DOCSLIB.ORG

Viewer Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Viewer Guide Viewer Guide 2020-21 SEASON • Your Home for Dramatic Discoveries • TrinityRep.com Time to make new Holiday Memories! Cardi’s Furniture & Mattresses proudly sponsors ‘A Christmas Carol‘ in support of the tremendous work of Trinity Rep. presents a TRINITY REPERTORY COMPANY production Starring JOE WILSON, JR. DANIEL DUQUE-ESTRADA TAAVON GAMBLE REBECCA GIBEL STEPHEN THORNE RACHAEL WARREN Director of Photography ALBERTO GENAO Executive Producers TOM PARRISH LAURA E. SMITH From the novella by CHARLES DICKENS Adapted and Directed by CURT COLUMBUS Premiered December 17, 2020 DEDICATED to those whose lives have been lost due to the pandemic; to those whose livelihoods have been impacted, including those who lost their employment at Trinity Rep and throughout the theater Presenting Sponsor industry; and to the healthcare and front line workers risking their lives to see us through to better days. Supporting Sponsor Additional Support from Rhode Island Hotel, Arts & Tourism (HArT) Recovery Grant Program – Engagement, Service, and Resiliency (ESR) Deck the Halls Sponsors Anonymous • Liz Chace • Barry & Kathleen Hittner • Hearth Warmer Sponsors • Heidi Keller Moon • The Murray Family Charitable Foundation Tom & Cathy Ryan • Merry-Maker Sponsors Adler Pollock & Sheehan P.C. • Berkshire Bank • Choquette Family Nancy D. Smith Greer • Jeffrey & Ellen Kasle • Peter & Deborah Lipman Cup of Cheer Sponsors Joseph A. Chazan, MD • Lou Giancola & Pam High • HarborOne Bank • JF Moran Kibbe & Tom Reilly • Santina Siena, MD • Ken Sigel & Sarah Kelly • Starkweather & Shepley Charitable Fund Roger & Linda Warren Promotional Support 94 HJY • B101 • Coast 93.3 2020-21 Season Sponsors Southwest is the official airline of Trinity Rep. TRINITY REPERTORY COMPANY • 201 WASHINGTON ST. • PROVIDENCE • RHODE ISLAND • TRINITYREP.COM 3 © 2020 Southwest Airlines Co. Airlines Southwest 2020 © Without a Heart, it’s just a machine. So in 1971, a little Heart built a different kind of airline— one that made sure everyone could fly. Everyone has important places to go. So we invented low-fares to help them get there. Here, we think everyone deserves to feel special, no matter where you sit or how much you fly. And with all the places we’re going next, we’ll always put you first, because our love of People is still our most powerful fuel. Some say we do things differently. We say, why would we do things any other way? Without a Heart, it’s just a machine. Southwest Airlines® proudly supports Trinity Rep. THE PRODUCTION TEAM THE CAST (in order of appearance) Adapted and Directed CURT COLUMBUS Spirit of Christmas DANIEL DUQUE-ESTRADA‡ From the novella by CHARLES DICKENS Ebenezer Scrooge JOE WILSON, JR.‡ Executive Producers TOM PARRISH, LAURA E. SMITH Herself REBECCA GIBEL‡ Director of Photography ALBERTO GENAO Herself RACHAEL WARREN‡ Editor ALBERTO GENAO Himself TAAVON GAMBLE Costume Designer AMANDA DOWNING CARNEY Fred, Nephew to Scrooge RODNEY WITHERSPOON, II Music Composer MICHAEL RICE Solicitor for the Poor REBECCA GIBEL‡ Music Composer “The Shepherd’s Carol” and “Hey Ho” Solicitor for the Poor RACHAEL WARREN‡ RICHARD CUMMING Bob Cratchit TAAVON GAMBLE First Assistant Director KRISTEN GIBBS Jacob Marley STEPHEN THORNE‡ Choreographer TAAVON GAMBLE The Ghost of Christmas Past REBECCA GIBEL‡ Set Decorator S. MICHAEL GETZ The Ghost of Christmas Present DANIEL DUQUE-ESTRADA‡ “A” Camera Operator ALBERTO GENAO Topher CHRISTOPHER LINDSAY 1st Assistant Camera MIGUEL MORILLO Lucy JESSICA NATALIE SMITH 2nd Assistant Camera/Translator LEANDRO “KUFA” CASTRO Sam Cratchit ADAM CROWE Sound Mixer PETER SASHA HUROWITZ Tiny Tim EVELYN MAROTE Gaffer STEVE McLELLAN Ignorance LEANDER CARNEY Best Boy ZACHARY J. REMSON Want TRISTAN CARNEY Property Master S. MICHAEL GETZ Charwoman REBECCA GIBEL‡ Props ALYSSA KARNES Old Joe STEPHEN THORNE‡ Set Dressers ALYSSA KARNES Mrs. Dilber RACHAEL WARREN‡ MICHAEL McGARTY Himself DANIEL DUQUE-ESTRADA‡ IAN STILLMAN Himself STEPHEN THORNE‡ Costume Supervisor ERIN MEGHAN DONNELLY Himself JOE WILSON, JR.‡ Still Photographers AMANDA DOWNING CARNEY ‡ Trinity Rep Resident Acting Company member S. MICHAEL GETZ SPECIAL THANKS (in alphabetical order) • Brown University ANNE L. HARRIGAN • City of Providence, RI • Peter and Ron Cardi • Russell Carey • LAURA E. SMITH Joe Carney • Rebecca Downing • Greater Providence Chamber Sound Designer PETER SASHA HUROWITZ of Commerce • Eugene Lee, Set Designer of A Tale of Two Cities • Illustrator/Animator MICHAEL GUY Marta V. Martinez, Artist-in-Residence • Mermaid Masterpieces • Bob Moniz • Ocean State Job Lot • Daniel Perkins, Sensory Health Officer/Lead COVID-19 Compliance Officer Friendly Consultant • Providence Warwick Convention & ANNE L. HARRIGAN Visitors Bureau • Rhode Island Commerce Corporation • Rhode COVID-19 Compliance Officer LAURA E. SMITH Island Community Food Bank • Rhode Island Film & Television Health Screening Supervisor KELLY McDONALD Office • Rhode Island Foundation • Rhode Island Latino Arts • Rhode Island State Council on the Arts • James Rowan, Huron Screenplay Developmental Workshop Group: Amanda Down- Consulting Group • St. Francis of Assisi Church and Cemetery ing Carney, Curt Columbus. Daniel Duque-Estrada, Taavon Gamble, (Wakefield, Rhode Island), Fr. Henry Bodah, Pastor • Town of Alberto Genao, S. Michael Getz, Kristen Gibbs, Rebecca Gibel, Peter South Kingstown, RI • Trinity Rep Health Advisory Committee: Sasha Hurowitz, Michael McGarty, Steve McLellan, Laura Smith, Ian Elaine Desmarais, Louis Giancola, Eve Tucker Keenan, David Stillman, Stephen Thorne, Rachael Warren, Joe Wilson, Jr. Savitz, David Tomlinson Copyright 2020, Trinity Repertory Company, All Rights Reserved. The persons and events in this production are fictitious. Any similarity to actual persons or events is unintentional. This production is protected by the Trinity Repertory Company is a 501(c)(3) non-profit organization located in Provi- copyright laws of the United States of America and other countries. Any unau- dence, Rhode Island. The organization relies on charitable support from people like thorized duplication, copying, or use of all or part of this production may result you. www.TrinityRep.com in civil liability and/or criminal prosecution in accordance with applicable laws. No animals were harmed in the making of this production. 5 Table of Contents Production Team and Cast ...................................................5 Join the Show ........................................................................7 How to Watch A Christmas Carol: FAQs ........................ 8–9 Who’s Who ....................................................................... 11–14 Delivering A Conversation with Director Curt Columbus ..................16 43 Years of Holly and Ivy, Spirits and Smiles ................... 17 Rhode Island Christmas Across Cultures .................................................19 Writing for Change: Dickens’ Inspiration ......................... 20 a better banking Workhouses, Prisons, and the Surplus Population ..........21 What Your Donation Supports ...........................................22 experience. Our Generous Donors ..........................................................23 Staff and Board ....................................................................24 26 Locations Across RI & MA Community Sing Lyrics .......................................................25 (800) 244-7592 harborone.com Family Activities ...........................................................26–36 Member FDIC. Member DIF. Cover: Joe Wilson, Jr., costume by Amanda Downing Carney, image by Michael Guy Follow us on social media! Tag your experience with #TrinityRep. Trinity Repertory Company @trinityrep Trinity_Rep trinityrep 6 Join the Show There will be moments during the show when you can interact with the video. The actors will tell you what to do when those moments arrive. To best prepare, you can gather the items in advance. If you choose to use only a few items, or none at all, that’s OK, too! A CHRISTMAS CAROL PROPS LIST • Pots and pans/wooden spoon • A bell • Bubbles • A party hat or accessory to show holiday spirit • Fezziwig’s Punch (suggested recipes below) • A candy cane • An orange FEZZIWIG’S PUNCH: THE AT-HOME RECIPE • With alcohol: Equal parts Champagne, Prosecco (or your favorite sparkling wine), and cranberry juice cocktail. Add a splash of Grand Marnier, Triple Sec, or Cointreau. • Non-alcoholic: Equal parts ginger ale and cranberry juice cocktail with a splash of orange juice. Experience Amica: Auto, Home and Life Insurance Amica.com 866-51-Amica (26422) Amica Mutual Insurance Company, Lincoln, Rhode Island 7 How to Watch A Christmas Carol Online See below not receive a confirmation email within a com/carol instead of through the regular for answers few minutes, check your junk/spam folder. process. Using the education registration to the most process will allow you to get a special When can I watch the show? How link that allows more than one device to frequently many times can I watch the show? The view the video at the same time. This is FAQ asked 2020 production will be released at 12:00 imperative if your students are watching questions about this production. pm EST (noon) on December 17, 2020 and on individual devices at home or in class. A more complete FAQ guide can will be available through 11:59 pm EST on This also opens up access to a digital be found online at trinityrep. January 10, 2021. Between these dates, study guide to connect what your students the video can be watched at any time,
Load more

Recommended publications
  • M-Ad Shines in Toronto
    Volume 44, Issue 3 SUMMER 2013 A BULLETIN FOR EVERY BARBERSHOPPER IN THE MID-ATLANTIC DISTRICT M-AD SHINES IN TORONTO ALEXANDRIA MEDALS! DA CAPO maKES THE TOP 10 GImmE FOUR & THE GOOD OLD DAYS EARN TOP 10 COLLEGIATE BROTHERS IN HARMONY, VOICES OF GOTHam amONG TOP 10 IN THE WORLD WESTCHESTER WOWS CROWD WITH MIC-TEST ROUTINE ‘ROUND MIDNIGHT, FRANK THE DOG HIT TOP 20 UP ALL NIGHT KEEPS CROWD IN STITCHES CHORUS OF THE CHESAPEAKE, BLACK TIE AFFAIR GIVE STRONG PERFORmaNCES INSIDE: 2-6 OUR INTERNATIONAL COMPETITORS 7 YOU BE THE JUDGE 8-9 HARMONY COLLEGE EAST 10 YOUTH CamP ROCKS! 11 MONEY MATTERS 12-15 LOOKING BACK 16-19 DIVISION NEWS 20 CONTEST & JUDGING YOUTH IN HARMONY 21 TRUE NORTH GUIDING PRINCIPLES 23 CHORUS DIRECTOR DEVELOPMENT 24-26 YOUTH IN HARMONY 27-29 AROUND THE DISTRICT . AND MUCH, MUCH MORE! PHOTO CREDIT: Lorin May ANYTHING GOES! 3RD PLACE BRONZE MEDALIST ALEXANDRIA HARMONIZERS PULL OUT ALL THE STOPS ON STAGE IN TORONTO. INTERNATIONAL CONVENTION 2013: QUARTET CONTEST ‘ROUND MIDNIGHT, T.J. Carollo, Jeff Glemboski, Larry Bomback and Wayne Grimmer placed 12th. All photos courtesy of Dan Wright. To view more photos, go to www. flickr.com/photosbydanwright UP ALL NIGHT, John Ward, Cecil Brown, Dan Rowland and Joe Hunter placed 28th. DA CAPO, Ryan Griffith, Anthony Colosimo, Wayne FRANK THE Adams and Joe DOG, Tim Sawyer placed Knapp, Steve 10th. Kirsch, Tom Halley and Ross Trube placed 20th. MID’L ANTICS SUMMER 2013 pa g e 2 INTERNATIONAL CONVENTION 2013: COLLEGIATE QUARTETS THE GOOD OLD DAYS, Fernando Collado, Doug Carnes, Anthony Arpino, Edd Duran placed 10th.
    [Show full text]
  • We Will Rock You”
    “We Will Rock You” By Queen and Ben Elton At the Hippodrome Theatre through October 20 By Princess Appau WE ARE THE CHAMPIONS When one walks into the Hippodrome Theatre to view “We Will Rock You,” the common expectation is a compilation of classic rock and roll music held together by a simple plot. This jukebox musical, however, surpasses those expectations by entwining a powerful plot with clever updating of the original 2002 musical by Queen and Ben Elton. The playwright Elton has surrounded Queen’s songs with a plot that highlights the familiar conflict of our era: youths being sycophants to technology. This comic method is not only the key to the show’s success but also the antidote to any fear that the future could become this. The futuristic storyline is connected to many of Queen’s lyrics that foreshadow the youthful infatuation with technology and the monotonous lifestyle that results. This approach is emphasized by the use of a projector displaying programmed visuals of a futuristic setting throughout the show. The opening scene transitions into the Queen song “Radio Gaga,” which further affirms this theme. The scene includes a large projection of hundreds of youth, clones to the cast performing on stage. The human cast and virtual cast are clothed alike in identical white tops and shorts or skirts; they sing and dance in sublime unison, defining the setting of the show and foreshadowing the plot. Unlike most jukebox musicals the plot is not a biographical story of the performers whose music is featured. “We Will Rock You” is set 300 years in the future on the iPlanet when individuality and creativity are shunned and conformity reigns.
    [Show full text]
  • The Vagina Monologues by Eve Ensler
    The Vagina Monologues by Eve Ensler The official script for the 2008 V-Day Campaigns Available by special arrangement with Dramatists Play Service, Inc. To order copies of the acting edition of the script of “The Vagina Monologues” (the original – different from the V-Day version of the script) for memento purposes, to sell at your event, or for use in theatre or other classes or workshops, please contact: Customer Service DRAMATISTS PLAY SERVICE, INC. 440 Park Avenue South, New York, NY 10016 Telephone: 212-683-8960, Fax: 212-213-1539 You may also order the acting edition online at www.dramatists.com. Ask for: Book title: The Vagina Monologues ISBN: 0-8222-1772-4 Price: $5.95 Be sure to mention that you represent the V-Day College or Worldwide Campaign. DRAMATISTS PLAY SERVICE, INC. Representing the American theatre by publishing and licensing the works of new and established playwrights. For more than 65 years Dramatists Play Service, Inc. has provided the finest plays by both established writers and new playwrights of exceptional promise. Formed in 1936 by a number of prominent playwrights and theatre agents, Dramatists Play Service, Inc. was created to foster opportunity and provide support for playwrights by publishing acting editions of their plays and handling the nonprofessional and professional leasing rights to these works. Dramatists Play Service, Inc. has grown steadily to become one of the premier play-licensing agencies in the English speaking theatre. Offering an extensive list of titles, including a preponderance of the most significant American plays of the past half-century, Dramatists Play Service, Inc.
    [Show full text]
  • Fum FURT TO-NIGHT
    AMUSEMENTS BROADWAY & 11TH ST, fuM FURT TO-NIGHT. 1Y SHOE GO. 1 : and S I'D K. UNION SQUARE, ACADEMY OF DESIGN Paintings Basement Salesroom. ACADEMY OF MUSIC.Last of the Rolians and Place West Four kUteentn Street Between Broadway University AMERIOAN Die Meistersinger 'ill BIJOU In Paradise BKOADWAY The Ghetto ."] CASINO The Rounders of iii The Great Department Store ex( I CRITERION The Girl from Maxim's 9,000 yards Silk, Shoes. i DALY'S The King's Musketeer of 2 to 16 clusively for We are New york's La rgest and Sellers DEWEY Vaudeville lengths yards c Buyers Ef)EN MUSEE World in Wax EMPIRE The Tyranny,of Tears consisting of Fancy TafFe FIFTH AVENUE BecRy Sharp The Korker of 14TH STREET A Young Wife tas,.in plaid, check, stripe GARRICK My Innocent Boy GARDEN Rupert of Hentzau ' Shoe, GRAND OPERA HOUSE.A Grip of Steel corded, floral, warp print HARLEM OPERA HOUSE Phroso I and a of novo HOUSEKEE PING HERALD SQUARE The Only Way ed, variety GOODS.I IIUBER'S MUSEUM Vaudeville I iC°r ^en> HURT1G A SEAMON'S Vaudeville designs. Light, medianj KEITH'S UNION SQUARE.... Vaudeville Pillow Tic! KNICKERBOCKER. ..Cyrano tie Bergerac and dark shades. Sheets, Cases, Muslins. <ings, Bnn;ets, Comfortables, Quilts, KOSTER <fc BIAL'S Vaudeville Table Linens, Fia " bread and butter '* LYCEUM Miss Hobbs Peai1 2,50 Towels, Towellings, nnels,.the among MAD. SQ. THEA. Why Smith Left Home Black, Ducliesse, Housekeepers' requirements.Of ea ch and all of these we show extraordinary MANHATTAN, de Brocades A Stranger in a Strange Land Soie, Taffetas, assortments of all qualities, and throiugh our great purchases for cash can and METROPOLIS The Sporting Duchess MURRAY HILL The Highest Bidder Gros grain, Faille and Ar do sell so low that frequently our seiiUngprices are belcw .hose competitors pay NEW YORK.
    [Show full text]
  • From Tenino to Ghana
    Halloween Edition Thursday, Oct. 31, 2013 Reaching 110,000 Readers in Print and Online — www.chronline.com Battle of the Swamp W.F. West to Take On Centralia in Rivalry Classic / Inside Food Stamp Increase Expires REDUCTION: Cuts Depend the American Recovery and Rein- maximum benefit, for example, will vestment Act, which raised Supple- see a reduction of $29 a month from on Income, Expenses mental Nutrition Assistance Pro- $526 to $497. By Lisa Broadt gram benefits to help people affected A single adult receiving the maxi- by the recession. [email protected] mum benefit will go from $189 to Monthly food benefits vary based $178. The federal government’s tem- on factors such as income, living ex- Pete Caster / [email protected] Households that receive help porary boost in food assistance pro- penses and the number of people in through the state-funded Food Lisa and Jerry Morris stand outside the Lewis County oice of grams ends Friday. the household. the Department of Social and Health Service in Chehalis Oct. 2. In April 2009, Congress passed A family of three receiving the please see FOOD, page Main 11 Overbay, Students Gather Books and Supplies, Sending Support Others to Headline From Tenino to Ghana ‘Men’s Night Out’ ADVICE: Prostate Cancer Survivor, Lyle Overbay and Health Experts to Share Experiences at Tuesday Forum By Kyle Spurr [email protected] Arnie Guenther, a retired Centralia banker, avoided the doctor’s office for physical checkups until last year when his wife finally convinced him to make an appointment. Guenther felt fine, but results from the checkup showed he had prostate cancer.
    [Show full text]
  • Steakhouse Live
    Critical Interup tions Vol 1 Steakhouse Live EDITED BY CRITICAL INTERRUPTIONS WITH PALIN ANSUSINHA, KATY BAIRD, KATHARINA JOY BOOK, JENNIFER BOYD, JASMINE SHIGEMURA LEE, EMMA SELWYN AND MARIKISCRYCRYCRY (MALIK NASHAD SHARPE) Critical interruptions Vol 1: Steakhouse Live By Critical Interruptions (Diana Damian Martin and Bojana Janković) [criticalinterruptions.com] with Palin Ansusinha, Katy Baird, Katharina Joy Book, Jennifer Boyd, Jasmine Shigemura Lee, Emma Selwyn and Marikiscrycrycry (Malik Nashad Sharpe) Designed by Gareth Damian Martin Images by Julia Bauer and Manuel Vason Printed by Book Printers UK Copyright © Critical Interruptions and the contributors 2018 Supported by Live Art UK and Steakhouse Live Live Art UK is supported by Arts Council England through the Live Art Development Agency’s National Portfolio Organisation funding. The Steakhouse: Live Writing project was supported through Steakhouse Live Festival 2016 funded by Arts Council England. To the community of criticism: those who make, write, curate, support, sustain, activate, agitate and labour in and around Live Art. 4 Over the last twenty years, the ecologies of critical practice under- went fundamental shifts. Criticism moved online; it moved away from full-time jobs; it moved into venues, inhabited festivals, be- came embedded. Yet, for all the changes, no dent was made in the structures underpinning the practice. Blogs broke the word count constraints of broadsheets but often continued awarding stars. On- line publications created space for more writers, many of whom were women, but most of whom were still white, British and middle class. Meanwhile, no one was getting paid; most lived in London; every- one still wanted the press ticket for the mainstream, not the radical.
    [Show full text]
  • THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
    1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour.
    [Show full text]
  • Download This PDF File
    _____________________________________________________________________ Wild Profusions: An Ode to Academic Hair Mitchell McLarnon, McGill University Carl Leggo, University of British Columbia Anita Sinner, Concordia University Abstract: With the intention of expanding educational conversations through playful encounters, we braid curricular intensities inspired by wild profusions, written in our academic hair and offered as expressions of life writing. Through our hairatives, we share discomforts and provocations that are the stories of our scholarly identities, rooted in the body-word nexus as affective attunements. Through our entanglements, we map our networks of relations and invite curricular conductivity concerning how and why hair is formative in the context of the academy. Living on the precarious margins of stories, we share our narratives within the folds of educational theory to passionately and poetically render our richly textured events as the moments of knowledge creation. In this way, our hair serves as an artistic configuration, where we are manifest in “situated inquiry about the truth that it locally actualises”, to borrow from Badiou (2005), opening what may be described as an “eventual rupture” of our scholarly truths (p. 12). Our ruminations are the imaginaries of academics, or simply living intensities. We intend to crack open from the inside that which is “a reality concealed behind appearances” in an attempt to reconfigure “a different regime of perception and signification” (Rancière, 2009, pp. 48, 49). Keywords: curriculum studies; hair; social theory; educational theory; life writing; arts-informed inquiry _______________________________________________________________ 70 Journal of the Canadian Association for Curriculum Studies (JCACS) Volume 16, Number 1, 2018 McLarnon, Leggo &Sinner Photo by Seonjeong Yi (n.d.).
    [Show full text]
  • 2021-2022 Upper School Curriculum Guide
    Upper School Curriculum Guide 2021-2022 Updated Jan. 4, 2020 CURRICULUM GUIDE 2021 - 2022 TABLE OF CONTENTS Requirements for Graduation ............................................................................................................................. 2 Course Planning ................................................................................................................................................... 3 Academic Procedures .......................................................................................................................................... 6 Meaning of Grades …………………………………………………………………………………………………………… 8 Four-Year Planning Work Sheet ........................................................................................................................ 11 Course Offerings by Department Arts ................................................................................................................................................................. 12 English ............................................................................................................................................................ 21 Global Service Learning Program ……………………………………………………………………………………….. 32 History and Social Sciences ......................................................................................................................... 33 Languages ....................................................................................................................................................
    [Show full text]
  • Kurt Hummel's Language Features in Glee Television
    PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI KURT HUMMEL’S LANGUAGE FEATURES IN GLEE TELEVISION SERIES SEASON 1: A SOCIOLINGUISTIC ANALYSIS A SARJANA PENDIDIKAN THESIS Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Yustina Rostyaningtyas Student Number: 131214113 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2017 i PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI “There is no substitute for hard work.” Thomas A. Edison This thesis is dedicated to: Antonius Wiryono, Yuliana Saryati, and myself iv PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRACT Rostyaningtyas, Yustina. 2017. Kurt Hummel’s Language Features in Glee Television Series Season 1: A Sociolinguistic Analysis. Yogyakarta: English Language Education Study Program, Sanata Dharma University. The use of language by individuals is influenced by many factors. Gender is one factor that influences the use of language. In this research, gender is seen to be different from sex. It is seen as a social construction rather than as a fixed category. As a result, women and men do not stick to one language style but change it based on their social context. Therefore, the researcher was interested in analyzing the women’s language used by a feminine man named Kurt Hummel in Glee Television Series Season 1. In conducting the research, a research question was formulated: What women’s language features does Kurt Hummel use in his speech in Glee Television Series Season 1? The research was qualitative research in which discourse analysis was employed to analyze the data.
    [Show full text]
  • Glee 101: Pilot 2009
    SHOOTJNG u'Vl1'T 1..UE REVIS ONS 10121/0i; WRITTEN BY: RYAN MURPH • AND BRAD FALCHU...-..--. ~ AND (AN RENNAN Al BLACKNESS. In the void, a sound ... CLAPPING. In SYNCOPATIONAl wit h FOOT STOMPI NG... a crazed crowd demanding a show. Sudden l y , a slit APPEARS in the b:ackness ... which we now realize is a black velvet cur-~ . AS-~ ~ !2:RVOOSTEENAGE BOY peers out . His POV: i.: ' s .:e=:..=:,·::..::g... a :!UGE SOLD OUT AUDITORIUM,everyone vibra-::i..~g wi=~ =~=:..pa1:0=y frenzy . TITLES OP: EPCOT CE!i'l'ER, GLll C:.C'S llA~~ OXU..S, 1993 . 1 INT. BACKSTAGEEPCO~ :-F.2,;.'i'?-E -- -:;;.x - :.:--=:::-.,ccrs 1 The NERVOUS7EN, :u:. a -:t:X, ,c=s ~;:;= ::--=:.a=or so TEENS as they stre-::ch, practice sca:es, e-::c. 0-..e-~:?.:. :..s e~en looking in a .=ti.rro~r p=a~icing a ~:;GE~~ s=:-- F~.::Z.. SuCdenly, their ~eac!'!e.r :.n,r ~ nD:.E?, 5Js t a_;:;p,ea:s. ==::.::.~e tii.~ings, claps her h=ds ::or tilei.::- atten-::-=.o::. MRS. ADLER Show circle, everybody . The teens grasp hands in a circle =o=a J!:"s. ~~-er, .h-=.ch is difficult to do because she's obese . MRS. ADLER ( CO~~ :: ) Welcome to nat i onals. The ki ds whoop and scream with de:ig~-::. - MRS . AD:.E:l CC!-_ :l Fantastic . Use "'Cha~e.x=~~e...,;~~ ~­ the stage today. 3c-::: ~a~-:: guys to remember sc~~ - ~'cg. PUSH IN ON THE YOONGNERVOGS -•-S,":...GZ 3~Y as she continues . ~ . ;o- -=?~ c::-!:-:,:: Glee c l ub isn • t abc::= c=eti-::ior:.
    [Show full text]
  • The Carroll News
    John Carroll University Carroll Collected The aC rroll News Student 3-17-1950 The aC rroll News- Vol. 30, No. 11 John Carroll University Follow this and additional works at: http://collected.jcu.edu/carrollnews Recommended Citation John Carroll University, "The aC rroll News- Vol. 30, No. 11" (1950). The Carroll News. 325. http://collected.jcu.edu/carrollnews/325 This Newspaper is brought to you for free and open access by the Student at Carroll Collected. It has been accepted for inclusion in The aC rroll News by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. E ARROLL NEWS Represe•ling the Students of John Carroll University ol. XXX, No. 11 John Carroll University, University Heights 18, Ohio Friday, March 17, 1960 --------------------------------~------ Carrol ''.1rish'' - Parade ----------------~------~------------------------- Junior Classes Cut Stunters For Marchers By JOHN NASSIF Three hundred Carroll students, the University band, Triuniph and a Carroll float will be in evidence this afternoon at the annual St. Patrick's day parade in downtown Cleveland . All afternoon ~lasses have been cancelled to enable par­ ~li sb Jean Clare Stepanek ttcipan_ts to be on time for the traditional colorful cavalcade, accordmg to an announcement from the Dean's Office. Last class today h; at 11 a.m. Glee Club Sings The Carroll contingent and the Musicians EYening classes on St. Patrick's Day will be held as scheduled since a holiday would mean the loss of a week's work. Draw Big 60th Concert Audience One of the largest and most ap· preciative audiences in t1le history of the CanO'll Concer:t Band air tended the program presented last Sunday, Mar.
    [Show full text]