Women's Monologues! As Always...Read the Entire Script Before Performing Your Monologue
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Plays and Pinot: Bedroom Farce
Plays and Pinot: Bedroom Farce Synopsis Trevor and Susannah, whose marriage is on the rocks, inflict their miseries on their nearest and dearest: three couples whose own relationships are tenuous at best. Taking place sequentially in the three beleaguered couples’ bedrooms during one endless Saturday night of co-dependence and dysfunction, beds, tempers, and domestic order are ruffled, leading all the players to a hilariously touching epiphany. About the Playwright Alan Ayckbourn, in full Sir Alan Ayckbourn, (born April 12, 1939, London, England), is a successful and prolific British playwright, whose works—mostly farces and comedies—deal with marital and class conflicts and point out the fears and weaknesses of the English lower-middle class. He wrote more than 80 plays and other entertainments, most of which were first staged at the Stephen Joseph Theatre in Scarborough, Yorkshire, England. At age 15 Ayckbourn acted in school productions of William Shakespeare, and he began his professional acting career with the Stephen Joseph Company in Scarborough. When Ayckbourn wanted better roles to play, Joseph told him to write a part for himself in a play that the company would mount if it had merit. Ayckbourn produced his earliest plays in 1959–61 under the pseudonym Roland Allen. His plays—many of which were performed years before they were published—included Relatively Speaking (1968), Mixed Doubles: An Entertainment on Marriage (1970), How the Other Half Loves (1971), the trilogy The Norman Conquests (1973), Absurd Person Singular (1974), Intimate Exchanges (1985), Mr. A’s Amazing Maze Plays (1989), Body Language (1990), Invisible Friends (1991), Communicating Doors (1995), Comic Potential (1999), The Boy Who Fell into a Book (2000), and the trilogy Damsels in Distress (2002). -
Nican Mopohua (Text in English)
Nican Mopohua (Text in English) The original XVI Century Guadalupe’s Apparitions Story The first page of the Huei tlamahuiçoltica The first page of the Nican mopohua Antonio Valeriano Circa 1560 Nican Mopohua (Text in English) Author : Antonio Valeriano, Circa 1560. NICAN MOPOHUA, the original XVI Century Guadalupe’s apparitions story. NICAN MOPOHUA ("HERE IS TOLD") and set down in order how a short time ago the Perfect Virgin Holy Mary Mother of God, our Queen, miraculously appeared out at Tepeyac, widely known as Guadalupe. First she caused herself to be seen by an Indian named Juan Diego, poor but worthy of respect; and then her Precious Image appeared before the recently named Bishop, Don Fray Juan de Zumárraga. 1 Ten years after the City of Mexico was conquered, with the arrows and shields put aside, when there was peace in all the towns, 2 just as it sprouted, faith now grows green, now opens its corolla, the knowledge of the One by whom we all live: the true God. 3 At that time, the year 1531, a few days into the month of December, it happened that there was a humble but respected Indian, a poor man of the people; 4 his name was Juan Diego; he lived in Cuauhtitlán, as they say. 5 and in all the things of God, he belonged to Tlaltilolco. 6 It was Saturday, not yet dawn; he was coming in pursuit of God and his commandments. 7 And as he drew near the little hill called Tepeyac it was beginning to dawn. 8 He heard singing on the little hill, like the song of many precious birds; when their voices would stop, it was as if the hill were answering them; extremely soft and delightful, their songs exceeded the songs of the coyoltotl and the tzinitzcan and other precious birds. -
Discography of the Mainstream Label
Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet -
Play-Guide Sunshine-Boys-FNL.Pdf
TABLE OF CONTENTS ABOUT ATC 1 INTRODUCTION TO THE PLAY 2 SYNOPSIS 2 MEET THE CREATOR 2 MEET THE CHARACTERS 4 COMMENTS ON THE PLAY 4 COMMENTS ON THE PLAYWRIGHT 6 THE HISTORY OF VAUDEVILLE 7 FamOUS VAUDEVILLIANS 9 A VAUDEVILLE EXCERPT: WEBER AND FIELDS 11 MEDIA TRANSITIONS: THE END OF AN ERA 12 REFERENCES IN THE PLAY 13 DISCUSSION QUESTIONS AND ACTIVITIES 19 The Sunshine Boys Play Guide written and compiled by Katherine Monberg, ATC Literary Assistant. Discussion questions and activities provided by April Jackson, Education Manager, Amber Tibbitts and Bryanna Patrick, Education Associates Support for ATC’s education and community programming has been provided by: APS John and Helen Murphy Foundation The Maurice and Meta Gross Arizona Commission on the Arts National Endowment for the Arts Foundation Bank of America Foundation Phoenix Office of Arts and Culture The Max and Victoria Dreyfus Foundation Blue Cross Blue Shield Arizona PICOR Charitable Foundation The Stocker Foundation City of Glendale Rosemont Copper The William l and Ruth T. Pendleton Community Foundation for Southern Arizona Stonewall Foundation Memorial Fund Cox Charities Target Tucson Medical Center Downtown Tucson Partnership The Boeing Company Tucson Pima Arts Council Enterprise Holdings Foundation The Donald Pitt Family Foundation Wells Fargo Ford Motor Company Fund The Johnson Family Foundation, Inc Freeport-McMoRan Copper & Gold Foundation The Lovell Foundation JPMorgan Chase The Marshall Foundation ABOUT ATC Arizona Theatre Company is a professional, not-for-profit -
Bio.Inthismomentritu
Throughout history, art rejoices and revels in the wisdom of women. Within a deck of tarot cards, the High Priestess serves as the guardian of the unconscious. In Greek mythology, the old oracles celebrate the Mother Goddess. William Shakespeare posited portentous prescience in the form of MacBeth’s “Three Witches.” On their sixth full-length album Ritual, In This Moment—Maria Brink [vocals, piano], Chris Howorth [lead guitar], Travis Johnson [bass], Randy Weitzel [rhythm guitar], and Kent Diimel [drums]—unearth a furious and focused feminine fire from a cauldron of jagged heavy metal, hypnotic alternative, and smoky voodoo blues. It’s an evolution. It’s a statement. It’s In This Moment 2017… “It’s like we’re going into the next realm,” asserts Maria. “I had a conviction of feeling empowered in my life and with myself. I always write from a personal place, and I needed to share that sense of strength. I’ve never been afraid to hold back. Sometimes, I can be very suggestive. However, I wanted to show our fans that this is the most powerful side of myself and it’s without overt sexuality. It’s that deeper serious fire inside of my heart.” “What Maria is saying comes from deep inside,” Chris affirms. “This time, we had a bunch of ideas started before we hit the studio. There was a really clear direction. It’s different.” The group spent two years supporting their biggest album yet 2014’s Black Widow. Upon release, it seized their highest position to date on the Billboard Top 200, bowing at #8. -
Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960S and Early 1970S
TV/Series 12 | 2017 Littérature et séries télévisées/Literature and TV series Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy Electronic version URL: http://journals.openedition.org/tvseries/2200 DOI: 10.4000/tvseries.2200 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Dennis Tredy, « Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s », TV/Series [Online], 12 | 2017, Online since 20 September 2017, connection on 01 May 2019. URL : http://journals.openedition.org/tvseries/2200 ; DOI : 10.4000/tvseries.2200 This text was automatically generated on 1 May 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Light Shadows: Loose Adaptations of Gothic Literature in American TV Series o... 1 Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy 1 In the late 1960’s and early 1970’s, in a somewhat failed attempt to wrestle some high ratings away from the network leader CBS, ABC would produce a spate of supernatural sitcoms, soap operas and investigative dramas, adapting and borrowing heavily from major works of Gothic literature of the nineteenth and early twentieth century. The trend began in 1964, when ABC produced the sitcom The Addams Family (1964-66), based on works of cartoonist Charles Addams, and CBS countered with its own The Munsters (CBS, 1964-66) –both satirical inversions of the American ideal sitcom family in which various monsters and freaks from Gothic literature and classic horror films form a family of misfits that somehow thrive in middle-class, suburban America. -
12 Hours Opens Under Blue Skies and Yellow Flags
C M Y K INSPIRING Instead of loading up on candy, fill your kids’ baskets EASTER with gifts that inspire creativity and learning B1 Devils knock off county EWS UN s rivals back to back A9 NHighlands County’s Hometown Newspaper-S Since 1927 75¢ Cammie Lester to headline benefit Plan for spray field for Champion for Children A5 at AP airport raises a bit of a stink A3 www.newssun.com Sunday, March 16, 2014 Health A PERFECT DAY Dept. in LP to FOR A RACE be open To offer services every other Friday starting March 28 BY PHIL ATTINGER Staff Writer SEBRING — After meet- ing with school and coun- ty elected officials Thurs- day, Florida Department of Health staff said the Lake Placid office at 106 N, Main Ave. will be reopen- ing, but with a reduced schedule. Tom Moran, depart- ment spokesman, said in a Katara Simmons/News-Sun press release that the Flor- The Mobil 1 62nd Annual 12 Hours of Sebring gets off to a flawless start Saturday morning at Sebring International Raceway. ida Department of Health in Highlands County is continuing services at the Lake Placid office ev- 12 Hours opens under blue ery other Friday starting March 28. “The Department con- skies and yellow flags tinues to work closely with local partners to ensure BY BARRY FOSTER Final results online at Gurney Bend area of the health services are avail- News-Sun Correspondent www.newssun.com 3.74-mile course. Emergen- able to the people of High- cy workers had a tough time lands County. -
Jerry Garcia Song Book – Ver
JERRY GARCIA SONG BOOK – VER. 9 1. After Midnight 46. Chimes of Freedom 92. Freight Train 137. It Must Have Been The 2. Aiko-Aiko 47. blank page 93. Friend of the Devil Roses 3. Alabama Getaway 48. China Cat Sunflower 94. Georgia on My Mind 138. It Takes a lot to Laugh, It 4. All Along the 49. I Know You Rider 95. Get Back Takes a Train to Cry Watchtower 50. China Doll 96. Get Out of My Life 139. It's a Long, Long Way to 5. Alligator 51. Cold Rain and Snow 97. Gimme Some Lovin' the Top of the World 6. Althea 52. Comes A Time 98. Gloria 140. It's All Over Now 7. Amazing Grace 53. Corina 99. Goin' Down the Road 141. It's All Over Now Baby 8. And It Stoned Me 54. Cosmic Charlie Feelin' Bad Blue 9. Arkansas Traveler 55. Crazy Fingers 100. Golden Road 142. It's No Use 10. Around and Around 56. Crazy Love 101. Gomorrah 143. It's Too Late 11. Attics of My Life 57. Cumberland Blues 102. Gone Home 144. I've Been All Around This 12. Baba O’Riley --> 58. Dancing in the Streets 103. Good Lovin' World Tomorrow Never Knows 59. Dark Hollow 104. Good Morning Little 145. Jack-A-Roe 13. Ballad of a Thin Man 60. Dark Star Schoolgirl 146. Jack Straw 14. Beat it on Down The Line 61. Dawg’s Waltz 105. Good Time Blues 147. Jenny Jenkins 15. Believe It Or Not 62. Day Job 106. -
Sunshine State
SUNSHINE STATE A FILM BY JOHN SAYLES A Sony Pictures Classics Release 141 Minutes. Rated PG-13 by the MPAA East Coast East Coast West Coast Distributor Falco Ink. Bazan Entertainment Block-Korenbrot Sony Pictures Classics Shannon Treusch Evelyn Santana Melody Korenbrot Carmelo Pirrone Erin Bruce Jackie Bazan Ziggy Kozlowski Marissa Manne 850 Seventh Avenue 110 Thorn Street 8271 Melrose Avenue 550 Madison Avenue Suite 1005 Suite 200 8 th Floor New York, NY 10019 Jersey City, NJ 07307 Los Angeles, CA 9004 New York, NY 10022 Tel: 212-445-7100 Tel: 201 656 0529 Tel: 323-655-0593 Tel: 212-833-8833 Fax: 212-445-0623 Fax: 201 653 3197 Fax: 323-655-7302 Fax: 212-833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com CAST MARLY TEMPLE................................................................EDIE FALCO DELIA TEMPLE...................................................................JANE ALEXANDER FURMAN TEMPLE.............................................................RALPH WAITE DESIREE PERRY..................................................................ANGELA BASSETT REGGIE PERRY...................................................................JAMES MCDANIEL EUNICE STOKES.................................................................MARY ALICE DR. LLOYD...........................................................................BILL COBBS EARL PICKNEY...................................................................GORDON CLAPP FRANCINE PICKNEY.........................................................MARY -
Exploring and Understanding the Practices, Behaviors, and Identities of Hip-Hop Based Educators in Urban Public High School English/Language Arts Classrooms
EXPLORING AND UNDERSTANDING THE PRACTICES, BEHAVIORS, AND IDENTITIES OF HIP-HOP BASED EDUCATORS IN URBAN PUBLIC HIGH SCHOOL ENGLISH/LANGUAGE ARTS CLASSROOMS ________________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board ________________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ________________________________________________________________________ by H. Bernard Hall August 2012 Examining Committee Members: Marc Lamont Hill, Advisory Chair, Teachers College, Columbia University Erin McNamara Horvat, Department of Teaching and Learning Wanda Brooks, Department of Teaching and Learning James Earl Davis, Department of Psychological, Organizational and Leadership Studies Emery Petchauer, External Member, Oakland University © Copyright by H. Bernard Hall 2012 ii ABSTRACT Exploring and Understanding the Practices, Behaviors, and Identities of Hip-hop Based Educators in Urban Public High School English/language arts Classrooms H. Bernard Hall Grounded in theories of culturally relevant and hip-hop pedagogies, this ethnographic study of a demographically diverse “community nominated” cohort of urban public high school teachers who integrate hip-hop pedagogies into their English/language arts classrooms responds to the methodological and theoretical shortcomings of a burgeoning body of research known as “hip-hop based education” (HHBE). HHBE has argued that curriculum and pedagogy -
Let's Talk, How We Talk About Gender
E R A S M U S + , K A 1 , Y O U T H LET’S TALK, HOW WE TALK ABOUT GENDER training course 10-17.05.2019, ZAKOPANE, POLAND B R O C H U R E About the project: This publication summarises the background and the outcomes of the project “Let’s talk, how we talk about Gender”. The project consisted of a training course for youth workers, educators, teachers and trainers implemented in May 2019 in Zakopane, Poland and follow up phase and was designed as an answer for missing debates and regular talks between the various group on the topics of gender equality, gender-based discrimination and violence. The training became the space to explore, discuss and create using applied drama techniques and mainly Forum Theatre elements. Together with 26 participants, including trainers, we were working on case studies from our countries, media releases and much more. Partners of the project: Fundacja Inicjatyw Twórczych I Społeczno-Edukacyjnych Kurdybanek, Poland – coordinator of the project Asociatia 'Tine de Noi', Romania Association for Educational Development EKVALIS, North Macedonia Bilgi ve Beceri Dernegi, Turkey Cubo d'Ideias - Associação Criativa, Portugal Greek Youth Mobility – GYM, Greece Efektas Group, Lithuania SDRUZHENIE WALK TOGETHER, Bulgaria Trainers: Wioletta Szuba Educator, art therapist, certified trainer of applied drama, she runs theatrical and drama workshops for youth and children, vocational training and development workshops for adults (focusing on woman and parents). She is an author of the program “With the tale to the world of emotions”, where she is using original tales scenarios to speak with children about emotions, values and shape attitudes. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.