DAVID WILLIAMSON Study Guide
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The Emerald City of Oz by L. Frank Baum Author of the Road to Oz
The Emerald City of Oz by L. Frank Baum Author of The Road to Oz, Dorothy and The Wizard in Oz, The Land of Oz, etc. Contents --Author's Note-- 1. How the Nome King Became Angry 2. How Uncle Henry Got Into Trouble 3. How Ozma Granted Dorothy's Request 4. How The Nome King Planned Revenge 5. How Dorothy Became a Princess 6. How Guph Visited the Whimsies 7. How Aunt Em Conquered the Lion 8. How the Grand Gallipoot Joined The Nomes 9. How the Wogglebug Taught Athletics 10. How the Cuttenclips Lived 11. How the General Met the First and Foremost 12. How they Matched the Fuddles 13. How the General Talked to the King 14. How the Wizard Practiced Sorcery 15. How Dorothy Happened to Get Lost 16. How Dorothy Visited Utensia 17. How They Came to Bunbury 18. How Ozma Looked into the Magic Picture 19. How Bunnybury Welcomed the Strangers 20. How Dorothy Lunched With a King 21. How the King Changed His Mind 22. How the Wizard Found Dorothy 23. How They Encountered the Flutterbudgets 24. How the Tin Woodman Told the Sad News 25. How the Scarecrow Displayed His Wisdom 26. How Ozma Refused to Fight for Her Kingdom 27. How the Fierce Warriors Invaded Oz 28. How They Drank at the Forbidden Fountain 29. How Glinda Worked a Magic Spell 30. How the Story of Oz Came to an End Author's Note Perhaps I should admit on the title page that this book is "By L. Frank Baum and his correspondents," for I have used many suggestions conveyed to me in letters from children. -
Rachel Carson for SILENT SPRING
Silent Spring THE EXPLOSIVE BESTSELLER THE WHOLE WORLD IS TALKING ABOUT RACHEL CARSON Author of THE SEA AROUND US SILENT SPRING, winner of 8 awards*, is the history making bestseller that stunned the world with its terrifying revelation about our contaminated planet. No science- fiction nightmare can equal the power of this authentic and chilling portrait of the un-seen destroyers which have already begun to change the shape of life as we know it. “Silent Spring is a devastating attack on human carelessness, greed and irresponsibility. It should be read by every American who does not want it to be the epitaph of a world not very far beyond us in time.” --- Saturday Review *Awards received by Rachel Carson for SI LENT SPRING: • The Schweitzer Medal (Animal Welfare Institute) • The Constance Lindsay Skinner Achievement Award for merit in the realm of books (Women’s National Book Association) • Award for Distinguished Service (New England Outdoor Writers Association) • Conservation Award for 1962 (Rod and Gun Editors of Metropolitan Manhattan) • Conservationist of the Year (National Wildlife Federation) • 1963 Achievement Award (Albert Einstein College of Medicine --- Women’s Division) • Annual Founders Award (Isaak Walton League) • Citation (International and U.S. Councils of Women) Silent Spring ( By Rachel Carson ) • “I recommend SILENT SPRING above all other books.” --- N. J. Berrill author of MAN’S EMERGING MIND • "Certain to be history-making in its influence upon thought and public policy all over the world." --Book-of-the-Month Club News • "Miss Carson is a scientist and is not given to tossing serious charges around carelessly. -
The Removalists
Education Resources STC Ed presents a Staged Reading of David Williamson’s The Removalists RESOURCES About Sydney Theatre Company 2 About STCEd 2 Creative Team and Cast 2 Themes 2 Synopsis 2‐4 Historical and social background 5‐6 David Williamson Quotes 7‐8 Additional Resources 9 Education Resource written by Kerreen Ely‐Harper and compiled by Education Coordinator Toni Murphy KEY AIM of exercise or section Extension Exercises Download and watch + Drama Exercises English Exercises Play online DAVID WILLIAMSON’S THE REMOVALISTS – STAGED READING Sydney Theatre Company Education Resources 2012 © Copyright protects this Education Resource. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. RESOURCES ABOUT SYDNEY THEATRE COMPANY www.sydneytheatre.com.au/about ABOUT STC ED www.sydneytheatre.com.au/stced/about/us CREATIVE TEAM Director – Jemma Gurney CAST Sergeant Simmonds – tba “SIMMONDS Constable Ross – tba Fiona Carter – tba Stuff the rule book up your Kate Carter – tba arse. That’s the first thing Kenny Carter – tba you’ve got to learn. Act 1 Removalist – tba The Removalists ” THEMES Australian Drama Power & Corruption Australian Culture & Society Domestic Violence Satire DAVID WILLIAMSON’S THE REMOVALISTS – STAGED READING 2 Sydney Theatre Company Education Resources 2012 www.sydneytheatre.com.au/stced © Sydney Theatre Company SYNOPSIS ACT ONE Police Station Sergeant Simmonds is inducting new police recruit Constable Ross on his first day at the station. Simmonds insists on knowing everything about Ross if he is to be on his team. They are interrupted by two women who have come to the station to report an offense. -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
DAVID WILLIAMSON Is Australia's Best Known and Most Widely
DAVID WILLIAMSON is Australia’s best known and most widely performed playwright. His first full-length play The Coming of Stork was presented at La Mama Theatre in 1970 and was followed by The Removalists and Don’s Party in 1971. His prodigious output since then includes The Department, The Club, Travelling North, The Perfectionist, Sons of Cain, Emerald City, Top Silk, Money and Friends, Brilliant Lies, Sanctuary, Dead White Males, After the Ball, Corporate Vibes, Face to Face, The Great Man, Up For Grabs, A Conversation, Charitable Intent, Soulmates, Birthrights, Amigos, Flatfoot, Operator, Influence, Lotte’s Gift, Scarlet O’Hara at the Crimson Parrot, Let the Sunshine and Rhinestone Rex and Miss Monica, Nothing Personal and Don Parties On, a sequel to Don’s Party, When Dad Married Fury, At Any Cost?, co-written with Mohamed Khadra, Dream Home, Happiness, Cruise Control and Jack of Hearts. His plays have been translated into many languages and performed internationally, including major productions in London, Los Angeles, New York and Washington. Dead White Males completed a successful UK production in 1999. Up For Grabs went on to a West End production starring Madonna in the lead role. In 2008 Scarlet O’Hara at the Crimson Parrot premiered at the Melbourne Theatre Company starring Caroline O’Connor and directed by Simon Phillips. As a screenwriter, David has brought to the screen his own plays including The Removalists, Don’s Party, The Club, Travelling North and Emerald City along with his original screenplays for feature films including Libido, Petersen, Gallipoli, Phar Lap, The Year of Living Dangerously and Balibo. -
Emotion Pictures
Unit 6203 Screen Analysis 3 OzScreen: Constructing Histories EMOTION PICTURES An examination of the ways in which history films emotionalise the past, with particular reference to Phar Lap, Gallipoli and Strikebound A paper 2600 words By David Lowe (3rd Year BA) © 28 March 1996 email: [email protected] EMOTION PICTURES ...1 Filming historical stories is a risky business; commercially, dramatically and culturally. Unlike most written history, the history film is concerned with an emotional journey, as well as an ideological and sociological one. The concerns of history and drama overlap, but do not match, and film’s uneasy balancing act between art and commerce can easily become perilous when history is added to the load. Some believe that only film can “recover the past’s liveliness”.1 Others question whether it is possible to tell historical stories on film without losing “our professional or intellectual souls”.2 Despite the risks, film-makers continually delve into the past as a source of inspiration and subject matter. Australian film-makers have traditionally had a particular interest in historical stories. Our desire to stand alone and establish an independent identity from Britain and the United States led to a spate of films in the 1970s and early 80s which focused almost exclusively on local historical subjects. Phar Lap, Gallipoli and Strikebound were among the most important of these films. Unlike some other examples that come to mind, like Picnic at Hanging Rock and The Man From Snowy River, these three films attempt to deal with undisputed and actual events. The creators of the films took on the difficult task of melding drama and history at a time when the search for an Australian identity was more intense than ever before. -
Directing an Immersive Adaptation of Strindberg's a Dream Play
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses October 2018 Interpreting Dreams: Directing an Immersive Adaptation of Strindberg's A Dream Play Mary-Corinne Miller University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Dramatic Literature, Criticism and Theory Commons, Interactive Arts Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Miller, Mary-Corinne, "Interpreting Dreams: Directing an Immersive Adaptation of Strindberg's A Dream Play" (2018). Masters Theses. 730. https://doi.org/10.7275/12087874 https://scholarworks.umass.edu/masters_theses_2/730 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. INTERPRETING DREAMS: DIRECTING AN IMMERSIVE ADAPTATION OF STRINDBERG’S A DREAM PLAY A Thesis Presented By MARY CORINNE MILLER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS September 2018 Department of Theater © Copyright by Mary Corinne Miller 2018 All Rights Reserved INTERPRETING DREAMS: DIRECTING AN IMMERSIVE ADAPTATION OF STRINDBERG’S A DREAM PLAY A Thesis Presented By MARY CORINNE MILLER Approved as to style and content by: ____________________________________ Gina Kaufmann, Chair ____________________________________ Harley Erdman, Member ____________________________________ Gilbert McCauley, Member ____________________________________ Amy Altadonna, Member ____________________________ Gina Kaufmann, Department Head Department of Theater DEDICATION To my son, Everett You are my dream come true. -
Pocket Product Guide 2006
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A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2002 A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays. Bonny Ball Copenhaver East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Copenhaver, Bonny Ball, "A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays." (2002). Electronic Theses and Dissertations. Paper 632. https://dc.etsu.edu/etd/632 This Dissertation - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. The Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays A dissertation presented to the Faculty of the Department of Educational Leadership and Policy Analysis East Tennessee State University In partial fulfillment of the requirements for the degree Doctor of Education in Educational Leadership and Policy Analysis by Bonny Ball Copenhaver May 2002 Dr. W. Hal Knight, Chair Dr. Jack Branscomb Dr. Nancy Dishner Dr. Russell West Keywords: Gender Roles, Feminism, Modernism, Postmodernism, American Theatre, Robbins, Glaspell, O'Neill, Miller, Williams, Hansbury, Kennedy, Wasserstein, Shange, Wilson, Mamet, Vogel ABSTRACT The Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays by Bonny Ball Copenhaver The purpose of this study was to describe how gender was portrayed and to determine how gender roles were depicted and defined in a selection of Modern and Postmodern American plays. -
After the Ball David Williamson
David Williamson’s first full-length play, The Coming of Stork, premiered at the La Mama Theatre, Carlton, in 1970 and later became the film Stork, directed by Tim Burstall. The Removalists and Don’s Party followed in 1971, then Jugglers Three (1972), What If You Died Tomorrow? (1973), The Department (1975), A Handful of Friends (1976), The Club (1977) and Travelling North (1979). In 1972 The Removalists won the Australian Writers’ Guild AWGIE Award for best stage play and the best script in any medium and the British production saw Williamson nominated most promising playwright by the London Evening Standard. The 1980s saw his success continue with Celluloid Heroes (1980), The Perfectionist (1982), Sons of Cain (1985), Emerald City (1987) and Top Silk (1989); whilst the 1990s produced Siren (1990), Money and Friends (1991), Brilliant Lies (1993), Sanctuary (1994), Dead White Males (1995), Heretic (1996), Third World Blues (an adaptation of Jugglers Three) and After the Ball (both in 1997), and Corporate Vibes and Face to Face (both in 1999). The Great Man (2000), Up for Grabs, A Conversation, Charitable Intent (all in 2001), Soulmates (2002), Birthrights (2003), Amigos, Flatfoot (both in 2004), Operator and Influence(both 2005) have since followed. Williamson is widely recognised as Australia’s most successful playwright and over the last thirty years his plays have been performed throughout Australia and produced in Britain, United States, Canada and many European countries. A number of his stage works have been adapted for the screen, including The Removalists, Don’s Party, The Club, Travelling North, Emerald City, Sanctuary and Brilliant Lies. -
October 2016 to Saturday 12Th November 2016
FROM THE PRESIDENT Dear Friends, I am pleased to report that our new curtain mechanism has been installed. The curtain is now operated by the press of a button! In some ways it was sad to see the old pulley go as it had been a part of the Playhouse Theatre for so long. I was so relieved that the curtain itself didn't fall apart when it came down. The theatre is continually being improved. I would like to welcome Nick Lahey as a Rep director. This is his first play for Hobart Rep. Thank you to Nick cast and crew for their dedication to Up For Grabs. I look forward to seeing the fruits of their labours. President Liz “on duty” in the Box Office during the run of Something’s Afoot We thank our volunteers and supporters. We could not function without you. A SLICE OF THEATRE LIFE You never know who you’ll see at The Playhouse during a theatrical run. Top left, well known actor Jeff Michel selling programs. Top right, Hobart Rep Secretary, Tony Webb and below, Heather Chong, a most beloved Sponsor. (We LOVE our Sponsors!) UP FOR GRABS A Fast Paced Comedy and Maybe a Hint of Satire When Simone Allen, an exclusive art dealer, is given the opportunity to sell a Brett Whitely, her behaviour becomes highly questionable as the pressure mounts. Driven by greed and aesthetics, just how far will Williamson’s characters go when more than just a beautiful work of art is up for grabs in this sexy comedy of manners? A fast paced show about money, greed, unhappy couples and expensive art. -
An Exploratory Case Study of a Regional Screen Production
An exploratory case study of a regional screen production business developing fiscal sustainability, commercial responsibility, and competitive advantage in the market Thesis submitted by Gerard Anthony Reed BA (University of NSW); MA (University of the Arts, London); Master of Entrepreneurship (The University of Adelaide); Member, Screen Producers Australia (SPA), Action Learning, Action Research Association (ALARA), Small Enterprise Association of Australia & New Zealand (SEAANZ) The University of Adelaide Faculty of the Professions Entrepreneurship, Commercialisation and Innovation Centre (ECIC) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy October 2016 Table of Contents Table of Contents ii List of tables iv List of figures v Statement of originality viii List of recent activity ix Acknowledgements x List of abbreviations xi Abstract xiii Introduction 2 1.1 Context and rationale for the study 2 1.1.1 On location in Adelaide, SA 1.1.2 The nature of the problem 1.2 Conceptual framework and method 18 1.2.1 Experiencing the parabolic scramble: The filmmaker as entrepreneur 1.2.2 Method: Using Remo Media/Reed Films to conduct action research 1.3 Limitations of the study 32 1.4 The significance of the study 33 1.5 Organisation of the thesis 33 Chapter 1: Introduction Chapter 2: Methodology and methods Chapter 3: Literature as data Chapter 4: Research activity and results Chapter 5: Conclusion Methodology and methods 37 2.1 Subjectivism in research about entrepreneurship 38 2.2 Background for