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SYDNEY OPERA HOUSE PRESENTS a Festival Celebrating the Art Of
SYDNEY OPERA HOUSE PRESENTS A festival celebrating the art of graphic storytelling, illustration, comics, animation and music MONDAY 28 SEPTEMBER, SATURDAY 10 & SUNDAY 11 OCTOBER SYDNEY OPERA HOUSE A festival of graphic storytelling, animation and music featuring: Mad Max: Fury Road - Creating the Apocalypse - George Miller, Brendan McCarthy and Nico Lathouris in conversation; Kevin Smith's Superhero Multiverse with special guest Jason Mewes; Sarah Blasko - Eternal Return Album Preview with Commissioned Visuals by Mike Daly; Ólafur Arnalds + visuals by Máni Sigfússon with 13-piece chamber orchestra and new arrangements by Viktor Orri Árnason; The Walking Dead: Season 6 Premiere – FREE SCREENING FREE TALKS from Brendan McCarthy, Nicola Scott, Animal Logic, Brendan Fletcher, Simon Rippingale and Erica Harrison; FREE SCREENINGS of Warren Ellis’ Captured Ghosts, The Mindscape of Alan Moore, She Makes Comics and Future Shock! 2000 AD; A Cautionary Tail and Oscar Wilde’s The Nightingale & The Rose “The smartest, wisest, most cutting edge festival and celebration of narrative literature and its intersection with culture in the world.” NEIL GAIMAN The Sydney Opera House today announced the program for the fifth GRAPHIC festival, taking place on Monday 28 September and Saturday 10 – Sunday 11 October. Featuring the exclusive commissions, world and Australian premieres that the festival has become synonymous with, this year GRAPHIC will also host ten free film screenings and talks from the most exciting storytellers in print, pixel and pop, on the stages and foyers of the Sydney Opera House. GRAPHIC co-curator and Sydney Opera House Head of Contemporary Music Ben Marshall said, “Sydney Opera House presents Graphic in order to celebrate the high artistic beats in forms of modern storytelling that are often ignored in traditional arts conversations and yet are capable of greatness. -
Of Idiocy, Moroseness, and Vitriol Soloists of Rage in Ben Jonson's
Of Idiocy, Moroseness, and Vitriol Soloists of Rage in Ben Jonson’s Satire Rui Carvalho Homem A punitive design energised by a sense of self-righteousness is probably the most persistent de- fining trait of the satiric voice within a conventional understanding of this literary mode. Em- powered by a set of exacting values, the satiric persona inveighs against vice or folly, his or her verbal energy hardly accommodating the possibility of doubt. Satire’s ‘radical moral stance’, its assuredness regarding ‘standards’, and its sharp sense of ‘direction’ have often been critically argued. And its appertaining urge to discriminate, with vehemence and imperiousness, is best served by the singularity of a raging voice, unforgivingly pronouncing on the ills of other indi- viduals or of a community. The work of Ben Jonson contains several generic environments in which the satiric mode can become manifest, ranging from the ostensibly monological regime of the Epigrams or the pro- logues to his plays to frequent tirades delivered by unflinching or obsession-driven dramatic characters. A discursive feature of those characters in the comedies who voice their highly strung satiric indignation is precisely that, even when they do so as apparent contributions to dramatic dialogue, their verbal excess highlights the isolation, self-centredness, and inability to communi- cate that defines them. But the moment when the satiric ranter becomes an object as much as an agent of satire is also when the rationale for the supposed normative value of satiric denunciation reaches its breaking point. By setting off the strong presence of irony and inconclusiveness in Jonson’s construction of satiric solo performances, this paper partakes in the interrogation of tra- ditional definitions of satire that has characterised recent critical revisitations of the mode — while it also underlines the extent to which such interrogation coincides with a fundamental swerve in Jonson’s critical reputation. -
Nigerian Pidgin Use and Strategies Employed by Stand-Up Comedians to Achieve Interaction in Comedy
Nigerian Journal of African Studies, Vol. 2 No. 1, 2020 (ISSN: 2734-3146) NIGERIAN PIDGIN USE AND STRATEGIES EMPLOYED BY STAND-UP COMEDIANS TO ACHIEVE INTERACTION IN COMEDY Nneoma Chiebuka Ngige Department of English Language and Literature Nnamdi Azikiwe University, Awka Email: [email protected] Abstract This study is aimed at looking at the use of Nigerian Pidgin and strategies employed by stand-up comedians to achieve interaction in comedy. Stand-up comedy, an oral dramatic performance commonly enacted by a solo-performance before a live audience, are known to use Nigerian Pidgin creatively to create comedy and entertain their audience. Their patterns and choices of language can sometimes have hidden meanings that show Nigerian ways of life and their tone of utterance can sometimes be inappropriate. This study therefore examines the strategies deployed by stand-up comedians with the view to determine the role of Nigerian Pidgin as a veritable source in comedy production and consumption. Hence, the purpose of this study is to analyze the strategies employed by Nigerian stand-up comedians to achieve interaction in comedy, their patterns and choices of language as they are used to create comedy to entertain their audience. This work reveals how Nigerian Pidgin reflects social relationship between the comedian and his audience. It also reveals that pidgin is an informal language, and so its informality creates an equal social relationship in an informal setting which aids laughter. Introduction Language can be described as a dynamic, social and interactive phenomenon -whether between the speaker and the listener, or writer and the reader (Crystal 19). -
Jay & Silent Bob Reboot
Presents JAY & SILENT BOB REBOOT A film by Kevin Smith 105 mins, USA, 2019 Language: English Distribution Publicity Mongrel Media Inc Bonne Smith 217 – 136 Geary Ave Star PR Toronto, Ontario, Canada, M6H 4H1 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Twitter: @starpr2 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com JAY AND SILENT BOB REBOOT SYNOPSIS: The stoner icons who first hit the screen 25 years ago in CLERKS are back! When Jay and Silent Bob discover that Hollywood is rebooting an old movie based on them, the clueless duo embark on another cross-country mission to stop it all over again! 1 CAST & CREW BIOGRAPHIES: KEVIN SMITH (Silent Bob, Director / Writer) Kevin Smith has been saying silly cinematic shit since his first film Clerks, released way back in 1994. He had a heart attack and almost died last year but survived solely so he could direct his magnum opus, Jay and Silent Bob Reboot. A polygamist, he’s married to both his wife Jen and podcasting. JASON MEWES (Jay) Jason Mewes most recently made his directorial debut on MADNESS IN THE METHOD, which was released in August 2019. With cult-fans following his controversial antics, Mewes has captured audiences with his rebellious banter against his unspoken other half and longtime friend, Kevin Smith. Since the beginning of the duo’s offbeat work together, Mewes and Smith have continued to build on their beloved character-driven roles from the Jay and Silent Bob series. It’s been over a decade since fans last saw the duo in live- action, but they’re back along with a star-studded cast in the upcoming comedy film, JAY AND SILENT BOB REBOOT. -
Copyright by Joseph Dee Brentlinger 2011
Copyright by Joseph Dee Brentlinger 2011 The Thesis Committee for Joseph Dee Brentlinger Certifies that this is the approved version of the following thesis: Mysterious Criticism: A Burkean Perspective on Hierarchy and Human Social Relations APPROVED BY SUPERVISING COMMITTEE: Supervisor: Barry Brummett Larry Browning Mysterious Criticism: A Burkean Perspective on Hierarchy and Human Social Relations by Joseph Dee Brentlinger, B.A. Thesis 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 Master of Arts The University of Texas at Austin May 2011 Dedication To my sister, Leslie. Acknowledgements The Author would like to thank Lura and Joe Long, John and Grace Roberts, and Dr. R.W. Brentlinger and Marjorie Brentlinger for being wonderful grandparents. Also he would like to thank Gary and Melissa Brentlinger, Donnell Long, PFC Andrew Brentlinger and Leslie Brentlinger for being a supportive family. Lastly, he would like to thank Barry Brummett, Larry Browning, Joshua Gunn, Dana Cloud, Helena Woodard, R. Mark Sainsbury, and D. O. Nillson for being amazing influences on my work and my life. v Abstract Mysterious Criticism: A Burkean Perspective on Hierarchy and Human Social Relations Joseph Dee Brentlinger, M.A. The University of Texas at Austin, 2011 Supervisor: Barry Brummett This work introduces the idea of mysterious criticism as a viable means by which to critique, explain, and understand the role that hierarchy plays in human social relations. It scrutinizes the works of Kenneth Burke and others to explain the role that mystery plays in human hierarchical circumstances, and becomes a foray into popular culture as a suitable object by which to explicate the form of critique offered in its pages as well as providing fruitful sources for the study of hierarchy in the beginning of the 21st century. -
Powerful Memoir from an American Master
POWERFUL MEMOIR FROM AN AMERICAN MASTER AUGUST WILSON’S CO-CONCEIVED & DIRECTED BY TODD KREIDLER FEATURING HOW I LEARNED EUGENE LEE WHAT I LEARNED CURRICULUM GUIDE TABLE OF CONTENTS Standards 3 Guidelines for Attending the Theatre 4 Artists 5 Themes for Writing & Discussion 8 Mastery Assessment 11 For Further Exploration 12 Suggested Activities 17 © Huntington Theatre Company Boston, MA 02115 March 2015 No portion of this curriculum guide may be reproduced without written permission from the Huntington Theatre Company’s Department of Education & Community Programs Inquiries should be directed to: Donna Glick | Director of Education [email protected] This curriculum guide was prepared for the Huntington Theatre Company by: Alexandra Truppi I Manager of Curriculum & Instruction with contributions by: Donna Glick | Director of Education COMMON CORE STANDARDS IN ENGLISH LANGUAGE ARTS STANDARDS: Student Matinee performances and pre-show workshops provide unique opportunities for experiential learning and support various combinations of the Common Core Standards for English Language Arts. They may also support standards in other subject areas such as Social Studies and History, depending on the individual play’s subject matter. Activities are also included in this Curriculum Guide and in our pre-show workshops that support several of the Massachusetts state standards in Theatre. Other arts areas may also be addressed depending on the individual play’s subject matter. Reading Literature: Key Ideas and Details 1 Reading Literature: Craft and Structure 5 • Grade 7: Cite several pieces of textual evidence to support analy- • Grade 7: Analyze how a drama’s or poem’s form or structure sis ofwhat the text says explicitly as well as inferences drawn (e.g., soliloquy, sonnet) contributes toits meaning. -
CONTENTS Press Release Pg. 2 Creative Team Pgs. 3-5 Reviews Pg
1 NY Fringe Outstanding Solo Performance Award-winner David Carl channels two famous icons pushing the boundaries of sanity, Hamlet and Gary Busey, in this offbeat, critically acclaimed one-man show. Having triumphed in Celebrity Big Brother, survived Celebrity Rehab with Dr. Drew, and taken on Donald Trump and Meatloaf, Keanu Reeves’ favorite costar now undertakes his biggest challenge yet: performing all the parts in Hamlet with outrageous songs, twisted speeches and homemade puppets. Directed and Co-created by Michole Biancosino. Carl portrays the ultimate Celebrity-driven Hamlet in what the New York Times has deemed “Deliciously deranged...a head-spinning performance!" A hit among critics, Shakespeare scholars and action movie fans alike, don’t miss out on the tragically epic madness. More info can be found at www.buseyhamlet.com CONTENTS Press Release pg. 2 Creative Team pgs. 3-5 Reviews pg. 6 Show history pg. 7 Media Coverage & Contacts pg. 8 2 For Immediate Release Busey-Hamlet Parody Hit Returns to The People’s Improv Theater with New Title NEW YORK CITY – Following this summer’s critically acclaimed run at Chicago Shakespeare Theater, and in the footsteps of Gary Busey’s recent Off-Broadway Perfect Crime debut, the formerly titled Gary Busey’s One-Man Hamlet returns to The PIT Loft for two performances on January 9 & 10 as the newly minted David Carl’s Celebrity One-Man Hamlet. The New York Times called the show "Deliciously deranged...a head-spinning performance!" The Chicago Tribune said, "Bold and often hilarious...thoroughly enjoyable...spot-on impression." As Shakespearean actor, puppeteer, singer and action-movie hero, New York actor-writer David Carl impersonates Gary Busey performing each scene of Hamlet with occasional detours across Mr. -
GLOSSARY of TERMS USED in the AVTA (Pre-1930S Australian Variety Industry Specific)
GLOSSARY OF TERMS USED IN THE AVTA (Pre-1930s Australian Variety Industry Specific) NB: The various genre terms below were invariably applied "freely" within the industry and hence their use often became somewhat "arbitrary." For a comprehensive analysis of these terms see their entries linked to the Genre page. Blue-coloured script indicates a hyperlink to an individual entry within the AVTA. ˚˚˚ ABORIGINALITIES: The only use of this term identified to date is its frequent application in advertising for Dave "Murrumbidgee" Gardner, a Melbourne-based comedian associated with Melbourne's Peoples Popular Concerts during the 1890s. While details concerning his act are yet to be located, it is possible that he may have been the first, if not the only, minstrel comic to affect an indigenous character type on the Australian stage. ACROBATIC ACTS: Acrobatic acts were a mainstay of vaudeville from the early 1900s onwards. While some performers came from circus backgrounds (e.g. The St Leons), the vast majority of acts were specifically designed for the stage by variety artists like the Four Stagpooles who specialised in knockabout/ acrobatic comedy. The type of acts presented, limited only by the imagination, included balancing, tumbling, teeterboard, knockabout comedy and bar acts. Aerial and wire work tended to be a feature of the bigger companies which utilised venues with larger stage areas. Some popular acts included: The Two Harlans, Kitchie and Kliftie, and Klinto and Wade/Klinto and Mack. ● See also: Knockabout Comedy ACT: 1. A self-contained performance with no connection to any other part of a minstrel or vaudeville programme. -
Award Winning Filmmaker Kevin Smith to Address Illinois Wesleyan Commencement on May 7 Bob Aaron Illinois Wesleyan University
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Digital Commons @ Illinois Wesleyan University Illinois Wesleyan University Digital Commons @ IWU News and Events University Communications 2000 Award Winning Filmmaker Kevin Smith to Address Illinois Wesleyan Commencement on May 7 Bob Aaron Illinois Wesleyan University Recommended Citation Aaron, Bob, "Award Winning Filmmaker Kevin Smith to Address Illinois Wesleyan Commencement on May 7" (2000). News and Events. Paper 732. http://digitalcommons.iwu.edu/news/732 This Article is brought to you for free and open access by The Ames Library, the Andrew W. Mellon Center for Curricular and Faculty Development, the Office of the Provost and the Office of the President. It has been accepted for inclusion in Digital Commons @ IWU by the faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. April 18, 2000 CONTACT: Bob Aaron, 309/556-3181 Award Winning Filmmaker Kevin Smith to Address Illinois Wesleyan Commencement on May 7 BLOOMINGTON, Ill.--Award-winning film director and writer Kevin Smith--whose screen credits include Clerks, Mallrats, and Chasing Amy--will address an estimated 535 graduates and their families at Illinois Wesleyan University's commencement for its 150th year on May 7 (Sunday). IWU's 1 p.m. graduation ceremony (the processional of graduates and faculty begins at 12:45 p.m.) will take place on the Eckley Quadrangle unless inclement weather forces the event inside the Shirk Center, 302 E. Emerson, Bloomington. Smith will receive an honorary doctor of humane letters degree for his contributions to the art and science of filmmaking. -
Complete Production History 2018-2019 SEASON
THEATER EMORY A Complete Production History 2018-2019 SEASON Three Productions in Rotating Repertory The Elaborate Entrance of Chad Deity October 23-24, November 3-4, 8-9 • Written by Kristoffer Diaz • Directed by Lydia Fort A satirical smack-down of culture, stereotypes, and geopolitics set in the world of wrestling entertainment. Mary Gray Munroe Theater We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, From the German Südwestafrika, Between the Years 1884-1915 October 25-26, 30-31, November 10-11 • Written by Jackie Sibblies Drury • Directed by Eric J. Little The story of the first genocide of the twentieth century—but whose story is actually being told? Mary Gray Munroe Theater The Moors October 27-28, November 1-2, 6-7 • Written by Jen Silverman • Directed by Matt Huff In this dark comedy, two sisters and a dog dream of love and power on the bleak English moors. Mary Gray Munroe Theater Sara Juli’s Tense Vagina: an actual diagnosis November 29-30 • Written, directed, and performed by Sara Juli Visiting artist Sara Juli presents her solo performance about motherhood. Theater Lab, Schwartz Center for the Performing Arts The Tatischeff Café April 4-14 • Written by John Ammerman • Directed by John Ammerman and Clinton Wade Thorton A comic pantomime tribute to great filmmaker and mime Jacques Tati Mary Gray Munroe Theater 2 2017-2018 SEASON Midnight Pillow September 21 - October 1, 2017 • Inspired by Mary Shelley • Directed by Park Krausen 13 Playwrights, 6 Actors, and a bedroom. What dreams haunt your midnight pillow? Theater Lab, Schwartz Center for the Performing Arts The Anointing of Dracula: A Grand Guignol October 26 - November 5, 2017 • Written and directed by Brent Glenn • Inspired by the works of Bram Stoker and others. -
Kevin Smith Press Release Update
CSFINEARTSCENTER.ORG Contact: Amanda Weston, Media Relations and Outreach Manager 719-477-4316; [email protected] FOR IMMEDIATE RELEASE Jay & Silent Bob Get Old COLORADO SPRINGS (Oct 13, 2015) — The Colorado Springs Fine Arts Center (FAC) presents Jay and Silent Bob Get Old. The hilarious duo Jay & Silent Bob are back. Film icons Kevin Smith and Jason Mewes made history and fans all over the world with the characters Jay & Silent Bob from the movies Clerks, Mallrats, Chasing Amy, Dogma, Jay and Silent Bob Strike Back and Clerks 2. Now you can see them live at the FAC recording their comedy podcast Jay & Silent Bob Get Old. Smith, playing to a sold out show at 7:30p, will be joined by Mewes for a second and completely different performance at 9:45p. This is what fans everywhere have been waiting for – a rare opportunity to see their heroes on stage doing what they love, telling stories! Ranked #1 on ITunes Comedy podcasts, this is a sometimes touching, always hilarious, look at what happens when two people grow up in Hollywood’s gaze. These limited engagements will be recorded as the stories evolve live in front of the audience, and released for free on www.smodcast.com. Jay & Silent Bob Get Old When: December 16, 2015 9:45p Where: Colorado Springs Fine Arts Center, 30 W. Dale St. Tickets: Starting at $36 Something else: This performance is following the SOLD OUT performance – An Evening with Kevin Smith: Q&A Session at 7:30p Kevin Smith @ThatKevinSmith is the fat guy who got thrown off the plane. -
Mcwilliams Ku 0099D 16650
‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers.