Scarcity to Abundance Book
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Cablefax Dailytm Thursday — January 9, 2020 What the Industry Reads First Volume 31 / No
www.cablefaxdaily.com, Published by Access Intelligence, LLC, Tel: 301-354-2101 Cablefax DailyTM Thursday — January 9, 2020 What the Industry Reads First Volume 31 / No. 006 Quick Bites: Quibi Not ‘Shrinking TV’ For Mobile Viewing In just over a year, short-form content streamer Quibi has been able to raise $1bln in funding while receiving the back- ing of major Hollywood studios, but are consumers ready to embrace the app? CEO Meg Whitman and founder Jeffrey Katzenberg used the company’s CES keynote Wednesday to dispel any consumer skepticism regarding Quibi, calling it the world’s first mobile-only premium entertainment platform. “Mobile phones are the most widely-distributed, democra- tized entertainment platform the world has ever seen,” Katzenberg said. The idea behind the platform is to deliver movie- quality experiences in quick bites (known as Quibis) for Millennial and Gen Z audiences that take advantage of all of the capabilities modern smartphones offer. To do so, Quibi had to tackle the usual challenges that come with mobile viewing, including the inability to watch content in both portrait and landscape modes. “It means creating a technology platform optimized for people on the go and giving them a great entertainment experience in those in-between moments,” Whit- man said. “We’re not shrinking TV onto phones. We’re creating something new.” Chief product officer Tom Conrad took to the stage to unveil Turnstyle, a new way to watch that allows viewers to move between a full-screen landscape mode and a full-screen portrait mode experience at any time. Conrad illustrated Turnstyle by showing the short film “Nest.” When the phone was held in portrait mode, viewers were able to see an intruder trying to break into a woman’s house through her Google Nest doorbell camera. -
2017Seasonpressrelea
Crowded Fire Theater FOR IMMEDIATE RELEASE: Contact: Tiffany Cothran (415) 523-0034 [email protected] CROWDED FIRE THEATER’S 2017 SEASON WITH PLAYS BY MIA CHUNG AND PLAYWRIGHT-IN-RESIDENCE CHRISTOPHER CHEN YOU FOR ME FOR YOU by Mia Chung, March 9-April 1 A TALE OF AUTUMN by Christopher Chen, September 14-October 7 Translated by Rachel Willson-Broyles Presented at the Thick House 1695 18th St, San Francisco San Francisco - Crowded Fire Theater (CFT) Crowded Fire’s Artistic Director Mina Morita unveiled the 2017 mainstage season lineup including two contemporary plays that continue to uphold the company’s long tradition of producing boundary - pushing, thought-provoking theater. At a season-announcement party on Saturday, November th 19 Morita addressed Crowded Fire donors, patrons, and artists saying “We are a divided country in the midst of a divisive time. It is more important now, more than ever to use our creative and critical thought to mine our cultural memory and to interrogate our existence. I am thrilled to present selections next season that do just that.” Crowded Fire‘s 2016 season begins with the Bay Area premiere of Mia Chung’s YOU FOR ME FOR YOU (3/9-4/1), a heart-wrenching and magical tale of two North Korean sisters divided in their patriotism and separated in their attempt to leave North Korea for the United States. YOU FOR ME FOR YOU will be directed by M. Graham Smith. The mainstage season concludes with local favorite Christopher Chen’s world premiere of A TALE OF AUTUMN (9/14-10/7), a Crowded Fire commissioned piece born from a deep mutual concern over the ever-increasing power of corporate personhood in present day capitalism. -
2018 Annual Report
Annual Report 2018 Dear Friends, welcome anyone, whether they have worked in performing arts and In 2018, The Actors Fund entertainment or not, who may need our world-class short-stay helped 17,352 people Thanks to your generous support, The Actors Fund is here for rehabilitation therapies (physical, occupational and speech)—all with everyone in performing arts and entertainment throughout their the goal of a safe return home after a hospital stay (p. 14). nationally. lives and careers, and especially at times of great distress. Thanks to your generous support, The Actors Fund continues, Our programs and services Last year overall we provided $1,970,360 in emergency financial stronger than ever and is here for those who need us most. Our offer social and health services, work would not be possible without an engaged Board as well as ANNUAL REPORT assistance for crucial needs such as preventing evictions and employment and training the efforts of our top notch staff and volunteers. paying for essential medications. We were devastated to see programs, emergency financial the destruction and loss of life caused by last year’s wildfires in assistance, affordable housing, 2018 California—the most deadly in history, and nearly $134,000 went In addition, Broadway Cares/Equity Fights AIDS continues to be our and more. to those in our community affected by the fires and other natural steadfast partner, assuring help is there in these uncertain times. disasters (p. 7). Your support is part of a grand tradition of caring for our entertainment and performing arts community. Thank you Mission As a national organization, we’re building awareness of how our CENTS OF for helping to assure that the show will go on, and on. -
PLAYNOTES Season: 43 Issue: 04
PLAYNOTES SEASON: 43 ISSUE: 04 PORTLANDSTAGE BACKGROUND INFORMATION The Theater of Maine INTERVIEWS & COMMENTARY www.portlandstage.org AUTHOR BIOGRAPHY Discussion Series The Artistic Perspective, hosted by Artistic Director Anita Stewart, is an opportunity for audience members to delve deeper into the themes of the show through conversation with special guests. A different scholar, visiting artist, playwright, or other expert will join the discussion each time. The Artistic Perspective discussions are held after the first Sunday matinee performance. Page to Stage discussions are presented in partnership with the Portland Public Library. These discussions, led by Portland Stage artistic staff, actors, directors, and designers answer questions, share stories and explore the challenges of bringing a particular play to the stage. Page to Stage occurs at noon on the Tuesday after a show opens at the Portland Public Library’s Main Branch. Feel free to bring your lunch! Curtain Call discussions offer a rare opportunity for audience members to talk about the production with the performers. Through this forum, the audience and cast explore topics that range from the process of rehearsing and producing the text to character development to issues raised by the work Curtain Call discussions are held after the second Sunday matinee performance. All discussions are free and open to the public. Show attendance is not required. To subscribe to a discussion series performance, please call the Box Office at 207.774.0465. Portland Stage Company Educational Programs are generously supported through the annual donations of hundreds of individuals and businesses, as well as special funding from: The Davis Family Foundation Funded in part by a grant from our Educational Partner, the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts. -
KYM MOORE Curriculum Vitae EDUCATION
KYM MOORE Curriculum Vitae Department of Theatre Arts and Performance Studies 201 Lyman Hall Brown University Providence, RI Phone: (401)-863-2046 Cell: (917)-992-6421 Email: [email protected] ________________________________________________________________ EDUCATION MFA University of Massachusetts /Amherst, Directing 1992 BA State University of New York at New Paltz, Theatre Arts 1981 Additional Training Brown University/OVPR, Grant Writing Workshop 2018 Creative Capital, Internet for Artists (Workshop) 2011 La Mama E.T.C., International Symposium for Directors Umbria, Italy 2000 Screenwriting, Sarah Lawrence College 2004-5 Story Structure/ Screenwriting, Robert McKee Seminar, Hunter College 1989 Director’s Project, Directing Intern Hangar Theater Ithaca, NY 1982 ACADEMIC EMPLOYMENT Associate Professor, TAPS Department, Brown University 2015- Assistant Professor, TAPS Department, Brown University 2011-15 Gerard Visiting Assistant Professor, TAPS Department, Brown University 2008-11 Visiting Assistant Professor, Swarthmore College 2007-08 Visiting Lecturer, SUNY Purchase College 2006-08 Associate Professor, Sarah Lawrence College 2001-07 Honors Thesis Examiner, Swarthmore College 2003-12 Sarah Lawrence College, Film/New Media Program 2003-06 Directing Actors for Film-Craft Class -instructor Sarah Lawrence College, Film/New Media Program 2005 Brandeis High School Media Project-instructor/volunteer Assistant Professor, Hampshire College 1996-01 Visiting Assistant Professor, Hampshire College 1995-96 Visiting Assistant Professor, Theater -
The Displaced Hindu Gods Trilogy
Excerpt terms and conditions This excerpt is available to assist you in the play selection process. Excerpts are not intended for performance, classroom or other academic use. In any of these cases you will need to purchase playbooks via our website or by phone, fax or mail. A short excerpt is not always indicative of the entire work, and we strongly suggest you read the whole play before planning a production or ordering a cast quantity. © Dramatic Publishing The Displaced Hindu Gods Trilogy Brahmani, a One-Hijra Stand-Up Comedy Show The Chronicles of Kalki Shiv A collection by ADITI BRENNAN KAPIL Dramatic Publishing Company Woodstock, Illinois ● Australia ● New Zealand ● South Africa © Dramatic Publishing *** NOTICE *** The amateur and stock acting rights to this work are controlled exclusively by THE DRAMATIC PUBLISHING COMPANY, INC., without whose permission in writing no performance of it may be given. Royalty must be paid every time a play is performed whether or not it is presented for profit and whether or not admission is charged. A play is performed any time it is acted before an audience. Current royalty rates, applications and restrictions may be found at our website: www.dramaticpublishing.com, or we may be contacted by mail at: THE DRAMATIC PUBLISHING COMPANY, INC., 311 Washington St., Woodstock, IL 60098. COPYRIGHT LAW GIVES THE AUTHOR OR THE AUTHOR’S AGENT THE EXCLUSIVE RIGHT TO MAKE COPIES. This law provides authors with a fair return for their creative efforts. Authors earn their living from the royalties they receive from book sales and from the performance of their work. -
TELEVISION NOMINEES DRAMA SERIES Breaking Bad, Written By
TELEVISION NOMINEES DRAMA SERIES Breaking Bad, Written by Sam Catlin, Vince Gilligan, Peter Gould, Gennifer Hutchison, George Mastras, Thomas Schnauz, Moira Walley-Beckett; AMC The Good Wife, Written by Meredith Averill, Leonard Dick, Keith Eisner, Jacqueline Hoyt, Ted Humphrey, Michelle King, Robert King, Erica Shelton Kodish, Matthew Montoya, J.C. Nolan, Luke Schelhaas, Nichelle Tramble Spellman, Craig Turk, Julie Wolfe; CBS Homeland, Written by Henry Bromell, William E. Bromell, Alexander Cary, Alex Gansa, Howard Gordon, Barbara Hall, Patrick Harbinson, Chip Johannessen, Meredith Stiehm, Charlotte Stoudt, James Yoshimura; Showtime House Of Cards, Written by Kate Barnow, Rick Cleveland, Sam R. Forman, Gina Gionfriddo, Keith Huff, Sarah Treem, Beau Willimon; Netflix Mad Men, Written by Lisa Albert, Semi Chellas, Jason Grote, Jonathan Igla, Andre Jacquemetton, Maria Jacquemetton, Janet Leahy, Erin Levy, Michael Saltzman, Tom Smuts, Matthew Weiner, Carly Wray; AMC COMEDY SERIES 30 Rock, Written by Jack Burditt, Robert Carlock, Tom Ceraulo, Luke Del Tredici, Tina Fey, Lang Fisher, Matt Hubbard, Colleen McGuinness, Sam Means, Dylan Morgan, Nina Pedrad, Josh Siegal, Tracey Wigfield; NBC Modern Family, Written by Paul Corrigan, Bianca Douglas, Megan Ganz, Abraham Higginbotham, Ben Karlin, Elaine Ko, Steven Levitan, Christopher Lloyd, Dan O’Shannon, Jeffrey Richman, Audra Sielaff, Emily Spivey, Brad Walsh, Bill Wrubel, Danny Zuker; ABC Parks And Recreation, Written by Megan Amram, Donick Cary, Greg Daniels, Nate DiMeo, Emma Fletcher, Rachna -
THE 2020–21 RUTH EASTON NEW PLAY SERIES March 3, 2021
THE 2020–21 RUTH EASTON NEW PLAY SERIES PULPPULP VERITEVERITE by Crystal Skillman March 3, 2021 “Five years ago, I began writing a series of pieces that examined activism in the U.S. Pulp Vérité came to me as a parable that uses my training as a photographer to tell this story. With all we are politically facing in this country—the earned criticism of our place in the world internationally— Pulp Vérité is a race against time. This play unfolds and unravels in startling ways. I hope it is a call to action.”— Crystal Skillman Playwright......................Crystal Skillman Director......................Kareem Fahmy** Dramaturg......................Megan Sandberg-Zakian Design consultant......................David Esler Apprentice Stage Manager......................Ashe Jaafaru Workshop Producer......................Hayley Finn Associate Workshop Producer...........Julia Brown Actors Hunter/Kel/Stage Directions.....................Latoya Cameron* Robin......................Meredith Casey Joy......................Latoya Edwards* Will......................Alex Esola* Pike......................Layla Khoshnoudi* Jamie......................Meghan Kreidler* Lesley......................Maggie Metnick* *Appearing through an Agreement between this theatre, the Playwrights’ Center, and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. **Member, Stage Directors and Choreographers Society A NOTE FROM JEREMY B. COHEN Jaime The past four years have felt like an unending string of conversations; discussing with friends and colleagues what actions we needed to take that day. As the world continues to shift, change, and “That morning. You didn’t come back. We found a message—that you were meeting reveal itself at an incredibly rapid pace, many of us are seeking the way to address these challenging someone from an interview, got an address to the cafe—someone we begged from the times and become part of the solution in a whole new way. -
Patron Services Representatives Are the Official Face of the Theatre Development Fund on the TKTS Lines at Times Square, South Street Seaport and Downtown Brooklyn
REPRESENTATIVE JOB DESCRIPTION Patron Services Representatives are the official face of the Theatre Development Fund on the TKTS lines at Times Square, South Street Seaport and Downtown Brooklyn. They assist patrons at the booths with all of their questions and are primarily charged with discussing the current theatrical offerings with potential ticket buyers. The goal of a Patron Services Representative is not to “push” or “sell” certain shows or seats, but rather to help our patrons to make informed decisions for themselves and get all the information they need about any given show or shows. In a nutshell, Patron Services Representatives are well informed, kind, and passionate theatre professionals working for TDF/TKTS, in order to help our patrons’ understanding of the booths, and improve the overall TKTS experience. Like all TDF’s programming, they are trying to make theatre accessible to as many people as possible by improving the experience of the booths and simplify the sometimes overwhelming world of New York City Theatre. Representatives are expected to: -Work year round at the TKTS Booths, for the most part out-of doors. -Have an excellent working knowledge of New York City in order to best help patrons (especially of the Theatres and their areas) -Be able to discuss with patrons of TKTS the various shows we have on offer. -Offer help to anyone looking for informational assistance at our Booths. -Keep up to date with information on the current season of Broadway and Off-Broadway productions. This may include attending various shows which offer invitations to the team. -Assist in Patron’s understanding of the TKTS Booth’s operations, rules, and function. -
2021 Proxy Statement NOTICE of 2021 ANNUAL MEETING of SHAREHOLDERS
PROXY STATEMENT 2021 ANNUAL MEETING OF SHAREHOLDERS May 4, 2021 at 10:00 a.m. Eastern Daylight Time Omnicom Group Inc. 280 Park Avenue New York, NY 10017 Shareholders may also attend online at www.virtualshareholdermeeting.com/OMC2021 A Letter from Omnicom’s Lead Independent Director To My Fellow Shareholders: The challenges of the COVID-19 pandemic in 2020 were unprecedented for our society, shareholders, clients, and the Omnicom family. Throughout the year, our Board and management team stayed closely coordinated to receive updates and make prudent and timely decisions based on the impact of the pandemic. We have focused on three key areas to support our stakeholders and the Company: First and foremost, we prioritized the safety and well-being of our people through implementation of a global work from home policy, a carefully planned process for the safe re-opening of offices at limited capacity and expansion of health benefits We also committed to continuing to effectively serve our clients and communities through effective business continuity planning while transitioning to working remotely, and our efforts to service clients and support our communities while working from home have been extremely successful Omnicom has also taken steps to preserve the strength of our business for the long term, such as the completion of several financings to support liquidity and strengthen the balance sheet, and the implementation of cost-reduction initiatives, including temporarily suspending share repurchases, while preserving the dividend on our common stock During the course of the year, the Board also remained focused on core tenets of our governance policies, particularly as they relate to our environmental, social, and governance (“ESG”) and compensation practices. -
Asian American Plays for a New Generation
Asian American Plays for a New Generation Asian American Plays for a New Generation Edited by Josephine Lee, Don Eitel, and R. A. Shiomi TEMple UNIVersITY Press PHIladelpHIA TEMple UNIVersITY Press Philadelphia, Pennsylvania 19122 www.temple.edu/tempress Copyright © 2011 by Temple University All rights reserved Published 2011 Library of Congress Cataloging-in-Publication Data Asian American plays for a new generation / edited by Josephine Lee, Don Eitel, and R. A. Shiomi. p. cm. Includes bibliographical references. ISBN 978-1-4399-0515-9 (cloth : alk. paper) — ISBN 978-1-4399-0516-6 (pbk. : alk. paper) — ISBN 978-1-4399-0517-3 (e-book) 1. American drama—Asian American authors. 2. American drama—20th century. 3. American drama—21st century. 4. Asian Americans—Drama. I. Lee, Josephine, 1960– II. Eitel, Don, 1975– III. Shiomi, R. A., 1947– PS628.A85A885 2011 812'.54080895073—dc22 2010042421 The paper used in this publication meets the requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48—1992 Printed in the United States of America 2 4 6 8 9 7 5 3 1 CONTENTS Introduction • Josephine Lee 1 1 Indian Cowboy • Zaraawar Mistry 11 2 Walleye Kid: The Musical • Music and Lyrics: Kurt Miyashiro • Book: R. A. Shiomi and Sundraya Kase 33 3 Happy Valley • Aurorae Khoo 101 4 Asiamnesia • Sun Mee Chomet 173 5 Sia(b) • May Lee-Yang 205 6 Bahala Na (Let It Go) • Clarence Coo 223 7 Ching Chong Chinaman • Lauren Yee 265 Afterword • R. A. Shiomi 319 Contributors 325 Asian American Plays for a New Generation Introduction Josephine Lee Tam (as a Bible Belt preacher): Born? No! Crashed! Not born. -
Dead Man's Cell Phone Media Release
FOR IMMEDIATE RELEASE PROFILE THEATRE PRESS CONTACT: Natalie Genter-Gilmore, Marketing and Communications Manager PH: 503.242.0080 [email protected] DEAD MAN’S CELL PHONE By Sarah Ruhl January 29 – February 15, 2015 PORTLAND, Ore., January 8, 2015 – PROFILE THEATRE (Adriana Baer, Artistic Director) proudly presents Dead Man’s Cell Phone by Sarah Ruhl. Performances run January 29 – February 15, 2015 on the Morrison Stage at Artists Repertory Theatre. Tickets are currently on sale at Profiletheatre.org. Dead Man’s Cell Phone is the first production in Profile Theatre’s 2015 Season dedicated to the works of playwright Sarah Ruhl. “Sarah Ruhl is interested in exploring a reciprocity with the audience. How can we invite you to be in relationship with the stage instead of just observing it from afar?” says Adriana Baer, Profile Artistic Director and director of Dead Man’s Cell Phone. “Perhaps it is by casting a light onto something we all recognize - an object as basic as a cell phone - and using that to show something greater, something magnificent about the human condition.” In Dead Man’s Cell Phone, as Jean takes possession of the cell phone of a dead man, she is thrown into a mysterious journey of self-discovery and awakening. Through this small modern device, she finds adventure, purpose and even love – but at what cost? This hilarious and paradoxical treatise on the digital world probes at the thin line between reality and fantasy, privacy and openness, and even life and death. Cast The cast for Dead Man’s Cell Phone features Dana Millican (Last seen at Profile in 2012’s Fifth of July), Don Kenneth Mason (Last seen at Profile in 2013’s Blood Knot), Patricia Hunter and Dana Green.