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Performing History Studies in Theatre History & Culture Edited by Thomas Postlewait Performing HISTORY
Performing history studies in theatre history & culture Edited by Thomas Postlewait Performing HISTORY theatrical representations of the past in contemporary theatre Freddie Rokem University of Iowa Press Iowa City University of Iowa Press, Library of Congress Iowa City 52242 Cataloging-in-Publication Data Copyright © 2000 by the Rokem, Freddie, 1945– University of Iowa Press Performing history: theatrical All rights reserved representations of the past in Printed in the contemporary theatre / by Freddie United States of America Rokem. Design by Richard Hendel p. cm.—(Studies in theatre http://www.uiowa.edu/~uipress history and culture) No part of this book may be repro- Includes bibliographical references duced or used in any form or by any and index. means, without permission in writing isbn 0-87745-737-5 (cloth) from the publisher. All reasonable steps 1. Historical drama—20th have been taken to contact copyright century—History and criticism. holders of material used in this book. 2. Holocaust, Jewish (1939–1945), The publisher would be pleased to make in literature. 3. France—His- suitable arrangements with any whom tory—Revolution, 1789–1799— it has not been possible to reach. Literature and the revolution. I. Title. II. Series. The publication of this book was generously supported by the pn1879.h65r65 2000 University of Iowa Foundation. 809.2Ј9358—dc21 00-039248 Printed on acid-free paper 00 01 02 03 04 c 54321 for naama & ariel, and in memory of amitai contents Preface, ix Introduction, 1 1 Refractions of the Shoah on Israeli Stages: -
Fencing with Wildlife in Mind
COLORADO PARKS & WILDLIFE Fencing with Wildlife in Mind www.cpw.state.co.us ©PHOTO BY SHEILA LAMB©PHOTO BY “Good fences make good neighbors.” —Robert Frost, from Mending Walls A Conversation Starter, Not the Last Word Fences—thousands of types have been invented, and millions of miles have been erected. We live our lives between post, rail, chain link and wire. It’s difficult to imagine neighborhoods, farms, industry and ranches without fences. They define property, confine pets and livestock, and protect that which is dear to us, joining or separating the public and private. For humans, fences make space into place. For wildlife, fences limit travel and access to critical habitat. This publication provides guidelines and details for constructing fences with wildlife in mind. The information it contains has been contributed by wildlife managers, biologists, land managers, farmers, and ranchers. Over time, their observations and research have built a body of knowledge concerning wildlife and fences, including: •A basic understanding of how ungulates cross fences and the fence designs that cause problems for moose, elk, deer, pronghorn, and bighorn sheep. •Fence designs that adequately contain livestock without excluding wildlife. •Fence designs that effectively exclude ungulates, bears, beavers, and other small mammals. This information is intended to open the conversation about fences and wildlife. This is by no means the “last word.” New fencing materials and designs are continually developed. New research on the topic will invariably provide added and improved alternatives. Nonetheless, this publication provides viable options to those who wish to allow safe passage for wildlife or to exclude animals for specific reasons. -
Literacy and Literature in School and Non-School Settings. Report Series 7.6
DOCUMENT RESUME ED 401 550 CS 215 558 AUTHOR Brandau, Deborah TITLE Literacy and Literature in School and Non-School Settings. Report Series 7.6. INSTITUTION National Research Center on English Learning and Achievement, Albany, NY. SPONS AGENCY Office of Educational Research and Improvement (ED), Washington, DC. PUB DATE 96 CONTRACT R117G10015; R305A60005 NOTE 59p. PUB TYPE Reports Evaluative/Feasibility (142) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS *Academic Achievement; Cultural Context; *Educational Attitudes; Elementary Education; Ethnography; *Literacy; *Low Income; Reading Attitudes; Social Influences; *Socioeconomic Status IDENTIFIERS *Literacy as a Social Process; *New York (Upstate) ABSTRACT An ethnographic study examined and compared schooled and non-schooled uses of literacy and literature in a small, rural, all white, Adirondack Mountain community in upstate New York to explicate the way in which low social class and economic status constrain school achievement. More than 75 interviews were conducted over a 3-year period with students, teachers, school administrators, former students, parents, community members, and local employers. Observations were also conducted at graduations, holiday celebrations, faculty meetings, and the non-school classroom of hunters' safety training and snowmobile safety training. Results indicated that most of the families in the town are literate and are often involved with literacy during the course of their daily lives. Literacy is seen to exist within a social and cultural context, and its definitions are varied and changeable. People in the town understand what is required for academic achievement, but often choose not to pursue it. In both school and non-school settings, literacy is used for particular purposes, and there are specific demands placed by the community upon its members regarding specific texts. -
Animal Farm by George Orwell
ANIMAL FARM BY GEORGE ORWELL IV Semester Bsc English Notes George Orwell Novella Prepared by Ravikumar A Department of English GFGC Yalahanka Bengaluru ANIMAL FARM Old Major, the old boar on the „Manor Farm‟, calls the animals on the farm for a meeting, during which he refers to humans as parasites, cruel and teaches the animals a revolutionary song called „Beasts of England‟. When Major dies, two young pigs, Snowball and Napoleon, assume command and consider it a duty to prepare for the Rebellion. The animals revolt and drive the drunken and irresponsible farmer Mr Jones from the farm, renaming it "Animal Farm". They adopt Seven Commandments of Animalism, the most important of which is, "All animals are equal." Snowball teaches the animals to read and write, while Napoleon educates young puppies on the principles of Animalism. Food is plentiful, and the farm runs smoothly. The pigs elevate themselves to positions of leadership and set aside special food items, separately for their personal health. Napoleon and Snowball struggle for supremacy. When Snowball announces his plans to build a windmill, Napoleon has his dogs chase Snowball away and declares himself leader of Animal Farm. Napoleon enacts changes to the governance structure of the farm, replacing meetings with a committee of pigs who will run the farm. Through a young pig named Squealer, Napoleon claims credit for the windmill idea. The animals work harder with the promise of easier lives with the windmill. When the animals find the windmill collapsed after a violent storm, Napoleon and Squealer convince the animals that Snowball is trying to damage their project. -
SLOW FOOD ESL Federal Credit Union 2019-2020 Season Continues with a Crave-Able Comedy to Warm up the Winter
Media Contact: Dawn Kellogg Communications Manager (585) 420-2059 [email protected] FOR IMMEDIATE RELEASE GEVA’S 47TH SEASON CONTINUES WITH SLOW FOOD ESL Federal Credit Union 2019-2020 Season continues with a crave-able comedy to warm up the winter. Rochester, N.Y., December 27, 2019 – Geva Theatre Center presents Slow Food, by Wendy MacLeod and directed by Skip Greer, in the Elaine P. Wilson Stage from January 14 through February 9. Peter and Irene’s anniversary celebration in Palm Springs is off to a rocky start, but they are looking forward to a nice meal in a local restaurant. It’s just their luck to be served (or not) by a perfectionist waiter who won’t bring them their food and has them questioning everything – from their menu selections to the state of their marriage. Wendy MacLeod’s play The House of Yes became an award-winning Miramax film starring Parker Posey. Her other plays include Sin (The Goodman, Second Stage), Schoolgirl Figure (The Goodman Theatre), The Water Children and Juvenilia (Playwrights Horizons), and Things Being What They Are (Seattle Repertory Theatre, Steppenwolf Theatre). Her play Find and Sign premiered at the Pioneer Theater in Salt Lake City and her play This Flight Tonight was included in Standing On Ceremony: The Gay Marriage Plays and seen across the country and in New York City at the Minetta Lane. She was the first playwright chosen for The Writers’ Room residency at The Arden Theatre in Philadelphia, where she wrote Women in Jeopardy!, which received its premiere production at Geva Theatre Center in 2015. -
A History of Production
A HISTORY OF PRODUCTION 2020-2021 2019-2020 2018-2019 Annie Stripped: Cry It Out, Ohio State The Humans 12 Angry Jurors Murders, The Empty Space Private Lies Avenue Q The Wolves The Good Person of Setzuan john proctor is the villain As It Is in Heaven Sweet Charity A Celebration of Women’s Voices in Musical Theatre 2017-2018 2016-2017 2015-2016 The Cradle Will Rock The Foreigner Reefer Madness Sense and Sensibility Upton Abbey Tartuffe The Women of Lockerbie A Piece of my Heart Expecting Isabel 9 to 5 Urinetown Hello, Dolly! 2014-2015 2013-2014 2012-2013 Working The Laramie Project: Ten Years Later The Miss Firecracker Contest Our Town The 25th Annual Putnam County The Drowsy Chaperone Machinal Spelling Bee Anna in the Tropics Guys and Dolls The Clean House She Stoops to Conquer The Lost Comedies of William Shakespeare 2011-2012 2010-2011 2009-2010 The Sweetest Swing in Baseball Biloxi Blues Antigone Little Shop of Horrors Grease Cabaret Picasso at the Lapin Agile Letters to Sala How I Learned to Drive Love’s Labour’s Lost It’s All Greek to Me Playhouse Creatures 2008-2009 2007-2008 2006-2007 Doubt Equus The Mousetrap They’re Playing Our Song Gypsy Annie Get Your Gun A Midsummer Night’s Dream The Importance of Being Earnest Rumors I Hate Hamlet Murder We Wrote Henry V 2005-2006 2004-2005 2003-2004 Starting Here, Starting Now Oscar and Felix Noises Off Pack of Lies Extremities 2 X Albee: “The Sandbox” and “The Zoo All My Sons Twelfth Night Story” Lend Me a Tenor A Day in Hollywood/A Night in the The Triumph of Love Ukraine Babes in Arms -
THE HUMANS ESL Federal Credit Union/Rochester Regional Health 2018-2019 Season Continues with Stephen Karam’S 4-Time Tony Award Winner
Media Contact: Dawn Kellogg Communications Manager (585) 420-2059 [email protected] FOR IMMEDIATE RELEASE GEVA’S 46TH SEASON CONTINUES WITH THE HUMANS ESL Federal Credit Union/Rochester Regional Health 2018-2019 Season continues with Stephen Karam’s 4-Time Tony Award Winner. Rochester, N.Y., January 24, 2019 – Geva Theatre Center presents The Humans, by Stephen Karam and directed by Mark Cuddy, in the Elaine P. Wilson Stage from February 19 through March 17. Three generations of the Blake family from Scranton, PA gather for Thanksgiving in a tiny NYC apartment. Over toasts, turkey and tough love, family hopes and myths are shared and shattered. This funny and heart- tugging play was hailed on Broadway two seasons ago. In addition to The Humans, Stephen Karam’s plays include Sons Of The Prophet (Drama Critics’ Circle Award and Pulitzer Prize finalist), and Speech & Debate. His adaptation of Chekhov’s The Cherry Orchard premiered on Broadway as part of Roundabout’s 2016 season; his film adaptation of The Seagull starring Annette Bening premiered in 2018. Recent honors include two Drama Desk and Outer Critics Circle Awards, a Lucille Lortel Award, a Drama League Award, and a Hull-Warriner Award. Stephen is a graduate of Brown University and grew up in Scranton, PA. The Humans had its world premiere at the American Theatre Company in Chicago in 2014. The Off-Broadway production opened in 2015 and it transferred to Broadway in 2016. The Off-Broadway production won a Drama Desk Award for Outstanding Play and an Obie Award for Playwriting. The Broadway production was a finalist for the 2016 Pulitzer Prize and was the winner of four Tony Awards (including Best New Play), the Drama League Award for Outstanding Production, the New York Drama Critics’ Circle Award for Best Play and the Outer Critics Circle Award for Best New Play. -
Hello, Dolly! Carolee Carmello
2 SHOWCASE Contents 4 Letter from the President 4 Board of Directors and Staff 7 Hello, Dolly! 23 Comprehensive Campaign 24 Institutional and Government Support 25 Individual Support 27 Matching Gifts 27 Honickman Family Society 31 Kimmel Center Staff Carolee Carmello and John Bolton in Hello, Dolly! National Tour. Photograph by Julieta Cervantes 2019 The use of cameras and recording equipment is prohibited during the performances. As a courtesy to the performers and fellow audience members, please turn off all beepers, watch alarms, and cellular phones. Latecomers and those who leave the concert hall during the performance will be seated at appropriate intervals. Showcase is published by the Kimmel Center for the Performing Arts Administrative Offices, 1500 Walnut Street, 17th Floor, Philadelphia, PA 19102 For information about advertising in Showcase, contact Proud Kimmel Center Season Sponsor Onstage Publications 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com Official Airline of Broadway Philadelphia @KIMMELCENTER #ArtHappensHere KIMMELCENTER.ORG#ArtHappensHere 3 Kimmel Center Cultural Campus KIMMEL CENTER, INC., OFFICERS AND BOARD OF DIRECTORS Michael D. Zisman, Chairman Anne C. Ewers, President and CEO Robert R. Corrato, Vice-Chair Jane Hollingsworth, Vice-Chair Stanley Middleman, Treasurer Jami Wintz McKeon, Secretary David P. Holveck, Immediate Past Chair Bart Blatstein Jeffrey Brown Richard D. Carpenter Dear friends, Vanessa Z. Chan Reverend Luis A. Cortés, Jr. Welcome to the Academy of Music on the Kimmel Center Robert J. Delany Sr. Cultural Campus, the two-week home of this stunning revival James F. Dever, Jr. of Hello, Dolly!. Part of our 2019-20 season, boasting 44 Frances R. -
Tony Award-Winning Play the Humans Sets the Table for Family Drama, March 1-24, 2019
Tony Award -Winning Play THE HUMANS Sets the Table for Family Drama, March 1-24, 2019 The Alley’s production of The Humans by Stephan Karam is directed by Alley Artistic Associate Brandon Weinbrenner and includes returning Alley favorites HOUSTON –The Alley Theatre and Interim Artistic Director James Black, announce the cast and crew of the family drama The Humans by Stephen Karam and directed by Alley Artistic Associate Brandon Weinbrenner. The New York Times calls the play “a beautiful and moving play…a genuine and precious rarity.” The Humans runs March 1-24 in the Hubbard Theatre. Tickets are available at alleytheatre.org or by calling the Box Office at 713.220.5700. Hopeful, heartbreaking, and at times comedic, The Humans takes place on Thanksgiving as three generations of the Blake family gather at the youngest daughter and her boyfriend’s new apartment in Lower Manhattan’s Chinatown. As darkness falls outside and around the pre-war duplex, tensions rise and secrets are divulged. The hopes and fears of each generation – and the American middle class – are revealed in this Tony Award®-winning Best Play that The New York Times hailed as “the best play of the year.” The cast includes Alley Resident Company member Elizabeth Bunch (Twelfth Night, Grounded) as the eldest daughter in the Blake family, Aimee Blake. Most recently seen in the Alley’s production of The Cake, Elizabeth Stahlmann (Westport Country Playhouse: Grounded, The Acting Company: As You Like It) is back at the Alley in the role of Brigid Blake, the younger sister to Aimee Blake. -
By Tony Taccone and Bennett S
BY TONY TACCONE AND BENNETT S. COHEN, ADAPTED FROM THE NOVEL BY SINCLAIR LEWIS SOUND DESIGN AND MUSIC BY PAUL JAMES PRENDERGAST DIRECTED BY LISA PETERSON DEAR FRIENDS, Four years ago, in the lead-up to the 2016 election, Berkeley Rep produced Tony Taccone and Bennett Cohen’s adaptation of Sinclair Lewis’ frighteningly prescient novel. With a desire to see the story reach the widest possible audience, and celebrating the impulse that led the wpa in 1936 to share the original stage version of Lewis’ novel for free with 21 theatres across the country, Berkeley Rep offered the rights to Tony and Bennett’s adaptation to theatres, community centers, universities — anyone who wanted to put together their own production or reading. And now, in 2020, this story feels all the more vital, and the need to share it widely even more compelling. I am honored that more than 75 organizations from more than 20 states have partnered with us to share this production of It Can’t Happen Here for free with their audiences and communities. We are joined in this effort by long-time theatre colleagues, by universities from Howard in Wash- ington, DC to Saint Cloud State in Minnesota (near Lewis’ hometown), by libraries, community centers, and radio stations. I am deeply grateful to Tony and Bennett, director Lisa Peterson, sound designer Paul James Prendergast and his small but mighty team, and this extraordinary cast who have collaborated across miles and time zones, through wildfires and new technology, for their conviction that the- atre matters, that narrative helps us to see the world more clearly, and that together we have the capacity to effect change. -
Animal Farm Quote Bank Government / Pigs in Charge
Animal Farm Quote Bank Government / Pigs in charge: “„Only get rid of Man, and the produce of our labour would be our own. Almost overnight we could become rich and free. What then must we do…Rebellion!”‟ (Orwell 7). “The work of teaching and organising the others fell naturally upon the pigs, who were generally reconised as being the cleverest of the animals” (Orwell 11). “„You will have all the oats and hay you want”‟ (Orwell 12). “The pigs did not actually work, but directed and supervised the others. With their superior knowledge it was natural that they should assume the leadership” (Orwell 19). “He said the education of the young was more important than anything that could be done for those who were already grown up” (Orwell 34-35). “Napoleon took them away from their mothers, saying that he would make himself responsible for their education” (Orwell 35). “The animals had assumed as a matter of course that these would be shared out equally; one day, however, the order went forth that all the windfalls were to be collected and brought to the harness-room for the use of the pigs” (Orwell 25). “„It is for your sake that we drink the milk and eat those apples. Do you know what would happen if we pigs failed in our duty? Jones would come back!”‟ (Orwell 25). “…Snowball made a little speech, emphasizing the need for all animals to be ready to die for Animal Farm if need be” (Orwell 30-31). “It had come to be accepted that the pigs… should decide all questions of farm policy…” (Orwell 47). -
Why the Humans Are White: Fantasy, Modernity, and the Rhetorics Of
WHY THE HUMANS ARE WHITE: FANTASY, MODERNITY, AND THE RHETORICS OF RACISM IN WORLD OF WARCRAFT By CHRISTOPHER JONAS RITTER A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY WASHINGTON STATE UNIVERSITY Department of English MAY 2010 To the Faculty of Washington State University: The members of the Committee appointed to examine the dissertation of CHRISTOPHER JONAS RITTER find it satisfactory and recommend that it be accepted. __________________________________ Victor Villanueva, Ph.D., Chair __________________________________ Patricia Freitag Ericsson, Ph.D. __________________________________ Jason Farman, Ph.D. ii ACKNOWLEDGMENTS Greatest thanks go to my family guild, without whom I would never have played WoW for so long (or even in the first place, possibly): Dan Crockett, Annie Ritter, Dave Ritter, Betsy Ritter, and Peter Ritter. To my committee: Victor Villanueva, Patty Ericsson, and Jason Farman. Without your open- mindedness and encouragement, I would have succumbed to the derision of the Luddites and avoided studying what I love. To my colleagues/friends/professors at WSU, who helped me work out my ideas about this subject as they were born in several different seminars. Especially: Shawn LameBull, Rachael Shapiro, Hannah Allen, and Kristin Arola. To Jeff Hatch for his expertise with the architecture stuff. To The Gang, who helped me work out my ideas over beers: Pat Johnson, Sarah Bergfeld, Scott McMurtrey, Jim Haendiges, and Gage Lawhon. To my dad, Tom Ritter, for introducing me to Pong in like 1985 and indirectly putting me on the path that led me here. To Blizzard, not only for making a game that‘s kept me happy for approximately six times longer than any game had done previously; but more importantly, for providing the context and occasion for me to maintain long-distance relationships with people I love.