[1920-1935] and Bibliography
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QUEENSLAND QUEENSLAND the Perfect Place to Be the Perfect Place to Be
QUEENSLAND QUEENSLAND The Perfect Place To Be The Perfect Place To Be TASK CARD 1 TASK CARD 2 GEOGRAPHICAL GIANT REGIONAL QUEENSLAND Queensland is a big State. Un-jumble these sentences to learn Queensland is a large state with diverse areas so it is often broken some big facts about our great State. into regions. Use the map to label the name of each region listed. • in the second state Queensland Australia largest is • 1.7 covers square of approximately area kilometres it million Brisbane an Bundaberg & Coral Isles • is Australia 22.5 the of it about percent area of • Capricorn highest the Mt. 1 622 metres Frere is State’s at mountain Bartle Fraser Coast • the world Island largest Fraser sand is the in island Gold Coast • River Queensland is longest the 1004 kilometre river Flinders in the Gladstone • coastline our has kilometres state of 7 400 Mackay • land with Northern share South New boundaries Territory Southern Downs Australia Wales we South • Sunshine Coast hundreds and small Queensland rivers contains of creeks • Toowoomba & Golden West longest runs The third coastline the length Queensland Great mountain world, Dividing in entire of in range the eastern of the Range, the Townsville Tropical North Whitsunday In which region do you live? ___________________ QUEENSLAND The Perfect Place To Be TASK CARD 3 HOW FAR? Queensland has 182 200 kilometres of public road network including12 main highways that link many centres throughout the state. Use the table provided to calculate the following distances. Calculate the approximate time it would take each journey if the average travel speed was 85km / hour. -
This Entire Document
DEVOTED TO BASE BALL BICYCLING GUNS VOLUME 29, NO. 18. PHILADELPHIA, JULY 24, 1897. PRICE, FIVE CENTS. BREAKS AVERTED. ARE ON THEIR WAY HOME YIA TWO MINOR LEAGUES MAKE MID- EUROPE. SEASON SHIFTS, To Play in England Before Returning The Eastern League Transfers the Ro to Australia Much Pleased With chester Team and Franchise to Their Treatment in This Country, Montreal and the Texas League Though Their Trip Was a Failure, Shifts Denison©s Clnl) to Waco, Thirteen members of the Australian base For the first time in years a mid-season ball team sailed ou the 15th inst. from New change has been made in the Eastern York ou the American liner "St. Paul" for League circuit. Some time ago a stock England. Those in the party were: Man company was organized in Montreal by Mr. ager Harry Musgrove, Charles Over, Charles W. H. Rowe, with ample capital, with a Kemp, Walter G. Ingleton, Harry S. Irwin, view to purchasing an Eastern League fran Peter A. McAllister, Rue Ewers, Arthur chise. Efforts were made to buy either tlie K. Wiseman, Alfred S. Carter, J. H. Stuck- "Wilkesbarre or Kochester Clubs, both of ey, John Wallace and Frank Saver. which were believed to be in distress. The MU SGKOVE© S PLANS. former, however, was braced up and "We shall carry out our original inten will play out the season. Rochester tion ,of a trip around the world," said Mr. was on the fence regarding the Musgrove. ©-We shall probably play some proposition made when fate stepped in and de games in London and other parts of iCngland cided the question. -
The Performance of Gender with Particular Reference to the Plays of Shakespeare
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Dixon, Luke (1998) The performance of gender with particular reference to the plays of Shakespeare. PhD thesis, Middlesex University. [Thesis] This version is available at: https://eprints.mdx.ac.uk/6384/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. -
THE UNIVERSITY of HULL (Neo-)Victorian
THE UNIVERSITY OF HULL (Neo-)Victorian Impersonations: 19th Century Transvestism in Contemporary Literature and Culture being a Thesis submitted for the Degree of PhD in the University of Hull by Allison Jayne Neal, BA (Hons), MA September 2012 Contents Contents 1 Acknowledgements 3 List of Illustrations 4 List of Abbreviations 6 Introduction 7 Transvestites in History 19th-21st Century Sexological/Gender Theory Judith Butler, Performativity, and Drag Neo-Victorian Impersonations Thesis Structure Chapter 1: James Barry in Biography and Biofiction 52 ‘I shall have to invent a love affair’: Olga Racster and Jessica Grove’s Dr. James Barry: Her Secret Life ‘Betwixt and Between’: Rachel Holmes’s Scanty Particulars: The Life of Dr James Barry ‘Swaying in the limbo between the safe worlds of either sweet ribbons or breeches’: Patricia Duncker’s James Miranda Barry Conclusion: Biohazards Chapter 2: Class and Race Acts: Dichotomies and Complexities 112 ‘Massa’ and the ‘Drudge’: Hannah Cullwick’s Acts of Class Venus in the Afterlife: Sara Baartman’s Acts of Race Conclusion: (Re)Commodified Similarities Chapter 3: Performing the Performance of Gender 176 ‘Let’s perambulate upon the stage’: Dan Leno and the Limehouse Golem ‘All performers dress to suit their stages’: Tipping the Velvet ‘It’s only human nature after all’: Tipping the Velvet and Adaptation 1 Conclusion: ‘All the world’s a stage and all the men and women merely players’ Chapter 4: Cross-Dressing and the Crisis of Sexuality 239 ‘Your costume does not lend itself to verbal declarations’: -
OQS0762 Subs 2011 Brochure Text V6.Indd
SEASON 2011 SUBSCRIBE Truly. Madly. Deeply. AND SAVE! From the From the Premier of Queensland and Chief Executive/Artistic Director Minister for the Arts Come and celebrate Opera Queensland’s Welcome to Opera Queensland’s fi rst 30 years with 120 years of season for 2011. superlative creation. For nearly three decades, Opera After the success of our Verdi double Queensland has been presenting operas and musicals in 2009, it seems only fair to pay Puccini the same courtesy. across our state and, recently, across state borders. While there is a 43-year overlap in ages, in operatic terms, these two composers are not contemporaries, representing Not only is Opera Queensland expanding in its reach and as they do two musical traditions. Puccini sweeps us into scope, the company has found new ways to connect with the 20th century with melody to delight us all and a masterly audiences of many ages through programs with primary workmanship set to please even the most discerning. And students and young people in regional communities. so it is in May, that we bring you a wonderful new production My government provides key funding to Opera Queensland of The Girl of the Golden West, an opera never before seen as one of the state’s fl agship arts companies. in Queensland. While in October, we present John Copley’s I would like to acknowledge Opera Queensland’s corporate celebrated production of Tosca in all its traditional glory. After partners, many of whom have been onboard for more than an eight-year gap it is a great joy to return this magnifi cent a decade and who, along with government support, help piece to the Lyric Theatre. -
An Exploration of Gender, Sexuality and Queerness in Cis- Female Drag Queen Performance
School of Media, Culture & Creative Arts Faux Queens: an exploration of gender, sexuality and queerness in cis- female drag queen performance. Jamie Lee Coull This thesis is presented for the Degree of Doctor of Philosophy of Curtin University November 2015 DECLARATION To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgment has been made. This thesis contains no material which has been accepted for the award of any other degree or diploma in any university. Human Ethics The research presented and reported in this thesis was conducted in accordance with the National Health and Medical Research Council National Statement on Ethical Conduct in Human Research (2007) – updated March 2014. The proposed research study received human research ethics approval from the Curtin University Human Research Ethics Committee (EC00262), Approval Number #MCCA-12-12. Signature: Date: 20/11/2015 i ABSTRACT This PhD thesis investigates the cultural implications of cis-women performing female drag, with particular focus on cis-female drag queens (aka faux queens) who are straight-identified. The research has been completed as creative production and exegesis, and both products address the central research question. In the introductory chapter I contextualise the theatrical history of male-to-female drag beginning with the Ancient Greek stage, and foreground faux queens as the subject of investigation. I also outline the methodology employed, including practice-led research, autoethnography, and in-depth interview, and provide a summary of each chapter and the creative production Agorafaux-pas! - A drag cabaret. The introduction presents the cultural implications of faux queens that are also explored in the chapters and creative production. -
Class, Respectability and the D'oyly Carte Opera Company 1877-1909
THE UNIVERSITY OF WINCHESTER Faculty of Arts ‘Respectable Capers’ – Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron Doctor of Philosophy June 2014 The Thesis has been completed as a requirement for a postgraduate research Degree of the University of Winchester The word count is: 98,856 (including abstract and declarations.) THE UNIVERSITY OF WINCHESTER ABSTRACT FOR THESIS ‘Respectable Capers’: Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron This thesis will demonstrate ways in which late Victorian social and cultural attitudes influenced the development and work of the D’Oyly Carte Opera Company, and the early professional production and performance of the Gilbert and Sullivan operas. The underlying enquiry concerns the extent to which the D’Oyly Carte Opera organisation and its work relate to an ideology, or collective mentalité, maintained and advocated by the Victorian middle- classes. The thesis will argue that a need to reflect bourgeois notions of respectability, status and gender influenced the practices of a theatrical organisation whose success depended on making large-scale musical theatre palatable to ‘respectable’ Victorians. It will examine ways in which managerial regulation of employees was imposed to contribute to both a brand image and a commercial product which matched the ethical values and tastes of the target audience. The establishment of a company performance style will be shown to have evolved from behavioural practices derived from the absorption and representation of shared cultural outlooks. The working lives and professional preoccupations of authors, managers and performers will be investigated to demonstrate how the attitudes and working lives of Savoy personnel exemplified concerns typical to many West End theatre practitioners of the period, such as the drive towards social acceptability and the recognition of theatre work as a valid professional pursuit, particularly for women. -
Manyfaces of Inspiration Conversations on Australian Creativity
William Barton Bruce Beresford Tony Bilson Wendy Blacklock Joan Carden Geoffrey Chard David Clarkson Michael Crouch Rosemary Crumlin Tania De Jong Ross Edwards Robert Gard Stephen Kovacevic Greta Lanchbery Justin Macdonnell David Malouf John McCallum Elisabeth Murdoch Ted Myers Roland Peelman Helena Rathbone Rodney Seaborn John Shaw ManyFaces of Inspiration Conversations on Australian Creativity Dinah Shearing Rachael Swain ANTONY Ken Tribe Googie Withers JEFFREY Martin & Peter Wesley-Smith Many Faces of Inspiration — Antony Jeffrey.indd 1 2/09/10 4:52 PM ntony Jeffrey has worked A in arts management since 1975 when he joined the Australia Council as Music Board director. He was the first general manager of the Australian Chamber Orchestra and for many years has maintained a close association with the orchestra. Prior to that he was commercial manager of the Australian Opera. More recently he was general manager of the Song Company until 2009. He originally trained as an accountant with Price Waterhouse, where he worked in Australia and overseas until his passion for music seduced him into the professional music scene. Since that time, in addition to his executive appointments, he has worked as director or consultant to many arts organisations including the Australian Ballet, Melbourne Theatre Company, Lyric Opera of Queensland, Musica Viva, Australian Brandenburg Orchestra and the Australian Elizabethan Theatre Trust. He has been a leader in establishing philanthropy, corporate sponsor- ship and strategic planning in the arts in Australia, publishing several books in this field, notably 101 Good Ideas for Assisting the Arts. He was appointed a Member of the Order of Australia in 2008 for his services to the arts. -
Variety Timeline: 1900-1999
AUSTRALIAN VARIETY AND POPULAR CULTURE ENTERTAINMENT: TIMELINE 1900-1999 Symbols Theatres ˟ Works (stage, film and music) ₪ Industry issues • People, troupes and acts ۩ ₣ Film 1900 ₪ Cato and Co: Herbert Cato sets up his own theatrical agency in Sydney. Tivoli Theatre [1] (Adelaide): Harry Rickards converts the Bijou Theatre into the Tivoli. It opens on 20 June ۩ with a company that includes Pope and Sayles, Prof Fred Davys and his Giant Marionettes, Neva Carr-Glynn and Adson, Craydon and Holland.1 .Toowoomba Town Hall [3] (Queensland): Toowoomba's third Town Hall opens on 12 December ۩ ˟ Australia; Or, The City of Zero: (extravaganza) Written especially for Federation by J.C. Williamson and Bernard Espinasse, the story is a fantasy set 100 years in the future - the year 2000. It premieres at Her Majesty's Theatre, Sydney, on 26 December. Australis; Or, The City of Zero (Act 1, Scene 2) From production program. Fryer Library, University of Queensland. • Henry Burton: The veteran circus proprietor dies at the Dramatic Homes, Melbourne, on 9 March. • Harry Clay: Tours Queensland with his wife, Katherine, and daughter, Essie, for Walter Bell's Boer War and London Vaudeville Company. It is to be his last for another manager. • The Dartos: French dancers Francois and Aida Darto (aka Mr and Mrs Chabre) arrived in Australia in December for what will be an 11 month tour of Australasia, initially for George Musgrove and later for Harry Rickards and P.R. Dix (New Zealand). The couple reportedly raised the bar for partner dance acts, with Aida Darto in particular stunning audiences with her flexibility and grace. -
Edinburgh Gardens Conservation Management Plan 2004
EDINBURGH GARDENS BRUNSWICK STREET NORTH FITZROY CONSERVATION MANAGEMENT PLAN EDINBURGH GARDENS BRUNSWICK STREET NORTH FITZROY CONSERVATION MANAGEMENT PLAN Prepared for The City of Yarra Allom Lovell & Associates Conservation Architects 35 Little Bourke Street Melbourne 3000 In association with John Patrick Pty Ltd 324 Victoria Street Richmond 3121 Revised January 2004 TABLE OF CONTENTS TABLE OF CONTENTS i LIST OF FIGURES iv EXECUTIVE SUMMARY vii PROJECT TEAM ix 1.0 INTRODUCTION 1 1.1 Background and Brief 1 1.2 Methodology 1 1.3 Constraints and Opportunities 1 1.4 Location 2 1.5 Listings and Classification 2 1.6 Terminology 3 2.0 HISTORY 5 2.1 Introduction 5 2.2 Geomorphology 5 2.3 North Fitzroy – the development of a suburb 5 2.4 Sport as the Recreation of Gentlemen 6 2.5 The Establishment of the Reserve: 1859-1882 7 2.6 Paths, Tree Avenues and the Railway: 1883-1900 15 2.7 The Growth of Fitzroy 20 2.8 Between the Wars: 1917-1944 22 2.9 The Post-War Years: 1945-1969 27 2.10 Recent Developments: 1970-1999 31 3.0 PHYSICAL SURVEY OF HARD LANDSCAPE ELEMENTS 34 3.1 Introduction 34 3.2 Documentation 34 3.3 Levels of Significance 34 3.4 Hard Landscape Elements 35 4.0 PHYSICAL SURVEY OF SOFT LANDSCAPE ELEMENTS 77 4.1 Introduction 77 4.2 Soft Landscape Elements 77 5.0 ANALYSIS AND ASSESSMENT OF SIGNIFICANCE 107 5.1 Assessment Criteria and Methodology 107 5.2 Comparative Analysis 107 5.3 Edinburgh Gardens – Historical and Social Significance 114 5.4 Edinburgh Gardens – Aesthetic Significance 116 5.5 Statement of Significance 117 5.5 Applicable -
ARSC Journal
THE GILBERT AND SULLIVAN OPERETTAS ON 78s: COMPLETE SETS AND ABRIDGEMENTS, 1906. 1950 John W. N. Francis In 1877 Richard D'Oyly Carte commissioned Gilbert and Sullivan to write The Sorcerer, and organized an ensemble of singer-actors to perform the new piece under the author's artistic direction. Also in 1877, of course, Charles Cros and Thomas Edison invented sound recording. More than a century later both the music and the medium continue to flourish, and indeed they have come together often and success fully--notably in the many complete versions by the D'Oyly Carte Opera Company, which have set standards of style and ensemble for generations of devotees and amateur performers. This discography documents the complete recordings of the Gilbert and Sullivan operettas made at 78 rpm, not only by the D'Oyly Carte company or under its aegis, but also by others with lesser claims to authenticity. Also included are substantial abridgements and sets of excerpts--groups of five or more sides made at essentially the same time and place and with the same performers, whether or not they were ever issued collectively or with consecutive numbering. The following comments set the recordings in the context of the D'Oyly Carte Opera Company's history. THE ACOUSTIC RECORDINGS When Richard D'Oyly Carte died in 1901, his widow Helen assumed manage ment of the businesses he had built, including the Savoy Theatre in London and the opera company, which was then on tour. In 1906 she brought the troupe back to the Savoy for a repertory season of Gilbert and Sullivan, its very first. -
GILBERT and SULLIVAN PAMPHLETS† Number Two
1 GILBERT AND SULLIVAN PAMPHLETS † Number Two CURTAIN RAISERS A Compilation by Michael Walters and George Low First published October 1990 Slightly revised edition May 1996 Reprinted May 1998. Reformatted and repaginated, but not otherwise altered. INTRODUCTION Very little information is available on the non Gilbert and Sullivan curtain raisers and other companion pieces used at the Savoy and by the D’Oyly Carte Opera Company on tour in their early years. Rollins and Witts give a brief list at the back of their compilation, and there are passing references to some of the pieces by Adair-Fitz- gerald and others. This pamphlet is intended to give some more data which may be of use and interest to the G&S fraternity. It is not intended to be the last word on the subject, but rather the first, and it is hoped that it will provoke further investigation. Perhaps it may inspire others to make exhaustive searches in libraries for the missing scores and libretti. Sources: Cyril Rollins & R. John Witts: 1962. The D’Oyly Carte Opera Company in Gilbert and Sullivan Operas. Cyril Rollins & R. John Witts: 1971. The D’Oyly Carte Opera Company in Gilbert and Sullivan Operas. Second Supplement. Privately printed. p. 19. J.P. Wearing: 1976. The London Stage, 1890-1899. 2 vols. J.P. Wearing: 1981. The London Stage, 1900-1909. 2 vols. Allardyce Nicoll: A History of English Drama 1660-1900, vol. 5. (1959) Late Nineteenth Century Drama 1850-1900. Kurt Ganzl: 1986. The British Musical Theatre. 2 vols. S.J. Adair-Fitzgerald: 1924.