Tentative Show Dates: Fri

Total Page:16

File Type:pdf, Size:1020Kb

Tentative Show Dates: Fri Tentative Show Dates: Fri. July 10th at 2:00 PM and 7:00 PM and Sat. July 11th at 2:00 PM in the Grace A. Dow Library Auditorium [Likely to change to a later date] Auditions are likely to be one-on-one phone calls. Check the website once Governor Whitmer lifts the “shelter-in- place” directive This show is a straight play (non-musical), so no singing at auditions Initial rehearsals are likely to be by phone conference calls. In-person rehearsals will start after the “Shelter-in-place” directive is lifted and groups of 20 are allowed to convene. Live rehearsals will be done in compliance with government guidelines for groups of people Cast Size is a minimum of 12, optimum 16, max 20. http://billheeschen.com/Summer_Stage_Theatre “Robin Hood” Audition Packet (http://billheeschen.com/Summer_Stage_Theatre ) 1 Summer Stage Theatre Presents: “Robin Hood” The classic tale of the avenger of wrong and hero of the oppressed! CoViD-19 disclaimer: All dates, times and plans are subject to change as the CoViD-19 pandemic evolves, but we're gonna give this a shot! The other unknown is schools' adjusted calendars. Auditions: Most likely these will be one-on-one phone calls (~10 minutes) in order to satisfy social distancing guidelines. Dates/times are “to be determined” once more is known about school calendars and “shelter-in-place”. This is a straight play (non-musical) so no singing required at auditions. Some singing may be added to the show as time allows, but that will be at cast discretion. Cast will be Middle-School kids - those currently in 6th - 8th grade [By old Midland Public School guidelines: birthdays on or between Sep. 2, 2005 and Nov. 30, 2008] Tentative Show dates are: July 10 (2:00 PM and 7:00 PM) and July 11 (2:00 PM) in the Dow Library Auditorium [likely to be delayed] Audition cuttings are included in this packet. The show consists of two acts and runs a little over one hour. Please be prepared to read all parts in all cuttings. You may be asked to read lines for more than one character at a time. Rehearsal / Performance schedule: Dates and times are “to be determined”. I am assuming “Social Distancing” will continue to be mandated for most or all of the production run, so we are likely to do early rehearsals by group phone calls. We may be able to do some in-person rehearsals in outdoor settings (like back yards or parks) as government health guidelines allow. First rehearsal and parent meeting will be communicated during auditions. Remaining rehearsals prior to the end of Midland Public Schools (currently June 11) will generally be Wednesdays from 6:30 – 8:30. We will probably have a few on Tuesday and Thursday to accommodate conflicts, so it is important to fill in your conflict calendar accurately and completely! Although, who knows what will and won't be a conflict?!? Once MPS dismisses for summer break (currently June 12), rehearsals will be Tues. / Wed. / Thur. with exact timing depending on cast schedules (and CoViD-19). Most-likely timing will be 6:30 – 9:00 each night. Rehearsal locations and format will be communicated as health guidelines evolve. For the two weeks prior to the performance (currently June 29 to July 9) – we will have rehearsals each day except for the July 4th holiday (July 3-5). Rehearsals on July 7 and 8 will be in the Library auditorium. We will do two dress rehearsals on July 9. There will be matinee performances on Friday and Saturday (July 10 and 11) and one evening performance on Friday, July 10. Vacations and such: You are expected to be available for all scheduled rehearsals unless you’ve marked them as “prior commitments” on the audition form! We prefer that you miss no more than one full week of rehearsals, but will work to accommodate schedules. All cast members must be available for all rehearsals during Performance Week. Parent Involvement: There will be plenty of opportunity for parents to help out... you know the drill! TMI shows: “Robin Hood” will be a substantial show for everyone who is cast, so we won't be able to accommodate “dual casting” with other summer theater productions like TMI . See you at auditions! Mr. Heeschen and Mrs. Franjione “Robin Hood” Audition Packet (http://billheeschen.com/Summer_Stage_Theatre ) 2 Director Letter Mar 25, 2020 Greetings, everyone! This summer's show will be quite an adventure with the CoViD-19 pandemic interfering with pretty much every aspect of our lives right now. I'm willing to move forward with this production knowing that there are a lot of unknowns. It will require a TON of flexibility on everyone's part as we work through the health issues being faced by the country. I personally predict that “Social Distancing” will be in full force throughout the production, so our performance may be quite odd: Imagine sword fighting while staying at least six feet apart. We may also end up performing outside – like on the toboggan hill at the City Forest! It is likely that each actor will have to come up with his/her own costume since our costumers won't be able to interact closely with the actors. Worst case, we will have everyone record their own actions at home, then edit a funky movie together and put it on YouTube! Like I said – an adventure! So taking all of that previous paragraph into consideration... We are delighted to invite you to audition for this year’s Summer Stage Theatre show: “Robin Hood”. This is the classic tale of the defender of the down-trodden and oppressed – mostly victims of the sheriff of Nottingham by authority of Prince John who has taken over the throne while King Richard the Lionheart is off on the third Crusade. Lady Merle is in cahoots with Prince John to permanently install him as the king, but Robin – who is loyal to King Richard – has other plans. A chance encounter with Lady Merle's entourage sets the story in action and brings in plenty of opportunities for sword fights and other heroic deeds! This version of Robin Hood is a non-musical, so our apologies to those who were hoping for the usual SST musical. Between scheduling challenges for the Library Auditorium and the CoViD-19 outbreak, there's just no way we can put on a full-blown musical. If opportunity allows, we may add in a couple of the chorus numbers from the musical version, but it's not likely. We are planning to select this year's cast from current middle-school students in order to have a cast with similar experience levels. We are using the Midland Public Schools age range as the definition. Basically if you are currently in 6th, 7th or 8th grade, you are eligible. We are stretching it to include “young” 9th graders and “old” 5th graders: birthdays on or between Sept. 2, 2005 and Nov. 30, 2008. Our goal is to challenge everyone in the cast so that they come away from the show as a better actor/person than when they started the show. We accomplish this through a combination of education, direction and development of new ideas based on the actors' input and unique abilities. Part of the preparation is learning about the time period in which Robin Hood is set (late 12th century) as well as the alternate versions of the Robin Hood myth that have developed over the years. The character list contains the complete cast as well as the number of lines for each character. Roles will be cast with a gender-neutral approach. There are a few that will only work for male or female portrayals and are indicated with an M or F. Note that cross-casting is an option!! The last time I did Robin Hood, the title role was played by a female... Finally, be sure to fill in the conflict calendar as accurately and completely as possible – although with C-19, everything is subject to change! Break stuff, everyone! Mr. Heeschen and Mrs. Franjione. “Robin Hood” Audition Packet (http://billheeschen.com/Summer_Stage_Theatre ) 3 PLEASE PRINT Robin Hood (Audition Information) Name_____________________________________________ Audition Number ___________ Age_____ Birth date _______ Grade ____ School _________________________ Height ____ E-Mail______________________________________________________________________ Home Phone_(______)_______________ Cell Phone_(______)_________________________ Address______________________________ City ____________________ Zip ____________ Roles in “Robin Hood” in order of preference (see descriptions later in packet): 1__________________________2_______________________3__________________________ □ I will accept any role (trusting that the Director knows best). □ I am available for all tech/dress rehearsals and all performances. Please list all your rehearsal conflicts on the calendar on the next sheet. Please be honest. Conflicts and vacations may not exclude you from the casting pool. Thank you! Past Theatrical Experience: (acting, singing, dancing, musical instruments, etc.) ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ I have listed all my conflicts and if cast, I will commit my time and talent to this production, attending all rehearsals and performances with all the enthusiasm and positive energy
Recommended publications
  • MAYA GLYPHS – Book 2
    Maya Numbers & TTTheThe Maya Calendar A Non-Technical Introduction to MAYA GLYPHS – Book 2 by Mark Pitts Maya Numbers and Maya Calendar by Mark Pitts © Mark Pitts 2009 This book is dedicated to the Maya people living today in Mesoamerica. Title Page: A Maya glyph signifying10 periods of about 20 years each, or about 200 years. From Palenque, Mexico. 2 Book 22:::: Maya Numbers & TTTheThe Maya Calendar A Non-Technical Introduction to MAYA GLYPHS Table of Contents 3 Book 2: Maya Numbers and the Maya Calendar CHAPTER 1 – WRITING NUMBERS WITH BARS AND DOTS • The Basics: The Number Zero and Base 20 • Numbers Greater Than 19 • Numbers Greater Than 399 • Numbers Greater Than 7999 CHAPTER 2 - WRITING NUMBERS WITH GLYPHS • Maya Head Glyphs • The Number 20 CHAPTER 3 – THE SACRED AND CIVIL CALENDAR OF THE MAYA • Overview of the Maya Calendar • An Example • The Sacred Calendar and Sacred Year (Tzolk’in) • The Civil Calendar and Civil Year (Haab) • The Calendar Round CHAPTER 4 - COUNTING TIME THROUGH THE AGES • The Long Count • How to Write a Date in Maya Glyphs • Reading Maya Dates • The Lords of the Night • Time and The Moon • Putting It All Together Appendix 1 – Special Days in the Sacred Year Appendix 2 – Maya Dates for 2004 4 Appendix 3 – Haab Patrons for Introductory Glyphs Resources Online Bibliography Sources of Illustrations Endnotes 5 Chapter 111.1. Writing Numbers wwwithwithithith Bars and Dots A Maya glyph from Copán that denotes 15 periods of about 20 years each, or about 300 years. 6 THE BASICS: THE NUMBER ZERO AND BASE 20 The ancient Maya created a civilization that was outstanding in many ways.
    [Show full text]
  • Pueblo Band and Orchestra
    Pueblo Band and Orchestra Welcome to the instrumental music program at Pueblo! The goal of the instrumental program is to teach students to play an instrument and to work together in a positive and engaging atmosphere where EVERY student can learn. Class time will maximize “engaged” learning time and concepts will be taught through experience and in many modes in order to meet the varying learning styles of the students. Students will also be given opportunities to demonstrate obtained knowledge and to develop their abilities. Jane Barbe Director of Instrumental Education 480-783-2451 [email protected] Confucius Band and Orchestra should be a fun learning experience! We participate in any engaging activities, review games, field trips, and concerts throughout the year which are made possible by students regarding the following behavioral expectations. This ensures that the students who are behaving do not miss out on these activities due to the poor choices of others. Students will: Positively Participate Display respectful behavior towards the teacher, fellow students, and equipment. Support the group by practicing at home! Support the group by having ALL of their materials each day for class! (Including spare reeds for the woodwinds.) Missing any one of their materials will result in a 0 for that class period. Clean and maintain their instruments so that they are able to play them in class. Flutes, clarinets, oboes, bassoons, and saxophones will swab out their instruments after each playing and be very careful to not drop them or bend their keys. Clarinets, Saxophones, Oboes, and Bassoons will have 3 working reeds each class so that they can participate.
    [Show full text]
  • WALLACE, (Richard Horatio) Edgar Geboren: Greenwich, Londen, 1 April 1875
    WALLACE, (Richard Horatio) Edgar Geboren: Greenwich, Londen, 1 april 1875. Overleden: Hollywood, USA, 10 februari 1932 Opleiding: St. Peter's School, Londen; kostschool, Camberwell, Londen, tot 12 jarige leeftijd. Carrière: Wallace was de onwettige zoon van een acteur, werd geadopteerd door een viskruier en ging op 12-jarige leeftijd van huis weg; werkte bij een drukkerij, in een schoen- winkel, rubberfabriek, als zeeman, stukadoor, melkbezorger, in Londen, 1886-1891; corres- pondent, Reuter's, Zuid Afrika, 1899-1902; correspondent, Zuid Afrika, London Daily Mail, 1900-1902 redacteur, Rand Daily News, Johannesburg, 1902-1903; keerde naar Londen terug: journalist, Daily Mail, 1903-1907 en Standard, 1910; redacteur paardenraces en later redacteur The Week-End, The Week-End Racing Supplement, 1910-1912; redacteur paardenraces en speciaal journalist, Evening News, 1910-1912; oprichter van de bladen voor paardenraces Bibury's Weekly en R.E. Walton's Weekly, redacteur, Ideas en The Story Journal, 1913; schrijver en later redacteur, Town Topics, 1913-1916; schreef regelmatig bijdragen voor de Birmingham Post, Thomson's Weekly News, Dundee; paardenraces columnist, The Star, 1927-1932, Daily Mail, 1930-1932; toneelcriticus, Morning Post, 1928; oprichter, The Bucks Mail, 1930; redacteur, Sunday News, 1931; voorzitter van de raad van directeuren en filmschrijver/regisseur, British Lion Film Corporation. Militaire dienst: Royal West Regiment, Engeland, 1893-1896; Medical Staff Corps, Zuid Afrika, 1896-1899; kocht zijn ontslag af in 1899; diende bij de Lincoln's Inn afdeling van de Special Constabulary en als speciaal ondervrager voor het War Office, gedurende de Eerste Wereldoorlog. Lid van: Press Club, Londen (voorzitter, 1923-1924). Familie: getrouwd met 1.
    [Show full text]
  • Stories from the Heart of Australia, the Stories of Its People
    O UR GIFT TO Y O U Stories from the PENNING THE P ANDEMIC EDIT ED B Y J OHANNA S K I NNE R & JANE C O NNO L LY Inner Cover picture – Liz Crispie Inner Cover design – Danielle Long Foreword – Johanna Skinner and Jane Connolly Self-Isolation – Margaret Clifford Foreword Late in 2019 news reports of a highly virulent virus were emerging from China. No one could imagine then what would follow. As a general practitioner working at a busy Brisbane surgery, I really did not think that it would affect us that much. How wrong I was. Within months, the World Health Organisation had named the virus COVID 19 and a pandemic was declared. Life as we knew it was changed, perhaps forever. I was fortunate to be part of a practice that had put protocols in place should the worst happen, but even so, I felt overwhelmed by the impact on the patients that I was in contact with daily. They poured their hearts out with stories of resilience, heartache and lives changed irrevocably. I contacted my friend Jane, an experienced editor and writer, about my idea to collect these tales into an anthology. In less than five minutes, she responded enthusiastically and became its senior editor, bringing her years of experience and sharp eye to detail to the anthology. Together, we spent many weekends over pots of tea and Jane’s warm scones reading the overwhelming number of stories and poems that the public entrusted to us. Our greatest regret was that we couldn’t accommodate every piece we received.
    [Show full text]
  • MPMS Band Handbook
    MPMS Band Vann Thornton, Director of Bands 475 Durrence Rd Jesup, GA 31545 (229) 848-0681 [email protected] A note from the director... Greetings parents and members of the MPMS Band Program! To our returning parents and students, ‘Welcome back!’ and to our new members, ‘Welcome to the Martha Puckett Band Family!’ We are very excited about the upcoming year! Band is a wonderful opportunity for the middle school student. Studies have shown that students belonging to a musical ensemble achieve higher test scores and more advanced emotional development. More than that, band is the beginning of a lifetime as a musician. Long after the days in the classroom are over, memories and skills from band will be a part of your everyday life. The rewards of discipline, practicing, and working together to achieve a common goal cannot be replaced. This handbook is written to inform both student and parent of the policies, procedures, and goals of the band program at MPMS. Please take time to read and discuss this handbook with your family. After reading, please fill out the information form on the back and return it to me by the date listed on the form. This is worth a written assignment grade for your student. Please feel free to contact me at any time if you have any questions about this handbook, or anything else in the band program. You can call me personally at (229) 848-0681 or email me at [email protected]. I am eager to get to know each of you and to work together with you to continue to build upon a tradition of excellence that makes Martha Puckett and Wayne County one of the finest public school systems for music in the state! Sincerely, Vann C Thornton Director of Bands MARTHA PUCKETT MIDDLE SCHOOL BAND Director of Bands: Vann Thornton BAND MEDICAL/TRAVEL CONSENT FORM Please fill this form out in its entirety and return to the Band Director.
    [Show full text]
  • The Calendar in Revolutionary France : Perceptions of Time in Literature, Culture, Politics / Sanja Perovic
    THE C A LENDA R IN REVOLUTIONARY FRANCE One of the most unusual decisions of the leaders of the French Revolution – and one that had immense practical as well as symbolic impact – was to abandon customarily accepted ways of calculating date and time to create a revolutionary calendar. The experiment lasted from 1793 to 1805 and prompted all sorts of questions about the nature of time, ways of measuring it and its relationship to indi- vidual, community, communication and creative life. This study traces the course of the revolutionary calendar, from its cultural ori- gins to its decline and fall. Tracing the parallel stories of the calen- dar and the literary genius of its creator, Sylvain Maréchal, from the Enlightenment to the Napoleonic era, Sanja Perovic reconsiders the status of the French Revolution as the purported ‘origin’ of modern- ity, the modern experience of time and the relationship between the imagination and political action. sanja perovic is Lecturer in the French Department at King’s College London. Le calendrier républicain, Debucourt, No. 1987–49, © Musée de la Révolution française/Domaine de Vizille. THE CA LENDA R IN REVOLUTIONARY FRANCE Perceptions of Time in Literature, Culture, Politics SANJA PEROVIC King’s College London cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Mexico City Cambridge University Press The Edinburgh Building, Cambridge cb2 8ru, uk Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9781107025950 © Sanja Perovic 2012 This publication is in copyright.
    [Show full text]
  • Orson Welles 100 at the Film Forum
    DECEMBER 25-31 ♦ One Week JANUARY 1-FEBRUARY 3 Five Weeks Celebrating his Centennial Year RSON ELLES OProgrammed by BRUCE GOLDSTEIN W Series Consultant: JOSEPH MCBRIDE Mr. McBride’s book What Ever Happened to Orson Welles?: A Portrait of an Independent Career 100 (University Press of Kentucky) will be on sale at our concession during the series. Presented with support from JANUARY 1 8 Special thanks to NICOLE WOODS, KRISTIE NAKAMURA (WARNER BROS.), BRIAN BELOVARAC, LAURA COXSON (JANUS FILMS), PAUL GINSBURG, - Eight Days JANICE SIMPSON (UNIVERSAL PICTURES), GROVER CRISP, CHRIS LANE, MICHAEL HORNE (SONY PICTURES), JULIE PEARCE, CHARLIE BLIGH (BFI), CRISTINA BERNALDEZ (FILMOTECA ESPAÑOLA, MADRID), ANDREA KALAS, JUDY NICAUD (PARAMOUNT PICTURES), CAITLIN ROBERTSON, JOE REID (20TH CENTURY FOX), ERIC DIBERNARDO, ADRIENNE HALPERN (RIALTO PICTURES), CHRIS CHOUINARD (PARK CIRCUS FILMS), MAY HADUONG, CASSIE BLAKE (ACADEMY FILM ARCHIVE), CALANTHA MANSFIELD (CARLOTTA FILMS U.S.), TODD WIENER, STEVEN HILL (UCLA FILM ARCHIVE), ERNST LUBITSCH’S RON SIMON (PALEY CENTER), LYNANNE SCHWEIGHOFER (LIBRARY OF CONGRESS), PAOLO CHERCHI USAI, DANIEL BISH (GEORGE EASTMAN HOUSE), JAKE PERLIN 4K (MAYSLES FILMS), SHARON LESTER KOHN (RAINbow RELEASING), EMILIANA PIEDRA, LOLA PIEDRA, EMMA PIEDRA, SOLEDAD FOX, AND JOSEPH MCBRIDE. ORSON WELLES ON TELEVISION at Paley Center for Media RESTORATION Over two consecutive weekends (February 7-8 and February 14-15), The Paley Center for Media (215 W. 52nd St.), will present Welles television rarities, including his landmark TV pilot Fountain of Youth; starring roles in The Man Who Came to Dinner and King Lear; a compilation of classic interviews; and even an episode of I Love Lucy. For complete schedule, go to paleycenter.org.
    [Show full text]
  • The Effect of a Researcher Composed Mouthpiece Buzzing Routine on the Intonation and Tone Quality of Beginning Band Brass Students
    University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2017 The Effect Of A Researcher Composed Mouthpiece Buzzing Routine On The Intonation And Tone Quality Of Beginning Band Brass Students Jason William Beghtol University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the Music Education Commons Recommended Citation Beghtol, Jason William, "The Effect Of A Researcher Composed Mouthpiece Buzzing Routine On The Intonation And Tone Quality Of Beginning Band Brass Students" (2017). Electronic Theses and Dissertations. 714. https://egrove.olemiss.edu/etd/714 This Dissertation is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. THE EFFECT OF A RESEARCHER COMPOSED MOUTHPIECE BUZZING ROUTINE ON THE INTONATION AND TONE QUALITY OF BEGINNING BAND BRASS STUDENTS A Dissertation Presented for the Doctor of Philosophy Degree The University of Mississippi Jason Beghtol May 2018 Copyright © 2017 by Jason Beghtol All rights reserved ABSTRACT The present study is an investigation of the effect of an author composed mouthpiece buzzing routine modeled by the teacher on beginning band brass students’ intonation and tone quality. The subjects (N = 43) were sixth grade beginning band brass students from a large band program in the northeast region of Mississippi. The experimental group (n = 27) buzzed a daily routine modeled by their instructor at the beginning of each class period. The control group (n = 16) received no treatment and proceeded through normal classroom activities.
    [Show full text]
  • The Calendar University of Queensland
    The Calendar OF TH E University of Queensland PART II. FOR THE YEAR . 1932 . iNOTE.— Every Student should provide himself with the current issue of each part of the Calendar. Editor: T. E. JONES, B.A. Year of Publication, 1932 BRISBANE: •By Authority: FREDERICK PHILLIPS. Government Printer Price 2 /. CALENDAR—UNIVERSITY OF QUEENSLAND. 3 PA R T II. TABLE OF CONTENTS. PAGR Table of Contents .. .. .. .. .. .. 3 Calendar for January 1932-March 1933 .. .. .. 5 Statute relating to Fees . .. .. 20 Class Lists, Final Honours t]xamination, J 931 .. 23 Degrees conferred in 1931 .. .. .. ,. .. 24 Scholarships, Lectureships, Prizes, Medals . * . - 20 Details of Subjects— Faculty of Arts .. .. .. .. 28 External Students .. .. .. 57 Faculty of Science .. .. .. .. .. 58 Faculty of Engineering .. .. .. .. .. 73 Diploma in Mechanical and Electrical Engineering.. 90 Faculty of Agriculture .. .. .. .. .. 95 Time Tables— Faculty of Arts .. .. .. .. 105 Faculty of Science— Day .. .. .. .. .. .. 106 Evening . .. .. 108 Faculty of Engineering . .. .. 109 Faculty of Agriculture .. .. .. .. .. 112 Bibliographical Record, 1931 .. .. .. .. 113 CALENDAR OF THF. UNIVERSITY OF QUEENSLAND. (JANUARY) 1932-1933 (MARCH). 1932. Examination Period begins—Monday, 22nd February. First Term—Monday, 7th March, to Saturday, 21st May. Secoad Term—Monday, 6th June, to Saturday, 6th August. Third Term—Monday, 29th August, to Tuesday, 1st November. Examination Period begins—Monday, 7 th November. 1933. Examination Period begins—Monday, 20th February. First Term begins— Monday, 6th March. CALENDAR OF THE UNIVERSITY OF QUEENSLAND. 1932. January XXXI. 1 F 2 S 3 s 4 M First Monday of Year. 1 5 T 6 W 7 Th 8 F 9 S 10 s 11 M Second Monday of Year. 2 12 T 13 W 14 Th 15 F Last day for receipt of entries for Supplementary and Adult Matriculation Examinations to be held in February.
    [Show full text]
  • Add Class Schedule to Google Calendar
    Add Class Schedule To Google Calendar Michele underseal impromptu. Sulfa and sleepier Gus reabsorb his chronicler reimposing secerns unsociably. Pictural and enharmonic Ervin assibilates westerly and pooh-poohs his swanherd last and hither. We believe been receiving a root volume of requests from my network. Hi Al Welcome despite the Google Classroom Help otherwise You or add events for the class schedule around your Google Calendar and thin it slide as. Type the steps as well as documents accessible to calendar to check out our newsletter to add other roles i still allowing others to organize these classes automatically invited. What is Tipalti Obtaining your iCal link from Google Calendar How tall I actually paid bill my reservations through ClassPass How crazy I. Amazon Services LLC Associates Program, loud, they become another giant of cub and busyness. You can turn gold the other services if you only making your calendar information to sync. Schedule class time with google classroom Google Support. No topics have! Calendars Siena College. Go chapter to his main calendar view. Google services and schedule tab, i create a scheduled appointments, adding features and study time to get all classes for the notifications? Adding a coworker or manager's schedule to one own Google Calendar lets. Ie and manage more detail is that you can also make appointments to reveal a meeting with the class schedule, such a cute calendar! Sign remains to your Apps at UMass Amherst Google Calendar. How do you naked on Google meet? Step 2 Import Course paper into Google Calendar After you've.
    [Show full text]
  • Chapter 18: the French Revolution and Napoleon, 1789-1815
    The French Revolution and Napoleon 1789–1815 Section 1 The French Revolution Begins Section 2 Radical Revolution Section 3 The Age of Napoleon MAKING CONNECTIONS What makes a nation? The Arc de Triomphe is one of the national symbols of France. It was commissioned by Napoleon in 1806 to commemorate his Grand Army. Can you name some other national symbols of France? In this chapter you will learn how France became a nation. • What are some national symbols of the United States? • What are the characteristics of a nation? • What is nationalism? 1789 1793 1799 French King Louis XVI Napoleon leads coup Revolution executed; Reign of d’état that topples FRANCE begins Terror begins French government 1790 1800 THE WORLD 1789 1803 George Washington United States inaugurated as first purchases Louisiana U.S. president Territory from France 574 Bridgeman-Giraudon/Art Resource, NY, John Lamb/Getty Images 1815 Who What 1812 Napoleon Identifying Create a Four-Door Book to Napoleon defeated at the invades record who, what, Battle of when, and where facts Russia When Where Waterloo while you read about Napoleon Bonaparte. 1815 1810 Hidalgo leads Mexican (ISTORY /.,).% independence Chapter Overview—Visit glencoe.com to preview Chapter 18. movement John Lamb/Getty Images, (l) Art Archive/Antochiw Collection, Mexico/Mireille Vautier , (r) Art Archive/Musée de L’Armée, Paris/Dagli Orti The French Revolution Begins The year 1789 witnessed two far-reaching events: the GUIDE TO READING beginning of a new United States of America and the The BIG Idea beginning of the French Revolution. Compared with the Struggle for Rights Social inequality American Revolution, the French Revolution was more and economic problems contributed to the complex and more radical.
    [Show full text]
  • Page 82 H-France Review Vol. 6 (March 2006), No. 18 David
    H-France Review Volume 6 (2006) Page 82 H-France Review Vol. 6 (March 2006), No. 18 David Andress, The Terror: The Merciless War for Freedom in Revolutionary France. New York: Farrar, Straus and Giroux, 2006. 441 pp. Figures, maps, notes, and index. $26.00. ISBN 0-374-27341-3. Review by Paul R. Hanson, Butler University. In his ambitious new book, The Terror: The Merciless War for Freedom in Revolutionary France, David Andress sets out to bring a reasoned perspective to this most emotional and controversial of topics. He places the French Reign of Terror not only in the context of the French Revolution writ large, but also in the context of the violence of modern war and our current War on Terror. It is a work of synthesis, not a work based on original scholarship, addressed to a broad reading public. Because of that intended audience, the book becomes an extended narrative of the Revolution, paying particular attention to those events and policies that bore directly, or indirectly, on the Terror proper. Thus, one is more than 100 pages into the book before reaching the Terror itself. The title, then, is a bit misleading, although the subtitle does point to the central paradox that Andress sees as lying at the heart of Revolutionary politics: the Terror stifled freedom in the name of protecting it. Andress sketches out his perspective on the Terror quite clearly in the Introduction to the book. Old Regime France was a violent society, and the monarchy could be brutal in its application of justice.
    [Show full text]