Waiting for Godot Tragicomedy in 2 Acts
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Songs by Artist
Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S. -
Samuel Beckett's Peristaltic Modernism, 1932-1958 Adam
‘FIRST DIRTY, THEN MAKE CLEAN’: SAMUEL BECKETT’S PERISTALTIC MODERNISM, 1932-1958 ADAM MICHAEL WINSTANLEY PhD THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE MARCH 2013 1 ABSTRACT Drawing together a number of different recent approaches to Samuel Beckett’s studies, this thesis examines the convulsive narrative trajectories of Beckett’s prose works from Dream of Fair to Middling Women (1931-2) to The Unnamable (1958) in relation to the disorganised muscular contractions of peristalsis. Peristalsis is understood here, however, not merely as a digestive process, as the ‘propulsive movement of the gastrointestinal tract and other tubular organs’, but as the ‘coordinated waves of contraction and relaxation of the circular muscle’ (OED). Accordingly, this thesis reconciles a number of recent approaches to Beckett studies by combining textual, phenomenological and cultural concerns with a detailed account of Beckett’s own familiarity with early twentieth-century medical and psychoanalytical discourses. It examines the extent to which these discourses find a parallel in his work’s corporeal conception of the linguistic and narrative process, where the convolutions, disavowals and disjunctions that function at the level of narrative and syntax are persistently equated with medical ailments, autonomous reflexes and bodily emissions. Tracing this interest to his early work, the first chapter focuses upon the masturbatory trope of ‘dehiscence’ in Dream of Fair to Middling Women, while the second examines cardiovascular complaints in Murphy (1935-6). The third chapter considers the role that linguistic constipation plays in Watt (1941-5), while the fourth chapter focuses upon peristalsis and rumination in Molloy (1947). The penultimate chapter examines the significance of epilepsy, dilation and parturition in the ‘throes’ that dominate Malone Dies (1954-5), whereas the final chapter evaluates the significance of contamination and respiration in The Unnamable (1957-8). -
The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works Theresa A. Incampo Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Dramatic Literature, Criticism and Theory Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Incampo, Theresa A., "The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/209 The Evocation of the Physical, Metaphysical and Sonic Landscapes within the Short Dramatic Works of Samuel Beckett Submitted by Theresa A. Incampo May 4, 2012 Trinity College Department of Theater and Dance Hartford, CT 2 Table of Contents Acknowledgements 5 I: History Time, Space and Sound in Beckett’s short dramatic works 7 A historical analysis of the playwright’s theatrical spaces including the concept of temporality, which is central to the subsequent elements within the physical, metaphysical and sonic landscapes. These landscapes are constructed from physical space, object, light, and sound, so as to create a finite representation of an expansive, infinite world as it is perceived by Beckett’s characters.. II: Theory Phenomenology and the conscious experience of existence 59 The choice to focus on the philosophy of phenomenology centers on the notion that these short dramatic works present the theatrical landscape as the conscious character perceives it to be. The perceptual experience is explained by Maurice Merleau-Ponty as the relationship between the body and the world and the way as to which the self-limited interior space of the mind interacts with the limitless exterior space that surrounds it. -
The Use of Internal and External “Fire and Heat Metaphors” in Some Rock Lyrics
STOCKHOLM UNIVERSITY Department of English Do You Really Want to Set Me on Fire, My Love ? The Use of Internal and External “Fire and Heat Metaphors” in some Rock Lyrics Kalle Larsen Linguistic C-essay Spring 2006 Supervisor: Christina Alm-Arvius Abstract The aim of this study has been to investigate whether metaphors in terms of fire and heat in rock lyrics can be interpreted figuratively as well as literally. The terms for these latter two categories are internal and external metaphors . Many rock lyrics are about love, a theme often described with the use of metaphors. One common type of metaphorisation for describing love is to use what in this study has been called “fire and heat metaphors”. These are metaphors that as their source use FIRE and HEAT/WARMTH and map some of these qualities on to the metaphorical target LOVE, which results in metaphorical constructions like I am on fire . Internal and external metaphors are terms coined by Alm-Arvius (2003:78) and they serve the purpose of separating the metaphors that cannot be taken literally from those that can also be given a literal meaning in another context. The main aim of this study has been to investigate whether a set of chosen metaphorical constructions taken from different rock songs can also be interpreted literally in relation to another universe of discourse. Moreover, the semantic and syntactic structures of the metaphor examples have been outlined, and some theories why the constructions should be regarded as internal or external metaphors have been presented. A number of related underlying cognitive structures ( conceptual metaphors ) were identified in this study, and (BEING IN) LOVE IS (EXPERIENCING) HEAT/WARMTH is a structure that allows external metaphorical constructions. -
1 United States District Court District of Massachusetts 2
1 1 UNITED STATES DISTRICT COURT DISTRICT OF MASSACHUSETTS 2 3 * * * * * * * * * * * * * * * * * * *ARKANSAS TEACHER RETIREMENT * 4 SYSTEM, on behalf of itself and * all others similarly situated * 5 Plaintiffs * CIVIL ACTION vs. * No. 11-10230-MLW 6 * *STATE STREET CORPORATION, * 7 STATE STREET BANK AND TRUST * COMPANY, AND STATE STREET GLOBAL * 8 MARKETS, LLC, * Defendants * 9 * * * * * * * * * * * * * * * * * * 10 11 Related cases: 11-cv-12049-MLW 12-cv-11698-MLW 12 13 14 BEFORE THE HONORABLE MARK L. WOLF UNITED STATES DISTRICT JUDGE 15 HEARING May 30, 2018 16 17 18 19 Courtroom No. 10 20 1 Courthouse Way Boston, Massachusetts 02210 21 22 JAMES P. GIBBONS, RPR/RMR Official Court Reporter 23 1 Courthouse Way, Suite 7205 Boston, Massachusetts 02210 24 [email protected] 25 2 1 APPEARANCES: 2 DONOGHUE BARRETT & SINGAL, (By William F. Sinnott, Esq., and Amy McEvoy, Esq. ), One Beacon Street, Suite 3 1320, Boston, Massachusetts 02108-3106, on behalf of the Hon. Gerald E. Rosen, Special Master 4 CHOATE, HALL & STEWART, LLP, (By Joan A. Lukey, 5 Esq., and Justin J. Wolosz, Esq.), 100-150 Oliver Street, Boston, Massachusetts 02110, on behalf of 6 Labaton Sucharow, LLP 7 NIXON PEABODY, LLP, (By Brian T. Kelly, Esq.), 100 Summer Street, Boston, Massachusetts 02110, on behalf 8 of the Thornton Law Firm, LLP 9 LIEFF CABRASER HEIMANN & BERNSTEIN, (By Richard M. Heimann, Esq.), 275 Battery Street, 30th Floor, San 10 Francisco, California 94111-3339, on behalf of Plaintiffs 11 12 WILMER HALE, LLP, (By William H. Paine, Esq., and Daniel W. Halston, Esq.), 60 State Street, Boston, 13 Massachusetts 02109, on behalf of Defendants 14 McTIGUE LAW, LLP, (By J. -
Swagger, Gentlemanliness, and Brotherhood: Explorations of Lived Experiences in a High School Men’S Chorus
SWAGGER, GENTLEMANLINESS, AND BROTHERHOOD: EXPLORATIONS OF LIVED EXPERIENCES IN A HIGH SCHOOL MEN’S CHORUS By Andrea L. Ramsey A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education – Doctor of Philosophy 2013 ABSTRACT SWAGGER, GENTLEMANLINESS, AND BROTHERHOOD: EXPLORATIONS OF LIVED EXPERIENCES IN A HIGH SCHOOL MEN’S CHORUS By Andrea L. Ramsey The purpose of this study was to explore, investigate, and describe the culture of a high school men’s chorus. The following research questions guided this investigation: (a) How do singers in a men’s chorus define their experience? (b) How are their experiences and behavior while participating in a high school men’s chorus different or similar from their experiences and behavior in a high school mixed chorus? (c) How are their experiences and behavior while participating in a high school men’s chorus different or similar from other nonmusical, all-male activities, such as sports? (d) What bearing, if any, does participation in a men’s chorus have on the identities of these young men? The participants in this case study were ten high school men’s chorus members, two alumni of the chorus, and their choral music teacher from a suburban school in a Midwestern state. Data sources included individual and focus group interviews, written responses, the researcher’s field notes and reflective journal, and other artifacts. The data were analyzed using the constant comparative method, and trustworthiness was ensured by prolonged interaction with participants, data triangulation across multiple sources, member checks, and peer review. -
BAM Announces the Complete Cast of Beckett's Endgame, Featuring John Turturro and Directed by Andrei Belgrader Running April
BAM announces the complete cast of Beckett’s Endgame, featuring John Turturro and directed by Andrei Belgrader running April 25–May 18 Max Casella, Elaine Stritch, and Alvin Epstein to join cast BAM 2008 Spring Season is sponsored by Bloomberg Endgame Written by Samuel Beckett Directed by Andrei Belgrader Produced by BAM BAM Harvey Theater (651 Fulton St.) April 25 & 26 at 7:30 Apr 29—May 3, May 6—10, May 13—17 at 7:30pm (note: Apr 30 is the press opening) May 3, 10 & 17 at 2pm April 27, May 4, 11 & 18 at 3pm Tickets: $25, 45, 65, 75 BAM.org or 718.636.4100 Brooklyn, NY/March 11, 2008—BAM announces the complete cast of its upcoming production of Samuel Beckett’s Endgame. Joining John Turturro (Hamm) will be acclaimed TV, stage, and screen actor Max Casella (“The Sopranos,” The Lion King) as Clov. Veteran classical actor Alvin Epstein (Waiting for Godot, The Three Penny Opera, Tuesdays with Morrie) will play Nagg and the legendary Broadway actress Elaine Stritch will play Nell. The one-act play, originally published in 1957, is considered to be one of Beckett’s most important works. Endgame will be directed by Andrei Belgrader (American Repertory Theatre’s Ubu Rock, Yale Repertory Theatre’s Scapin). Twenty-four performances of Endgame will take place in the BAM Harvey Theater (651 Fulton St.) from April 25 through May 18 (press opening: April 30). Tickets, priced at $25, 45, 65, 75, can be purchased by calling BAM Ticket Services at 718.636.4100 or by visiting BAM.org. -
Rhythms in Rockaby: Ways of Approaching the Unknowable
83 Rhythms in Rockaby: Ways of Approaching the Unknowable. Leonard H. Knight Describing Samuel Beckett's later, and progressively shorter, pieces in a word is peculiarly difficult. The length of the average critical commentary on them testifies to this, and is due largely to an unravelling of compression in the interests of meaning: straightening out a tightly C9iled spring in order to see how it is made. The analogy, while no more exact than any analogy, is useful at least in suggesting two things: the difficulty of the endeavour; and the feeling, while engaged in it, that it may be largely counterproductive. A straightened out spring, after all, is no longer a spring. Aware of the pitfalls I should nevertheless like, in this paper, to look at part of the mechanism while trying to keep its overall shape relatively intact. The ideas in a Beckett play emerge, in general, from an initial image. A woman half-buried in a grass mound. A faintly spotlit, endlessly talking mouth. Feet tracing a fixed, unvarying path. Concrete and intensely theatrical, the image is immediately graspable. Its force and effectiveness come, above all, from its simpl icity. Described in this way Beckett's images sound arresting to the point of sen sationalism. What effectively lowers the temperature while keeping the excitement generated by their o.riginality is the simple fact that they cannot easily be made out. They are seen, certainly - but only just. In the dimmest possible light; the absolute minimum commensurate with sight. What is initially seen is only then augmented or reinforced by what is said. -
What Are They Doing There? : William Geoffrey Gehman Lehigh University
Lehigh University Lehigh Preserve Theses and Dissertations 1989 What are they doing there? : William Geoffrey Gehman Lehigh University Follow this and additional works at: https://preserve.lehigh.edu/etd Part of the English Language and Literature Commons Recommended Citation Gehman, William Geoffrey, "What are they doing there? :" (1989). Theses and Dissertations. 4957. https://preserve.lehigh.edu/etd/4957 This Thesis is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. • ,, WHAT ARE THEY DOING THERE?: ACTING AND ANALYZING SAMUEL BECKETT'S HAPPY DAYS by William Geoffrey Gehman A Thesis Presented to the Graduate Committee of Lehigh University 1n Candidacy for the Degree of Master of Arts 1n English Lehigh University 1988 .. This thesis 1S accepted and approved in partial fulfillment of the requirements for the degree of Master of Arts. (date) I Professor 1n Charge Department Chairman 11 ACD01fLBDGBNKNTS ., Thanks to Elizabeth (Betsy) Fifer, who first suggested Alan Schneider's productions of Samuel Beckett's plays as a thesis topic; and to June and Paul Schlueter for their support and advice. Special thanks to all those interviewed, especially Martha Fehsenfeld, who more than anyone convinced the author of Winnie's lingering presence. 111 TABLB OF CONTBNTS Abstract ...................•.....••..........•.•••••.••.••• 1 ·, Introduction I Living with Beckett's Standards (A) An Overview of Interpreting Winnie Inside the Text ..... 3 (B) The Pros and Cons of Looking for Clues Outside the Script ................................................ 10 (C) The Play in Context .................................. -
Waiting for Godot and Rosencrantz and Guildenstern Are Dead Axel KRUSI;
SYDNEY STUDIES Tragicomedy and Tragic Burlesque: Waiting for Godot and Rosencrantz and Guildenstern are Dead AxEL KRUSI; When Rosencrantz and Guildenstern are Dead appeared at the .Old Vic theatre' in 1967, there was some suspicion that lack of literary value was one reason for the play's success. These doubts are repeated in the revised 1969 edition of John Russell Taylor's standard survey of recent British drama. The view in The Angry Theatre is that Stoppard lacks individuality, and that Rosencrantz and Guildenstern are Dead is a pale imitation of the theatre of the absurd, wrillen in "brisk, informal prose", and with a vision of character and life which seems "a very small mouse to emerge from such an imposing mountain".l In contrast, Jumpers was received with considerable critical approval. Jumpers and Osborne's A Sense of Detachment and Storey's Life Class might seem to be evidence that in the past few years the new British drama has reached maturity as a tradition of dramatic forms aitd dramatic conventions which exist as a pattern of meaningful relationships between plays and audiences in particular theatres.2 Jumpers includes a group of philosophical acrobats, and in style and meaning seems to be an improved version of Stoppard's trans· lation of Beckett's theatre of the absurd into the terms of the conversation about the death of tragedy between the Player and Rosencrantz: Player Why, we grow rusty and you catch us at the very point of decadence-by this time tomorrow we might have forgotten every thing we ever knew. -
How to Write a "Catchy" Song Title by Vince Corozine (ASCAP)
How To Write a "Catchy" Song Title by Vince Corozine (ASCAP) The song title, "You Can't Take That Away From Me" immediately raises the question, "What can't you take away from me?" It drives the reader to want to investigate further and find out what the lyric says. It peaks our interest and arouses one's curiosity. A "catchy" song title will perk the interest of the listener and lead them to want to pursue more information about what the song is about. When selecting a song title one must ask, "What is the song about?" Is it about winning love, losing love, rival love, unrequited love? The topic of the song must be crystal clear in the mind of the songwriter and this central idea must be conveyed to the listener 1. What makes a good title? The title of a song should summarize the essence of the song and should be used in a prominent place in the song, like the first line of "Night and Day," or at the end of each verse as in "New York State of Mind," or at the very end of the song as in "You'll Never Walk Alone." Some of the strongest and best titles contain language that paints a verbal picture or suggests an image in the mind of the listener "A Boy Named Sue," or one that pertains to a color "Blue Suede Shoes." or one that mentions a place "Chicago," or represents a name "Michelle," or suggests a date "April Showers." 2. Can I use a title that already exists? It is fascinating to know that song titles, book titles, movie titles and so on are not copyrightable and therefore can be used freely by anybody without cost or paying royalties. -
Minute to Win It
MINUTE TO WIN IT With these games you have a MINUTE to WIN it! Most games have a link attached to the title to watch a video guide on how the game works. FACE THE COOKIE Place a cookie on someone’s forehead. They have to use only their face muscles (no hands) to get it into their mouth. Supplies Needed: Oreo Cookies DEFYING GRAVITY Give each player three balloons. They have to keep all three balloons up in the air for a minute. Supplies Needed- 3 (or more) balloons BABY RATTLE Fill one 2-liter bottle with something (Lucky Charms, Jelly Beans, etc.) then tape to another 2-liter bottle – players have to transfer all from one bottle to the other. Supplies Needed- x2 2-liter bottles (empty), a filling of your choice SHAKE IT UP Tape an empty Kleenex box to a pair of pantyhose, fill with ping pong balls, then tape around someone’s waist. They have to shake until all the balls fall out. Supplies Needed- Empty Kleenex box, Ping Pong balls DIZZY MUMMY A two-player game where one person has to wrap the other person in streamers, toilet paper, or something else. Supplies Needed- Streamers IRON MAN Use a chopstick to stack iron nuts on top of each other Supplies needed- Iron nuts, Chopstick CHOOSING CUPS Set out 25 cups, filling all of them partway with water. Put a sticker on the bottom of some of the cups. Players have to pick one cup at a time, trying to find a sticker. Supplies Needed- Plastic cups, marker or sticker CEREAL PUZZLE Outline with pencil on the back of a cereal box.