November 2016 Volume 31, No

Total Page:16

File Type:pdf, Size:1020Kb

November 2016 Volume 31, No Friendship Heights Mormon Temple Festival of Lights VILLAGE NEWS page 5 NOVEMBER 2016 VOLUME 31, NO. 11 www.friendshipheightsmd.gov 301-656-2797 Ancient art forms revived with Turquoise Mountain effort Join us when we travel to the Smithsonian’s Sackler Gallery on Thursday, Dec. 1, for a morning tour of the highly acclaimed Turquoise Mountain exhibit, then delight in Turkish fare at Ottoman Taverna. From its critical position on the ancient Silk Road that stretches from Europe to China, Afghanistan or give up their craft. The old city from slum conditions into a vibrant absorbed traditions from India, of Kabul fell into ruin. Over the cultural and economic center. This Persia, and Central Asia and past decade, Turquoise Mountain, exhibit highlights a new generation blended them into a distinct artistic an organization founded in 2006 of Afghan artisans in woodwork, culture. During decades of civil at the request of HRH the Prince calligraphy, ceramics, jewelry design, unrest that began in the 1970s, of Wales and the president of and other crafts brought together by many of Afghanistan’s artisans Afghanistan, has transformed the the Turquoise Mountain effort. were forced to leave their country Murad Khani district of Old Kabul Continued on page 11, see Turquoise Annual Artisan Fair includes a morning Anthony Fauci to concert especially for children speak at Center Multi-talented artist and musician the auditorium to view some of the Dr. Anthony Fauci, Director of the James Taylor returns to the Village unique handcrafted items for sale by National Institute of Allergy and Center to take part in our 14th local artisans. Infectious Diseases (NIAID) at NIH, Annual Artisan Fair on Friday, Nov. You’ll find wearable art jackets will discuss the perpetual challenge 4, 5:30 to 8 p.m. and Saturday, made of exotic fabrics; fun, animal- of emerging infectious diseases, Nov. 5, 10 a.m. to 4 p.m. inspired felt ornaments; sleek fused including the recent re-emergence of James has played to enthusiastic glass, delicate crocheted necklaces Ebola virus in West Africa and of Zika audiences during our summer and scarves; sumptuous soaps; virus in the Americas, at the Village concert series and is a favorite fabulous clothing for boys and girls, Center on Thursday, Dec. 8, at 7:30 teacher during our summer art metal and natural stone jewelry, p.m. camp. He’ll take a break from his gorgeous pottery, platters and bowls; Dr. Fauci oversees an extensive booth at the artisan fair to perform watercolors; photography; notecards research portfolio to prevent, a special concert Saturday from 11 and more. diagnose, and treat infectious and a.m. to noon. All ages will enjoy his The fair begins Friday with a immune-mediated diseases. He has smooth vocals, engaging smile and reception between 5:30 to 8 p.m. advised five presidents and the U.S. Department of Health and Human masterful guitar playing. Refreshments will be served. Wine Before or after the concert, stop by Continued on page 12, see Artisan Fair Continued on page 2, see Fauci Moby Dick at Arena Stage, page 5 G69109_NOV 2016 News final.indd 1 10/25/16 12:13 PM Caregivers Support Fauci, continued from page 1 Services on HIV/AIDS, pandemic preparedness, and many Group other domestic and global health issues. He was one of The best way to care for a loved one is to the principal architects of the President’s Emergency Plan take good care of yourself. The monthly support group for for AIDS Relief, a program that has saved millions of lives people providing regular assistance for family members throughout the developing world. with serious illness or dementia will meet at the Village Dr. Fauci is also a clinician and the long-time chief of Center on Monday, Nov. 14, from 6:30 to 8 p.m. the NIAID Laboratory of Immunoregulation. As such, he has made seminal contributions to HIV/AIDS research The meetings are led by Judith Bernstein of GPS Senior and is widely recognized for developing therapies Care Partners, a clinical social worker and certified for several formerly fatal inflammatory and immune- advanced social work case manager. If you have questions mediated diseases. Dr. Fauci is the recipient of numerous for Judith, please email her at judith.gpspartners@gmail. prestigious awards for his scientific and global health com. The support group is a partnership of Brighton accomplishments, including the Presidential Medal of Gardens of Friendship Heights and the Village of Freedom, the highest honor given to a civilian by the Friendship Heights. Let us know if you plan to attend President of the United States. Please let us know you will by calling 301-656-2797. Please note: the group is for attend by calling 301-656-2797. One Third Tall Ad - Village News - PRESS - 2.pdf 1 12/6/2012 2:46:42 PM caregivers only. Friendship Heights VILLAGE NEWS www.friendshipheightsmd.gov Email: [email protected] The Village News is a publication of the Village Council, the elected governing body of the Special Tax District of the Village of Friendship Heights, 4433 South Park Avenue, Chevy Chase, MD 20815, 301-656-2797. Physical Therapy Office The newsletter is produced through the cooperative efforts of volunteers, Friendship Heights Village at the Elizabeth Arcade Council members, and Village staff. Private one hour physical therapy sessions, ADVERTISING one-on-one, no technicians The deadline for reserving space for the December issue is November 5th. C For suggestions about news items or information on advertising rates, call Manual therapy, therapeutic exercises, balance and M 301-656-2797. Acceptance of advertising does not represent endorsement gait retraining, visceral mobilization Y by the Village of Friendship Heights for any product or service, nor is the Ultrasound, electrical stimulation, and combo Village of Friendship Heights responsible for representations made by CM advertisers. MY Aquatic therapy (at our Tenleytown location) FOUNDER CY Orthopedic injuries, joint replacements Martin Kuhn CMY Neurological disorders (MS, MD, ALS, stroke, dystonia), fibromyalgia, chronic fatigue syndrome EDITORIAL STAFF K Melanie Rose White Anne Hughes O’Neil Massage therapy / personal and post-rehab training Volunteer Editor Staff Writer, Layout, Advertising We are a MEDICARE PREFERRED PROVIDER and accept Jennie Fogarty co-insurance from PPO and POS health insurance plans. Staff Writer Call office for details. Locations FRIENDSHIP HEIGHTS VILLAGE COUNCIL Melanie Rose White Tenleytown Friendship Heights Kathleen G. Cooper Mayor Treasurer 4000 Wisconsin Ave., NW #P2 4601 N Park Ave., #10C John R. Mertens David O. Lewis Washington, DC 20016 Chevy Chase, MD 20815 Chairman Parliamentarian (inside Tenley Sport & Health Club, (at the Elizabeth Arcade, Michael J. Dorsey Clara Lovett garage parking available) free garage parking!) Vice Chairman Historian Paula J. Durbin phone 301-654-9355 | [email protected] Secretary VILLAGE MANAGER www.getwell-rehab.com find us on facebook Julian P. Mansfield 2 Village News November 2016 G69109_NOV 2016 News final.indd 2 10/24/16 7:39 PM rented privately since the County purchased it in 1995. Village Council Update The Council has asked that the County incorporate the property into the park and remove the stockade fence that runs the length of the property on Willard. Currently the Parking enforcement in the Village park has a narrow pathway next to 4701 Willard Avenue At a recent meeting of the Community Advisory that serves as the main entrance for our residents. It Committee, some questions were raised about parking would benefit greatly by having an expanded entryway enforcement policy and procedures. Because the Village on Willard. The Citizens Coordinating Committee on has very little on-street parking, time limits were instituted Friendship Heights and other neighborhood groups to maximize the availability of the spaces we have. support this position as well. Parking The two Park and Planning representatives heard restrictions are numerous comments and questions from the Council and clearly indicated residents. They will report back and follow up with us on by signage. The next steps. two-hour parking areas have a sign that prohibits Council discusses Page Park upgrades moving the vehicle The Council discussed possible improvements to Page within zone 1 to Park at the October 18 meeting. Page Park has always extend the two- been maintained by the Village as a pesticide-free, rustic hour time limit park adjacent to a forest conservation area. The Council (see photo at left). is now examining the feasibility of providing water and Please note that electricity to the park in order to allow for an irrigation zone 1 covers the system and upgraded landscaping. entire Village. Thus you are not Hilda Seibel memorial concert series allowed to move your vehicle anywhere in the Village On October 5 the Village hosted a reception and concert to extend the two-hour time limit. There are a number in memory of Hilda Seibel, an extraordinary woman who of hourly garages and parking lots in the Village if you was a popular performer at the Center for many years. require more than two hours parking. Hilda’s family and friends made generous contributions If you have received a parking ticket and you would toward the Center’s music programs. We will continue to like to appeal it, you can do so through the Montgomery honor her memory with a series of concerts. County Court System. Our parking enforcement is Hilda settled in the provided by a private contractor, Securitas Security town of Somerset in Systems. Sammy Mwanjala, Branch Manager for Securitas, 1953. She was a talented is the supervisor of the security officers. He can be reached musician who played directly at 301-608-1608. the violin and viola.
Recommended publications
  • DISENCHANTING the AMERICAN DREAM the Interplay of Spatial and Social Mobility Through Narrative Dynamic in Fitzgerald, Steinbeck and Wolfe
    DISENCHANTING THE AMERICAN DREAM The Interplay of Spatial and Social Mobility through Narrative Dynamic in Fitzgerald, Steinbeck and Wolfe Cleo Beth Theron Thesis presented in fulfilment of the requirements for the degree Master of Arts in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr. Dawid de Villiers March 2013 Stellenbosch University http://scholar.sun.ac.za ii DECLARATION By submitting this thesis/dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2013 Copyright © Stellenbosch University All rights reserved Stellenbosch University http://scholar.sun.ac.za iii ABSTRACT This thesis focuses on the long-established interrelation between spatial and social mobility in the American context, the result of the westward movement across the frontier that was seen as being attended by the promise of improving one’s social standing – the essence of the American Dream. The focal texts are F. Scott Fitzgerald’s The Great Gatsby (1925), John Steinbeck’s The Grapes of Wrath (1939) and Thomas Wolfe’s You Can’t Go Home Again (1940), journey narratives that all present geographical relocation as necessary for social progression. In discussing the novels’ depictions of the itinerant characters’ attempts at attaining the American Dream, my study draws on Peter Brooks’s theory of narrative dynamic, a theory which contends that the plotting operation is a dynamic one that propels the narrative forward toward resolution, eliciting meanings through temporal progression.
    [Show full text]
  • Whole Document
    Copyright By Christin Essin Yannacci 2006 The Dissertation Committee for Christin Essin Yannacci certifies that this is the approved version of the following dissertation: Landscapes of American Modernity: A Cultural History of Theatrical Design, 1912-1951 Committee: _______________________________ Charlotte Canning, Supervisor _______________________________ Jill Dolan _______________________________ Stacy Wolf _______________________________ Linda Henderson _______________________________ Arnold Aronson Landscapes of American Modernity: A Cultural History of Theatrical Design, 1912-1951 by Christin Essin Yannacci, B.A.; M.A. Dissertation Presented to the faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2006 Acknowledgements There are many individuals to whom I am grateful for navigating me through the processes of this dissertation, from the start of my graduate course work to the various stages of research, writing, and editing. First, I would like to acknowledge the support of my committee members. I appreciate Dr. Arnold Aronson’s advice on conference papers exploring my early research; his theoretically engaged scholarship on scenography also provided inspiration for this project. Dr. Linda Henderson took an early interest in my research, helping me uncover the interdisciplinary connections between theatre and art history. Dr. Jill Dolan and Dr. Stacy Wolf provided exceptional mentorship throughout my course work, stimulating my interest in the theoretical and historical complexities of performance scholarship; I have also appreciated their insights and generous feedback on beginning research drafts. Finally, I have been most fortunate to work with my supervisor Dr. Charlotte Canning. From seminar papers to the final drafts of this project, her patience, humor, honesty, and overall excellence as an editor has pushed me to explore the cultural implications of my research and produce better scholarship.
    [Show full text]
  • Introduction
    THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS THE OLIVE WONG PROJECT PERFORMANCE COSTUME DESIGN RESEARCH GUIDE INTRODUCTION COSTUME DESIGN AND PERFORMANCE WRITTEN AND EDITED BY AILEEN ABERCROMBIE The New York Public Library for the Perform- newspapers, sketches, lithographs, poster art ing Arts, located in Lincoln Center Plaza, is and photo- graphs. In this introduction, I will nestled between four of the most infuential share with you some of Olive’s selections from performing arts buildings in New York City: the NYPL collection. Avery Fisher Hall, Te Metropolitan Opera, the Vivian Beaumont Teater (home to the Lincoln There are typically two ways to discuss cos- Center Teater), and David H. Koch Teater. tume design: “manner of dress” and “the history Te library matches its illustrious location with of costume design”. “Manner of dress” contextu- one of the largest collections of material per- alizes the way people dress in their time period taining to the performing arts in the world. due to environment, gender, position, economic constraints and attitude. Tis is essentially the The library catalogs the history of the perform- anthropological approach to costume design. ing arts through collections acquired by notable Others study “the history of costume design”, photographers, directors, designers, perform- examining the way costume designers interpret ers, composers, and patrons. Here in NYC the the manner of dress in their time period: where so many artists live and work we have the history of the profession and the profession- an opportunity, through the library, to hear als. Tis discussion also talks about costume sound recording of early flms, to see shows designers’ backstory, their process, their that closed on Broadway years ago, and get to relationships and their work.
    [Show full text]
  • PULITZER PRIZE WINNERS in LETTERS © by Larry James
    PULITZER PRIZE WINNERS IN LETTERS © by Larry James Gianakos Fiction 1917 no award *1918 Ernest Poole, His Family (Macmillan Co.; 320 pgs.; bound in blue cloth boards, gilt stamped on front cover and spine; full [embracing front panel, spine, and back panel] jacket illustration depicting New York City buildings by E. C.Caswell); published May 16, 1917; $1.50; three copies, two with the stunning dust jacket, now almost exotic in its rarity, with the front flap reading: “Just as THE HARBOR was the story of a constantly changing life out upon the fringe of the city, along its wharves, among its ships, so the story of Roger Gale’s family pictures the growth of a generation out of the embers of the old in the ceaselessly changing heart of New York. How Roger’s three daughters grew into the maturity of their several lives, each one so different, Mr. Poole tells with strong and compelling beauty, touching with deep, whole-hearted conviction some of the most vital problems of our modern way of living!the home, motherhood, children, the school; all of them seen through the realization, which Roger’s dying wife made clear to him, that whatever life may bring, ‘we will live on in our children’s lives.’ The old Gale house down-town is a little fragment of a past generation existing somehow beneath the towering apartments and office-buildings of the altered city. Roger will be remembered when other figures in modern literature have been forgotten, gazing out of his window at the lights of some near-by dwelling lifting high above his home, thinking
    [Show full text]
  • Costume Institute Records, 1937-2008
    Costume Institute Records, 1937-2008 Finding aid prepared by Arielle Dorlester, Celia Hartmann, and Julie Le Processing of this collection was funded by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on August 02, 2017 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Costume Institute Records, 1937-2008 Table of Contents Summary Information .......................................................................................................3 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Administrative Information .............................................................................................. 6 Related Materials .............................................................................................................. 7 Controlled Access Headings............................................................................................... 7 Collection Inventory............................................................................................................9 Series I. Collection Management..................................................................................9 Series II. Curators' and Administrators' Files............................................................
    [Show full text]
  • The Rise of the Costume Designer: a Critical History of Costume on the New York Stage from 1934 to 1950
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1968 The Rise of the Costume Designer: a Critical History of Costume on the New York Stage From 1934 to 1950. Eelin Stewart Harrison Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Harrison, Eelin Stewart, "The Rise of the Costume Designer: a Critical History of Costume on the New York Stage From 1934 to 1950." (1968). LSU Historical Dissertations and Theses. 1444. https://digitalcommons.lsu.edu/gradschool_disstheses/1444 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfilmed exactly as received 68-16,312 HARRISON, Eelin Stewart, 1915- THE RISE OF THE COSTUME DESIGNER: A CRITICAL HISTORY OF COSTUME ON THE NEW YORK STAGE F R O M 1934 TO 1950. Louisiana State University and Agricultural and Mechanical College, Ph.D., 1968 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan Co) EELIN STEWART HARRISON 1968 ALL RIGHTS RESERVED THE RISE OF THE COSTUME DESIGNER: A CRITICAL HISTORY OF COSTUME ON THE NEW YORK STAGE FROM 1934 TO 1950 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 Speech by Eelin Stewart Harrison B.A., Brooklyn College, 1945 M.A., Louisiana State University, 1946 May, 1968 , ACKNOWLEDGMENTS The author wishes to express gratitude to all those who have so graciously given of their time and skill in the accomplishment of this task: To my esteemed professor, Claude L.
    [Show full text]
  • ITALIAN MODERN ART | ISSUE 3: ISSN 2640-8511 Introduction
    ITALIAN MODERN ART | ISSUE 3: ISSN 2640-8511 Introduction ITALIAN MODERN ART - ISSUE 3 | INTRODUCTION italianmodernart.org/journal/articles/introduction-3 Raffaele Bedarida | Silvia Bignami | Davide Colombo Methodologies of Exchange: MoMA’s “Twentieth-Century Italian Art” (1949), Issue 3, January 2020 https://www.italianmodernart.org/journal/issues/methodologies-of- exchange-momas-twentieth-century-italian-art-1949/ ABSTRACT A brief overview of the third issue of Italian Modern Art dedicated to the MoMA 1949 exhibition Twentieth-Century Italian Art, including a literature review, methodological framework, and acknowledgments. If the study of artistic exchange across national boundaries has grown exponentially over the past decade as art historians have interrogated historical patterns, cultural dynamics, and the historical consequences of globalization, within such study the exchange between Italy and the United States in the twentieth-century has emerged as an exemplary case.1 A major reason for this is the history of significant migration from the former to the latter, contributing to the establishment of transatlantic networks and avenues for cultural exchange. Waves of migration due to economic necessity in the late nineteenth and early twentieth centuries gave way to the smaller in size but culturally impactful arrival in the U.S. of exiled Jews and political dissidents who left Fascist Italy during Benito Mussolini’s regime. In reverse, the presence in Italy of Americans – often participants in the Grand Tour or, in the 1950s, the so-called “Roman Holiday” phenomenon – helped to making Italian art, past and present, an important component in the formation of American artists and intellectuals.2 This history of exchange between Italy and the U.S.
    [Show full text]
  • The Parallels Between Thomas Wolfe's Life and the Characters He
    Jones 1 Archived thesis/research paper/faculty publication from the University of North Carolina Asheville’s NC Docks Institutional Repository: http://libres.uncg.edu/ir/unca/ The Parallels between Thomas Wolfe’s Life and the Characters He Created in The Web and the Rock Senior Paper Presented in Partial Fulfillment of the Requirements For a Degree Bachelor of Arts with A Major in English at The University of North Carolina at Asheville Fall 2018 By Alexandra Jones ___________________________ Thesis Director Dr. Mildred K Barya ___________________________ Thesis Advisor Dr. Terry Roberts 1 Jones 2 “. I have found the constant, everlasting weather of man’s life is to be, not love, but loneliness. Love itself is not the weather of our lives. It is the rare, the precious flower.” -Thomas Wolfe, “God’s Lonely Man” Thomas Wolfe of Asheville, North Carolina wrote four novels, countless short stories, some plays and novellas, and a memoir but he is best known for his debut novel Look Homeward, Angel (1929) which established his reputation as an author who writes lengthy autobiographical fiction. His second and fourth novels, Of Time and the River (1935) and You Can’t Go Home Again (1940), are also generally well known but his third novel, The Web and the Rock, is not nearly as well known nor is it as well received by scholars and readers. This book was published in 1939 about a year after his sudden death. The novel was meant to show his development and growth as a mature author after receiving backlash from his first two novels.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 0427661 Mark Blitz stein’s “Regina”: A pivotal work in American musical theatre Foradori, Anne Bill, D.M.A. The Ohio State University, 1994 Copyright ©1094 by Foradori, Anne Bill.
    [Show full text]
  • American Theatre Design Since 1945
    Ronn Smith 515 half of the twentieth century), and often as the result of economic realities. 7 These realities are reflected in the New Stagecraft, for the simplicity of the style provided economic benefits that, at the time, could not be ignored by those working in the Little Theatre movement. Besides being closely identified with the New Stagecraft movement in the American Theatre Design Since 1945 United States, it is also Robert Edmond Jones who can be credited with intro­ ducing another significant innovation, one which has had a far greater impact Ronn Smith on the evolution of American theatre and theatre design than is commonly recognized. Jones insisted that the scenic designer be present as an active participant at the beginning of the production process, thus changing the practice of design by giving the designer an opportunity to contribute to the interpretation of the script. The importance of this can be more fully appre­ Introduction ciated when one considers the original productions of Tennessee Williams's A Streetcar Named Desire (194 7) or Arthur Miller's Death ofa Salesman (1949), The history of contemporary American theatre design, that is, the design of both of which were designed by Jo Mielziner, or, more recently, A Chorus Line scenery, costumes, and lighting in the United States after World War II, can (1975), designed by Robin Wagner. The pivotal position each of these produc­ actually be traced back to the 1915 production of The Man Who Married a tions holds in the history of American theatre can be attributed not only to Dumb Wife, directed by British director Harley Granville-Barker and designed the work of the individual playwrights, directors, and actors, but to the scenic by Robert Edmond Jones (see Volume 2, Chapter 8 for a discussion of this designers as well.
    [Show full text]
  • Introduction: Design As Cultural History
    Notes INTRODUCTION: DESIGN AS CULTURAL HISTORY 1. Michel Foucault, “Nietzsche, Genealogy, History,” in Foucault Reader, ed. Paul Rabinow (New York: Pantheon Books, 1984), 79. 2. For more current histories, see Ronn Smith’s “American Theatre Design since 1945,” in The Cambridge History of American Theatre, Vol. 3: Post World War II to the 1990s, eds. Don B. Wilmeth and Christopher Bigsby (Cambridge, UK: Cambridge University Press, 2000), 514. Also see Mary Henderson’s “Scenography, Stagecraft, and Architecture,” in The Cambridge History of American Theatre, Vol. 2: 1870–1945, eds. Don B. Wilmeth and Christopher Bigsby (Cambridge, UK: Cambridge University Press, 1999), 504–5; and Orville K. Larson’s Scene Design in the American Theatre from 1915–1960 (Fayetteville, AR: University of Arkansas Press, 1989). 3. Foucault, “Nietzsche, Genealogy, History,” 79. 4. In addition to the histories mentioned above, I am particularly indebted to the work of scholars like Arnold Aronson, Mary Henderson, Ann Fletcher, Marlis Schweitzer, and Christopher Innes (all cited in subsequent chapters) who have published important studies on American design and designers. 5. Critic Sheldon Cheney repeatedly uses the term “design” to distinguish the New Stagecraft approach in The New Movement in the Theatre (New York: Mitchell Kennerley, 1914). He writes that New Stagecraft artists create stage settings “by suggestion rather than by naturalistic delineation, by simple design rather than multiplicity and intricacy of detail” (124, my emphasis). For contemporary definitions of scenography, see Pamela Howard’s What is Scenography? (London: Routledge, 2002; 2009) and Joslin McKinney and Philip Butterworth’s Cambridge Introduction to Scenography (Cambridge, UK: Cambridge University Press, 2009).
    [Show full text]
  • Curtain Call: Celebrating a Century of Women Designing for Live Performance Educators’ Guide As a Tool for Enhancing Your Curriculum
    Educator’s Guide Dear Educator, We are delighted that you have selected Curtain Call: Celebrating a Century of Women Designing for Live Performance Educators’ Guide as a tool for enhancing your curriculum. Curtain Call was on view from November 17, 2009-May 8, 2009 in the Donald and Mary Oenslager Gallery at The New York Public Library for the Performing Arts. A collaboration between The New York Public Library for the Performing Arts and the League of Professional Theatre Women, this exhibition explored the work, role and impact of distinguished women designing for theatre, dance and opera. The educational material was developed by The New York Public Library for the Performing Arts and was funded, in part with a grant from the NEA American Masterpieces Initiative. Curtain Call, co-curated by Barbara Cohen-Stratyner of The Library’s staff and costume designer Carrie F. Robbins, featured over one hundred female designers, and displayed their costumes, 1 drawings, photographs, set models and other artifacts from 1889 to the present. Many were from The Library’s collection; other material was borrowed from the designers and production companies. This exhibition demonstrated how women became increasingly visible through their costume, set, lighting, and projection designs. Through their achievements, these women enhanced the theater, dance, and opera stages and contributed to American visual culture. In these pages we provide background information for educators about these designers, their works, and the live performances on which they collaborated. Teachers should adapt the content to match the varying needs of their students and may use the suggested ancillary materials to heighten student learning.
    [Show full text]