Brooklyn Academy of Music (BAM) Announces 2018 Next Wave
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University of Florida Thesis Or Dissertation Formatting
SPEECH MADE UNABLE: INEXPRESSIBILITY, SUBLIMITY, AND NOTHINGNESS IN KING LEAR AND ITS RECEPTION By JAMES TRYGVE NEWLIN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 James Trygve Newlin 2 To Trygve Tonnessen, my grandfather 3 ACKNOWLEDGMENTS Appropriately enough for a study attentive to failure and problems of expression, this dissertation is the result of many false starts, detours, and drafts. I am grateful to the many colleagues, family members, and friends whose support and encouragement made completion possible. I owe an enormous debt to my dissertation committee. I thank my chair, Richard Burt, and my readers, R. Allen Shoaf, Terry Harpold, and Eric Kligerman. This project is the result of not only their suggestions, but also their inspiration. I am also grateful to the English department at the University of Florida for offering a supportive intellectual atmosphere, and for providing opportunities to complete and present my work. I was able to complete this project thanks to the funding awarded from the Graduate Student Award fellowship, and was able to present early drafts at conferences thanks to additional travel funds awarded by the department and College of Liberal Arts and Sciences. I am as grateful for these awards as I was fortunate to receive them. I owe thanks to my many teachers at UF: Sidney L. Dobrin, Robert B. Ray, James J. Paxson, Anastasia Ulanowicz, Phillip E. Wegner, and Roger Beebe. Thanks as well to Pamela K. Gilbert, Kenneth B. -
More- DISCOVERY CHANNEL/MYTHBUSTERS PREMIERES-PAGE 2
FOR IMMEDIATE RELEASE: Contact: Katherine Nelson: 310-975-5975 March 24, 2010 [email protected] CASH, TRASH, PAIN AND SODA…WHAT ARE THEY UP TO NOW? NEW PREMIERE EPISODES OF MYTHBUSTERS BEGIN MARCH 24 (Silver Spring, Md.) – MYTHBUSTERS returns Wednesday, March 24 with jaw dropping world premieres hosted by Jamie Hyneman and Adam Savage, and co-hosts Tory Belleci, Grant Imahara and Kari Byron. In all, eleven new episodes will air Wednesdays at 9PM (ET/PT) through June 2010. New premieres begin March 24 with a killer episode testing whether a soda cup thrown from a moving car can be a deadly weapon – and on the March 31 episode, Kari Byron returns to MYTHBUSTERS from maternity leave! The Emmy®-nominated MYTHBUSTERS, which initially launched in 2003, continues to inspire and engage its audience of young and old, geeks and hipsters, science lovers and lovers of explosions. By tackling advanced science concepts in an innovative way that promotes the spirit of curiosity and experimentation, MYTHBUSTERS aims to uncover the truth behind popular myths and legends by mixing scientific method with gleeful inquisitiveness and plain old-fashioned ingenuity to create a signature style of experimentation. The March 24 premiere episode takes on Hollywood and real-life. Adam and Jamie talk trash and crash when they test whether a Styrofoam cup full of soda can be a lethal projectile when thrown from a car at high speeds. Does the cup penetrate the windshield of an oncoming car and seriously injure the driver? Jamie and Adam build a number of soda shooting cannons to see how deadly this myth really is, including a never-before-seen shoulder mounted cannon courtesy of Jamie. -
POWDER-HER-FACE.Pdf
3 La Fenice prima dell’Opera 2012 3 2012 Fondazione Stagione 2012 Teatro La Fenice di Venezia Lirica e Balletto Thomas Adès Powder ace her f ace er InciprialeF h il viso owder owder p dès a homas t FONDAZIONE TEATRO LA FENICE DI VENEZIA TEATRO LA FENICE - pagina ufficiale seguici su facebook e twitter follow us on facebook and twitter FONDAZIONE TEATRO LA FENICE DI VENEZIA Destinare il cinque per mille alla cultura è facile e non costa nulla. Quando compili la tua dichiarazione dei redditi, indica il codice fiscale della Fondazione Teatro La Fenice di Venezia: 00187480272 Aiuti la cultura, aiuti la musica. Incontro con l’opera FONDAZIONE lunedì 16 gennaio 2012 ore 18.00 AMICI DELLA FENICE SANDRO CAPPELLETTO, MARIO MESSINIS, DINO VILLATICO STAGIONE 2012 Lou Salomé sabato 4 febbraio 2012 ore 18.00 MICHELE DALL’ONGARO L’inganno felice mercoledì 8 febbraio 2012 ore 18.00 LUCA MOSCA Così fan tutte martedì 6 marzo 2012 ore 18.00 LUCA DE FUSCO, GIANNI GARRERA L’opera da tre soldi martedì 17 aprile 2012 ore 18.00 LORENZO ARRUGA La sonnambula lunedì 23 aprile 2012 ore 18.00 PIER LUIGI PIZZI, PHILIP WALSH Powder Her Face giovedì 10 maggio 2012 ore 18.00 RICCARDO RISALITI La bohème lunedì 18 giugno 2012 ore 18.00 GUIDO ZACCAGNINI Carmen giovedì 5 luglio 2012 ore 18.00 MICHELE SUOZZO L’elisir d’amore giovedì 13 settembre 2012 ore 18.00 MASSIMO CONTIERO Clavicembalo francese a due manuali copia dello Rigoletto strumento di Goermans-Taskin, costruito attorno sabato 6 ottobre 2012 ore 18.00 alla metà del XVIII secolo (originale presso la Russell PHILIP GOSSETT Collection di Edimburgo). -
Against Expression?: Avant-Garde Aesthetics in Satie's" Parade"
Against Expression?: Avant-garde Aesthetics in Satie’s Parade A thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF MUSIC In the division of Composition, Musicology, and Theory of the College-Conservatory of Music 2020 By Carissa Pitkin Cox 1705 Manchester Street Richland, WA 99352 [email protected] B.A. Whitman College, 2005 M.M. The Boston Conservatory, 2007 Committee Chair: Dr. Jonathan Kregor, Ph.D. Abstract The 1918 ballet, Parade, and its music by Erik Satie is a fascinating, and historically significant example of the avant-garde, yet it has not received full attention in the field of musicology. This thesis will provide a study of Parade and the avant-garde, and specifically discuss the ways in which the avant-garde creates a dialectic between the expressiveness of the artwork and the listener’s emotional response. Because it explores the traditional boundaries of art, the avant-garde often resides outside the normal vein of aesthetic theoretical inquiry. However, expression theories can be effectively used to elucidate the aesthetics at play in Parade as well as the implications for expressability present in this avant-garde work. The expression theory of Jenefer Robinson allows for the distinction between expression and evocation (emotions evoked in the listener), and between the composer’s aesthetical goal and the listener’s reaction to an artwork. This has an ideal application in avant-garde works, because it is here that these two categories manifest themselves as so grossly disparate. -
The Journal of Shakespeare and Appropriation 2/13/20, 11(18 PM
Borrowers and Lenders: The Journal of Shakespeare and Appropriation 2/13/20, 11(18 PM ISSN 1554-6985 VOLUME V · NUMBER (/current) 1 SPRING/SUMMER 2010 (/previous) EDITED BY (/about) Christy Desmet and Sujata (/archive) Iyengar CONTENTS The (Dis)possession of Lear's Two Bodies: Madness, Joseph R. Demystification, and Domestic Space in Peter Brook's King Teller Lear (/782421/show) (pdf) (/782421/pdf) S HAKESPEARE' S LITERARY AFTERLIVES E DITED BY MARK BAYER The Afterlife of Timon of Athens: The Palest Fire Gretchen (/782392/show) (pdf) (/782392/pdf) E. Minton Khaki Hamlets: Shakespeare, Joyce, and the Agency of Mark Literary Texts (/782397/show) (pdf) (/782397/pdf) Bayer "Nothing like the image and horror of it": King Lear and Richard Heart of Darkness (/782425/show) (pdf) (/782425/pdf) Meek Mark Introduction (/782387/show) (pdf) (/782387/pdf) Bayer The Question: Hamlet's Life After Life (/782444/show) (pdf) Mark http://borrowers.uga.edu/7159/toc Page 1 of 2 Borrowers and Lenders: The Journal of Shakespeare and Appropriation 2/13/20, 11(18 PM (/782444/pdf) Robson A PPROPRIATIONS IN PERFORMANCE "A Mistaken Understanding": Dunsinane and New Writing at Emily the RSC (/782405/show) (pdf) (/782405/pdf) Linnemann C ONTRIBUTORS Contributors (/782450/show) (pdf) (/782450/pdf) © Borrowers and Lenders 2005-2020 http://borrowers.uga.edu/7159/toc Page 2 of 2 Borrowers and Lenders: The Journal of Shakespeare and Appropriation 2/13/20, 11(19 PM The (Dis)possession of Lear's Two Bodies: (/current) Madness, Demystification, and Domestic Space in Peter Brook's -
Television Academy Awards
2019 Primetime Emmy® Awards Ballot Outstanding Comedy Series A.P. Bio Abby's After Life American Housewife American Vandal Arrested Development Atypical Ballers Barry Better Things The Big Bang Theory The Bisexual Black Monday black-ish Bless This Mess Boomerang Broad City Brockmire Brooklyn Nine-Nine Camping Casual Catastrophe Champaign ILL Cobra Kai The Conners The Cool Kids Corporate Crashing Crazy Ex-Girlfriend Dead To Me Detroiters Easy Fam Fleabag Forever Fresh Off The Boat Friends From College Future Man Get Shorty GLOW The Goldbergs The Good Place Grace And Frankie grown-ish The Guest Book Happy! High Maintenance Huge In France I’m Sorry Insatiable Insecure It's Always Sunny in Philadelphia Jane The Virgin Kidding The Kids Are Alright The Kominsky Method Last Man Standing The Last O.G. Life In Pieces Loudermilk Lunatics Man With A Plan The Marvelous Mrs. Maisel Modern Family Mom Mr Inbetween Murphy Brown The Neighborhood No Activity Now Apocalypse On My Block One Day At A Time The Other Two PEN15 Queen America Ramy The Ranch Rel Russian Doll Sally4Ever Santa Clarita Diet Schitt's Creek Schooled Shameless She's Gotta Have It Shrill Sideswiped Single Parents SMILF Speechless Splitting Up Together Stan Against Evil Superstore Tacoma FD The Tick Trial & Error Turn Up Charlie Unbreakable Kimmy Schmidt Veep Vida Wayne Weird City What We Do in the Shadows Will & Grace You Me Her You're the Worst Young Sheldon Younger End of Category Outstanding Drama Series The Affair All American American Gods American Horror Story: Apocalypse American Soul Arrow Berlin Station Better Call Saul Billions Black Lightning Black Summer The Blacklist Blindspot Blue Bloods Bodyguard The Bold Type Bosch Bull Chambers Charmed The Chi Chicago Fire Chicago Med Chicago P.D. -
Exploring the Relationship Between State-Of-The-Art, Technological and Commercial Feasibility, and the Restatement’S Reasonable Alternative Design Requirement
“FASTEN YOUR SEAT BELT, ORVILLE!”: EXPLORING THE RELATIONSHIP BETWEEN STATE-OF-THE-ART, TECHNOLOGICAL AND COMMERCIAL FEASIBILITY, AND THE RESTATEMENT’S REASONABLE ALTERNATIVE DESIGN REQUIREMENT RICHARD C. AUSNESS* INTRODUCTION Of course Wilbur never told Orville to fasten his seat belt. Not only did the first Wright Flyer have no seat belts, it did not even have seats!1 Orville steered the Wright Flyer I from a prone position, not sitting up.2 Nor was the Wright brothers’ flying machine equipped with such useful safety features as brakes, landing gear, a radio, ailerons, or even much of a tail.3 In fact, if the truth be told, the Wright brothers’ airplane was a flying deathtrap. The good news for both modern pilots and their passengers is that aircraft technology, including safety technology, has progressed enormously since 1903. Aircraft manufacturers have now incorporated many forms of technology, such as radar, global positioning navigation systems, transponders, radios, anti-lock braking systems, and fire-resistant insulation in order to make their products safer. Unfortunately, progress has not been as impressive in other areas. Consider punch presses. Notwithstanding the fact that these machines cause hundreds of injuries in the workplace each year, many punch presses continue to employ Rube Goldberg-like devices such as “pullbacks” to protect punch press operators from serious injury.4 Why has safety technology improved so dramatically over the last hundred years for airplanes while punch press safety technology apparently has not? One explanation for this curious result is that product manufacturers effectively control the pace of technological development, including the development of safety-related technology by deciding how much to invest in research and development.5 At the same time, the experience of aircraft and punch press * Dorothy Salmon Professor of Law, University of Kentucky College of Law. -
Todd Bolender and Janet Reed Were Dancing in Pied Piper When It Hap- Pened, One of Those Unforeseen Stage Mishaps That Can Wreck a Performance Completely
1 Todd Bolender and Janet Reed were dancing in Pied Piper when it hap- pened, one of those unforeseen stage mishaps that can wreck a performance completely. Set to Aaron Copland’s jazzy Concerto for Clarinet and String Orchestra, Pied Piper was Jerome Robbins’s fourth work for New York City Ballet. Its vocabulary was in the same vein as Fancy Free and Interplay, a blend of classical steps, modern dance, and social dancing. For the finale, he included a jitterbug move, in which Bolender had to swing Reed over his head and around his neck, her legs in a wide second position, and from there to the floor directly in front of him. In the early 1950s, when this per- formance took place, Bolender had begun wearing a wig over his thinning hair that fit over his scalp like a hat. At this particular performance, all was going well, until Bolender, after swinging Reed down to the floor, looked down and thought, “My God, has she lost her tights” at the same moment that Reed looked in the same direction. They both broke into uncontrol- lable laughter, fortunately just as the corps came rushing onto the stage and covered their hasty exit, Bolender’s much-loathed wig (“it had curls and things,” he told Deborah Jowitt) restored to his head.1 By 1952, when it’s likely this performance took place,2 Bolender and Reed had been friends since Reed arrived in New York in January 1942. They had been dancing together in Robbins’s and Balanchine’s work since 1949, when Reed joined City Ballet. -
Richard Cant
Richard Cant Photo: Wolf Marloh Stage 2019, Stage, Quentin Crisp, AFTER EDWARD, Globe Theatre, London, Brendan O'Hea 2019, Stage, Earl of Lancaster, EDWARD THE SECOND, Globe Theatre, London, Nick Bagnall 2018, Stage, Jeremy Crowther, MAYDAYS, Royal Shakespeare Company, Owen Horsley 2017, Stage, DeStogumber/ Poulengey, SAINT JOAN, Donmar, Josie Rourke 2016, Stage, One, STELLA, LIFT/Brighton Festival, Neil Bartlett 2015, Stage, Aegeus, MEDEA, Almeida, Rupert Goold 2015, Stage, Bernie, MY NIGHT WITH REG, Donmar Warehouse/ Apollo Theatre, Rob Hastie 2015, Stage, Tudor/Male Guard/Assistant, THE TRIAL, The Young Vic, Richard Jones 2013, Stage, Friedrich Muller, WAR HORSE, NT at New London Theatre, Alex Sims, Kathryn Ind 2010, Stage, Page of Herodias, SALOME, Headlong, Jamie Lloyd 2008, Stage, Thersites, TROILUS AND CRESSIDA, Cheek by Jowl, Declan Donnellan 2007, Stage, Pisanio, CYMBELINE, Cheek by Jowl, Declan Donnellan 2002, Stage, Lord Henry, ORIGINAL SIN, Sheffield Crucible Theatre, Peter Gill 2000, Stage, Darren, OTHER PEOPLE, Royal Court Theatre, Dominic Cooke 2000, Stage, Brian/Javid, PERA PALAS, Gate, Sacha Wares 2000, Stage, SHE STOOPS TO CONQUER, New Kent Opera, Hettie McDonald 2000, Stage, Sparkish, THE COUNTRY WIFE, Sheffield Crucible Theatre, Michael Grandage 1999, Stage, Prior, ANGELS IN AMERICA, Library, Manchester, Roger Haines 1997, Stage, Arviragus, CYMBELINE, Royal Shakespeare Company, Adrian Noble 1997, Stage, Rosencrantz, HAMLET, RSC, Matthew Warchus 1997, Stage, Balthasar, MUCH ADO ABOUT NOTHING, RSC, Michael Boyd 1996, Stage, -
2020-21-Brochure.Pdf
SUBSCRIPTIONS 20 21 music dance Ca l theater Performances University of California, Berkeley Letter from the Director Universities. They exist to foster a commitment to knowledge in its myriad facets. To pursue that knowledge and extend its boundaries. To organize, teach, and disseminate it throughout the wider community. At Cal Performances, we’re proud of our place at the heart of one of the world’s finest public universities. Each season, we strive to honor the same spirit of curiosity that fuels the work of this remarkable center of learning—of its teachers, researchers, and students. That’s why I’m happy to present the details of our 2020/21 Season, an endlessly diverse collection of performances rivaling any program, on any stage, on the planet. Here you’ll find legendary artists and companies like cellist Yo-Yo Ma, the Vienna Philharmonic Orchestra with conductor Gustavo Dudamel, the Mark Morris Dance Group, pianist Mitsuko Uchida, and singer/songwriter Angélique Kidjo. And you’ll discover a wide range of performers you might not yet know you can’t live without—extraordinary, less-familiar talent just now emerging on the international scene. This season, we are especially proud to introduce our new Illuminations series, which aims to harness the power of the arts to address the pressing issues of our time and amplify them by shining a light on developments taking place elsewhere on the Berkeley campus. Through the themes of Music and the Mind and Fact or Fiction (please see the following pages for details), we’ll examine current groundbreaking work in the university’s classrooms and laboratories. -
An Honest Liar Premieres on Independent Lens Monday, March 28, 2016 on PBS
FOR IMMEDIATE RELEASE CONTACT Lisa Tawil, ITVS 415-356-8383 [email protected] Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] For downloadable images, visit pbs.org/pressroom/ An Honest Liar Premieres on Independent Lens Monday, March 28, 2016 on PBS Portrait of James “The Amazing” Randi, the Extraordinary Magician Who Dedicated His Life to Exposing Hucksters and Frauds “Magicians are the most honest people in the world. They tell you they’re gonna fool you, and then they do it.” – James Randi (San Francisco, CA) — For the last half-century, James “The Amazing” Randi has entertained millions of people around the world with his remarkable feats of magic, escape, and trickery. But when he saw faith healers, fortunetellers, and psychics using his beloved magician’s tricks to steal money from innocent people and destroy lives, he dedicated his life to exposing frauds, using the wit and style of the great showman that he is. Part detective story, part biography, and a bit of a magic act itself, the award- James "The Amazing" Randi. winning An Honest Liar, directed and produced by Credit: Justin Weinstein, Tyler Measom Justin Weinstein and Tyler Measom, premieres on Independent Lens Monday, March 28, 2016, 10:00-11:30 p.m. ET (check local listings) on PBS. A self-described liar, cheat, and charlatan, Randi embarked on a mission for truth by perpetrating a series of unparalleled investigations and elaborate hoaxes. These grand schemes fooled scientists, the media, and a gullible public, but always with a deeper goal of demonstrating the importance of evidence and the dangers of magical thinking. -
2015 Next Wave Festival DEC 2015
2015 Next Wave Festival DEC 2015 Shinique Smith, Abiding Light, 2015 Published by: Season Sponsor: #BAMNextWave #SteelHammer Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Executive Producer Steel Hammer BAM Harvey Theater Dec 2—5 at 7:30pm; Dec 6 at 3pm Running time: one hour & 55 minutes, no intermission Julia Wolfe and SITI Company Bang on a Can All-Stars Directed by Anne Bogart Music & lyrics by Julia Wolfe Original text by Kia Corthron, Will Power, Carl Hancock Rux, and Regina Taylor Music performed by Bang on a Can All-Stars Play performed & created by SITI Company Scenic & costume design by James Schuette Lighting by Brian H Scott Sound design by Andrew Cotton and Christian Frederickson Choreography by Barney O’Hanlon Season Sponsor: Steel Hammer premiered at Actors Theatre of Louisville in the 2014 Humana Festival of New American Plays In memory of Robert W. Wilson, with gratitude for his visionary and generous support of BAM STEEL HAMMER Akiko Aizawa Ashley Bathgate Eric Berryman Robert Black Patrice Johnson Vicky Chow David Cossin Emily Eagen Chevannes Katie Geissinger Gian-Murray Gianino Barney O’Hanlon Molly Quinn Mark Stewart Ken Thomson Stephen Duff Webber Steel Hammer CAST Akiko Aizawa* Eric Berryman* Patrice Johnson Chevannes* Gian-Murray Gianino* Barney O’Hanlon* Stephen Duff Webber* BANG ON A CAN ALL-STARS Ashley Bathgate cello Robert Black bass Vicky Chow piano David Cossin