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Yiddish Diction in Singing
UNLV Theses, Dissertations, Professional Papers, and Capstones May 2016 Yiddish Diction in Singing Carrie Suzanne Schuster-Wachsberger University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Language Description and Documentation Commons, Music Commons, Other Languages, Societies, and Cultures Commons, and the Theatre and Performance Studies Commons Repository Citation Schuster-Wachsberger, Carrie Suzanne, "Yiddish Diction in Singing" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2733. http://dx.doi.org/10.34917/9112178 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. YIDDISH DICTION IN SINGING By Carrie Schuster-Wachsberger Bachelor of Music in Vocal Performance Syracuse University 2010 Master of Music in Vocal Performance Western Michigan University 2012 -
Pg. 03 Women Pg
The NATIONAL NeWSPAPeR Of The JACL Pg. 04 tamlyn tomita presents the 2012 v3 voice Award to Jocelyn Wang. Pg. 05 frances Kai-Hwa Wang on going to temple. MADPg. 03 WOMeN Pg. 06 HOW JeANNe KONisHi AND Her JACL board approves the 2013-14 budget. frieNDs reWrOte ADvertisiNg # 3196 / VOL. 155, NO. 5 ISSN: 0030-8579 WWW.PACIFICCITIZEN.ORG SEPT. 7 - 20, 2012 2 Sept. 7-20, 2012 LETTERS HOW to REACH US E-mail: [email protected] Letters To THE MISSING DOCUMENT FROM THE Online: www.pacificcitizen.org Tel: (213) 620-1767 ‘POWER OF WORDS’ HANDBOOK Fax: (213) 620-1768 The Editor Mail: 250 E. First Street, Suite 301 { { Los Angeles, CA 90012 In the Rafu Shimpo (July 17, 2012), Andy Noguchi, a leading member The question then arises: how many people in America since 1942 read STAFF of the Power of Words II Committee, gave an excellent report and review or even know of this exclusion order? Upon reading it the people will Executive Editor of the “Power of Words” handbook. The handbook was unanimously realize that this injustice did happen to us in this country and perhaps voted for and approved by the National JACL Council during the recent to resolve that it never again happen to any other people. A companion Assistant Editor national convention. question is then: how many Nikkei have read or even know of this his- Reporter I have read both drafts of the handbook and highly recommended that it toric document? Can one imagine back in April 1942 the Nisei reading Nalea J. -
“Kiss Today Goodbye, and Point Me Toward Tomorrow”
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By BRYAN M. VANDEVENDER Dr. Cheryl Black, Dissertation Supervisor July 2014 © Copyright by Bryan M. Vandevender 2014 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 Presented by Bryan M. Vandevender A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Dr. Cheryl Black Dr. David Crespy Dr. Suzanne Burgoyne Dr. Judith Sebesta ACKNOWLEDGEMENTS I incurred several debts while working to complete my doctoral program and this dissertation. I would like to extend my heartfelt gratitude to several individuals who helped me along the way. In addition to serving as my dissertation advisor, Dr. Cheryl Black has been a selfless mentor to me for five years. I am deeply grateful to have been her student and collaborator. Dr. Judith Sebesta nurtured my interest in musical theatre scholarship in the early days of my doctoral program and continued to encourage my work from far away Texas. Her graduate course in American Musical Theatre History sparked the idea for this project, and our many conversations over the past six years helped it to take shape. -
Brooklyn Boy
41st Season • 392nd Production SEGERSTROM STAGE / SEPTEMBER 3 - OCTOBER 10, 2004 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR IN ASSOCIATION WITH Manhattan Theatre Club presents the world premiere of BROOKLYN BOY BY Donald Margulies SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINAL MUSIC AND SOUND DESIGN Ralph Funicello Jess Goldstein Chris Parry Michael Roth DRAMATURG PRODUCTION MANAGER STAGE MANAGER Jerry Patch Tom Aberger *Scott Harrison DIRECTED BY Daniel Sullivan HONORARY PRODUCERS CORPORATE PRODUCER Elaine and Martin Weinberg The Citigroup Private Bank Brooklyn Boy was commissioned and developed by South Coast Repertory Brooklyn Boy • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Eric Weiss .................................................................................... Adam Arkin* Manny Weiss ................................................................................ Allan Miller* Ira Zimmer ...................................................................................... Arye Gross* Nina .............................................................................................. Dana Reeve* Alison .......................................................................................... Ari Graynor* Melanie Fine ................................................................................ Mimi Lieber* Tyler Shaw .................................................................................... Kevin Isola* SETTING All scenes are set in the present in Brooklyn, -
Snehal Desai
East West Players and Japanese American Cultural & Community Center (JACCC) By Special Arrangement with Sing Out, Louise! Productions & ATA PRESENT BOOK BY Marc Acito, Jay Kuo, and Lorenzo Thione MUSIC AND LYRICS BY Jay Kuo STARRING George Takei Eymard Cabling, Cesar Cipriano, Janelle Dote, Jordan Goodsell, Ethan Le Phong, Sharline Liu, Natalie Holt MacDonald, Miyuki Miyagi, Glenn Shiroma, Chad Takeda, Elena Wang, Greg Watanabe, Scott Watanabe, and Grace Yoo. SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN PROJECTION DESIGN PROPERTY DESIGN Se Hyun Halei Karyn Cricket S Adam Glenn Michael Oh Parker Lawrence Myers Flemming Baker FIGHT ALLEGIANCE ARATANI THEATRE PRODUCTION CHOREOGRAPHY PRODUCTION MANAGER PRODUCTION MANAGER STAGE MANAGER Cesar Cipriano Andy Lowe Bobby DeLuca Morgan Zupanski COMPANY MANAGER GENERAL MANAGER ARATANI THEATRE GENERAL MANAGER Jade Cagalawan Nora DeVeau-Rosen Carol Onaga PRESS REPRESENTATIVE MARKETING GRAPHIC DESIGN Davidson & Jim Royce, Nishita Doshi Choy Publicity Anticipation Marketing EXECUTIVE PRODUCER MUSIC DIRECTOR ORCHESTRATIONS AND CHOREOGRAPHER ARRANGEMENTS Alison M. Marc Rumi Lynne Shankel De La Cruz Macalintal Oyama DIRECTED BY Snehal Desai The original Broadway production of Allegiance opened on November 8th, 2015 at the Longacre Theatre in NYC and was produced by Sing Out, Louise! Productions and ATA with Mark Mugiishi/Hawaii HUI, Hunter Arnold, Ken Davenport, Elliott Masie, Sandi Moran, Mabuhay Productions, Barbara Freitag/Eric & Marsi Gardiner, Valiant Ventures, Wendy Gillespie, David Hiatt Kraft, Norm & Diane Blumenthal, M. Bradley Calobrace, Karen Tanz, Gregory Rae/Mike Karns in association with Jas Grewal, Peter Landin, and Ron Polson. World Premiere at the Old Globe Theater, San Diego, California. Barry Edelstein, Artistic Director; Michael G. -
Vanya and Sonia and Masha and Spike
VANYA AND SONIA AND MASHA AND SPIKE BY CHRISTOPHER DURANG DRAMATISTS PLAY SERVICE INC. VANYA AND SONIA AND MASHA AND SPIKE Copyright © 2014, Christopher Durang All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of VANYA AND SONIA AND MASHA AND SPIKE is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for VANYA AND SONIA AND MASHA AND SPIKE are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee. -
From Yiddish Theatre: Past, Present, and Future Comes a Field Trip to the Nafional Yiddish Theater
Volume XXIX No. 9 June/July 2017 Sivan-Tammuz 5777 From Yiddish Theatre: Past, Present, and Future Comes A Field Trip to the National Yiddish Theater It’s not often that one event begets another, but that’s what happened after a very successful April 30 event about the National Yiddish Theatre. The more than 100 who people packed into Boardman Road Branch Library to hear Motl Didner, Associate Artistic Director of the National Yiddish Thea- tre Folksbiene, speak about Yiddish Theatre: Past, Present and Future spawned a second event: a field trip to the theater later this summer. On April 30, Julie Makowsky, Vassar Temple Religious and Hebrew School Director, began the afternoon with a prayer for Israel and then led the crowd in singing Hatikva. Motl Didner, Associate Artistic Director of the National Yiddish Theatre Folks- biene, gave an “instant Yiddish lesson” Maltz Sefer Haftarah Scroll dedicated at Temple Beth-El to the assembled audience then spoke about the origins and history of the by Michael Witman, Vice President Board of Directors Yiddish language, the rise of Yiddish Motl Didner speaking in Poughkeepsie theater, and how the theater has sur- on April 30 Celebration of a Bar or Bat Mitzvah is Clubs (FJMC), which had experience vived and flourished around the world. one of the major religious events in the creating Haftarah scrolls. The FJMC con- life of a Jewish individual. Being called tracted with Oter Israel, a consortium of to the Torah for an Aliyah, to stand next soferim in Jerusalem, to produce Temple Experience the National Yiddish Theater first hand! to the words of God as a portion of the Beth-El’s scroll. -
Play Guide for Gloria
Play Guide September 28-October 20, 2019 by Emily Mann directed by Risa Brainin 2019 and the recent past. This new work by Tony Award-winning playwright Emily Mann celebrates the life of one of the most important figures of America's feminist movement! Nearly half a century later, Ms. Steinem's fight for gender equality is still a battle yet to besimplifying won. IT 30 East Tenth Street Saint Paul, MN 55101 651-292-4323 Box Office 651-292-4320 Group Sales historytheatre.com Page 2 Emily Mann—Playwright Pages 3-4 Gloria Steinem Timeline Page 5-7 Equal Rights Amendment Page 8-11 Second Wave Feminism Page 12 National Women’s Conference Page 13 Phyllis Schlafly Pages 14-15 Milestones in U.S. Women’s History Page 16 Discussion Questions/Activities Page 17 Books by Gloria Steinem able of Content T Play Guide published by History Theatre c2019 Emily Mann (Playwright, Artistic Director/Resident Playwright) is in her 30th and final season as Artistic Director and Resident Playwright at the McCarter Theatre Center in Princeton, New Jersey. Her nearly 50 McCarter directing credits include acclaimed produc- tions by Shakespeare, Chekhov, Ibsen, and Williams and the world premieres of Christopher Durang’s Turning Off the Morning News and Miss Witherspoon; Ken Ludwig’s Murder on the Orient Express; Rachel Bonds’ Five Mile Lake; Danai Guri- ra’s The Convert; Sarah Treem’s The How and the Why; and Edward Albee’s Me, Myself & I. Broadway: A Streetcar Named Desire, Anna in the Tropics, Execution of Justice, Having Our Say. -
The New York City Waterfalls
THE NEW YORK CITY WATERFALLS GUIDE FOR CHILDREN AND ADULTS WELCOME PLAnnING YOUR TRIP The New York City Waterfalls are sited in four locations, and can be viewed from many places. They provide different experiences at each site, and the artist hopes you will visit all of the Waterfalls and see the various parts of New York City they have temporarily become part of. You can get closest to the Welcome to THE NEW YORK CIty WATERFALLS! Waterfalls at Empire-Fulton Ferry State Park in DUMBO; along the Manhattan Waterfront Greenway, north of the Manhattan Bridge; along the Brooklyn The New York City Waterfalls is a work of public art comprised of four Heights Promenade; at Governors Island; and by boat in the New York Harbor. man-made waterfalls in the New York Harbor. Presented by Public Art Fund in collaboration with the City of New York, they are situated along A great place to go with a large group is Empire-Fulton Ferry State Park in Brooklyn, which is comprised of 12 acres of green space, a playground, the shorelines of Lower Manhattan, Brooklyn and Governors Island. picnic benches, as well as great views of The New York City Waterfalls. These Waterfalls range from 90 to 120-feet tall and are on view from Please see the map on page 18 for other locations. June 26 through October 13, 2008. They operate seven days a week, You can listen to comments by the artist about the Waterfalls before your from 7 am to 10 pm, except on Tuesdays and Thursdays, when the visit at www.nycwaterfalls.org (in the podcast section), or during your visit hours are 9 am to 10 pm. -
Copyrighted Material
09_573837 ch05.qxd 12/14/04 11:17 PM Page 85 5 Family-Friendly Dining In the gastronomic universe, New revolving showcase of whipped York has a fair number of star-quality cream–topped desserts. A number of restaurants, but are they worth it if trendy retro coffee shops have opened you’re eating out with your kids? in recent years, adding upscale parent- Fuhgeddaboudit. Le Bernardin and pleasing food to the traditional menu Nobu be damned—what I look for of burgers, omelets, and grilled cheese these days is a restaurant that’s noisy sandwiches. and casual, where the service is rela- I’m not a big fan of eating at side- tively speedy, and where the menu walk tables—I’d rather get away from includes at least one or two items from traffic and exhaust—but as soon as the my kids’ major food groups: chicken weather warms up, many families opt fingers, burgers, pasta, pancakes, and for restaurants with sidewalk seating. pizza, any or all of which could come The open-air arrangement minimizes with a side of fries. You can find your child’s noise, provides endless plenty of such restaurants in New distraction, and makes messes less York, and they won’t cost you an arm important (there’s always a pigeon or and a leg. two around to peck up dropped DINING OUT WITH YOUR KIDS french fries after you’ve cleared off). You know a restaurant welcomes kids Knowing how many Manhattan when they’ve printed up a place mat restaurants don’t work for smaller chil- for young customers to color and dren, for the most part I’ve tried to when you get to keep the crayons steer you towards those that do, you’re given to color it with. -
14PL120 Alley Theatre FINAL.Pdf
CITY OF HOUSTON Archaeological & Historical Commission Planning and Development Department PROTECTED LANDMARK DESIGNATION REPORT LANDMARK NAME: Alley Theatre AGENDA ITEM: C OWNER: Alley Theatre HPO FILE NO.: 14PL120 APPLICANT: Scott J. Atlas DATE ACCEPTED: Aug-21-2014 LOCATION: 615 Texas Avenue HAHC HEARING DATE: Sep-25-2014 SITE INFORMATION Lots 1, 2, 3, 6, 7, 8 & 12 & Tract 11, Block 60, SSBB, City of Houston, Harris County, Texas. TYPE OF APPROVAL REQUESTED: Protected Landmark Designation HISTORY AND SIGNIFICANCE SUMMARY The Alley Theatre was founded in 1947 by Nina Vance (1914-1980), one of the most outstanding theatrical directors in the U.S. and Texas in the mid twentieth century. The Alley is now one of the oldest non-profit, professional, resident theater companies in continuous operation in the United States. From its inception, the Alley Theatre staged productions in an “arena” or “in the round” spatial format, a practice associated with cutting-edge theatrical companies in the mid-twentieth-century period. In the Alley’s first season (1947-48), performances were held in a dance studio on Main Street. Audience members had to walk along a narrow outdoor passage to get to the performance space; this passage was the origin of the Alley’s name. In 1962, the Alley Theatre was given a half-block site in the 600 block of Texas Avenue by Houston Endowment and a $2 million grant from the Ford Foundation for a new building and operating expenses. The theater was to be part of a downtown performance and convention complex including Jones Hall, the home of the Houston Symphony, Houston Grand Opera, and Society for the Performing Arts. -
APPROVAL SHEET This [Thesis] [Dissertation] [Case Study
RUNNING HEAD: DETERMINING A CORRELATION BETWEEN CHILDHOOD TRAUMA & VIOLENT ACTS 1 APPROVAL SHEET This [thesis] [dissertation] [case study] [independent study] is submitted in partial fulfillment of the requirements for the degree of [example degree designation: Master of Science] [Student Name] Approved: [Example date: March 15, 2019] Committee Chair / Advisor Committee Member 1 Committee Member 2 Committee Member 3 Outside FGCU Committee Member The final copy of this thesis [dissertation] 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. RUNNING HEAD: DETERMINING A CORRELATION BETWEEN CHILDHOOD TRAUMA & VIOLENT ACTS 2 Identifying Patterns Between the Sexual Serial Killer & Pedophile: Is There a Correlation Between their Violent Acts and Childhood Trauma? ______________________________________________________________________________ A Thesis Presented to The Faculty of the College of Arts and Sciences Florida Gulf Coast University In Partial Fulfillment of the Requirement for the Degree of Master of Science _____________________________________________________________________________ By Alexis Droomer 2020 RUNNING HEAD: DETERMINING A CORRELATION BETWEEN CHILDHOOD TRAUMA & VIOLENT ACTS 3 Abstract Studies have been conducted to determine if a sexual serial killer and pedophile are similar and/or different to one another. Despite the difference in their criminal acts, sexual serial killers and pedophiles have similar characteristics. Biological, environmental and psychological theories of criminal behavior were studied which illustrated their significance to how a person can choose to commit a crime. The purpose of this study is to determine if there is a presence or absence within multiple forms of childhood trauma experienced between the sexual serial killer and pedophile.