Dr. Carlin Inducted Into Senior Hall of Fame
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2001 Future of the Arts Report
2001 Future of the Arts Report 1 The Future of the Arts at the University of Chicago August 2001 Table of Contents Introduction Page 2 Study Recommendations Page 4 Role of the Arts Page 5 The Arts Curriculum Page 7 Student Arts Page 9 Professional Arts Organizations Page 11 Arts in the City Page 13 Organization and Process Recommendations Page 15 Facilities Needs and Objectives Page 17 Facilities Recommendations Page 23 Conclusion Page 29 Appendices Page 30 Introduction Introduction Experiencing the creative arts is a fundamental part of knowing ourselves as humans and of understanding those different from ourselves. Whether painting or poetry, film or theater, music or dance, artistic creation addresses the deepest questions of the human condition. A great research university should nurture the unique and powerful role of the arts in the education of the whole person. University President Ernest DeWitt Burton recognized this when he wrote in 1925: “We need to supplement science and the scientific study of all branches of knowledge with the finer arts of music and painting, of sculpture and architecture. We owe it to our students, to whom it is our ambition to give the best possible education. We owe it to our professors, that they not become dry-as- dust investigators and lecturers but symmetrically developed and cultivated personalities. We owe it to our community.” Today, more students, faculty, staff, and general audiences engage with the arts on our campus than ever before. This increased participation has been paralleled by growth in the quality and diversity of our arts programs and activities. -
Tapra @ 10 Getting to Royal Holloway and Local Taxis Wifi Eating
3 Welcome: TaPRA @ 10 5 Getting to Royal Holloway and local taxis 6 Wifi 6 Eating and Drinking 10 Keynote Speakers 12 Performance 14 Practice Gallery 19 Schedule 43 Abstracts and Biography 203 Working Group Conveners 204 Maps and Rooms 1 2 Welcome: TaPRA @ 10 This short prologue is by way of a welcome to the 10th anniversary conference for TaPRA at Royal Holloway. It is fitting that we should be here at the end of our ninth year, as two of the founder members of the executive, David Bradby and Jacky Bratton spent the larger part of their academic careers in the department and Royal Holloway has played an important role more generally in the work of TaPRA over the years, with staff convening working groups and a large contingent at every conference. TaPRA began at the University of Manchester in 2005. The organization, which had many different names in its first sixth months, came out of both a desire to celebrate our research and a frustration at the divisive nature of the (then) RAE. With a growing impatience at the lack of a national association for specifically UK-based theatre and performance research, the idea was to form an organization that could be membership based and conference lead, could be used by emerging scholars and more established scholars alike, as a place to try out their ideas. The original founders, David Bradby, Jacky Bratton, Maggie B.Gale, Viv Gardner and Baz Kershaw were joined by Maria Delgado, Brian Singleton, Kate Newey, Andy Lavender, Sophie Nield and Paul Allain – as the founding executive. -
MIAMI UNIVERSITY the Graduate School Certificate for Approving The
MIAMI UNIVERSITY The Graduate School Certificate for Approving the Dissertation We hereby approve the Dissertation of __________Peter McClelland Robinson__________ Candidate for the Degree: Doctor of Philosophy ____________________________________________ Director (Allan M. Winkler) ____________________________________________ Reader (Sheldon Anderson) ____________________________________________ Reader (Andrew R. L. Cayton) ____________________________________________ Reader (Marguerite S. Shaffer) ____________________________________________ Graduate School Representative (William J. Doan) ABSTRACT THE DANCE OF THE COMEDIANS: THE PEOPLE, THE PRESIDENT, AND THE PERFORMANCE OF POLITICAL STANDUP COMEDY IN AMERICA by Peter McClelland Robinson This dissertation argues that the emergent performance of political standup comedy became a significant agent for mediating and complicating the relationship between the American people and the American presidency, particularly during the middle half of the twentieth century. The Dance of the Comedians examines standup comedy—particularly its ramifications for the presidency and Americans’ perceptions of that institution—as a uniquely compelling form of cultural performance. Part ceremonial ritual and part playful improvisation, the performance of political comedy in its diverse forms became a potent site of liminality that empowered all of its constituents—the comic, the audience, and the object of the joke—to reexamine and renegotiate the roles of all concerned. It is this tripartite bond of reciprocal -
Finding Aid for the THEATRE HISTORICAL SOCIETY THEATRE FILE COLLECTION
152 N. York St., 2nd Floor, Elmhurst, IL 60126 historictheatres.org Finding Aid for the THEATRE HISTORICAL SOCIETY THEATRE FILE COLLECTION Acc No.: Future Additions Expected: Yes Finding Aid creation: July 31, 2014 Size: Approximately 148 linear feet Abstract The Theatre Historical Society Theatre File Collection consists of approximately 148 linear feet of files on nearly 10,000 theatres. The Theatre File collection has international holdings but the primary focus is on United States theatres. Background Information The Theatre Historical Society of America was founded in 1969 to promote the legacy of America’s historic theatres and insure the documentation of the architectural, cultural and social history of those theatres. Materials were collected by members and kept in separate locations. Over time the collections were brought to one location and combined. From these initial collections the materials were organized and separated into several different collections. Records detailing histories of specific theatres were labeled the Theatre File, materials containing information on theatre mechanics, cinema chains, architects, THS members, vaudeville circuits, among other topics became the Subject Files, Photos that were used in the publication of Marquee were gathered into the Editors Collection, photographic slides, postcards, and negatives became the THS Slide Collection, THS Postcard Collection, and THS Negative Collection respectively. These collections came from THS members and donations made throughout the organization’s history. Scope and Contents Note The Theatre File collection consists of 148 linear feet of folders stored in 28 vertical filing cabinets. The files are organizes geographically by country, state, city and then alphabetically by theatre. The file headings use US postal code abbreviations and include the city and theatre name in the file name, for example IL-Chicago- Tivoli. -
August 13-19 , 2015
AUGUST 13-19 , 2015 THE FREAK BROTHERS, STACI STORK • PAGE 2 Freak Brothers: Best R&B Performer Freaks Staying on Top of Their Game They’re not freaks and they’re not brothers, but drums, Brandon Rentfrow on guitar, Dan Capelli on don’t tell them that. For the past 16 years the Freak baritone sax, Matt Cashdollar on alto sax and flute, Brothers have been funking it up all over town, blast- Todd Roth on trumpet and guitar and Ed Renz on ten- ing out their brand of R&B and booty-shaking funk to or and baritone sax. Renz is the new kid on the block. a seemingly limitless supply of fans. And they’ve re- It’s an impressive lineup. Anytime you get that warded for their efforts with more than 20 Whammys many people on stage playing people tend to notice. during that time. Those of you doing the math realize Toss in the fact that they’re all multi-instrumentalists that for several years and the effect can be the Freak Brothers disconcerting. You took home multiple wander off for a drink Whammys. and when you come This year, howev- back it’s a suddenly er, the talented septet different band. received just one, for It’s never been Best R&B Performer. easy to sit still at a It’s the eighth time Freak Brothers show. in the last 10 years But lately fans of the they’ve topped the category. And to bass player Adam band have had to sit and wait a little longer to see the Martin, each one of the band’s Whammys is some- Freak Brothers in person – not because the band is thing to be proud of. -
Funny Business: Women Comedians and the Political
FUNNY BUSINESS: WOMEN COMEDIANS AND THE POLITICAL ECONOMY OF HOLLYWOOD SEXISM by DIANA MARTINEZ A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy March 2017 DISSERTATION APPROVAL PAGE Student: Diana Martinez Title: Funny Business: Women Comedians and the Political Economy of Hollywood Sexism This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of English by: Sangita Gopal Chairperson Quinn Miller Core Member Priscilla Ovalle Core Member Kenneth Calhoon Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded March 2017 ii © 2017 Diana Martinez iii DISSERTATION ABSTRACT Diana Martinez Doctor of Philosophy Department of English March 2017 Title: Funny Business: Women Comedians and the Political Economy of Hollywood Sexism In the last five years there has been great public interest in Hollywood’s “gender problem,” namely its unequal representation of women in key creative roles such as director, producer, and studio head. Yet, in the long history of women in film and television, comedians have had the greatest success and degree of agency over their work. From silent film comediennes like Mabel Normand to Lucille Ball, Carol Burnett, and more recently Tina Fey and Amy Schumer, women comedians have resoundingly had success behind-the-screen as well as in front of it. In order to comprehend the disjuncture between the data and the women comedians’ success, we must account for the women at the center of contemporary popular culture who seem to have successfully navigated highly gendered structures of media. -
DEMO 17 Columbia College Chicago
Columbia College Chicago Digital Commons @ Columbia College Chicago Alumni Newsletters Alumni Fall 2012 DEMO 17 Columbia College Chicago Follow this and additional works at: http://digitalcommons.colum.edu/alumnae_news This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation DEMO 17 (Fall-Winter 2012), Alumni Magazine, College Archives & Special Collections, Columbia College Chicago. http://digitalcommons.colum.edu/alumnae_news/84 This Article is brought to you for free and open access by the Alumni at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Alumni Newsletters by an authorized administrator of Digital Commons @ Columbia College Chicago. ARTS + MEDIA = CULTURE FALL/WINTER 2012 FOR ALUMNI & FRIENDS OF 17 COLUMBIA COLLEGE CHICAGO Dino-Mite! D ino Stamatopoulos (’87) oversees a prolific creative career with a cast of Columbia characters DEMOI FALL/WINTER 2012 17 FEATURES Dino-mite! Creative force Dino Stamatopoulos (’87) says he never set out to build a studio full of Columbia College alumni, but throughout a prolific 25- 10 year career, he’s found that like-minded colleagues make for the most rewarding work. By Stephanie Ewing (’12) 2012 Alumni of the Year Columbia honors cartoonist Art Baltazar (BA ’92), jewelry designer Lana Bramlette (BA ’97), and animator Marlon West (BA ’85) for their 20 innovative creative careers. By Audrey Michelle Mast (BA ’00) Thursday, September 27 – Sunday, September 30 Portfolio: Mark Laita (BA ’83) Throughout a career spanning 30 years, photographerMark Laita (BA ’83) has made a name for himself in the commercial world while ALUMNI ShoRT FILM ShowCASE 2ND ANNUAL ALUMNI 5K 24 pursuing his passion for portraiture. -
Raymond Campbell
Raymond Campbell School of Arts and Digital Industries University of East London Title: Comic Cultures: commerce, aesthetics and the politics of stand-up performance in the UK 1979 to 1992 Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. October 2016 Abstract This thesis represents the first Cultural Studies analysis of the 1980s entertainment form commonly known as ‘alternative comedy’, which emerged against the backdrop of social, industrial and political unrest. However, the use of the term ‘alternative comedy’ has obscured a diverse movement that contained many different strands and tendencies, which included punk poets, street performers, chansonniers and improvising double acts. This thesis goes some way to addressing the complex nature of this entertainment space by recognising the subtle but important differences between New Variety and alternative cabaret. Alternative cabaret was both a movement and an entertainment genre, while New Variety grew out of CAST’s theatre work and was constructed in opposition to Tony Allen’s and Alexei Sayle’s Alternative Cabaret performance collective. Taken together, alternative cabaret and New Variety comprise one part of the alternative space that also includes post-punk music, and were the cultural expressions of the 1980s countercultural milieu. Alternative cabaret and New Variety were the products of cultural change. Each genre has its roots in the countercultural movements of the 1960s and 1970s and it was the knowledge that agents had acquired through participation in these movements that helped to shape their political-aesthetic dispositions or their weltanschauunng. As well as political activism, rock music influenced performers and promoters and contributed much to their art. -
Dino Stamatopoulos
ARTS + MEDIA = CULTURE FALL/WINTER 2012 FOR ALUMNI & FRIENDS OF 17 COLUMBIA COLLEGE CHICAGO Dino-Mite! D ino Stamatopoulos (’87) oversees a prolific creative career with a cast of Columbia characters DEMOI FALL/WINTER 2012 17 FEATURES Dino-mite! Creative force Dino Stamatopoulos (’87) says he never set out to build a studio full of Columbia College alumni, but throughout a prolific 25- 10 year career, he’s found that like-minded colleagues make for the most rewarding work. By Stephanie Ewing (’12) 2012 Alumni of the Year Columbia honors cartoonist Art Baltazar (BA ’92), jewelry designer Lana Bramlette (BA ’97), and animator Marlon West (BA ’85) for their 20 innovative creative careers. By Audrey Michelle Mast (BA ’00) Thursday, September 27 – Sunday, September 30 Portfolio: Mark Laita (BA ’83) Throughout a career spanning 30 years, photographerMark Laita (BA ’83) has made a name for himself in the commercial world while ALUMNI ShoRT FILM ShowCASE 2ND ANNUAL ALUMNI 5K 24 pursuing his passion for portraiture. By William Meiners (MFA ’96) PANEL OF SUPer-aWESOME ALUMNI OPENING GALLERY VIEWING WRITERS FEATURING: & RECEPTION SPOT ON Dino Stamatopoulos (’87) Diane Dammeyer (’01) Photographer 30 Len Ellis (BA ’52), aka DJ “Uncle Len,” pioneered country music radio Emmy Award-winning writer/actor/ and built a broadcasting empire. producer—Late Show with David TOTALLY RAD AFTERPARTY 32 Emmy award-winning broadcaster Bob Sirott (BA ’71) still calls on his Letterman, MADtv, Moral Orel, Community, Diving for Dynamite, featuring Material Columbia education for inspiration. Mary Shelley’s Frankenhole Issue’s Ted Ansani (BA ’90) 34 Sound engineer Tricia Huffman (BA ’03) carved out a brand-new STUDENT/ALUMNI LUNCHEON career for herself as “joyologist” to pop stars on the road. -
Billboard-1940-03-16.Pdf
` 111111{C11 16, 1940 15 Cen Vol. 52. N DEAN MURPHY xs usive Management? Phil Tyrrell www.americanradiohistory.com March 16, 1940 The Billboard PLAIN FACTS a6out LOUIS ARMSTRONG * HELD OVER AFTER TWENTY WEEKS AT BROADWAY'S WORLD -FAMED COTTON CLUB * THE STAR OF "STARS" AT RADIO CITY'S CENTER THEATER "SWINGING THE DREAM" * AN IDOL AND FAVORITE OF MILLIONS OF THE NATION'S RADIO AUDIENCE CO-STARRED WITH BING CROSBY, DICK POWELL, MAE WEST, MARTHA RAYE IN MOTION PICTURES. THE MOST POPULAR COLORED RECORDING ARTIST IN THE WORLD. And here are some comments front caustic critics... SAYS WALTER WINCHELL: SAYS JOHN MASON BROWN: "Amazing popularity of Louis Armstrong at the Paramount "Louis Armstrong, perhaps better known to you as Theater. The chocolate -colored star was bombarded by Satchmo.' is on hand to give anguish and ecstasy autograph seekers-almost caused a panic. Where he to a trumpet." plays is my new hang-out." Common-sense will tell you that Louis Armstrong will put Big Opportunities into your B O and Box Office returns will convince you. LOUIS ARMSTRONG The Most Relored Colored Personality in the World and his Band featuring LUIS RUSSELL, SONNY WOODS and MIDGE WILLIAMS Under Personal Management of JOE G L A S E R Direction: GLA'SER-CONSOLIDATED, Inc., R. C. A. Building, RADIO CITY. NEW YORK CITY Tel.: COlumbus 5-3580 www.americanradiohistory.com 0 < - Vol. 52 > March 16, No. 11 The World's Foremost Amusement Weekly 1940 March, 1879. A. Entered as second-class matter, June, 4, 1897, at Post Office, Cincinnati, under Act of Published weekly at Cincinnati, O., U. -
Popular Theatre in Manchester 1880-1903: Commercial Entertainment, Rational Recreation and Politics
POPULAR THEATRE IN MANCHESTER 1880-1903: COMMERCIAL ENTERTAINMENT, RATIONAL RECREATION AND POLITICS by CLAIRE ROBINSON A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Drama School of English, Drama and American and Canadian Studies College of Arts and Law The University of Birmingham September 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis investigates the leading popular theatres in central Manchester between the years 1880-1903. It was a time of rapid change that saw the rise of mass entertainment in which the theatres and music halls played a major part. This is a study of theatre as industry, rather than the content of what could be seen on its stages. These developments are discussed as part of a nascent night time cultural economy being driven by the comparative rise in wages and reduction of working hours of the urban workforce. With the power to choose how to spend their disposable income and how to use their leisure time, the growing working and lower middle classes as consumers could exercise influence over the purveyors of commercial entertainment and demand what they wanted to see.