DOCSLIB.ORG

The Civil War: a Collaboration in Direction and Choreography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Civil War: a Collaboration in Direction and Choreography Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2005 The Civil War: A Collaboration in Direction and Choreography Cara E. Rawlings Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/751 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. O Cara Elizabeth Rawlings 2005 All Rights Reserved THE CIVIL WAR: A COLLABORATION IN DIRECTION AND CHOREOGRAPHY A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre Pedagogy at Virginia Commonwealth University. CARA ELIZABETH RAWLINGS Bachelor of Science in Public Relations, Middle Tennessee State University, 1997 Director: DAVID S. LEONG CHAIRMAN, DEPARTMENT OF THEATRE Virginia Commonwealth University Richmond, Virginia May 2005 Acknowledgements Many thanks are owed to many people instrumental not only in the development of this thesis, but also in my developn~entas a teacher, artist and person. I will forever hold dear the lessons, laughter, love and friendship shared by those mentioned below. Thanks to David Leong, chair, teacher, friend and mentor. There are not enough words to express my gratitude for all he taught -- and continues to teach me about theatre, life and myself. Thanks to Patti D'Beck for sharing her infectious passion for work and life - and for welcoming my input as both a colleague and friend. Thanks to Dr. Aaron Anderson for his tireless encouragement, guidance, laughter and the challenge to "Find your passion!" Tliainks to Dr. Noreen Barnes-McLain for reminding me, by example, that I am humanfirst -- then an artist, teacher and scholar. Thanks to my parents, Drinda and Cary Rawlings for encouraging me to embrace the unknown and risk setting out on a new career path. Thanks to the cast and crew. Their work, dedication, and collaborative effort made this an extraordinary experience. Thanks to Melissa Hurt for being my dear friend and trusted editor. Thanks to all my cronies in the Movement program. Through laughter and tears, they got me through this with a modicum of sanity. Table of Contents Page .. Acknowledgements ...........................................................................................................11 Abstract .............................................................................................................................vi Introduction ........................................................................................................................1 Chapter 1 The Civil War: A Musical: From Broadway Debut to VCU .........................3 Evolution of the Theatre VCU Script ............................................................7 Evolutioil of the Rehearsal Script ................................................................13 Act I .............................................................................................................14 Act 2 ............................................................................................................21 2 Staging The Civil War: A Musical .................................................................27 Pre-Production Military Education .............................................................29 "A House Divided" .....................................................................................30 "By the Sword1 Sons of Dixie" ...................................................................33 66 The Peculiar Institution" ............................................................................37 "Greenback" ................................................................................................41 66Judgment Day" Battle ................................................................................43 "Freedom's Child" ......................................................................................47 66 Someday" ..................................................................................................50 "Oh! Be Joyful!" .........................................................................................52 "River Jordan" .............................................................................................54 3 Essence of Patti D'Beck ................................................................................. 60 Creative Process .......................................................................................... 60 Aesthetics ....................................................................................................62 Working Style ..............................................................................................63 4 David Leong Revealed ...................................................................................66 Creative Process ......................................................................................... -66 Aesthetics .................................................................................................... 68 Working Style .............................................................................................. 70 5 Principles of Direction and Choreography .................................................. 73 6 Collaboration and Artistry ............................................................................81 Reflections on Collaboration ....................................................................... 82 Reflections on Personal Artistry .................................................................. 86 Creative Process ..........................................................................................87 Aesthetics ...................................................................................................-90 Working Style ..............................................................................................91 Works Cited ......................................................................................................................94 Appendix ...........................................................................................................................95 A Rehearsal Journal Entries .................................................................................95 Abstract THE CIVIL WAR: A COLLABORATION IN DIRECTION AND CHOREOGRAPHY By Cara Elizabeth Rawlings, M.F.A. A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre Pedagogy at Virginia Commoiiwealth University. Virginia Conlmonwealth University, 2005 Major Director: David S. Leong Chairman, Department of Theatre This text is a partial record of the developnlent of the Virginia Commonwealth University production of The Civil War: A Musical that opened on April 7, 2005 for a three-week run ending April 28, 2005. The greater part of the text is devoted to the evaluation of the underlying principles of direction and choreography applied in the creation of an artistically aiid financially successful production of this size. Included in the evaluation of The Civil War: A Musical are analyses of the directors' -- Patti D'Beck and David Leong -- individual creative processes, aesthetics, and working styles. The result of this evaluation and analysis is a compilation of the fundamental principles of direction and vii choreography applied in The Civil War: A Musical as a methodology for the creation of theatre. Further reflections on collaboration and artistry serve as the culmination of lessons inherent in both the creation of the Theatre VCU production of The Civil War: A Musical and in the author's three years of study in the VCU Master of Fine Arts program in Theatre Pedagogy with an emphasis in Movement Direction and Choreography. INTRODUCTION This text is a partial record of the development of the Virginia Commoilwealth University production of The Civil War: A Musical that opened on April 7, 2005 for a three-week run ending April 28,2005. The greater part of the text is devoted to the evaluation of the underlying principles of direction and choreography as applied in the creation of an artistically and financially successful production of this size. Included in my evaluation of The Civil War: A Musical are the analyses of the directors' -- Patti D'Beck and David Leong -- individual creative processes, aesthetics, and working styles. Patti identifies herself primarily as a dance choreographer. David is known as one of the top Fight Directors and Movement Directors in professional theatre. Neither Patti nor David considers the position of Director as her and his primary vocation. Yet, the fundamentals of direction are inherent in both of their approaches to movement choreography. The goal of this text is to define the fundamental principles of direction and choreography applied in The Civil War: A Musical as a methodology for the creation of theatre. The VCU production of The Civil War: A Musical and this text are the vehicles for the actualization of all the lessons I have learned during my three years of movement, acting, pedagogy and overall theatre studies at VCU. My own voice, as a teacher and artist, is present ,throughout this text, ever assessing my contributions and development as
Load more

Recommended publications
  • United States Bureau of Education
    'UNITED STATES BUREAU OF EDUCATION BULLETIN, 1914, 1;0. 6 - - - - WHOLE NUMBER 577 I KINDERGARTENS IN THE UNITED STATES STATISTICS AND PRESENT PROBLEMS it WASHINGTON GOVERNMENT PRINTING OFFICE 1914 BUREAU OF EDUCATION BULLET IN1914, NO. 6 PLATE 1 r1,3r,h giv. to ,-ry"FOLLOWir t.r. MY t A Or' R : I A DDITIONAL CoPTES OP TAIS runTiocnox MAT BE PROCURED PROM THE SUPERINTENDENT OF 1OCI-MENTS GON ERNMENT PRINTING OFFICE WASHINGTON, D. C. AT 20 CENTS PER COPY Page. Lefler of transmittal ....... 5 I. Introduction 7 11. Statistics Ili Table I.Summary of sta:islii sif public kindergartens for year ended JUite 30. 1912 16 Tel 2. Statist its of kindergarten other than public tot'year ended June 30. 1912 17 Table 3.-1'i t ie.. having a supervisor of public kindergartensSalary 18 Table 4.K indergartens (other 1 ban public) having a superisor 18 Table 5. Slat 'stirs of public-srlmol kindergartens foryear ended June 30, 1912 19 Table 6. Statistics of kindergartens.other than public foryear ended June 30, 1912 I.ist of kindergartens for which no stAtistical data are availitble 86 Kindergartens not represented in t he foregoing tables 89 Ill. Kinderzartens as viewed by superintendents. primary supers: or. and tirst-grade teachers 93 A. Opinions of supennt endents 96 Opinions of primary supervisors 103 ('. Opinions of primary I eachers 1b9 IV. Abstracts el papers read at the meeting of the International lAdergarten Union. Washington. I). C.. April-May, 1913 The standardizing of kindergarten training 114 The kindergarten and general ed two innal principles.
    [Show full text]
  • The Script - Freedom Child Album Campaign Amp Visual Creative Review Lighting the Way the Script, Freedom Child Album Campaign
    THE SCRIPT - FREEDOM CHILD ALBUM CAMPAIGN AMP VISUAL CREATIVE REVIEW LIGHTING THE WAY THE SCRIPT, FREEDOM CHILD ALBUM CAMPAIGN A SHORT EMAIL ARRIVES IN. IT’S FROM brain, a heart, a dove, a pair of angel’s wings MARK, THE SCRIPT’S GUITARIST. “… ALBUM’S and so on. The band were positive, particularly JUST FINISHED, GET OVER TO THE LONDON about the angel wings. They immediately saw STUDIO AND WE’LL HAVE A LISTEN AND the branding potential, across videos, staging CHAT”. JUST LIKE THAT, THE NEW ALBUM and merchandise. We also explored neon light DESIGN CAMPAIGN BEGINS. along with the wings and gradually, the image of a solitary figure on a dark, rainy, urban street When we consider any large packaging and began to emerge. It wasn’t our innocent child identity campaign, we look for a unique image, any more. Somehow we’d settled on a young a special element that will translate and evolve man, our Freedom Child, viewed from behind, across all media. with the angel’s wings on his back. It illustrated our narrative perfectly. At the studio, an excited Danny (O’Donoghue, lead singer) shows us a powerful image on his Now came the challenge of creating and phone. It shows a young girl, standing facing shooting the image. This involved finding the a line of armed police in full riot gear. Danny ideal street, manufacturing a complicated life- says, “So, the album is called Freedom Child, sized set of wings for the angel character and is this girl our mascot?” It’s fantastic but it’ll be making small scale models.
    [Show full text]
  • Beautiful Family! Broadway/ First National Tour: Beautiful; Betty/ Ensemble
    SARAH BOCKEL (Carole King) is thrilled to be back on the road with her Beautiful family! Broadway/ First National Tour: Beautiful; Betty/ Ensemble. Regional: Million Dollar Quartet (Chicago); u/s Dyanne. Rocky Mountain Repertory Theatre- Les Mis; Madame Thenardier. Shrek; Dragon. Select Chicago credits: Bohemian Theatre Ensemble; Parade, Lucille (Non-eq Jeff nomination) The Hypocrites; Into the Woods, Cinderella/ Rapunzel. Haven Theatre; The Wedding Singer, Holly. Paramount Theatre; Fiddler on the Roof, ensemble. Illinois Wesleyan University SoTA Alum. Proudly represented by Stewart Talent Chicago. Many thanks to the Beautiful creative team and her superhero agents Jim and Sam. As always, for Mom and Dad. ANDREW BREWER (Gerry Goffin) Broadway/Tour: Beautiful (Swing/Ensemble u/s Gerry/Don) Off-Broadway: Sex Tips for Straight Women from a Gay Man, Cougar the Musical, Nymph Errant. Love to my amazing family, The Mine, the entire Beautiful team! SARAH GOEKE (Cynthia Weil) is elated to be joining the touring cast of Beautiful - The Carole King Musical. Originally from Cape Girardeau, Missouri, she has a BM in vocal performance from the UMKC Conservatory and an MFA in Acting from Michigan State University. Favorite roles include, Sally in Cabaret, Judy/Ginger in Ruthless! the Musical, and Svetlana in Chess. Special thanks to her vital and inspiring family, friends, and soon-to-be husband who make her life Beautiful. www.sarahgoeke.com JACOB HEIMER (Barry Mann) Theater: Soul Doctor (Off Broadway), Milk and Honey (York/MUFTI), Twelfth Night (Elm Shakespeare), Seminar (W.H.A.T.), Paloma (Kitchen Theatre), Next to Normal (Music Theatre CT), and a reading of THE VISITOR (Daniel Sullivan/The Public).
    [Show full text]
  • Study Guide Note
    Table of Contents Right Pocket: Welcome Letter Amy Weinstein, President and Founder, StudentsLIVE Welcome Letter Producers LITTLE WOMEN Press Packet StudentsLIVE Press Packet National Standards HOW TO USE THIS STUDY GUIDE NOTE Supplemental Lesson Theatre Etiquette Teacher Evaluation 1 Study Guide Table of Contents Plot Background and Summary 3 Scenes and Musical Numbers 7 Chapter I: How to Use this Guide 8 Chapter II: Preparation for the Little Women Musical 10 Chapter II: Lesson Plan 24 Chapter III: The Joys of Song 26 Chapter III: Lesson Plan 32 Chapter IV: Being an Original (Girl Power!) 33 Chapter IV: Lesson Plan 40 Chapter V: The Men of Little Women 43 Chapter V: Lesson Plan 49 Chapter VI: Love and Loyalty 51 Chapter VI: Lesson Plan 59 Chapter VII: Sweet Taste of Success 60 Chapter VII: Lesson Plan 61 Supplemental Material 62 Bibliography 63 2 Plot Background Louisa May Alcott’s story Little Women is timeless – and timely. The story written in 1868 relates a fictionalized account of its author’s young life with her sisters. While certain aspects of the story have been altered in this musical adaptation, the heart of the tale remains untouched. Four sisters of the March family: Jo, Meg, Beth and Amy come of age during the U.S. Civil War, while their father is away with the Union Army. Their mother, whom they affectionately call “Marmee,” nurtures and encourages these four strong-spirited young women to achieve their dreams. While this approach to raising children may be “conventional,” there is little “conventional” about her daughters. Jo, a tom-boyish writer, disregards social standards of how women should behave.
    [Show full text]
  • Low Male Voice Repertoire in Contemporary Musical Theatre: a Studio and Performance Guide of Selected Songs 1996-2020
    LOW MALE VOICE REPERTOIRE IN CONTEMPORARY MUSICAL THEATRE: A STUDIO AND PERFORMANCE GUIDE OF SELECTED SONGS 1996-2020 by Jeremy C. Gussin Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee __________________________________________ Ray Fellman, Research Director __________________________________________ Brian Gill, Chair __________________________________________ Jane Dutton __________________________________________ Peter Volpe December 10, 2020 ii Copyright © 2020 Jeremy Gussin iii Preface This project is intended to be a resource document for bass voices and teachers of low male voices at all levels. For the purposes of this document, I will make use of the established term low male voice (LMV) while acknowledging that there is a push for the removal of gender from voice classification in the industry out of respect for our trans, non-binary and gender fluid populations. In addition to analysis and summation of musical concepts and content found within each selection, each repertoire selection will include discussions of style, vocal technique, vocalism, and character in an effort to establish routes towards authenticity in the field of musical theatre over the last twenty five years. The explosion of online streaming and online sheet music resources over the last decade enable analysis involving original cast recordings, specific noteworthy performances, and discussions on transposition as it relates to the honoring of character and capability of an individual singer. My experiences with challenges as a young low voice (waiting for upper notes to develop, struggling with resonance strategies above a D♭4) with significant musicianship prowess left me searching for a musically challenging outlet outside of the Bel Canto aesthetic.
    [Show full text]
  • Gudgeirsson Dissertation
    UNIVERSITY OF CALIFORNIA SANTA CRUZ PERFECT CHILD, PERFECT FAITH RAISING CHILDREN IN NINETEENTH-CENTURY RELIGIOUS COMMUNITIES A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in HISTORY by Meg Eppel Gudgeirsson June 2016 The Dissertation of Meg Gudgeirsson is approved: ____________________________________ Professor Marilyn Westerkamp, chair ____________________________________ Professor Catherine Jones ____________________________________ Professor Martin Berger _____________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Meg Eppel Gudgeirsson 2016 TABLE OF CONTENTS List of Illustrations iv Abstract vi Acknowledgments viii Introduction 1 Chapter 1: Define the Child, Define the Community 27 Chapter 2: The Family and its Proxies 77 Chapter 3: Educating for the Future 134 Chapter 4: “The Serious Business” of Play and Work 178 Conclusion: Departures and Transformations 225 Bibliography 249 !iii LIST OF ILLUSTRATIONS Image 1.1 Oneida Children in a Cart, undated 31 Image 1.2 Godfrey Barron Noyes, ca. 1876 32 Image 1.3 Guy Hatch Noyes, ca. 1876 32 Image 1.4 Hilton Van Velzer, ca. 1872 32 Image 1.5 “Group of Pleasant Hill Shakers on an Outing,” May 1887 36 Image 1.6 Jessie Catherine Baker (Kinsley), ca. 1863-1865 64 Image 1.7 Pierrepont Burt Noyes, undated 69 Image 2.1 Oneida Eugenics Children, ca. 1887 82 Image 2.2 “The Drama of the Criminal Court,” 1873 89 Image 2.3 McKay Family, ca. 1870s 90 Image 2.4 Charlotte Leonard with sons Stephen Rose Leonard and John 100 Humphrey Noyes II, ca. 1870s Image 2.5 Tirzah Miller, ca. 1860s 102 Image 2.6 Group Photograph of Women and Children at Sabbathlake 104 Community, Maine, ca.
    [Show full text]
  • Leawood Stage Announces Auditions
    Leawood Stage announces auditions Press release posted by Bob Evans Calling all actors and singers! The Civil War The Leawood Stage Company will hold auditions for a Broadway musical, The Civil War directed by Tim Braselton on Saturday, November 2nd from 10:00 am to 4:00 pm in the Oak Room on the lower level of Leawood City Hall. Auditioners should enter through the north doors of the building. Callbacks will be held by invitation only on Saturday, Nov. 9 at the same location. Everyone auditioning must prepare 16 measures of a song from a musical. Please bring sheet music in your key, as an accompanist will be provided. Auditioners may be asked to participate in a short dance/movement audition: comfortable dress and shoes are suggested. Bring a photo and resume if available. No appointment time is necessary, as auditions are first come, first served. Audition forms may be filled out in advance by downloading the form from www.leawoodstageco.org. The Civil War is based on historical accounts; this stunning retrospective covers the emotional landscape of a nation at war. This epic thematic revue puts a human face on the greatest tragedy of American history. It explores the experiences of the soldiers and leaders who fought for their way of life. It also examines the lives of the sweethearts and families whom they left behind, as well as the hopes and fears of slaves. This musical passionately asks us to consider our beliefs about freedom, honor and faith. Drawing on letters, diaries, firsthand accounts and the words of Abraham Lincoln, Frederick Douglass and Walt Whitman, The Civil War is a thrilling and awe-inspiring “dramatic theatrical concert.” The original Broadway production was nominated for multiple Tony Awards, including Best Musical, and features an unforgettable score filled with Gospel, Country, Rock and Folk by Frank Wildhorn (Jekyll & Hyde, Dracula, and Bonnie & Clyde).
    [Show full text]
  • Confronting Commercial Sexual Exploitation and Sex Trafficking of Minors in the United States
    This PDF is available from The National Academies Press at http://www.nap.edu/catalog.php?record_id=18358 Confronting Commercial Sexual Exploitation and Sex Trafficking of Minors in the United States ISBN Ellen Wright Clayton, Richard D. Krugman, and Patti Simon, Editors; 978-0-309-28655-8 Committee on the Commercial Sexual Exploitation and Sex Trafficking of Minors in the United States; Board on Children, Youth, and Families; 464 pages Committee on Law and Justice; Institute of Medicine; National Research 6 x 9 PAPERBACK (2013) Council Visit the National Academies Press online and register for... Instant access to free PDF downloads of titles from the NATIONAL ACADEMY OF SCIENCES NATIONAL ACADEMY OF ENGINEERING INSTITUTE OF MEDICINE NATIONAL RESEARCH COUNCIL 10% off print titles Custom notification of new releases in your field of interest Special offers and discounts Distribution, posting, or copying of this PDF is strictly prohibited without written permission of the National Academies Press. Unless otherwise indicated, all materials in this PDF are copyrighted by the National Academy of Sciences. Request reprint permission for this book Copyright © National Academy of Sciences. All rights reserved. Confronting Commercial Sexual Exploitation and Sex Trafficking of Minors in the United States Committee on the Commercial Sexual Exploitation and Sex Trafficking of Minors in the United States Board on Children, Youth, and Families Committee on Law and Justice Ellen Wright Clayton, Richard D. Krugman, and Patti Simon, Editors Copyright © National Academy of Sciences. All rights reserved. Confronting Commercial Sexual Exploitation and Sex Trafficking of Minors in the United States THE NATIONAL ACADEMIES PRESS 500 Fifth Street, NW Washington, DC 20001 NOTICE: The project that is the subject of this report was approved by the Govern- ing Board of the National Research Council, whose members are drawn from the councils of the National Academy of Sciences, the National Academy of Engineer- ing, and the Institute of Medicine.
    [Show full text]
  • 2021 Media Guide NYRA.Com 1 TABLE of CONTENTS
    2021 Media Guide NYRA.com 1 TABLE OF CONTENTS HISTORY 3 General Information 4 History of The New York Racing Association, Inc. (NYRA) 5 NYRA Leadership 6 Belmont Park History 7 Belmont Park Specifications & Map 8 Saratoga Race Course History 9 Saratoga Leading Jockeys and Trainers TABLE OF CONTENTS TABLE 10 Saratoga Race Course Specifications & Map 11 Aqueduct Racetrack History 12 Aqueduct Racetrack Specifications & Map 13 NYRA Bets 14 Digital NYRA 15-16 NYRA Personalities 17 NYRA & Community/Cares 18 NYRA & Safety 19 Handle & Attendance Page OWNERS 20-44 Owner Profiles 45 2020 Leading Owners TRAINERS 46-93 Trainer Profiles 94 Leading Trainers in New York 1935-2020 95 2020 Trainer Standings JOCKEYS 96-117 Jockey Profiles 118 Jockeys that have won six or more races in one day 118 Leading Jockeys in New York (1941-2020) 119 2020 NYRA Leading Jockeys BELMONT STAKES 122 History of the Belmont Stakes 129 Belmont Runners 139 Belmont Owners 148 Belmont Trainers 154 Belmont Jockeys 160 Triple Crown Profiles TRAVERS STAKES 176 History of the Travers Stakes 185 Travers Owners 189 Travers Trainers 192 Travers Jockeys 202 Remembering Marylou Whitney 205 The Whitney 2 2021 Media Guide NYRA.com AQUEDUCT RACETRACK 110-00 Rockaway Blvd. South Ozone Park, NY 11420 2021 Racing Dates Winter/Spring: January 1 - April 18 BELMONT PARK 2150 Hempstead Turnpike Elmont, NY, 11003 2021 Racing Dates Spring/Summer: April 22 - July 11 GENERAL INFORMATION GENERAL SARATOGA RACE COURSE 267 Union Ave. Saratoga Springs, NY, 12866 2021 Racing Dates Summer: July 15 - September
    [Show full text]
  • Bridging the Gap Between Opera and Musical Theatre
    The Crossover Opera Singer: Bridging the Gap Between Opera and Musical Theatre D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Keyona Willis-Lynam, M.M Graduate Program in Music The Ohio State University 2015 D.M.A. Document Committee: J. Robin Rice, Advisor Joe Duchi Kristine Kearney Copyright by Keyona Willis-Lynam 2015 Abstract For decades, a divide has existed between opera and musical theatre, with the lesser value being placed upon the latter. Singers, from the start of their training, are told to choose a genre if one wants to achieve any type of singing success. This type of division creates a chasm of isolation and misunderstanding between the musical styles. From academia, to the stage, to the concert goer, one’s allegiance to opera versus musical theatre has been built upon a firm foundation of contrast, without acknowledging that both genres have ties to one another. As a result, most teaching of singing is done from the perspective of the classical singing style, with little to no mention of how to efficiently and healthily sing in a musical theatre style. In today’s social and economic climate, opera houses across the United States and abroad are seeing a decline in ticket sales; some have been able to restructure to survive, while others are shutting down. Companies are seeking a variety of ways to stay connected to the community; one avenue that has produced an area of contention is the addition of musical theatre productions to the season’s billing.
    [Show full text]
  • Work in Progress
    JANN HAWORTH PROJECT AND ARTISTIC DIRECTOR LIBERTY BLAKE MURAL COLLAGE ARTIST AND DESIGNER LYNN BLODGETT PORTRAIT PHOTOGRAPHER WORK IN PROGRESS Te Brigham Young University Museum of Art presents Work in Progress, a collaborative traveling exhibition that pays tribute to important women who have been catalysts for change, past and present. Artistic Director Jann Haworth, together with collage artist Liberty Blake, asked community members to join in creating stencils of signifcant women who have shaped our history. No stranger to transformative collaborations, Haworth worked with Peter Blake to create the Beatles’ iconic Sgt. Pepper’s Lonely Hearts Club Band album cover in 1967 and later produced the SLC Pepper mural in downtown Salt Lake City in 2004, inviting members of the community to participate in the process. Haworth then began to conceive of a socially relevant and timely mural that would honor the countless achievements of women across disciplines. Driven by a desire to champion the critical successes of these women, Haworth organized a preliminary list. Seeking recommendations from museum visitors, friends, artists, social workers, colleagues, and government representatives, Haworth gradually generated a richly diverse compilation—and then invited local volunteers to make stencils of their personal favorites. Opposite the completed mural in this gallery are portraits of the volunteers taken by acclaimed photographer Lynn Blodgett, suggesting the enduring infuence of these dynamic women on contemporary society. First exhibited at Utah Museum of Contemporary Art in Salt Lake City at the end of 2016, the murals then consisted of 7 panels, spanning 28 ft. in length. Haworth envisions an organic evolution of the project as each successive institution invites its community to add new stencils to the ever-growing mural.
    [Show full text]
  • Guns N' Roses Entity Partnership Citizenship California Composed Of: W
    Trademark Trial and Appeal Board Electronic Filing System. http://estta.uspto.gov ESTTA Tracking number: ESTTA966168 Filing date: 04/10/2019 IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD Notice of Opposition Notice is hereby given that the following party opposes registration of the indicated application. Opposer Information Name Guns N' Roses Entity Partnership Citizenship California Composed Of: W. Axl Rose Saul Hudson Michael "Duff" McKagan Address c/o LL Management Group West, LLC 5950 Canoga Ave., Ste. 510 Woodland Hills, CA 91367 UNITED STATES Attorney informa- Jill M. Pietrini Esq. tion Sheppard Mullin Richter & Hampton LLP 1901 Avenue of the Stars, Suite 1600 Los Angeles, CA 90067 UNITED STATES [email protected], [email protected], [email protected], [email protected], MDan- [email protected], [email protected], RLHud- [email protected] 310-228-3700 Applicant Information Application No 87947921 Publication date 03/12/2019 Opposition Filing 04/10/2019 Opposition Peri- 04/11/2019 Date od Ends Applicant ALDI Inc. 1200 N. Kirk Road Batavia, IL 60510 UNITED STATES Goods/Services Affected by Opposition Class 029. First Use: 0 First Use In Commerce: 0 All goods and services in the class are opposed, namely: cheese, namely, cheddar cheese Grounds for Opposition Priority and likelihood of confusion Trademark Act Section 2(d) False suggestion of a connection with persons, Trademark Act Section 2(a) living or dead, institutions, beliefs, or national symbols, or brings them into contempt, or disrep- ute Mark Cited by Opposer as Basis for Opposition U.S. Application/ Registra- NONE Application Date NONE tion No.
    [Show full text]