018) Stephanie McBride…………………………………………………………………….……316 Memory as Trauma Cellar Door (Viko Nikci, 2018) Emma Radley…………….…………………………………………………………………321 Dublin Murders (BBC/RTE/Starz, 2019) Sheamus Sweeney………..…………………………………………………………………324 ISSN 1699-311X 297 Introduction. Roddy Flynn Sometimes, even an annual review feels like it might be too frequent, especially if its subject is an industry wherein the activity often fails to resolve itself within neat 12 months intervals. The policies put in place to incentivise production and the broader development of the screen sector in Ireland operate across five year horizons. Even for individual productions, the gap between a greenlight for production and the actual appearance of the text via whatever primary platform may span several years. (This is particularly true of labour intensive sectors like animation.
    [Show full text]
  • 11 May 2008 Waterford Institute Of
    Society for Musicology in Ireland Annual Conference 9 – 11 May 2008 Waterford Institute of Technology (College Street Campus) Waterford Institute of Technology welcomes you to the Sixth Annual Conference of the Society for Musicology in Ireland. We are particularly delighted to welcome our distinguished keynote speaker, Professor John Tyrrell from Cardiff University. Programme Committee Dr. Hazel Farrell Dr. David J. Rhodes (Chair) Conference Organisation Fionnuala Brennan Paddy Butler Jennifer Doyle Dr. Hazel Farrell Marc Jones Dr. Una Kealy Dr. David J. Rhodes Technician: Eoghan Kinane Acknowledgements Dr. Gareth Cox Dr. Rachel Finnegan, Head of the Department of Creative and Performing Arts, WIT Norah Fogarty Dr. Michael Murphy Professor Jan Smaczny Waterford Crystal WIT Catering Services Exhibition Four Courts Press will be exhibiting a selection of new and recent books covering many areas from ancient to twenty-first century music, opera, analysis, ethnomusicology, popular and film music on Saturday 10 May Timetable Humanities & Art Building: Room HA06 Room HA07 Room HA08 Room HA17 (Auditorium) Main Building (Ground floor): Staff Room Chapel Friday 9 May 1.00 – 2.00 Registration (Foyer of Humanities & Art Building) 2.00 – 3.30 Sessions 1 – 3 Session 1 (Room HA06): Nineteenth-century Reception and Criticism Chair: Lorraine Byrne Bodley (National University of Ireland Maynooth) • Adèle Commins (Dundalk Institute of Technology): Perceptions of an Irish composer: reception theories of Charles Villiers Stanford • Aisling Kenny (National
    [Show full text]
  • Spoleto Festival Usa Program History 2016 – 1977
    SPOLETO FESTIVAL USA PROGRAM HISTORY 2016 – 1977 Spoleto Festival USA Program History Page 2 2016 Opera Porgy and Bess; created by George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin; conductor, Stefan Asbury; director, David Herskovits; visual designer, Jonathan Green; lighting designer, Lenore Doxsee; wig and makeup designer, Ruth Mitchell; set designer, Carolyn Mraz; costume designer, Annie Simon; fight director, Brad Lemons; Cast: Alyson Cambridge, Lisa Daltirus, Eric Greene, Courtney Johnson, Lester Lynch, Sidney Outlaw, Victor Ryan Robertson, Indra Thomas; Spoleto Festival USA Orchestra, Johnson C. Smith University Concert Choir; Charleston Gaillard Center *La Double Coquette; music by Antoine Dauvergne with additions by Gérard Pesson; libretto by Charles-Simon Favart with additions by Pierre Alferi; director, Fanny de Chaillé; costume designer, Annette Messager; costume realization, Sonia de Sousa; lighting designer, Gilles Gentner; lighting realization, Cyrille Siffer; technical stage coordination, Francois Couderd; Cast: Robert Getchell, Isabelle Poulenard, Mailys de Villoutreys; Dock Street Theatre *The Little Match Girl; music and libretto by Helmut Lachenmann; conductor, John Kennedy; co-directors, Mark Down and Phelim McDermott; costume designer, Kate Fry; lighting designer, James F. Ingalls; set designer, Matt Saunders; puppet co-designers, Fiona Clift, Mark Down, Ruth Patton; Cast: Heather Buck, Yuko Kakuta, Adam Klein; Soloists: Chen Bo, Stephen Drury, Renate Rohlfing, Memminger Auditorium Dance Bill T. Jones/Arnie
    [Show full text]
  • Download Annual Report 1988
    An Chomhairle Ealaíon An Seachtú Tuarascáil Bhliantúil is Tríocha maille le Cuntais don bhlian dár chríoch 31ú Nollag 1988. Tiolacadh don Rialtas agus leagadh faoi bhráid gach Tí den Oireachtas de bhun Altanna 6 (3) agus 7 (1) den Acht Ealaíon 1951. Thirty-seventh Annual Report and Accounts for the year ended 31st December 1988. Presented to the Government and laid before each House of the Oireachtas pursuant to Sections 6 (3) and 7 (1) of the Arts Act 1951. ISBN 0 906627 29 X ISSN 0790-1593 The Arts Council regrets that this Report for 1988, which was ready for printing in 1989, could not be released until the Comptroller and Auditor General had reported on the Council's 1988 Accounts. Draft Accounts were submitted for audit in April 1989. The Comptroller and Auditor General's Report is dated 21st December 1989. Members Members (Until December 1988) (From December 1988) Máirtín McCullough, Chairman Colm Ó hEocha, Chairman John Banville Dermot Bolger Vivienne Bogan Michael Colgan David Byers Máire de Paor Patrick Dawson Bríd Dukes Máire de Paor Arthur Gibney Bríd Dukes Patrick Hall Vincent Ferguson Charles Hennessy Mairéad Furlong Ted Hickey Garry Hynes Richard Keamey Barry McGovern Proinsias Mac Aonghusa Rosemarie Mulcahy Larry McCluskey Tom Munnelly Paul McGuinness Patrick J. Murphy Míchéal O'Siadhail Seán Ó Mordha Donald Potter Michael Smith Eric Sweeney Michael Taylor Kathleen Watkins Staff Director Adrian Munnelly Officers Literature, Arts Festivals and Community Arts Laurence Cassidy Visual Arts Medb Ruane Visual Arts/Exhibitions
    [Show full text]
  • 2016-2017 Season Cover
    Check“Tag in us in your photos!” facebook.com/coleaud twitter.com/coleaud instagram.com/coleaud Post Office Box 1189 youtube.com/ 1042 West Hamlet Avenue auditorium1999 Hamlet, NC 28345-1189 2016/2017 www.richmondcc.edu/cole-auditorium 2016/2017 #atCole The The Five Irish Tenors Five Irish Tenors “Salute to Ireland” Thursday, January 26, 2017 Martina McBride Saturday, February 25, 2017 “Barefoot in The Park” Thursday, March 9, 2017 Legendary Rock Supergroup The Hit Men Thursday, April 6, 2017 All shows start at 7:30pm Cole Box Office (910) 410-1691 “Salute to Ireland” Don’t forget about the added show Director’s Circle Saturday, February 25 – 7:30p.m. Dr. & Mrs. David & Katherine Arnold Mr. & Mrs. Ron & Sylvia Ballard Mr. & Mrs. Bill & Linda Bayless Mr. & Mrs. Russell & Joan Bennett Mr. & Mrs. Van & Melissa Billingsley Mr. & Mrs. Neal & Joanne Cadieu Dr. & Mrs. Al & Pat Covington Mr. & Mrs. Wade & Beth Dunbar Mr. & Mrs. Joe & Diana Everett Mr. & Mrs. Brian & Danielle Goodman Representative & Dr. Ken & Cindy Goodman Mr. & Mrs. Ken & Jill Hartley Mr. & Mrs. John & Brenda Jackson Mr. & Mrs. G.R. & Mary Ellen Kindley Mr. & Mrs. J.C. & Hilda Lamm Mr. & Mrs. Terry & Cheryl Lewis Dr. & Mrs. Duane & Carol Linker Mr. & Mrs. Wiley & Judy Mabe Mr. Lazelle Marks Mr. & Mrs. Jim & Shirley McCaskill Mr. & Mrs. Lynn & Linda McCaskill Mr. & Mrs. Robert & Joyce McDow Dr. & Mrs. Dale & Thomasa McInnis Senator & Mrs. Tom & Janice McInnis Mr. & Mrs. Gene & Donna McLaurin Mr. & Mrs. Kenny & Leah Melvin Mr. & Mrs. Dean & Candy Nichols Mr. & Mrs. Jerry & Brenda Purcell Mr. & Mrs. Kenneth & Claudia Robinette Thank you Scotland Motors, Inc.
    [Show full text]
  • Irish Wind Music
    music has found its way into the hands of civilian teacher was Aloys Fleischmann, one of the ‘It was not until 1980 that I became bands, the majority of it remains the preserve of most important Irish musicians of the twentieth interested in writing for brass and the army and is rarely performed outside of century and a noted composer in his own right. concert wind bands. My new interest military settings. One series of works that are of It is unfortunate that he wrote just one short was aroused by a number of factors – note from the early years of the state are the six work for band, the Four Fanfares for An Tóstal, the European Broadcasting Union’s fantasias on Irish airs composed by Fritz Braze, which was written for one of the army bands to scheme ‘New Music for Bands’, the of which the first was published by Boosey & perform at the opening of a festival celebrating infectious enthusiasm for the medium of Hawkes subtitled ‘Let Erin Remember’ and as Irish culture in the 1940s. Fleischmann, born in RTE’s Assistant Head of Music, Michael recently as 2002 was recorded by the Irish Cork of German parentage, died in 1992 Casey and the encouragement I Guards Band of the British Army on a CD of the without ever having written a concert work for received from an enterprising young same name. An article in Winds described the band, despite a long-time professional music publisher from County Down, work as being ‘wonderfully gothic’; however it is relationship with members of the Band of the Martyn Imrie.
    [Show full text]
  • Exploding the Continuum: the Utopia of Unbroken Tradition
    Exploding the Continuum: The Utopia of Unbroken Tradition RAYMOND DEANE ‘… only a redeemed mankind receives the fullness of its past …’ Walter Benjamin: Theses on the Philosophy of History (III) ‘FACED WITH a gap of centuries in Ireland’s musical development, Ó Riada set about filling it himself.’ These words were written a generation ago by Louis Marcus in a commemorative volume for Seán Ó Riada, subtitled ‘Integrating Tradition’.1 They echo Thomas Davis’s 1845 assertion: ‘There are great gaps in Irish song to be filled up’.2 In this essay, I wish to propose that a different historical perspective might lead us towards viewing these lacunae in a less fatalistic light than has tended to be the case. I Marcus writes of Ó Riada’s ‘longing to touch the hand of the last Irishman for whom the Gaelic and European traditions of music were not irreconcilable’, the eighteenth-century harpist and composer Turlough O’Carolan. The absence of such reconciliation in the intervening two centuries is equated with the absence of ‘development’. Marcus wrote further: Ideally, in an Ireland of unbroken musical development, any competent composer could have written a useful score for Mise Éire on the residue of our national contribution to the music of nineteenth-century Europe. But we made no such contribution; there was no Irish Smetana or Grieg to echo.3 If Marcus was claiming that there was no Irish classical music during this hiatus, then he was simply incorrect. Presumably, his point was that there were none of comparable status to the composers he mentioned.
    [Show full text]
  • Annual Report 2018/19
    The Library of Trinity College Dublin Annual Report 2018/19 Developing the Library’s Strategic Direction 2015 — 2020 LIBER 2019 The Library of Trinity College Dublin Annual Report 2018 – 2019 Top Left: Linda Doyle (Dean of Research, Trinity College Dublin) during her keynote speech. Top Right: Mary Robinson, former President of Ireland, addresses LIBER 2019 delegates. Bottom: A small group from the 60+ volunteers who made this event possible. Contents: Context and Overview 2 1. Integrated Space 5 2. Integrated Digital 9 3. Integration into Teaching, Learning and Research 13 4. Prioritised Funding 21 5. Suite of Inter-related Policies and Programmes 23 6. External Facing Events and Communications 27 7. Appendices Facts & Figures 34 Collection development – significant acquisitions and donations 36 Posters, Publications and Presentations by the Library staff 39 1 The Library of Trinity College Dublin Annual Report 2018 – 2019 Context and Overview 2018/19 was a year which saw significant progress on major long- term programmes. Library activity also had a distinctly European flavour. This Annual Report dovetails with the final year of Other highlights of 2018/19 bore a distinctly Other advancements this year included involvement undergraduates to the emphasis on postgraduates the Trinity College Dublin Strategy 2014-2019, which European quality. In June, the Library hosted in: the major review of IReL (the Irish Research to the digital transformation strategy and new is focused on Student Environments, Research the LIBER (League of European Research eLibrary); the negotiations about ScienceDirect; infrastructure projects such as; the Grand Canal Environments, and the Trinity Visitor Experience. It Libraries) conference in partnership with the post-implementation review of UK electronic Innovation District and T-Tech, will all have is implemented under five pillars: CONUL (Consortium of National and University deposit by the UK Department for Digital, Culture, implications for the Library.
    [Show full text]
  • IFTN Proudly Supports the Galway Film Fleadh
    The Science of Ghosts While You Live, Shine Oíche Nollaig na mBan The Arts Council announces upcoming opportunities for film artists Deargdhúil The Great Wall Making the Grade The Floating World Authored Works Reel Art Film Project Award A new initiative for artist-led authored films. An award for creative experimental An award for ambitious experimental films. A total budget of €, will be made documentaries on an artistic theme. A number of films will be supported with available to the successful applicant (to Two films will be supported in . A total budgets of up to €, and successful include a production budget of €, budget of €, will be made available to applicants will be eligible to apply for further and further exhibition support of €,). each of the successful applicants (to include a exhibition support. production budget of €, and further exhibition support of €,). Applications for Authored Works and Reel Art must be made to the Arts Council before Applications for the Film Project Award . on Thursday, October . Guidelines and details of the application process will must be made to the Arts Council before be published at the end of July . on Thursday, August . For application guidelines please see: http://www.artscouncil.ie/available-funding/ 30th Galway Film Fleadh 10 – 15 July 2018 We would like to thank the following organisations for their support: Principal Funder Major Sponsors In Association with Supported by booking 091 569777 1 101 FILMS BLACK LABEL CULT AND CLASSIC FILMS WITH BRAND NEW EXTRAS LIMITED EDITIONS INCLUDING SLIPCASES & BOOKLETS WITH EVERY RELEASE 101-films-store.myshopify.com /101FilmsUK @101_Films 30th Galway Film Fleadh 10 – 15 July 2018 Introduction Contents ollowing the movie-making maxim of ‘show, don’t tell’, we’re not going to Sponsors 1 spend a lot of time waxing lyrical about the past thirty years.
    [Show full text]
  • Spoleto Festival Usa Program History 2013–1977
    SPOLETO FESTIVAL USA PROGRAM HISTORY 2013–1977 Spoleto Festival USA Program History Page 2 2013 Opera *Matsukaze, music by Toshio Hosokawa; libretto by Hannah Dübgen; conductor, John Kennedy; director, Chen Shi-Zheng; set designer, Chris Barreca; costume designer, Elizabeth Caitlin Ward; lighting designer, Scott Zielinski; video designer, Olivier Roset; Cast: Gary Simpson, Thomas Meglioranza, Pureum Jo, Jihee Kim; Dock Street Theatre Mese Mariano/Le Villi; Mese Mariano, music by Umberto Giordano; libretto by Salvatore Giacomo; Le Villi, music by Giacomo Puccini, libretto by Ferdinando Fontana; conductor, Maurizio Barbacini; director, Stefano Vizioli; set designer, Neil Patel; costume designer, Roberta Guidi di Bagno; lighting designer, Matt Frey; choreographer, Pierluigi Vanelli; Cast Mese Mariano: Linda Roark-Strummer, Ann McMahon Quintero, Jennifer Rowley, Yanzelmalee Rivera, Allison Faulkner, Nicole Fregala, Shari Perman, Anne Marie Stanley, Justin Su’esu’e; Cast Le Villi: Levi Hernandez, Jennifer Rowley, Dinyar Vania; Sottile Theatre Dance Jared Grimes; dancers, Jared Grimes, Robyn Baltzer, Dewitt Fleming Jr, Karida Griffith, Tony Mayes; Emmett Robinson Theatre Compagnie Käfig; artistic director and main choreographer, Mourad Merzouki; programs, Correria and Agwa; TD Arena Ballet Flamenco de Andalucía; artistic director and choreographer, Rubén Olmo; guest soloist, Pastora Galván; program, Noche Andaluza; TD Arena Lucky Plush Productions, creators/directors, Leslie Buxbaum Danzig and Julia Rhoads; original script, Leslie Buxbaum Danzig,
    [Show full text]
  • An Archaeology of Irish Cinema: Ireland's Subaltern, Migrant and Feminist Film Cultures (1973-87)
    An Archaeology of Irish Cinema: Ireland’s Subaltern, Migrant and Feminist Film Cultures (1973-87) Submission for Doctor of Arts by Maeve Connolly, B.A., M.A. Dublin City University School of Communications Supervisor: Stephanie McBride September 2003 Declaration: / hereby certify that this material, which I now submit fo r assessment on the programme ofstudy leading to the award of a Doctor ofArts is entirely my own work and has not been taken from the work o f others save and to the extent that such work has been cited and acknowledged within the text o f my work. _________________ID No: 50161474 Candidate Acknowledgements My first acknowledgements must go to Irish Research Council for the Humanities and Social Sciences, as this project could not have been completed without the financial assistance provided by the Government of Ireland Scholarship. I must also acknowledge the Dublin City University postgraduate fund, which provided funding for travel to conferences, and I am very grateful to the friends and relatives in the UK and the US who welcomed me into their homes during research trips. I wish to express my sincere gratitude to Stephanie McBride and Luke Gibbons for their guidance as supervisors of this project. They gave me the confidence, and the opportunity, to pursue my interest in research and their support and encouragement has meant a great deal. On a personal level, I very much appreciate the kindness shown by Stephanie and Luke and by Farrel Corcoran, Dolores Gibbons and Des McGuinness at difficult moments over the past three years. Many other individuals helped to enrich my experience of research atDCU, offering much-needed advice and assistance.
    [Show full text]
  • Monologue Drama in Ireland from 1964 – 2016: Form and Per(Form)Ativity
    1 “Impossible Speech” - Monologue Drama in Ireland from 1964 – 2016: Form and Per(form)ativity A thesis submitted to the School of Creative Arts, Trinity College Dublin, in fulfilment of the requirements for the degree of Doctor of Philosophy 2018 Tim Barrett, MPhil 2 Declaration I declare that this thesis has not been submitted as an exercise for a degree at this or any other university and it is entirely my own work. I agree to deposit this thesis in the University’s open access institutional repository or allow the library to do so on my behalf, subject to Irish Copyright Legislation and Trinity College Library conditions of use and acknowledgement. ______________________________ Tim Barrett 3 Summary This dissertation is a study of monologue drama by Irish playwrights on the island of Ireland from 1964 to 2016. The starting point of 1964 has been selected as it was the year of the first production of Brian Friel’s Philadelphia Here I Come!, a study of which opens Chapter One of the thesis. The thesis proceeds through a consideration of different productions of monologue plays across recent decades in Irish history and through different social, economic and cultural contexts. I will identify monologue drama as a topic that has received limited attention by scholars and argue that my dissertation addresses that deficit in the field. The critical methodology I have adopted is the analysis of a selection of texts of monologue plays from 1964 to 2016, including references to the first productions of those plays, their critical reception and the historical context in which those plays were produced.
    [Show full text]