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There Was a Small Fly
THERE WAS A SMALL FLY A G D there was a small fly who started a band Em G A D the fly loved to jam so she started a band maybe they'll play in Japan A G D F#m G she hired a spider to play the bass he made a funny face when he played the bass A G D she hired the spider to be in the band Em G A D the fly loved to jam so she started a band maybe they'll play in Japan A G D F#m G she hired a bird to play xylophone what a lovely tone when she played xylophone F#m G A G D she hired the bird to jam with the spider she hired the spider to be in the band Em G A D the fly loved to jam so she started a band maybe they'll play in Japan A G D F#m G she hired a cat to play the piano the cat was a pro at playing piano F#m G F#m G she hired the cat to jam with the bird she hired the bird to jam with the spider A G D she hired the spider to be in the band Em G A D the fly loved to jam so she started a band maybe they'll play in Japan A G D F#m G she hired a dog to play the guitar that dog was a star when she played the guitar F#m G F#m G she hired the dog to jam with the cat he hired the cat to jam with the bird F#m G A G D she hired the bird to jam with the spider she hired the spider to be in the band Em G A D the fly loved to jam so she started a band maybe they'll play in Japan A G D F#m G she hired a goat to play the drums the goat was all thumbs but was great on the drums F#m G F#m G she hired the goat to jam with the dog she hired the dog to jam with the cat F#m G F#m G she hired the cat to jam with the bird she hired the bird to jam with the spider -
Feeding Your Family Family
A 15 Minute Family What Resources will I Need? Devotional Guide 1. A Good Study Bible Feeding Your 1. Read the Bible (5 Min) If reading from an adult version of the Bible, at least one parent will need a copy Read an age-appropriate Bible for your of a good study Bible, to assist in family and seek to apply it to their lives. understanding the Bible “on the fly.” Family It may be a few verses or a paragraph or Consider the “ESV Study Bible.” two. Make it upbeat, lively, and fun. Engage younger children through picture 2. An Age Appropriate Bible for All And these words that I command you Bibles and creative voices. Engage older If your child can to calmly hold a book, he today shall be on your heart. You shall children through a discussion of current or she should have their own Bible. For events or ideas. pre-readers, consider “The Big Picture teach them diligently to your children, 2. Sing to the Lord (3 Min) Story Bible” by Crossway. For school-aged and shall talk of them when you sit in children, consider the “ESV Seek & Find If you feel comfortable singing, pick a your house, and when you walk by Bible” or the “NIrV Adventure Bible.” song or two that is age-appropriate for Children junior high & older will need an the way, and when you lie down, and your family. adult Bible, preferable a study Bible. when you rise. (Deut. 6:6-7 ESV) 3. Memorize a Verse (2 Min) 3. -
Fluidity of Religious Identity in David Henry Hwang's
International Journal of Technical Research and Applications e-ISSN: 2320-8163, www.ijtra.com Volume 5, Issue 4, (July-August) 2017), PP. 36-42 FLUIDITY OF RELIGIOUS IDENTITY IN DAVID HENRY HWANG'S GOLDEN CHILD Rajiha Kamel Muthana (Ph.D) University of Baghdad/ College of Arts/ Department of English Language [email protected] Abstract— Religion plays a significant role in the lives of Both internal and external forces are at play in Hwang's human beings, yet, religious fluidity has its own consequences. Golden Child which depicts this change in religious identity, This paper aims at investigating the impact of religious fluidity as the protagonist Tieng-Bin converts from Confucianism to on the identity of an early twentieth-century Chinese family. Christianity. This change is triggered by Tieng-Bin's Golden Child illustrates how a devoted Confucian Chinese dissatisfaction in his religious beliefs and practices which is struggles to leave parts of his culture behind by converting to considered one of the strongest internal forces. Tieng-Bin's Christianity. Tieng-Bin's conversion brings good and bad consequences to his household. The story ends with the death of travel to the Philippines, his staying there for three years, the Tieng-Bin's two wives , on the one hand, and with rebirth of influence of the Western people he has met there, as well as Tieng-Bin's daughter, Ahn, on the other hand. the influence of Reverend Baines, the missionary, who pays many visits to Tieng-Bin's household are considered external Keywords— Religious Identity, Foot Binding, Christianity, forces. Baines' lectures are attended by Tieng-Bin's second Confucianism, Tieng-Bin. -
Curran San Francisco Announces Cast for the Bay Area Premiere of Soft Power a Play with a Musical by David Henry Hwang and Jeanine Tesori
FOR IMMEDIATE RELEASE Curran Press Contact: Julie Richter, Charles Zukow Associates [email protected] | 415.296.0677 CURRAN SAN FRANCISCO ANNOUNCES CAST FOR THE BAY AREA PREMIERE OF SOFT POWER A PLAY WITH A MUSICAL BY DAVID HENRY HWANG AND JEANINE TESORI JUNE 20 – JULY 10, 2018 SAN FRANCISCO (March 6, 2018) – Today, Curran announced the cast of SOFT POWER, a play with a musical by David Henry Hwang (play and lyrics) and Jeanine Tesori (music and additional lyrics). SOFT POWER will make its Bay Area premiere at San Francisco’s Curran theater (445 Geary Street), June 20 – July 8, 2018. Produced by Center Theatre Group, SOFT POWER comes to Curran after its world premiere at the Ahmanson Theatre in Los Angeles from May 3 through June 10, 2018. Tickets for SOFT POWER are currently only available to #CURRAN2018 subscribers. Single tickets will be announced at a later date. With SOFT POWER, a contemporary comedy explodes into a musical fantasia in the first collaboration between two of America’s great theatre artists: Tony Award winners David Henry Hwang (M. Butterfly, Flower Drum Song) and Jeanine Tesori (Fun Home). Directed by Leigh Silverman (Violet) and choreographed by Sam Pinkleton (Natasha, Pierre, & the Great Comet of 1812), SOFT POWER rewinds our recent political history and plays it back, a century later, through the Chinese lens of a future, beloved East-meets-West musical. In the musical, a Chinese executive who is visiting America finds himself falling in love with a good-hearted U.S. leader as the power balance between their two countries shifts following the 2016 election. -
Finding, Reclaiming, and Reinventing Identity Through DNA: the DNA Trail
The Japanese Journal of American Studies, No. 23 (2012) Finding, Reclaiming, and Reinventing Identity through DNA: The DNA Trail Yuko KURAHASHI* The DNA Trail: A Genealogy of Short Plays about Ancestry, Identity, and Utter Confusion (2011) is a collection of seven fifteen-to-twenty minute plays by veteran Asian American playwrights whose plays have been staged nationally and internationally since the 1980s. The plays include Philip Kan Gotanda’s “Child Is Father to Man,” Velina Hasu Houston’s “Mother Road,” David Henry Hwang’s “A Very DNA Reunion,” Elizabeth Wong’s “Finding Your Inner Zulu,” Shishir Kurup’s “Bolt from the Blue,” Lina Patel’s “That Could Be You,” and Jamil Khoury’s “WASP: White Arab Slovak Pole.” Conceived by Jamil Khoury and commissioned and developed by Silk Road Theatre Project in Chicago in association with the Goodman Theatre, a full production of the seven plays was mounted at Silk Road Theatre Project in March and April 2010.1 On January 22, 2011, Visions and Voices: The USC Arts and Humanities Initiative presented a staged reading at the Uni- versity of Southern California, Los Angeles, using revised scripts. The staged reading was directed by Goodman Theatre associate producer Steve Scott, who had also directed the original production.2 San Francisco–based playwright Gotanda has written plays that reflect his yearning to learn the stories of his Japanese American parents, and their friends and relatives. His plays include A Song for a Nisei Fisherman (1980), The Wash (1985), Ballad of Yachiyo (1996), and Sisters *Associate Professor, Kent State University 285 286 YUKO KURAHASHI Matsumoto (1997). -
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559216-18 bk Bolcom US 12/08/2004 12:36pm Page 40 AMERICAN CLASSICS WILLIAM BOLCOM Below: Longtime friends, composer William Bolcom and conductor Leonard Slatkin, acknowledge the Songs of Innocence audience at the close of the performance. and of Experience (William Blake) Soloists • Choirs University of Michigan Above: Close to 450 performers on stage at Hill Auditorium in Ann Arbor, Michigan, under the School of Music baton of Leonard Slatkin in William Bolcom’s Songs of Innocence and of Experience. Symphony Orchestra University Musical Society All photographs on pages 37-40 courtesy of Peter Smith/University Musical Society Leonard Slatkin 8.559216-18 40 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 2 Christine Brewer • Measha Brueggergosman • Ilana Davidson • Linda Hohenfeld • Carmen Pelton, Sopranos Joan Morris, Mezzo-soprano • Marietta Simpson, Contralto Thomas Young, Tenor • Nmon Ford, Baritone • Nathan Lee Graham, Speaker/Vocals Tommy Morgan, Harmonica • Peter “Madcat” Ruth, Harmonica and Vocals • Jeremy Kittel, Fiddle The University Musical Society The University of Michigan School of Music Ann Arbor, Michigan University Symphony Orchestra/Kenneth Kiesler, Music Director Contemporary Directions Ensemble/Jonathan Shames, Music Director University Musical Society Choral Union and University of Michigan Chamber Choir/Jerry Blackstone, Conductor University of Michigan University Choir/Christopher Kiver, Conductor University of Michigan Orpheus Singers/Carole Ott, William Hammer, Jason Harris, Conductors Michigan State University Children’s Choir/Mary Alice Stollak, Music Director Leonard Slatkin Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services. Grateful thanks to Professor Michael Daugherty for the initiation of this project and his inestimable help in its realization. -
Desire, Disease, Death, and David Cronenberg: the Operatic Anxieties of the Fly
Desire, Disease, Death, and David Cronenberg: The Operatic Anxieties of The Fly Yves Saint-Cyr 451 University of Toronto Introduction In 1996, Linda and Michael Hutcheon released their groundbreaking book, Opera: Desire, Disease, Death, a work that analyses operatic representations of tuberculosis, syphilis, cholera, and AIDS. They followed this up in 2000 with Bodily Charm, a discussion of the corporeal in opera; and, in 2004, they published Opera: The Art of Dying, in which they argue that opera has historically provided a metaphorical space for the ritualistic contemplation of mortality, whether the effect is cathartic, medita- tive, spiritual, or therapeutic. This paper is based on a Hutcheonite reading of the Fly saga, which to date is made up of seven distinct incarnations: George Langelaan published the original short story in 1957; Neumann and Clavell’s 1958 film adaptation was followed by two sequels in 1959 and 1965; David Cronenberg re-made the Neumann film in 1986, which gener- ated yet another sequel in 1989; and, most recently in 2008, Howard Shore and David Henry Hwang adapted Cronenberg’s film into an opera. If the Hutcheons are correct that opera engenders a ritualistic contemplation of mortality by sexualising disease, how does this practice influence composers and librettists’ choice of source material? Historically, opera has drawn on the anxieties of its time and, congruently, The Fly: Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée CRCL DECEMBER 2011 DÉCEMBRE RCLC 0319–051x/11/38.4/451 © Canadian Comparative Literature Association CRCL DECEMBER 2011 DÉCEMBRE RCLC The Opera draws on distinctly 21st-century fears. -
LIVE from LINCOLN CENTER “Falsettos” TCA Biographies ANDREW C. WILK Andrew C. Wilk Is a Multiple Emmy Award-Winning Producer
LIVE FROM LINCOLN CENTER “Falsettos” TCA Biographies ANDREW C. WILK Andrew C. Wilk is a multiple Emmy Award-winning producer and director whose career has encompassed leading roles in many areas of commercial and educational content. Since his arrival at Lincoln Center in 2011, he has served as executive producer of Live From Lincoln Center episodes ranging from classical music to dance to theatre. Prior to his work at Lincoln Center, Wilk served as Chief Creative Officer at Sony Music Entertainment, where he oversaw all visual content for Sony’s label groups and spearheaded Sony’s digital expansion. He also served as Founding Programmer and Executive Vice President of Programming and Production for the National Geographic Channel, where he launched the channel and developed its initial programming and scheduled and commissioned new programs, including specials with PBS and NBC. Wilk has won five Emmy Awards and received 15 nominations. Over the course of his career, he has produced or directed more than 1,000 television shows, ranging from children’s programming to news to commercial entertainment, in addition to continuing his work as a conductor of live music concerts. JAMES LAPINE James Lapine collaborated with Stephen Sondheim as author and director for Sunday in the Park With George; Into the Woods; Passion; and the multi-media revue Sondheim on Sondheim. He also directed Merrily We Roll Along as part of Encores at New York City Center. With William Finn, he has collaborated on March of the Falsettos and Falsettoland, later presented on Broadway as Falsettos and recently revived in 2016; A New Brain; Muscle; and Little Miss Sunshine. -
Metadrama and the Deconstruction of Stereotypes: David Henry Hwang's M. Butterfly and Bondage Haris Abdulwahab Fayez Noureldin
Metadrama and the Deconstruction of Stereotypes: David Henry Hwang's M. Butterfly and Bondage Haris Abdulwahab Fayez Noureldin* Song: I'm an artist, Rene. You were my greatest . acting challenge. (She laughs.) (M. Butterfly 63)1 Song: But no. Men. You're like the rest of them. It's all in the way we dress, and make up our faces and bat our eyelashes. You really have so little imagination! (M. Butterfly 90) Representations of Asians in America have always been influenced by biased stereotypical images. According to James S. Moy, "Anglo-American playwrights have portrayed the Chinese in America as collections of fetishized parts and as exotics" (48). Though there were other attempts seemingly providing positive images of the East as 'wise' in contrast with the West as 'corrupt', these attempts -Eugene O'Neill's Marco Millions is a striking example- could do little more than present the East as 'exotic' and 'heathen'. With the rise of Asian-American studies in the 1960s, there appeared Asian writers, Chinese and Japanese, whose end goal was to dispel such stereotypes and present instead conscious self-representation. Notable among these is the Chinese-American playwright, David Henry Hwang (1957-), whose plays provide insightful explorations of how it feels to be Chinese or Asian in a racist society. Regarded as "the most renowned Asian-American dramatist of the twentieth century" (Trudeau 199), Hwang distinguishes himself as a dramatist by blending Eastern and Western subjects and theatrical styles. The theme of the fluidity of identity is recurrent in almost all his plays. Hwang posits the changeability of a person's identity according to the various contacts s/he experiences. -
Aida Tour Announcement Release
Disney Theatrical Productions Announces To Launch North American Tour Following Premiere at Paper Mill Playhouse February 4 – March 7, 2021 Re-Imagined New Production Directed by Schele Williams and Choreographed by Camille A Brown New York, NY - Disney Theatrical Productions (under the direction of Thomas Schumacher) proudly announces the launch of a new North American tour of Elton John and Tim Rice’s Tony®-winning Broadway smash Aida, following the premiere at Paper Mill Playhouse, February 4 – March 7, 2021. The production will play Charlotte, Chicago, Fort Worth, Kansas City, Los Angeles, Nashville, Philadelphia and Washington, D.C., among other cities to be announced. 1 To receive news about the Aida North American tour, please sign-up for email alerts at AidaOnTour.com. For information on the Paper Mill run, visit PaperMill.org. The new production, updated and re-imagined, retains the beloved Tony and Grammy®-winning score and features a book revised by David Henry Hwang, who co-authored the acclaimed original production with Linda Woolverton and Robert Falls. The new Aida is directed by Schele Williams (a member of the original Broadway cast) and choreographed by Tony-nominee Camille A. Brown. Sets and costumes are by seven-time Tony winner Bob Crowley, and lighting is by six-time Tony winner Natasha Katz, who both won Tonys for their work on Aida in 2000. The music department includes Tony Award- recipient Jason Michael Webb (musical supervision), Tony Honor recipient Michael McElroy (vocal arrangements and co-incidental arranger), Jim Abbott (orchestrations) and Tony-winner Zane Mark (dance arrangements). Casting will be announced later this year. -
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PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI THE MESSAGES REVEALED THROUGH THE WAY THE MAIN CHARACTERS FACE THE CONFLICTS IN DAVID HENRY HWANG’S FAMILY DEVOTIONS AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters ANDRY GANI WIDJAJA Student Number: 06 4214 071 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2013 i PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI BBee PPoossiittiivvee && NNeevveerr GGiivvee UUpp!!!!!! ~~IImmmmoorrttaalliiffee WWhhyy SSoo SSeerriioouuss???? ~~JJookkeerr iv PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI FFoorr MMyy BBeelloovveedd PPaarreennttss,, MMyy LLoovveellyy SSiisstteerrss aanndd BBrrootthheerr,, aanndd YYoohhaanness NNaannaanngg SSuurryyoo PPrraayyooggaa iinn HHeeaavveenn v PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI ACKNOWLEDGEMENTS Above all, I would like to thank Jesus Christ and Mother Mary for blessing and guiding me in writing this undergraduate thesis. You will always be my guidance for now and forever. I would also like to thank Ni Luh Putu Rosiandani, S.S., M.Hum., my advisor, for her guidance, suggestions, and time during the writing of this undergraduate thesis, and to Drs. Hirmawan Wijanarka, M.Hum., my co- advisor, for reading, correcting, and giving me essential inputs in order to make this undergraduate thesis better. And I would also like to thank all my lecturers in English Letters Department for fulfilling me with knowledges. -
AIDA Study Guide
contents information desk Producer’s Note . .2 The production wing Aida Synopsis . .3 Musical Numbers/Character Breakdown . .4 Aida Creators . .5 the collections HISTORY Exhibition . .8 MATH & SCIENCE Exhibition . .14 ARTS & CULTURE Exhibition . .20 SOCIAL STUDIES Exhibition . .26 COMMUNICATIONS Exhibition . .32 Attending the Theatre . .38 Resource Gallery . .39 Producers’ NOTE Using the Guide Welcome to the world of Aida. The story at the center of this contem- porary Aida is the legend that became the libretto of Giuseppe Verdi’s opera of the same name. This classic tale of forbidden love, set against the backdrop of Ancient Egypt and enhanced by the extraordinary talents of its composer and lyricist, Elton John and Tim Rice, makes Aida a unique and special educational tool. information desk information By using the study guide, you will see how Aida exposes us to the past (History), expands our visual and verbal vocabulary (Language Arts), illuminates the human condition (Behavioral Studies), demonstrates a process of analysis and implementa- tion (Math and Science), and encourages creative thinking and expression (The Arts). The study guide was developed as a series of lesson plans that, although inspired by and themed around Aida, can also accompany class study of other literary, theatrical, or historical works. To assist you in preparing your presentation of each lesson, we have included an objective; an excerpt from the lyrics of the Broadway production of Aida; a discussion topic; a writing assignment; and an interactive class activity. A reproducible handout accompanies each lesson unit which contains an essay ques- tion; a creative exercise; and an “after hours activity” that encourages students to interact with family, friends, and the community at large.