Cassie Slater Teaching Resume May 2014

Total Page:16

File Type:pdf, Size:1020Kb

Cassie Slater Teaching Resume May 2014 CASSIE SLATER (773) 590-1358 [email protected] __________________________________________________________________________________________ OBJECTIVE As a teaching artist I want to use my skills as an actor and singer to excite young people so that they may find their own unique voice as an artist and thinking person. I want to continue to challenge my students to explore their own unique gifts as performing individuals – using theatre, music, and improvisation to advance their minds as artist citizens of the world. __________________________________________________________________________________________ EDUCATION * The Theatre School at DePaul University B.F.A. Acting June 2003 * The Neighborhood Playhouse Summer Intensive Certificate August 2002 __________________________________________________________________________________________ EXPERIENCE Stomp and Shout Chicago Chicago, IL OWNER/DIRECTOR: August 2013 – Present Stomp and Shout Chicago offers creative music and theatre classes for hip, urban kids ages 8 months - 11 years. Stomp And Shout Kids Curriculum development and creative output for an original music and creative play program for kids ages 8 months – 4 years. Our mission is to innovate inspiring and challenging ways to bring music, art, and imagination to kids and their families. Our programming encourages creative thinkers. Laying the ground work for high self esteem, strong team work, problem solving, and big beautiful imaginations. The Studio at Stomp and Shout programs thought provoking (fun!) music, theatre, & improv classes for grades K - 5. Our classes provide instruction in the fundamentals of the performing arts while offering our students opportunities to explore the world they live in through the lens of these imaginative mediums. Classes are lead by dynamic teachers who are active professionals in the Chicago theatre community. Metropolitan Schoolhouse Chicago, IL FINE ARTS TEACHER September 2014 – present As the sole Arts teacher at this small, private school. I’ve had the opportunity to develop the Fine Arts program with the principal. The small class sizes give us the wonderful opportunity for real hands on learning. Class focuses have included: Poetry Outloud, Documentary Film Making, Pop Art, Illustration, Sculpture, Improv, Beginning Theatre, and Music. Music For Aardvarks/Music For Manhattan New York, NY LEAD TEACHER: Jan 2012 – Dec 2013 A funky, early childhood (6 months to 4 years) music education program geared toward kids growing up in urban environment. The 45 minute class explores basic musicianship and creative play. The kids (and their grown ups) use shakers and rhythm sticks, scarves and instruments along with call and response songs to begin to introduce them to melody, singing and basic rhythmic patterns. Most of all, though, the class encourages imagination and exploration in the child’s own way at their own pace. Broadway Bound Kids New York, NY TEACHING ARTIST: Fall/Winter Semester 2012 As a lead teaching artist, I was a musical theatre teacher serving two school's after school programs. I wrote curriculum and taught three sections: kindergarten through second grade, third through fifth grade, and fifth through seventh grade. All of the classes concluded with a performance and were developed utilizing the NY state benchmarks for the performing arts. Stagecoach New York, NY TEACHING ARTIST: Summer 2011 This week-long day camp, geared toward 4 and 5 year olds, focused on music, creative play, dance, crafts and concluded with a public performance. The Lamb School of Theatre and Music Sioux City, IA GUEST TEACHING ARTIST: Spring 2010 I facilitated a musical theatre audition class that consisted of 7th – 12th graders. The focus of the class was exploring song as monologue. Students brought in their own material and performed for the class. As I gave ideas and notes they experimented with new ways to explore character and intention as well as applying a type of “text analysis” to the lyrics and music. They were encouraged to look at the song as equal parts actor, singer, and musician. WRITER – MOVEMENT CURRICULUM : 2008 I was asked to write a movement curriculum that incorporated basic ideas explored in La Bonne and Viewpoints work for an advanced youth theatre program (ages 12-18). The intention of the class was to allow students who were growing into their bodies and learning to feel comfortable in their own skin the freedom to express themselves without the use of their voices and approach storytelling with their bodies. The class was used in it’s entirety twice and was later adapted into other class experiences at The Lamb School. Eileen Boevers Performing Arts Workshop at Apple Tree Theatre Chicago, IL 2004-2005 ACT UP! ages 9 – 11 This was a basic Acting class with a twist. We explored, improvisation, theatre games, story theatre, and scene study to learn how to communicate in front of an audience. After learning different methods of storytelling, the class wrote their own story (in monologue form) that centered around the topic “School Days”. They presented their monologues in a brief presentation at the end of the year. TRIPLE THREAT ages 9 – 15 I team-taught this class with a dance instructor. This class was designed to explore the three elements of musical theatre. Our main focus was on scene study (objectives and text analysis), solo and group music numbers, and self-expression. I created and directed the piece performed at the end of the semester incorporating the students’ ideas throughout the piece. The most wonderful facet of this class was that it encouraged confidence and positive self-image in the student. Each voice was important and heard and an integral part of the final project. BROADWAY BABIES ages 6 – 8 & STAR TO BE ages 8 – 10 These classes were geared toward kids who loved to sing, act and dance and was designed to let the student explore who they are as performers and creative thinkers. A steady stream of theatre games focused on connection and imagination, while musically, the kids learned showtunes (solos as well as group numbers with harmony), basic dance routines, and gained confidence in front of an audience. The Second City Training Center Chicago, IL 2003-2004 SHOWTIME ages 6 – 9 The class was a fun mix of improvisational games and exercises (the foundation for the class was in Paul Sills and Viola Spolin). The class enhanced the student’s ability to communicate with others, developed confidence in their own creativity as well as taught the students to respect the ideas of others. ACTING ages 11-12 This was a basic acting class that used monologues, scenes and exercises to examine techniques an actor uses to establish a character. This class had its roots in Paul Sills and Spolin exercises but grew into objective work and text analysis. The Lamb School of Theatre and Music Sioux City, IA MUSIC TEACHER(2001) ages 6 – high school MOVEMENT TEACHER (2000) ages 11 – high school CREATIVE DRAMATICS TEACHER (1999) ages 6 – 13 This three-week summer camp was a fun, comprehensive, and dynamic exploration of the performing arts. The camp culminated in a final performance that included all of the students (90 plus kids. Ages 6 through high school) for the community. References Upon Request .
Recommended publications
  • Improvisation for the Theater: a Handbook of Teaching and Directing Techniques Pdf, Epub, Ebook
    IMPROVISATION FOR THE THEATER: A HANDBOOK OF TEACHING AND DIRECTING TECHNIQUES PDF, EPUB, EBOOK Paul Sills, Viola Spolin | 416 pages | 28 Jul 1999 | Northwestern University Press | 9780810140080 | English | Evanston, United States Improvisation for the Theater: A Handbook of Teaching and Directing Techniques PDF Book Improvisations move through fear, boredom, laziness, and distraction to a sustained awareness of creative options. It then focuses on how we can use creativity, with a particular focus on co-creativity, to pave the way for new visions of the future and innovative solutions, and explores how storytelling can be applied to teamwork and presentations. With 53 specific, usable tools this book will improve your improv coaching, directing or teaching right away. Therefore, you will see the original copyright references, library stamps as most of these works have been housed in our most important libraries around the world , and other notations in the work. Northwestern University Press , - Performing Arts - pages. My improv training has helped me more in my life and my career than most of my formal training. Improvisation acting journal, perfect to wear to acting class at school, during acting exercises and acting games. This in-depth look at the techniques, principles, theory and ideas behind what they do is both authoritative and entertaining. Max Schaefer is a distinguished full-time teacher, actor, programmer, and president of Underdog Educational Software company. The result is both an ideas book and a fascinating exploration of the nature of spontaneous creativity. Sort order. This new edition of a highly acclaimed handbook, last published in and widely used by theater teachers and directors, is sure to be welcomed by members of the theater profession.
    [Show full text]
  • Student, Player, Spect-Actor: Learning from Viola Spolin and Augusto Boal: Theatre Practice As Non-Traditional Pedagogy
    STUDENT, PLAYER, SPECT-ACTOR: LEARNING FROM VIOLA SPOLIN AND AUGUSTO BOAL: THEATRE PRACTICE AS NON-TRADITIONAL PEDAGOGY by EMILY GAMMON B.A., University of Maine, Orono, 2006 M.A., University of Colorado at Boulder, 2012 Advisor: Dr. Bud Coleman A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Theatre 2012 This thesis entitled: Student, Player, Spect-actor: Learning from Viola Spolin and Augusto Boal: Theatre Practice as Non-Traditional Pedagogy written by Emily Gammon has been approved for the Department of Theatre and Dance Bud Coleman Oliver Gerland Date The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. Gammon, Emily (M.A., Theatre) Student, Player, Spect-actor: Learning from Viola Spolin and Augusto Boal: Theatre Practice as Non-Traditional Pedagogy Thesis directed by Dr. Bud Coleman This thesis explores the possibility that by adapting a model of disciplined improvisation, the secondary classroom will become an engaging learning environment where a wider variety of student learning preferences and styles will be honored and cultivated. I believe that effective pedagogical theory and structure aligns with that of improvisational theatre models and by examining these models more closely and by comparing them with the theories of predominant educational theorists and psychologists, we will find both commonalities and effective teaching models and strategies. The theory and practice of Viola Spolin and Augusto Boal, supported by the theory of Lev Vygotsky and of Paulo Freire, respectively, provide two examples of non - traditional pedagogy for the secondary classroom.
    [Show full text]
  • Columbia Chronicle College Publications
    Columbia College Chicago Digital Commons @ Columbia College Chicago Columbia Chronicle College Publications 12-7-2009 Columbia Chronicle (12/07/2009) Columbia College Chicago Follow this and additional works at: http://digitalcommons.colum.edu/cadc_chronicle Part of the Journalism Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Columbia College Chicago, "Columbia Chronicle (12/7/2009)" (December 7, 2009). Columbia Chronicle, College Publications, College Archives & Special Collections, Columbia College Chicago. http://digitalcommons.colum.edu/cadc_chronicle/774 This Book is brought to you for free and open access by the College Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Columbia Chronicle by an authorized administrator of Digital Commons @ Columbia College Chicago. Chicago’s Improv granddaddy celebrates 50 years of laughter » PAGE 20 CHECK OUT THE THE COLUMBIA MULTIMEDIA hronicle SECTION ONLINE c ON ColumbiaChronicle.com The Of cial News Source of Columbia College Chicago December 7, 2009 Volume 45 Number 14 THEWEB Politicians Manifest’s destiny question poll accuracy Controversial candidate may file lawsuit against respected polling agency by Spencer Roush Assistant Metro Editor ONE REPUBLICAN candidate running for President Barack Obama’s former Senate seat in the 2010 election is raising ques- tions about the accuracy of polls and how the results are being disseminated to the public. In fact, many Web sites on both sides of the partisan aisle, such as Demo- craticUnderground.com and FreeRepub- lic.com, claim to be leery of some polling Lenny Gilmore THE CHRONICLE results because of favoring one political Students show off hacked Manifest T-shirt ensembles, which were built under direction of the Spectacle Build Shop at a Manifest informational meeting on party over another or producing faulty Dec.
    [Show full text]
  • Peter and the Starcatcher Production Handbook Is Here to Guide You Through All Aspects of Production: from Casting to Rehearsal to Design and Beyond
    The Peter and the Starcatcher Production Handbook is here to guide you through all aspects of production: from casting to rehearsal to design and beyond. We at Disney Theatrical Group took what we learned from the Broadway production, as well as various high school pilots, to craft a guidebook for creating your own vision for the show. In the following pages, you’ll find resources that you can draw from as needed, including broad and specific ways to approach Peter’s story theater style. Whether Peter marks your first or 100th production, we hope this handbook inspires you to take risks, explore new methods of storytelling, and empower your cast to participate in the design and staging process. As Peter says, “This is gonna be one awfully big adventure.” We hope it’s one that brings you great joy. Julie Haverkate Editor &and Literary Coordinator Disney Theatrical Group Introduction……………………………………………………………......... 1 Synopsis…………………………………………………………………......... 2 Casting…………………………………………………………………............6 Rehearsal Exercises…….…………………………...………………........ 9 Music Direction……………………………………………………........... 17 Staging & Directing Tips…...…………..……………….…………...... 20 Design…………………………………………………………………........... 33 Beyond the Stage................…………………………………………......... 50 Resources................…………………………………………………............77 Credits……………………………………………………………….............. 80 “Suppose all these planks and ropes are now the British Empire… use your thoughts to hoist the sails and deck the ships awaiting us…” — Act One: Prologue Green Valley High School Henderson, NV n 2007, excited at the prospect of escaping a hot New York summer, I agreed to meet with Roger Rees and Alex Timbers in Massachusetts to discuss a project they were going to direct together, based on a novel by Dave Barry and Ridley Pearson. I hopped on a train, and four hours later, weary and travel-stained, I found myself at the door at Williamstown Theatre Festival.
    [Show full text]
  • Toyota Corolla $35Per
    VOLUME LI, NUMBER 8 Your Local News Source Since 1963 SERVING DUBLIN • LIVERMORE • PLEASANTON • SUNOL THURSDAY, FEBRUARY 20, 2014 Lab Project Explores Aerogels For Local Desalination Efforts By Jeff Garberson converting salty water to that are plagued by meager Nearly one-fifth of the the United Nations standard Find Out What's A small research effort fresh. supplies of brackish water world’s population lacks for basic needs, 13.4 gal- by Lawrence Livermore The world’s fresh water and lack the infrastructure fresh water today, and that lons per day. Africans, for Happening National Laboratory and challenge is immense. The required to operate large, ex- fraction may double by example, have access to 5.3 Check Out Section A Stanford University is try- research project makes no pensive desalination plants. 2050, according to some gallons per day. Section A is filled with ing to determine whether claim to offering a compre- The aerogel approach be- reports. These kinds of statistics information about arts, aerogels – solid materials hensive solution. ing examined at the Labora- While Americans typi- help motivate the Laborato- people, entertainment and that are so light that some Still, it shows early prom- tory has technical advantag- cally use 100 or more gal- ry’s research effort, accord- special events. There are varieties float in air -- might ise of someday helping in es that may make it suitable lons of water per day, there ing to Michael Stadermann, education stories, a variety help respond to one of hu- isolated surroundings like for small, out-of-the-way are large parts of the world a chemist who described the of features, and the arts and manity’s greatest problems, arid parts of Asia and Africa settlements.
    [Show full text]
  • New Yorker August 18 1986
    -• • • , GOINGJ ON ABOUT TOWN f, • " A CON5CIENTIOU5 CALENDAR OF EVENT5 OF INTERE5T THE THEATRE along with several other distinguished alumni S' M •T •T • F-5 of Paul Sills' "Second City" in Chicago, in an PLAYS AND MUSICALS evening of cheerful improvisation. (Actors Arsenic and Old Lace—A slam-bang revival of a 13 14 15 16 Playhouse, 100 Seventh Ave. S. 691-6226. (lit comedy of the early nineteen-forties. The Ttiesdays through Thursdaysat 8; Fridays at cast is headed by Jean Stapleton, Polly 17 18 19 20 21 22 23 8:30; Saturdays at 7 and 10; and Sundays at Holliday, and Tony Roberts. (Reviewed in 7. Matinees Sundays at 3.) our issue of 7/7/86.) (46th Street Theatre, Social Security—A lively, conventtonal comedy 226 W. 46th St. 221-1211). Tuesdays ningham, Debra Mooney, and Charlotte by Andrew Bergman, well acted by Mario through Saturdays at 8. Matinees Wednes Moore is very good. John Tillinger directed. Ihomas Ron Silver, Joanna Gleason, Stefan days and Saturdays at 2, and Sundays at 3.) (4/14/86) (Astor Place Theatre, 434 La bchnabeL and Olympia Dukakis. (4/28/86) Cuba and His Teddy Bear—Robert De Niro is a fayette St. 254-4370. Tuesdays through Fri Barrymore, 243 W. 47th St. 239- Hispanic drug dealer (cocaine), who is bring days at 8; Saturdays at 7 and 10; and Sun 6200. Tuesdays through Saturdays at 8. ing up his teen-age son. Reinaldo Povod's days at 7. Matinees Sundays at 3.) Matinees Wednesdays and Saturdays at 2, and Sundays at 3.) / nosed my new Isuzu NPR into the first play is considerably better than promis Rags—Teresa Stratas and Larry Kert in a mu ing; Mr.
    [Show full text]
  • An Actor's Bookshelf
    ACTING IS ACTION — Web Pages ◊ AN ACTOR’S BOOKSHELF ◊ BIBLIOGRAPHY & VIDEOGRAPHY " Introduction This selected and slightly annotated bibliography does not include selections on Styles & Periods, Stage Management, or Production Organization. For the latest listing of monologue books see the web-site: sfsotatheatre.org, click on Acting is Action - Web Pages followed by CONTEMPORARY MONOLOGUE COLLECTIONS. The following listing includes the bibliographies for: ACTING— EXERCISE & TRAINING SOURCES VIDEOS on ACTING AUDITIONING & MONOLOGUE PREPARATION THEATRE GAMES AND IMPROVISATION VIDEOS on GAME AND IMPROVISATION BOARD GAMES FOR ACTORS VOICE & MOVEMENT VIDEOS on VOICE & MOVEMENT PHYSICAL THEATRE VIDEOS on PHYSICAL THEATRE CAREER PREPAREDNESS DIRECTING PRODUCTION DESIGN VIDEOS on PRODUCTION DESIGN PLAYWRITING SHAKESPEARE MONOLOGUE COLLECTIONS WITH SELECTIONS BY SHAKESPEARE SHAKESPEARE GLOSSARIES, LEXICONS, DIRECTORIES SHAKESPEARE MONOLOGUE & SCENE LISTINGS SHAKESPEARE TEXT ON CD-ROM VIDEOS on SHAKESPEARE ACTING HIGH SCHOOL DRAMA TEXTS CURRICULUM AND COURSE GUIDES ◊ Indicates highly recommended books that should be on an actor’s bookshelf. ACTING— EXERCISE & TRAINING SOURCES ! Leslie Abbott. ACTIVE ACTING: Exercises and Improvisations Leading to Performance. Star Publishing, (revised) 1993 ◊ Stella Adler. THE TECHNIQUE OF ACTING. Bantam Books, 1990 With a full course of exercises and examples taken from Stella Adler’s classes. Hardie Albright, Arnita Albright. ACTING: The Creative Process (Third ed.) Wadsworth Publishing Co., 1980 David Allen. STANISLAVSKI FOR BEGINNERS. Writers and Readers Publishing, Inc., 1999. In a comic book format featuring a guide to the Stanislavski system and a chronicle of his life. ◊ David Ball. BACKWARDS AND FORWARDS, A Technical Manual for Reading Plays. Southern Illinois University Press, 1983. A great little book for actors, directors, and playwrights.
    [Show full text]
  • Community Players Theatre Collection Processed by Emma Meyer December 2014
    McLean County Museum of History Community Players Theatre Collection Processed by Emma Meyer December 2014 Collection Information VOLUME OF COLLECTION: 2 Box, COLLECTION DATES: 1923-2013 RESTRICTIONS: None REPRODUCTION RIGHTS: Permission to reproduce or publish material in this collection must be obtained in writing from the McLean County Museum of History ALTERNATIVE FORMATS: None OTHER FINDING AIDS: LOCATION: Archives NOTES: Historical Sketch In 1923 a women's club met in Bloomington and discussed creating a group to perform some amateur theatricals. The first production was Overtones performed March 6, 1923, starring Winifred Kates James, Grace Kessler Green, Edith Elliot Kuhn and Lucy Parke Williams and was presented in the Turner Hall. Today Community Players is one of the oldest community theatres completely staffed by volunteers. From Turner Hall they went on to use the facilities at the Illini Theatre (now the MARC Center next to Lucca Grill), Bloomington High School (the former BJHS building on Washington Street as well as the current building on East Locust), the old Normal High School, Illinois State Normal University (Old Main), The Majestic Theater and the Scottish Rite Temple (currently the Bloomington Cultural Center for the Performing Arts). In 1957 some of the leaders of the group came together to purchase the Esquire movie theatre on Madison Street just south of the Pantagraph building. It had 300 seats and air conditioning. The deal was negotiated but never completed. The city decided to condemn the building to create new city parking lots so Community Players had to find a new home. They settled at their current location at 201 Robinhood Lane.
    [Show full text]
  • New Yorker August 11 1986
    GOINGJ ON ABOUT TOVN ©1979 Clinique Laboratories, Inc. A CON^CIENTIOUJ CALENDAR OF EVENTS OF INTEIIE5T THE THEATRE Fosse is the director and choreographer, Cy In justone soaping, PLAYS AND MUSICALS S• M • T • T'• F-J Coleman and Dorothy Fields provided the Arsenic AND Old Lace—This revival of a 1941 songs, and the scenery is by Robert Ran- Broadway hit has a welcomely big cast and 6 7 8 9 , Hurrah for them all. (5/12/86) (Min- an excepU^onally fine set by Marjorie Bradley ^off 45th St. west of Broadway. 869-0550. this man's skinwillstart livingbetter. Kellogg. The subject is murder, mingled with lO II 12 13 14 15 16 Tuesdays through Saturdays at 8. Matin6es Victorian good manners; the murder weaoon daysat ^ Saturdays at 2, and Sun- 7/? in our issue of The Perfect Party—A. R. Gurney, Jr.,'s deliber Today I Am AFountain Pen—A play by Israel ately mannered comedy about a professor 8.a MatineesM Wednesdaysthroughand SaturdaysSaturdaysat at 2 who isobsessed with perfection isoften disap- Broadway at 19th and Sundays at 3.) 8s15. i ? MatindesIVT WednesdaysthroughandSaturdays at Cuba and His Teddy Bear—Robert De Niro is a 2.30, and Sundays at 3.) Hispanic drug dealer (cocaine), who is bring- lu. xiic acung uy juiin \^un- ing up his teen-age son. Reinaldo Povod's mngham, Debra Mooney, and Charlotte first ^ay is corisiderably better than promis- Moore is very good. John Tillinger directed. "•"berrl"PiT Fi7°'° ^ their^^out adventuresHuckle- on (4/14/86) (Astor Place Theatre, 434 La able,-.-o.
    [Show full text]
  • The Theatre School Graduate
    THEAT RE THE 1 FOUNDED AS THE GOODMAN SCHOOL OF DRAMA IN 1925 The Theatre School is a member of the League of Chicago Theatres, Illinois Arts Alliance, ASSITEJ/USA, American Alliance for Theatre and Education (AATE), USITT, and the Illinois Alliance for Arts Education. ADMINISTRATION JOHN CULBERT, M.F.A. Dean JOHN BRIDGES, M.A. Director of Administration and Assistant Dean LESLIE SHOOK, M.A. Theatre Manager ANASTASIA GONZALEZ Budget Manager/Administrative Assistant to the Dean JASON BECK, B.F.A. Director of Admissions LARA GOETSCH, B.S. Director of Marketing and Public Relations TESSA CRAIB-COX Director of Development GENERAL INFORMATION THE THEATRE SCHOOL 251 hen The Theatre School was founded in 1925 at The Art Institute of Chicago, it was called the Goodman School of Drama. By all measurements the school is stronger now Wthan it has ever been. Although our name has changed, the essential life and purpose of the school remains the same. Our basic principles and standards are exactly what they have been for over 75 years. The Theatre School is a conservatory, a strong part of a vital urban University, and we operate with professional concentrations on the development of artists for the theatre and related professions. Further information about The Theatre School is available via the internet at The School's web site, located at http://theatreschool.depaul.edu. GRADUATE STUDY IN THE THEATRE SCHOOL The MFA Programs are designed for the student who has had considerable experience at the undergraduate level, the student seeking additional training as a consequence of prior professional work, or the student whose life experience and professional potential meet the qualifications for advanced training.
    [Show full text]
  • 1 of 1 HISTORY of IMPROVISATION Edited and Summarized by Walt Frasier
    EIGHT IS NEVER ENOUGH STUDY GUIDE 1 of 1 HISTORY of IMPROVISATION Edited and summarized by Walt Frasier. Go to http://en.wikipedia.org/ to discover more amazing information on the following companies and key figures in Improvisation Theater History. Viola Spolin was an American drama teacher and author. She is considered by many to be the American Grandmother of Improvisation. Author of “Improvisation for the theater” still respected as one of the best books on the subject. Paul Sills was a director and improvisation teacher, and the original director of The Second City, Playwrights and Compass Players. Paul was the son of teacher and writer Viola Spolin. Mike Nichols (born 6 November 1931) is one of America’s most imprortant television, stage and film director, writer, and producers. Nichols is one of the few people to have won all the major American entertainment awards: an Oscar, Grammy, Emmy and Tony Award. Started as an Improv Actor/Comedian. Toured with Elain May in the popular team act “Nichols & May”. Recently directed SPAMALOT on Broadway. Del Close is considered one of the premier influences on modern improvisational theater. An actor, improviser, writer, and teacher, Close had a prolific career, appearing in a number of films and television shows. He was a co-author of the book Truth in Comedy along with partner Charna Halpern, which outlines techniques now common to longform improvisational theater and describes the overall structure of “Harold” which remains a common frame for longer improvisational scenes. The Compass Players (or Compass Theater) was a 1950s cabaret revue show started by alumni from the University of Chicago.[1].
    [Show full text]
  • The Uwm Post
    the uwm post vol. XVII no. 41 Friday december 8, 1972 Music and Athletics dominate Lavine session Lavine said he was against a by DAN ULLRICH Michael Giljohann, University Student Government president, new law school here. He said of The Post staff said that he feared dropping he favored the idea of para­ (Post photo by Dan Johnson) athletics would dissolve the legal courses here which would The future of the marching ba­ marching band which he said give non-law majors a chance nd may be as important to is a necessary part of music to receive some training with­ students as a possible law sch­ students' needs when applying out a degree granting program. Segregated fee ool here, if a discussion with for jobs after graduation. a regent of the university sys­ Three reasons were given by tem is indicative. Three freshmen music majors Lavine for not supporting the raised the same point and La­ law school idea: Law and the reaction guarded Regent John Lavine of Chip­ practice of law are changing hbyT DiPAUm L MANKVTA MR-TET *^-S pewa Falls was here Wednes­ vine explained that the march­ ing band was still in operation, rapidly; the number of lawyers of The Post staff In a letter to the chancellors day morning for 90 minutes needed may stabilize or drop; of informal discussions with but that the situation was one Reaction here has been guard­ of state university campuses, students, faculty, and staff. The of "one campus not being able and a smaller program could Weaver said every effort sh­ to offer everything." He said fulfill the need for para-legal ed to an announcement by UW ould be made to hold segrega­ meeting was open and had a training.
    [Show full text]