History in the Age of Fracture
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E.M. Parry Designer
E.M. Parry Designer E.M. Parry is a transgender, trans-disciplinary artist and theatre- maker, best known for theatre design, specialising in work which centres queer bodies and narratives. They are an Associate Artist at Shakespeare’s Globe, a Linbury Prize Finalist, winner of the Jocelyn Herbert Award, and shared an Olivier Award for Outstanding Achievement as part of the team behind Rotterdam, for which they designed set and costumes. Agents Dan Usztan Assistant [email protected] Charlotte Edwards 0203 214 0873 [email protected] 0203 214 0924 Credits In Development Production Company Notes DORIAN Reading Rep Dir. Owen Horsley 2021 Written by Phoebe Eclair-Powell and Owen Horsley Theatre Production Company Notes STAGING PLACES: UK Victoria and Albert Museum Designs included in exhibition DESIGN FOR PERFORMANCE 2019 AS YOU LIKE IT Shakespeare's Globe Revival of 2018 production 2019 United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes THE STRANGE New Vic Theatre Dir. Anna Marsland UNDOING OF By David Grieg PRUDENCIA HART 2019 ROTTERDAM Hartshorn Hook UK tour of Olivier Award-winning production 2019 TRANSLYRIA Sogn og Fjordane Teater, Dir. Frode Gjerlow 2019 Norway By William Shakespeare & Frode Gjerlow GRIMM TALES Unicorn Theatre Dir. Kirsty Housley 2018 Adapted from Philip Pullman's Grimm Tales by Philip Wilson SKETCHING Wilton's Music Hall Dir. Thomas Hescott 2018 By James Graham AS YOU LIKE IT Shakespeare's Globe Dir. Federay Holmes and Elle While 2018 By William Shakespeare HAMLET Shakespeare's Globe Dir. -
Meat: a Novel
University of New Hampshire University of New Hampshire Scholars' Repository Faculty Publications 2019 Meat: A Novel Sergey Belyaev Boris Pilnyak Ronald D. LeBlanc University of New Hampshire, [email protected] Follow this and additional works at: https://scholars.unh.edu/faculty_pubs Recommended Citation Belyaev, Sergey; Pilnyak, Boris; and LeBlanc, Ronald D., "Meat: A Novel" (2019). Faculty Publications. 650. https://scholars.unh.edu/faculty_pubs/650 This Book is brought to you for free and open access by University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Faculty Publications by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. Sergey Belyaev and Boris Pilnyak Meat: A Novel Translated by Ronald D. LeBlanc Table of Contents Acknowledgments . III Note on Translation & Transliteration . IV Meat: A Novel: Text and Context . V Meat: A Novel: Part I . 1 Meat: A Novel: Part II . 56 Meat: A Novel: Part III . 98 Memorandum from the Authors . 157 II Acknowledgments I wish to thank the several friends and colleagues who provided me with assistance, advice, and support during the course of my work on this translation project, especially those who helped me to identify some of the exotic culinary items that are mentioned in the opening section of Part I. They include Lynn Visson, Darra Goldstein, Joyce Toomre, and Viktor Konstantinovich Lanchikov. Valuable translation help with tricky grammatical constructions and idiomatic expressions was provided by Dwight and Liya Roesch, both while they were in Moscow serving as interpreters for the State Department and since their return stateside. -
Experimental Fracture Mechanics Through Digital Image Analysis Alireza Mehdi-Soozani Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1986 Experimental fracture mechanics through digital image analysis Alireza Mehdi-Soozani Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Mechanical Engineering Commons Recommended Citation Mehdi-Soozani, Alireza, "Experimental fracture mechanics through digital image analysis " (1986). Retrospective Theses and Dissertations. 8272. https://lib.dr.iastate.edu/rtd/8272 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: • Manuscript pages may have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts may not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material may have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or as a I7"x 23" black and wWte photographic print. -
Chapter Three Howard Barker: the Freedom and Constraint of the Artist’S Imagination
80 Chapter Three Howard Barker: The Freedom and Constraint of the Artist’s Imagination During the 1980s, theatrical culture was liable to a variety of political and economic pressures that “produced an enormous sense of dislocation and dissatisfaction”.1 Besides funding cuts, the aesthetic merits of artistic values did not seem to be understood by the politicians. So, theatre was not only subject to funding cuts, but also to censorship, as we shall see. Government interference in performance and writing led to a sense of insecurity. So, works which were economically unviable were threatened with being banned or cancelled. In doing so, the commissioning of artists began to depend entirely on the criteria of the ruling political party – the Conservatives – who ignored the artists’ true feelings. In other words, the aesthetic value of artworks was ignored in favour of monetarism. Instead, the duty of the artist was to be devoted to espousing political ideals. The dilemma of the artist, therefore, was how did artists enjoy a degree of freedom without being censored? And if the artist failed to match the criteria of the ruling political party, what was the price of free expression? All these questions suggest radical changes in the British theatre system which is very complicated ideologically in respect to democracy, sponsorship and how the artists responded to it. Howard Barker is a writer who began to grapple with these questions when he became suspicious of the effectiveness of politically committed theatre at about the same time that Thatcher was elected as Prime Minister. Although he is marginalized in his country, Barker has remained a challenging writer who dismantled the strictness of Conservative values during Thatcher’s time. -
Faults and Joints
133 JOINTS Joints (also termed extensional fractures) are planes of separation on which no or undetectable shear displacement has taken place. The two walls of the resulting tiny opening typically remain in tight (matching) contact. Joints may result from regional tectonics (i.e. the compressive stresses in front of a mountain belt), folding (due to curvature of bedding), faulting, or internal stress release during uplift or cooling. They often form under high fluid pressure (i.e. low effective stress), perpendicular to the smallest principal stress. The aperture of a joint is the space between its two walls measured perpendicularly to the mean plane. Apertures can be open (resulting in permeability enhancement) or occluded by mineral cement (resulting in permeability reduction). A joint with a large aperture (> few mm) is a fissure. The mechanical layer thickness of the deforming rock controls joint growth. If present in sufficient number, open joints may provide adequate porosity and permeability such that an otherwise impermeable rock may become a productive fractured reservoir. In quarrying, the largest block size depends on joint frequency; abundant fractures are desirable for quarrying crushed rock and gravel. Joint sets and systems Joints are ubiquitous features of rock exposures and often form families of straight to curviplanar fractures typically perpendicular to the layer boundaries in sedimentary rocks. A set is a group of joints with similar orientation and morphology. Several sets usually occur at the same place with no apparent interaction, giving exposures a blocky or fragmented appearance. Two or more sets of joints present together in an exposure compose a joint system. -
Chapter One a Theoretical Background to the Figure of The
19 Chapter One A Theoretical Background to the figure of the Artist in Literature and Theatre In an article published in Fall 2009, Csilla Bertha maintains that the central place an artist occupies within a work of art adds an additional dimension to plays, since the fictional artist’s point of view, attitudes to the world and evaluation of phenomena, may double or multiply the layers of the connections between art and life. She then adds: If an artist is chosen to be the protagonist of a play or novel, that choice naturally leads to the thematization of questions and dilemmas about the existence of art and the artist; relations between art and life, art/artist and the world; the nature of artistic creation; differences between ways of life, values, and views of ordinary people and artists; relations between individual and community, between the subject and objective reality; and many other similar issues.1 No doubt, with the advent of highly sophisticated and challenging notions such as Formalism2 and the death of the author,3 it is hard to conceive the figure of the artist without paying attention to the interrelations between art and life in which the ideal and reality, subject and object, constitute sharp contrasts. Traditionally, this dialectical relationship forms “binary 1 Csilla Bertha, “Visual Art and Artist in Contemporary Irish Drama”, Hungarian Journal of English and American Studies (HJEAS) v. 15, no. 2 (Fall 2009): 347. 2 Formalism is a Russian literary movement which originated in the second decade of the twentieth century. Its leading figures were both linguists and literary historians such as Boris Eikhenbaum (1886-1959), Roman Jakobson (1895-1982), Viktor Shklovsky (1893-1984), Boris Tomashevskij (1890-1957) and Jurij Tynjanov (1894-1943). -
Paterson Erika Phd 1997.Pdf
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road. Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 Ordering Chaos: The Canadian Fringe Theatre Phenomenon by Erika Paterson BJ.A., University of Victoria, 1989 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the Department of Theatre We accept this dissertation as conforming to the required standard Dr. -
Come up to the Lab a Sciart Special
024 on tourUK DRAMA & DANCE 2004 COME UP TO THE LAB A SCIART SPECIAL BOBBY BAKER_RANDOM DANCE_TOM SAPSFORD_CAROL BROWN_CURIOUS KIRA O’REILLY_THIRD ANGEL_BLAST THEORY_DUCKIE CHEEK BY JOWL_QUARANTINE_WEBPLAY_GREEN GINGER CIRCUS_DIARY DATES_UK FESTIVALS_COMPANY PROFILES On Tour is published bi-annually by the Performing Arts Department of the British Council. It is dedicated to bringing news and information about British drama and dance to an international audience. On Tour features articles written by leading and journalists and practitioners. Comments, questions or feedback should be sent to FEATURES [email protected] on tour 024 EditorJohn Daniel 20 ‘ALL THE WORK I DO IS UNCOMPLETED AND Assistant Editor Cathy Gomez UNFINISHED’ ART 4 Dominic Cavendish talks to Declan TheirSCI methodologies may vary wildly, but and Third Angel, whose future production, Donnellan about his latest production Performing Arts Department broadly speaking scientists and artists are Karoshi, considers the damaging effects that of Othello British Council WHAT DOES LONDON engaged in the same general pursuit: to make technology might have on human biorhythms 10 Spring Gardens SMELL LIKE? sense of the world and of our place within it. (see pages 4-7). London SW1A 2BN Louise Gray sniffs out the latest projects by Curious, In recent years, thanks, in part, to funding T +44 (0)20 7389 3010/3005 Kira O’Reilly and Third Angel Meanwhile, in the world of contemporary E [email protected] initiatives by charities like The Wellcome Trust dance, alongside Wayne McGregor, we cover www.britishcouncil.org/arts and NESTA (the National Endowment for the latest show from Carol Brown, which looks COME UP TO Science, Technology and the Arts), there’s THE LAB beyond the body to virtual reality, and Tom Drama and Dance Unit Staff 24 been a growing trend in the UK to narrow the Lyndsey Winship Sapsford, who’s exploring the effects of Director of Performing Arts THEATRE gap between arts and science professionals John Kieffer asks why UK hypnosis on his dancers (see pages 9-11). -
Investigating the Notion of Catharsis and Probing the Concept of Pain In
حوليات آداب عني مشس اجمللد 46 ) عدد إبريل – يونيه 2018( http://www.aafu.journals.ekb.eg جامعة عني مشس )دورية علمية حملمة( كلية اﻵداب Investigating the Notion of : Beyond the Zone of Comfort Catharsis and Probing the Concept of Pain in Howard Barker's 'Blok/Eko'and Sarah Kane's '4.48 Psychosis'. Neval Nabil Mahmoud Abdullah * Lecture College of Language & Communication - Arab Academy for Science, Technology& Maritime Transport. Abstract: The objective of this paper is to take us on a journey with an odd selection of two enigmatic and controversial British playwrights – Howard Barker and Sarah Kane – whose challenging theatrical works take us well beyond the zone of comfort we might be used to. Through a close textual analysis and a substantial critical evaluation of two crucial productions from the domain of their 'alien to our conception' of dramatic art, the present paper aims at going beyond just surveying their common shock tactics, showing parallels, or pointing out elements of recurrence in their texts. The aim is to get to the bottom of their experiential theatres by considering their transcendental tragic visions for a better exploration of reality and for a possible rebirth of the individual experience. Having explored the dark rooms of Barker's and Kane's self-styled theatres, particularly in their two significant dramatic works – 'Blok/Eko' and '4.48 Psychosis' respectively, the present study discerns that there is a noticeable intent and craft behind both playwrights' crafty 'violations' of the audience's personal space and comfort zones. Barker's and Kane's extremism is part of their attempt to question and criticize the audience's passive participation, foreground an awakening to extreme realities, propose a shift from or challenge to Aristotle's traditional concept of catharsis, and call into question our accepted interpretation of pain. -
South Coast Repertory Is a Professional Resident Theatre Founded in 1964 by David Emmes and Martin Benson
IN BRIEF FOUNDING South Coast Repertory is a professional resident theatre founded in 1964 by David Emmes and Martin Benson. VISION Creating the finest theatre in America. LEADERSHIP SCR is led by Artistic Director David Ivers and Managing Director Paula Tomei. Its 33-member Board of Trustees is made up of community leaders from business, civic and arts backgrounds. In addition, hundreds of volunteers assist the theatre in reaching its goals, and about 2,000 individuals and businesses contribute each year to SCR’s annual and endowment funds. MISSION South Coast Repertory was founded in the belief that theatre is an art form with a unique power to illuminate the human experience. We commit ourselves to exploring urgent human and social issues of our time, and to merging literature, design, and performance in ways that test the bounds of theatre’s artistic possibilities. We undertake to advance the art of theatre in the service of our community, and aim to extend that service through educational, intercultural, and community engagement programs that harmonize with our artistic mission. FACILITY/ The David Emmes/Martin Benson Theatre Center is a three-theatre complex. Prior to the pandemic, there were six SEASON annual productions on the 507-seat Segerstrom Stage, four on the 336-seat Julianne Argyros Stage, with numerous workshops and theatre conservatory performances held in the 94-seat Nicholas Studio. In addition, the three-play family series, “Theatre for Young Audiences,” produced on the Julianne Argyros Stage. The 20-21 season includes two virtual offerings and a new outdoors initiative, OUTSIDE SCR, which will feature two productions in rotating rep at the Mission San Juan Capistrano in July 2021. -
Ugly Rumours: a Mockumentary Beyond the Simulated Reality
International Journal of Research in Humanities and Social Studies Volume 4, Issue 11, 2017, PP 22-29 ISSN 2394-6288 (Print) & ISSN 2394-6296 (Online) Ugly Rumours: A Mockumentary beyond the Simulated Reality Kağan Kaya Faculty of Letters English Language and Literature, Cumhuriyet University, Turkey *Corresponding Author: Kağan Kaya, Faculty of Letters English Language and Literature, Cumhuriyet University, Turkey ABSTRACT Ugly Rumours was the name of a rock band which was co-founded by Tony Blair when he was a student at St John's College, Oxford. In the hands of two British dramatists, Howard Brenton and Tariq Ali, it transformed into a name of the satirical play against New Labour at the end of the last century. The play encapsulates the popular political struggle of former British leaders, Tony Blair and Gordon Brown. However, this work aims at analysing some sociological messages of the play in which Brenton and Ali tell on media and reality in the frame of British politics and democracy. Through the analyses of this unfocussed local mock-epic, it precisely points out ideas reflecting the real which is manipulated for the sake of power in a democratic atmosphere. Thereof it takes some views on Simulation Theory of French philosopher, Jean Baudrillard as the basement of analyses. According to Baudrillard, our perception of things has become corrupted by a perception of reality that never existed. He believes that everything changes with the device of simulation. Hyper-reality puts an end to the real as referential by exalting it as model. (Baudrillard, 1983:21, 85) That is why, establishing a close relationship with the play, this work digs deeper into the play through the ‘Simulation Theory’ and analysing characters who are behind the unreal, tries to display the role of Brenton and Ali’s drama behind the fact. -
Australian Academy Announces Feature Length Documentary Nominees for 4Th AACTA Awards
MEDIA RELEASE Strictly embargoed until Wednesday 10th September, 2014 Australian Academy Announces Feature Length Documentary Nominees for 4th AACTA Awards The Australian Academy of Cinema and Television Arts (AACTA) today announced feature length documentary nominees for the 4th AACTA Awards, marking Australia’s finest documentaries of the last year. In an exceptional year for Australian documentary, this year’s nominees have captured audiences and critics at home and abroad with gripping storytelling, subjects and subject matter. ‘The Outsiders’ feature alongside the ‘glitterati,’ with sex, drugs, rock n’ roll, jailed subjects, jailed filmmakers, murder and a feminist uprising confidently competing alongside scenes from the deepest reach of the sea. NOMINEES FOR BEST FEATURE LENGTH DOCUMENTARY All This Mayhem. George Pank, Eddie Martin, James Gay-Rees DEEPSEA CHALLENGE 3D. Andrew Wight, Brett Popplewell The Last Impresario. Nicole O'Donohue Ukraine Is Not A Brothel. Kitty Green, Jonathan auf der Heide, Michael Latham The Best Feature Length Documentary nominees will screen along with all Feature Films In Competition and all Short Film nominees at the AACTA Awards Screenings in Sydney and Melbourne during October, and online via AACTA TV. Screenings and AACTA TV are accessible to members of AACTA (accredited screen professionals) and AFI members (members of the public). The Best Feature Length Documentary winner will be announced at the 4th AACTA Awards, Australia’s preeminent film and television Awards, in Sydney, home of the AACTA Awards, in January 2015. ABOUT THE BEST FEATURE LENGTH DOCUMENTARY NOMINEES All This Mayhem captures the fractured lives of two former champion pro skaters, brothers Tas and Ben Pappas, whose technical skill took the skating world by storm, but whose personal lives tragically spiralled into a dangerous world of drugs, jail, murder, depression and death.