DOCSLIB.ORG

The Town of Greensboro

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Town of Greensboro THE Since 1889 Hardwick Gazette 75 Cents Wednesday, August 19, 2015 Volume 126 Number 32 Tenants Out, Business Closed Mirror Theater Marshall Block Burns Once More Breaks Ground by Michael Bielawski way) of the building. HARDWICK — On an other- The rest of the afternoon, the For Permanent wise quiet, sunny Friday, around firefighters ripped and tore away at 1:45 p.m., the fire alarm rang out on walls to make sure all the fire was Main Street. The source was at the out. The last fire truck left around 7 Marshall Block building, home to p.m., about five hours after the first Home And Stage apartments on the second and third alarm sounded. Departments in- floors and Positive Pie on the street volved included Greensboro, Walden, by June Pichel Cook enterprise would not have an adverse level. Woodbury, Wolcott and Hardwick. GREENSBORO — Earth mov- effect on community resources, traf- Fire trucks from five towns ar- “Basically, we were just looking ing began Tuesday morning at the fic, and character of the area. rived as smoke billowed out the top for manpower and air packs, being as Hazendale Farm stand for the new Conditions laid down included back windows. This was not the first hot as it was,” said Fadden. “We kept Mirror Theater to be sited on the 10- removal of Hazendale Farmstand fire in the building’s history, though rotating guys in and out.” acre parcel at the corner of Breezy buildings, meeting all state and it was nearing a century without one. In the end, the two apartments Avenue and Hardwick Street. Equip- federal requirements, and not pro- Upon arrival at the back parking took substantial damage, and the res- ment from Dale Percy, Inc. of Stowe viding housing on site or serving as lot, firefighters pounded away at the taurant is closed for an undetermined was moving earth in preparation for a wedding venue. Evergreens must third floor apartment door with axes duration from water damage. Fadden the new performing arts center. be planted along an existing line of and a battering ram. Throughout the didn’t speculate on the cause. Englebert Construction, Inc., deciduous trees and an evergreen afternoon, about two dozen firefight- “If we don’t think it’s suspicious of Colchester, is building the 26,000 privacy hedge installed on the bound- then we don’t deal with it,” he said. square foot, $10.5 million theater. In ary of the Niemi parcel. The proposed “We let the insurance companies duke pointing out the building’s footprint, café may not exceed 50 seats on the “We let the insurance it out.” Jeff Randall, project manager, noted interior. companies duke it Building owner Michael Gohl felt it lies in a hollow that minimizes the Effort must be made to incorpo- convinced on what happened. visual height of the building. rate natural exterior materials and out.” “A chimney fire started the fire,” Greensboro Arts Alliance and design a structure to blend into the Michael Gohl, he said. “It wasn’t mice or anything. Residency board chair James Sowles Rural Lands District. The building building owner It was a chimney fire. I think we can said, “It will be a great addition to may not be higher than 35 feet and all agree to that.” the town and certainly make theater the area sign must be 6 square feet Fadden said the tenants of the productions much easier. It can be or less. ers took turns going in and out of the two damaged apartments were not used by other organizations as well. A change in the site plan curb cut smoky second and third floor rear home at the time. Gohl said one was at “I didn’t think we would run into was approved on March 19, 2015 by apartments. work and the other was in the hospital opposition the way we did but that the DRB. According to Hardwick Fire for an unrelated condition. has been overcome.” With all permits in place, GAAR Chief Tom Fadden, the fire was going Fadden said the damage in Posi- On Sept. 19, 2014, the Develop- held a celebratory groundbreaking for about 30 or 45 minutes, mostly tive Pie was not too bad. ment Review Board approved GAAR’s and fundraiser for the Greensboro contained inside the walls, gradually “Most of it is water damage,” he Conditional Use Permit for a Com- Nursing Home earlier in July. About consuming flammable insulation in said. “They are going to have to do mercial Enterprise application to $1,900 was raised for the home, ac- build a performing arts center. The the southwest wall (along the alley See FIRE Page Five See THEATER Page Four DRB determined the commercial Massey Offer Rescue Center Rejected By Signs Off On Select Board by June Pichel Cook The access to Massey’s property Four Alarms Building Deed GREENSBORO — Following has been an ongoing controversy for Smoke billows from windows as firefighters contain fire from spreading Friday in the Mar- a 15-minute executive session last several years since the Development shall Block on Main Street in Hardwick. The building is owned by Claudia and Michael by Michael Bielawski weekly luncheons. They will have one week, the Select Board rejected an Review Board granted the Historical Gohl. After a quick response from Hardwick, Greensboro, Woodbury and Walden fire de- HARDWICK – There is progress office and they will have the kitchen offer from David Massey for a land Society a variance to build its addi- partments damage was contained to two apartments and Positive Pie. Jesse Drown of the to get the old health center building and meeting room. He thinks some- swap on the old fire station. tion. The addition is closer to the Old Hardwick Fire Department carries an ax into the building to relieve a fellow firefighter. on High Street modified and ready to time in September the changeover can Massey offered to swap .21 acres Perrin Road right-of-way than zoning (photo by Vanessa Fournier) be the new Senior Center/public use be completed. of land at 55 Breezy Ave., for the fire regulations allow. space. The Hardwick Rescue Squad Helen Neveu, of the Senior Cen- station, in addition to his receiving The confusion of Old Perrin Road signed off to remove its name from ter, said, “Today what we have done is $10,000. The town would pay the lies in the murkiness of history and the building’s deed. just a letter of understanding. We’ve realtor fee of $7,900. The property, town records being destroyed in a fire. This means the town will take signed off with Jon who is going to formerly the Dow shop, lies at the end Questions exist if property boundar- over and will be able to use the build- present it to the next Select Board of the Old Perrin Road between Wil- ies extend to the center of the travel ing however it sees fit. The concern meeting. We are going to make sure ley’s Store and Greensboro Historical path, whether it had or had not ever Residents Give Support before was the Rescue Squad could that they are in agreement, that they Society. been laid out as a road, and was or potentially change its mind and move understand what we as the Senior The board voted unanimously to wasn’t discontinued. in if it were still on the deed. With the Center and Jon for the town are going not accept “David Massey’s offer to There are four abuttors: Wil- To VTel Tower Opposition Senior Center move, the Jeudevine to do.” trade his property at 55 Breezy Ave. ley’s Store, Massey, Makau, and the Library could expand its building Since the Senior Center will no for the old firehouse property, plus historical society. by Will Walters information that VTel has provided all a consensus among us that we are down the hill to where the current longer have to take care of or manage $10,000, with the town paying an ad- At the Development Review CALAIS — The North Calais along, the size and scope of the thing.” willing to put some money into this Senior Center building is located. its own building, it will no longer take ditional $7,900 regular commission.” Board hearing, Massey objected to Neighborhood Coalition sent the Se- Richards said the process by- because it means that much to us.” “We’re moving ahead,” said town the town’s $2,500 in annual appropria- Board chair Sue Wood said, “We the variance and maintained the lect Board a letter asking the board passes the town zoning. Vanveghten said NCNC was not manager Jon Jewett. “With the ap- tions. The appropriation for this year did not accept his offer.” See OFFER Page Five to continue its legal intervention “I hope people felt a little per- certain about the legal ramifications proval of the Select Board, we are will go toward fixing up the new space. with the Public Service Board. This turbed by that,” he said. “This is not about donating to the Select Board for going to transfer the Senior Center The Jeudevine Library trustees, concerns the VTel application for a the way it should be.” a certain issue. Brabant concurred to the Town of Hardwick. We have over the past year, expressed interest tower on Bayne Comolli Road. The He said an important issue is ”but if that is your commitment” to to do a deed transfer there. As soon in expanding the library where the coalition sent the letter consolidat- co-location and the town can argue which Vanveghten interjected “that as we get approval from the Select Senior Center is located.
Load more

Recommended publications
  • Peter Schumann's Bread and Puppet Theater Barry Goldensohn
    Masthead Logo The Iowa Review Volume 8 Article 32 Issue 2 Spring 1977 Peter Schumann's Bread and Puppet Theater Barry Goldensohn Follow this and additional works at: https://ir.uiowa.edu/iowareview Part of the Creative Writing Commons Recommended Citation Goldensohn, Barry. "Peter Schumann's Bread and Puppet Theater." The Iowa Review 8.2 (1977): 71-82. Web. Available at: https://doi.org/10.17077/0021-065X.2206 This Contents is brought to you for free and open access by Iowa Research Online. It has been accepted for inclusion in The oI wa Review by an authorized administrator of Iowa Research Online. For more information, please contact [email protected]. With disgust and contempt, Knowing the blood which the poet said Flowed with the earthly rhythm of desire a ... Was really river of disease no And the moon could longer Discover itself in the white flesh Because the body had gone Black in the crotch, And the mind itself a mere shadow of idea ... He opened the book again and again, Contemptuous, wanting to tear out The pages, wanting to hold the print, to His voice, the ugly mirror, Until the lyric and the rot Became indistinguishable, And the singing and the dying Became the same breath, under which He wished the poet the same fate, The same miserable fate. CRITICISM / BARRY GOLDENSOHN Peter Schumann's Bread and Puppet Theater was The Bread and Puppet Theater deeply involved with the civil rights is and anti-war protest movements and marked by their political moralism concern in two important respects: its with domestic issues, the home This is front, and its primitivism of technique and morality.
    [Show full text]
  • The Civilians"
    San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Spring 2012 A Versatile Group of Investigative Theater Practitioners: An Examination and Analysis of "The Civilians" Kimberly Suzanne Peterson San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Peterson, Kimberly Suzanne, "A Versatile Group of Investigative Theater Practitioners: An Examination and Analysis of "The Civilians"" (2012). Master's Theses. 4158. DOI: https://doi.org/10.31979/etd.n3bg-cmnv https://scholarworks.sjsu.edu/etd_theses/4158 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. A VERSATILE GROUP OF INVESTIGATIVE THEATER PRACTITIONERS: AN EXAMINATION AND ANALYSIS OF “THE CIVILIANS” A Thesis Presented to The Faculty of the Department of Theater Arts San José State University In Partial Fulfillment of the Requirements for the Degree Master of Arts by Kimberly Peterson May 2012 © 2012 Kimberly Peterson ALL RIGHTS RESERVED The Designated Thesis Committee Approves the Thesis Titled A VERSATILE GROUP OF INVESTIGATIVE THEATER PRACTITIONERS: AN EXAMINATION AND ANALYSIS OF “THE CIVILIANS” by Kimberly Peterson APPROVED FOR THE DEPARTMENT OF THEATRE, RADIO-TELEVISION-FILM, ANIMATION & ILLUSTRATION SAN JOSÉ STATE UNIVERSITY May
    [Show full text]
  • Building on a Legacy of Creativity
    Building on a Legacy of Creativity: UNDERSTANDING AND EXPANDING THE CREATIVE ECONOMY OF THE NORTHEAST KINGDOM A Report to the Vermont Arts Council and the Vermont Creative Network Prepared by Melissa Levy, Community Roots Michael Kane Stuart Rosenfeld Stephen Michon, FutureWorks Julia Dixon December 21, 2018 This publication is the result of tax-supported funding from the USDA, Rural Development, and as such is not copyrightable. It may be reprinted with the customary crediting of the source. Funding for this project was also provided by the Vermont Community Foundation 2 Acknowledgements This report was prepared for the Vermont Arts Council and the Vermont Creative Network by a team of consultants working through Community Roots, LLC. The team consisted of Michael Kane, Michael Kane Consulting; Stuart Rosenfeld, formerly with RTS, Inc.; Melissa Levy, Community Roots; Julia Dixon; and Stephen Michon, formerly with FutureWorks. The report was co-authored by Kane, Levy, Rosenfeld, and Dixon. Pamela Smith copyedited and formatted the initial draft report. The primary sources of funding were grants from USDA Rural Development, the Vermont Community Foundation, and the Vermont Arts Council. The team worked closely with Amy Cunningham, Vermont Arts Council and Jody Fried, Catamount Arts. They helped the team understand the region, identified key individuals and companies, made the contacts needed to gather information, and generally supported the research process. Amy organized the Advisory Committee meetings and played a major role in organizing focus groups. The members of the Advisory Committee, which met three times and offered feedback at crucial junctures in the process were: • Scott Buckingham, Friends of Dog Mountain • Jennifer Carlo, Circus Smirkus • Evan Carlson, Lyndon Economic Development Task Force • Ben Doyle, USDA Rural Development • Ceilidh Galloway-Kane, WonderArts • Patrick Guckin, St.
    [Show full text]
  • Peter Schumann the Shatterer Nov 9 2013 Mar 30 2014
    Peter Nov 9 Schumann 2013 The Mar 30 Shatterer 2014 Uncertain mind’s black and white language tries to cope with the Peter progressive dirt of problems. The dirt sticks, the landscape thickens, the clouds are full of surprise attacks, combatants enter the scene, Schumann stormworn feet scramble into rescue positions, the 3 categories of accelerated man (vertical, horizontal & diagonal), their architecture The twisted from excessive speed, fall from the processed sky that contains Shatterer their brain, into the shabby downbelow. The shatterer show presents shattered worlds confronted by the 99% giant and flag waver of the peasant boot flag, which his 15th century peasant colleagues raised against the capitalism of their day. Nov 9 The shatterer theme is from a) my nazi childhood, when worldshattering was the law of the land, & b) from Oppenheimer’s famous BhagavadGita 2013 quote (I am become death, the shatterer of worlds) at the occasion of the Mar 30 1st atomic bomb explosion. 2014 —Peter Schumann Peter Schumann was born in Silesia, Germany in 1934 and relocated to the United States in 1961. In 1963 on Manhattan’s Lower East Side, he founded the Bread and Puppet Theater, which presented numerous free indoor and outdoor performances throughout New York during the 1960s before moving to Vermont in 1970, where members of the theater continue to reside. Cover: Peter Schumann, The Shatterer (detail). Schumann’s background in dance and sculpture coupled with his Queens Museum, 2013. upbringing during the Second World War heavily informed the mission of This exhibition is curated by Jonathan Berger the theater.
    [Show full text]
  • Route 2 • St. Johnsbury, Vermont 802-274-1219
    A1 A2 2 | Summer Fun The Record | 2018 As a GOOD NEIGHBOR boarding student at St. Johnsbury Academy, you can expect no less than a life-changing learning experience. “ What I love most about the Academy is the diverse group of students in the boarding community and the friendships “ I love the Academy because I have developed there.” it has given me so many “ Living on campus full-time opportunities to learn Sam C. was a life-changing experience Academy boarding student and explore.” for me!” from Lyme, New Hampshire Oshun S. Alison R. Academy boarding student Academy boarding student from Montgomery Center, from Montpelier, Vermont Vermont We are SJA. An independent, coeducational, boarding and day school for grades 9-12 and postgraduate year located in St. Johnsbury, Vermont. Our GOOD NEIGHBOR boarding for students from Vermont, Learn more at: program reduces tuition New Hampshire, and Quebec. stjacademy.org/neighbor A3 The Record | 2018 Summer Fun | 3 Inside The ‘County’ Fair Necessities 5 This Year’s Fair Schedule 6 An Uphill Battle 8 Other Suggested Hiking Trails 9 Farmers’ Markets & Things To Do 12 Crossing The Line At The Haskell 18 33 Other Cultural Institutions 20 Sounds Of Summer 21 PUBLISHER Todd M. Smith Hills Are Alive At Dog Mountain 24 — 5 Area Arts Venues 26 EDITOR ADVERTISING Enjoy A Current Event By Canoe 27 Leah Carey SALES Area Swimming Holes 29 — Julie Poutre, 24 LAYOUT Brooke Dolloff, The Region’s Golf Coures 33 Andrew McGregor Glen Jardine, — Sylvie Weber COVER DESIGN — Glen Jardine ADVERTISING 27 — DESIGN & COVER PHOTO PRODUCTION Paul Hayes Jeana Desilets CONTACT US Advertising: [email protected] News: [email protected] Phone: 802-748-8121 Web: caledonianrecord.com A PUBLICATION OF THE CALEDONIAN-RECORD On the Cover: Lily Farr, right, and Saffron attend the Levitt AMP St.
    [Show full text]
  • The End of Our Domestic Resurrection Circus
    The End of Our Domestic Resurrection Circus Bread and Puppet Theater and Counterculture Performance in the s John Bell The Bread and Puppet Theater’s Domestic Resurrection Circus emerged in the context of the countercultural goals of the s and ’s. How did the devel- opment of counterculture-as-commodity in the s and ’s affect the end of this unique -year performance event? My intent is not to focus so much on the theatre of the Circus, but on the events surrounding it, and the nature of its presence in the spectacle economy of Vermont and the United States. : Counterculture Puppet Theatre in Plainfield Peter Schumann’s Bread and Puppet Theater started in New York in the s, when the city was seeing the creation of a new avantgarde in the midst of the Cold War and its then hot ancillary in Vietnam. In the fertile atmosphere of places like Judson Church, artistic borders were crossed or broken: musicians acted, painters sang, sculptors (like Schumann) danced, and poets wrote plays. Rent was relatively cheap, and there were men and women interested in mak- ing art, music, and theatre in ways that would connect new and old forms, in order to respond to and reflect what seemed to be going on around them. Bread and Puppet Theater grew in this atmosphere. Perhaps it did not flourish in the sense of becoming commercially famous (as Jim Henson’s Muppets soon did), but it changed the way puppets were thought of in the United States. Schumann’s moving sculptures created a visual focus, first in parades organized by Puerto Rican tenants’ organizations on the Lower East Side, and then even more strikingly in parades in New York and Washington, DC, protesting the Vietnam War.
    [Show full text]
  • Puppet Theater in the German-Speaking World
    Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1-1-2010 Puppet Theater in the German-Speaking World Connor Bartlett Doe Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Doe, Connor Bartlett, "Puppet Theater in the German-Speaking World" (2010). Dissertations and Theses. Paper 88. https://doi.org/10.15760/etd.88 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Puppet Theater in the German-Speaking World by Connor Bartlett Doe A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in German Thesis Committee: Steven Fuller, Chair Oscar Fernández William Fischer Portland State University ©2010 ABSTRACT This work begins with a brief history of puppet theater in Germany. A look at important social aspects, pertinent philosophical discussions and the significance of puppet theater in the German literary tradition follow. The final chapter looks at Peter Schumann, a German puppeteer and artist who lives in America. In Germanistik, German puppet theater deserves a devoted place in the field of legitimate study in terms of its history, content and influence. Puppet theater’s historical development in Germany represents the larger evolution of Germany. From ancient times up to the present day, this artistic form of representation has enjoyed an audience in the German-speaking regions.
    [Show full text]
  • April 2010 5.Pmd
    April 2010 HIGHLIGHTS A PUBLICATION OF THE PEACE & JUSTICE CENTER PAGE 2 Farm to Plate From the Center Nancy Lynch talks about the organizations Exerpted from the Interim Report to the Legislature that have overlapping goals with the PJC.. BY Ellen Kahler, Executive Director of the Vermont Sustainable Jobs Fund PAGE 3 Youth Activist Institute 2 n 2009, the Legislature created Building on what Secretary Roger The PJC’s 2nd Annual Youth Activist Institute I the Farm to Plate Investment Albee calls a “renaissance in Vermont will be held at Vermont Technical College in Program which directs the Vermont agriculture,” the Farm to Plate Investment Randolph, June 25-27. Sustainable Jobs Fund with the Vermont Program (F2P) will create a strategic plan Sustainable Agriculture Council and other for agricultural economic development to PAGE 4 stakeholders to develop a 10-year achieve the overarching goals of 350 strategic plan to strengthen Vermont’s strengthening our local food system and 350 is the level scientists have identified as the farm and food sector. stimulating economic development in safe upper limit for CO2 in our atmosphere. Vermont’s farm and food sector. This will Kids4Peace Creating a Strategic Plan in turn create jobs in the farm and food Interfaith Walk for Peace. for Vermont’s Farm and Food economy, improve access to healthy local Sectors foods, and expand local and regional PAGE 5 Vermont has a rich agricultural history. markets for Vermont products. A key Gross National Happiness Yet there are both historic and recent component of F2P is to identify infra- GNH envisions a future, based on values of threats to the future of agriculture in the structure investments and public policy life, liberty and the pursuit of happiness.
    [Show full text]
  • Playing Hippies and Indians: Acts of Cultural Colonization in the Theatre of the American Counterculture
    PLAYING HIPPIES AND INDIANS: ACTS OF CULTURAL COLONIZATION IN THE THEATRE OF THE AMERICAN COUNTERCULTURE Miriam Hahn A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2014 Committee: Jonathan Chambers, Advisor Sheri Wells-Jensen, Graduate Faculty Representative Eileen Cherry-Chandler Scott Magelssen © 2014 Miriam Hahn All Rights Reserved iii ABSTRACT Jonathan Chambers, Advisor In this dissertation, I examine the appropriation of Native American cultures and histories in the theatre of the American counterculture of the 1960s and seventies, using the Living Theatre’s Paradise Now, the street theatricals and broadsides of the San Francisco Diggers, and James Rado and Gerome Ragni’s Hair: The American Tribal- Love Rock Musical as my primary case studies. Defining themselves by points of difference from mainstream America and its traditional social and cultural values, counterculturalists often attempted to align themselves with Native Americans in order to express an imagined sense of shared otherness. Representations of Natives on countercultural stages, however, were frequently steeped in stereotype, and they often depicted Native cultures inaccurately, elided significant tribal differences, and relegated Native identity almost wholly to the past, a practice that was particularly problematic in light of concurrent Native rights movements that were actively engaged in bringing national attention to the contemporary issues and injustices Native Americans faced on a daily basis. In my study, I analyze the impulses that might have led counterculturalists to appropriate Native culture during this period, highlighting some of the ways in which such appropriations played out in Paradise Now and Hair, as well as on the streets of San Francisco’s Haight-Ashbury district.
    [Show full text]
  • One Is Concerned Because One Is a Human Being
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2005 One Is Concerned Because One Is A Human Being Sayaka Suzuki Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Fine Arts Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/944 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. School of the Arts Virginia Commonwealth University This is to certify that the thesis prepared by Sayaka Suzuki entitled ONE IS CONCERNED BECAUSE ONE IS A HUMAN BEING has been approved by his or her committee as satisfactory completion of the thesis or dissertation requirement for the degree of Masters of Fine Arts Associate Professor Jack L. Wax, Craft/ Material Studies, School of the Arts Associate Professor Barbara C. Tisserat, Painting and Printmaking, School of the Arts Assistant Professor Lydia C. Thompson, Craft / Material Studies, School of the Arts Dr. Howard Risatti, Chair of Craft / Material Studies Department, School of the Arts Richard E. Toscan, Dean of the School of the Arts Dr. F. Douglas Boudinot, Dean of the School of Graduate Studies May 13th, 2005 © Sayaka Suzuki 2005 All Rights Reserved ONE IS CONCERNED BECAUSE ONE IS A HUMAN BEING A thesis submitted in partial fulfillment of the requirements for the degree of Masters of Fine Arts at Virginia Commonwealth University.
    [Show full text]
  • Graduate School of Arts and Sciences 2016–2017
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut Graduate School of Arts and Sciences Programs and Policies 2016–2017 Graduate School ofGraduate Arts and Sciences 2016 –2017 BULLETIN OF YALE UNIVERSITY Series 112 Number 5 July 15, 2016 BULLETIN OF YALE UNIVERSITY Series 112 Number 5 July 15, 2016 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans.
    [Show full text]
  • Building American Puppetry on the Jim Henson Foundation
    BUILDING AMERICAN PUPPETRY ON THE JIM HENSON FOUNDATION DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Kathleen Stoessner, M.A. ***** The Ohio State University 2008 Dissertation Examination Committee: Approved by Dr. Joy Reilly, Adviser Dr. Beth Kattelman Adviser Dr. Alan Woods Graduate Program in Theatre Copyright by Jennifer Kathleen Stoessner 2008 ABSTRACT Historically the United States, with the exception of ritual performances by indigenous Americans, did not have a distinct puppetry tradition, utilizing instead the imported techniques of its immigrant population. In the twentieth century, puppeteers began to explore puppetry’s capabilities, producing challenging and innovative theatrical work in a distinctly American style. Puppetry was given a stage as popular broadcasting content on the newly invented television. In this media environment, Jim Henson pioneered new techniques, becoming the most famous puppeteer in history. His success enabled him to serve his field as a spokesman and sponsor. In 1982, he established the Jim Henson Foundation, a non-profit organization to support puppetry artists. The Jim Henson Foundation is the only organization in the United States devoted to funding puppet theater and its mission reflects Jim Henson’s commitment to the community of artists who make American puppetry the vivid panorama it has become. Without the Foundation, puppetry in the United States would not be experiencing the explosion of creativity and exposure it currently enjoys. To present a picture of puppetry in the United States and Henson’s work, a brief history of puppetry in America as well as an in-depth scrutiny of Jim Henson’s career is provided.
    [Show full text]