Mysterious Ghost Churches
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Scott Adsit: …Careful
Scott Adsit: …careful. And fun. But there’s nothing like performance going on anywhere. My parents didn’t listen to music. They didn’t obsess on anything apart from work and their kids, pretty much. Andrew Clark: You went to Columbia College in Chicago for Film, initially. Was the goal to be a filmmaker at first? SA: Yeah. I went to my dad’s college in Green Castle, Indiana for a semester and realized that I didn’t want to be my dad. Then I went to Columbia, which is like a great art school in downtown Chicago. It wasn’t a great school when I went there. It’s become a great school. It’s become a great, wide school, but the theater department there was always great, and run by really talented people. A great thing there was, you could not be a teacher if you were not already working in the field you’re teaching in. You had to have a job to have that job, which is cool, but also kind of cruel, I think, because it’s a cruel business, and if you lose one job, it’s like, “Oh, you’re done.” AC: Really? Wow. You had some pretty great instructors, but when did you kind of get the comedy bug? How did you sort of fall into that? SA: In junior high. There was an acting class that taught through improv, somehow. There was a teacher who was named Karin Little, who was a beautiful redhead who had been a Playmate. She was a centerfold in Playboy, and she had found herself teaching drama in a junior high. -
2016-2017 Adult Course Catalog Flip for Kids & Teen Programs!
flip for Kids & Teen programs! 2016-2017 Adult Course Catalog LetTER from the ArtIstic DIRECtor Dear Students, TABLE OF CoNTEntS Everyone who walks into Second City has a different story. We come Improv 4 from Old Town, or Wilmette, or Omaha, or Melbourne. We are writers, or actors, or filmmakers, or none of those things. We seek a career, or The ConservatorY 7 a hobby, or inspiration, or a friend. So now what? Acting 8 Now you let your story unfold. This is your setting, your creative home base, where you can explore who you are and who you want to be. Music 10 It’s your playground, where you can take risks, and fail, and laugh as you get back up and do it all again. To help you on your path, we’ve Directing 13 added additional theaters, computer workstations, bleachers, and hang out areas. You can take a workshop, audition for a show, meet Movement & PhYsical Theatre 15 a partner to write a sketch, or grab a bench, look at the skyline, and Writing 17 contemplate the fate of the universe. Online CLASsES 20 And the coolest thing is, you won’t be doing it alone. You’ll be working with amazing teachers who want to help you reach your goals. You’ll TV FILM & DIGITAL 23 get guidance from our terrific staff who want to help you navigate the possibilities. Your journey here will lead you to experience what it ComedY Studies 27 means to be a part of an ensemble, whose passion and diversity will carry you to new heights just as you’ll carry them. -
The Novelty of Improvisation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Louisiana State University Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The novelty of improvisation: towards a genre of embodied spontaneity David Alfred Charles Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Charles, David Alfred, "The novelty of improvisation: towards a genre of embodied spontaneity" (2003). LSU Doctoral Dissertations. 76. https://digitalcommons.lsu.edu/gradschool_dissertations/76 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE NOVELTY OF IMPROVISATION: TOWARDS A GENRE OF EMBODIED SPONTANEITY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre by David Alfred Charles B.A., Roosevelt University, 1995 M.F.A., Western Illinois University, 1998 August 2003 © Copyright 2003 David Alfred Charles All rights reserved ii ACKNOWLEDGMENTS Thank you to those who started -
The Harold: a Revolutionary Form That Changed
THE HAROLD: A REVOLUTIONARY FORM THAT CHANGED IMPROVISATIONAL THEATRE & AMERICAN COMEDY A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By MATT FOTIS Dr. M. Heather Carver, Dissertation Supervisor MAY 2012 © Copyright by Matt Fotis 2012 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled THE HAROLD: A REVOLUTIONARY FORM THAT CHANGED IMPROVISATIONAL THEATRE & AMERICAN COMEDY Presented by Matt Fotis A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Professor M. Heather Carver Professor David Crespy Professor Cheryl Black Professor Cornelius Eady ACKNOWLEDGEMENTS This dissertation would have never happened without the help, support, and encouragement of numerous people. First and foremost I want to thank my committee— Heather Carver, David Crespy, Cheryl Black, and Cornelius Eady—for their guidance, questions, epiphanies, and good humor, without which I would not be writing this thank you. I want to thank Ann Haugo, John Poole, and Liz Mullenix for first beginning this journey with me. Of course many thanks go out to Charna Halpern, Ted Flicker, and all the generous improvisers who agreed to be interviewed for this project, as well as the countless improvisers who simply took the time to informally discuss improv with me. I would be nowhere without the teachers that taught me how to improvise and the students who continue to teach me. My beautiful wife, whom I first got to know through improvisation, thank you for your love, support, and patience…and for usually laughing at my jokes…and for telling me when I’m not funny. -
Bossypants - Tina Fey.Pdf
Acknowledgments I would like to gratefully thank: Kay Cannon, Richard Dean, Eric Gurian, John Riggi, and Tracy Wigfield for their eyes and ears. Dave Miner for making me do this. Reagan Arthur for teaching me how to do this. Katie Miervaldis for her dedicated service and Latvian demeanor. Tom Ceraulo for his mad computer skills. Michael Donaghy for two years of Sundays. Jeff and Alice Richmond for their constant loving encouragement and their constant loving interruption, respectively. Thank you to Lorne Michaels, Marc Graboff, and NBC for allowing us to reprint material. Contents Front Cover Image Welcome Dedication Introduction Origin Story Growing Up and Liking It All Girls Must Be Everything Delaware County Summer Showtime! That’s Don Fey Climbing Old Rag Mountain Young Men’s Christian Association The Windy City, Full of Meat My Honeymoon, or A Supposedly Fun Thing I’ll Never Do Again Either The Secrets of Mommy’s Beauty Remembrances of Being Very Very Skinny Remembrances of Being a Little Bit Fat A Childhood Dream, Realized Peeing in Jars with Boys I Don’t Care If You Like It Amazing, Gorgeous, Not Like That Dear Internet 30 Rock: An Experiment to Confuse Your Grandparents Sarah, Oprah, and Captain Hook, or How to Succeed by Sort of Looking Like Someone There’s a Drunk Midget in My House A Celebrity’s Guide to Celebrating the Birth of Jesus Juggle This The Mother’s Prayer for Its Daughter What Turning Forty Means to Me What Should I Do with My Last Five Minutes? Acknowledgments Copyright * Or it would be the biggest understatement since Warren Buffett said, “I can pay for dinner tonight.” Or it would be the biggest understatement since Charlie Sheen said, “I’m gonna have fun this weekend.” So, you have options. -
Creativity Anoiko 2011
Creativity Anoiko 2011 PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Sun, 27 Mar 2011 10:09:26 UTC Contents Articles Intelligence 1 Convergent thinking 11 Divergent thinking 12 J. P. Guilford 13 Robert Sternberg 16 Triarchic theory of intelligence 20 Creativity 23 Ellis Paul Torrance 42 Edward de Bono 46 Imagination 51 Mental image 55 Convergent and divergent production 62 Lateral thinking 63 Thinking outside the box 65 Invention 67 Timeline of historic inventions 75 Innovation 111 Patent 124 Problem solving 133 TRIZ 141 Creativity techniques 146 Brainstorming 148 Improvisation 154 Creative problem solving 158 Intuition (knowledge) 160 Metaphor 164 Ideas bank 169 Decision tree 170 Association (psychology) 174 Random juxtaposition 174 Creative destruction 175 References Article Sources and Contributors 184 Image Sources, Licenses and Contributors 189 Article Licenses License 191 Intelligence 1 Intelligence Intelligence is a term describing one or more capacities of the mind. In different contexts this can be defined in different ways, including the capacities for abstract thought, understanding, communication, reasoning, learning, planning, emotional intelligence and problem solving. Intelligence is most widely studied in humans, but is also observed in animals and plants. Artificial intelligence is the intelligence of machines or the simulation of intelligence in machines. Numerous definitions of and hypotheses about intelligence have been proposed since before the twentieth century, with no consensus reached by scholars. Within the discipline of psychology, various approaches to human intelligence have been adopted. The psychometric approach is especially familiar to the general public, as well as being the most researched and by far the most widely used in practical settings.[1] History of the term Intelligence derives from the Latin verb intelligere which derives from inter-legere meaning to "pick out" or discern. -
2017 Course Catalog Letter from the Artistic Director
2017 Course Catalog Letter from the Artistic Director Dear Students, On behalf of the faculty and staff in Table of Contents Hollywood, I would like to welcome you to The Second City Training Center. By enrolling with us, you The Adult Improv Program 4 are becoming a part of the most prestigious comedic tradition in the The Conservatory 7 world. For over 57 years, The Second City has provided a collaborative and specialized Studies 8 safe space for artists to hone their improv skills, create original material, writing 11 and grow as performers. Our training center in Hollywood is Harold Ramis Film School in Chicago 13 unique in that it offers artists the Online Classes 14 opportunity to explore their creativity while immersed in the very nexus of directing 16 the entertainment industry! While studying with us, you will learn to music 17 say “yes”, support others, play to the height of your intelligence, and Kids & Teen program 18 discover your personal comedic style. Whether your dream is to work Kids & teen camps 19 professionally, open yourself up creatively, or just step outside of your comfort zone, I have no doubt your time here will prove invaluable. PRICING 20 Joshua Funk, Artistic Director, Policies / Benefits for Students 21 The Second City Training Center, important dates 24 Hollywood 2 323-464-8542 • secondcity.com 3 IMPROV 1-3 Improv 3: Scene Work Improv Drop-In Physical Comedy 101 Improv classes have a performance Move past short form games and The Improv Drop-in is a The human body is capable of at the end of their class.