Annual Report
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Celtic-Colours-Guide-2019-1
11-19 October 2019 • Cape Breton Island Festival Guide e l ù t h a s a n ò l l g r a t e i i d i r h . a g L s i i s k l e i t a h h e t ò o e c b e , a n n i a t h h a m t o s d u o r e r s o u ’ a n d n s n a o u r r a t I l . s u y l c a g n r a d e h , n t c e , u l n l u t i f u e r h l e t i u h E o e y r r e h a t i i s w d h e e e d v i p l , a a v d i b n r a a t n h c a e t r i a u c ’ a a h t a n a u h c ’ a s i r h c a t l o C WELCOME Message from the Atlantic Canada Message de l’Agence de promotion A Message from the Honourable Opportunities Agency économique du Canada atlantique Stephen McNeil, M.L.A. Premier Welcome to the 2019 Celtic Colours Bienvenue au Celtic Colours On behalf of the Province of Nova International Festival International Festival 2019 Scotia, I am delighted to welcome you to the 2019 Celtic Colours International Tourism is a vital part of the Atlantic Le tourisme est une composante Festival. -
1-888-355-7744 Toll Free 902-567-3000 Local
celtic-colours•com REMOVE MAP TO USE Official Festival Map MAP LEGEND Community Event Icons Meat Cove BAY ST. LAWRENCE | Capstick Official Learning Outdoor Participatory Concert Opportunities Event Event ST. MARGARET'S VILLAGE | ASPY BAY | North Harbour Farmers’ Visual Art / Community Local Food White Point Market Heritage Craft Meal Product CAPE NORTH | Smelt Brook Map Symbols Red River SOUTH HARBOUR | Pleasant Bay Participating Road BIG INTERVALE | Community Lone Shieling NEIL’S HARBOUR | Dirt Road Highway Cabot Trail CAPE BRETON HIGHLANDS NATIONAL PARK Cap Rouge TICKETS & INFORMATION 1-888-355-7744 TOLL FREE Keltic Lodge 902-567-3000 LOCAL CHÉTICAMP | Ingonish Beach INGONISH | Ingonish Ferry La Pointe GRAND ÉTANG HARBOUR | Wreck Cove Terre Noire Skir Dhu BELLE CÔTE | ATLANTIC.CAA.CA French River Margaree Harbour North Shore INDIAN BROOK | Chimney Corner East Margaree MARGAREE CENTER | Tarbotvale NORTH EAST MARGAREE | ENGLISHTOWN | Dunvegan MARGAREE FORKS | Big Bras d’Dor NORTH RIVER | SYDNEY MINES | Lake O’Law 16 BROAD COVE | SOUTH WEST MARGAREE | 17 18 15 Bras d’Dor 19 Victoria NEW WATERFORD | 12 14 20 21 Mines Scotchtown SOUTH HAVEN | 13 Dominion INVERNESS | 2 South Bar GLACE BAY | SCOTSVILLE | MIDDLE RIVER | 11 NORTH SYDNEY | ST. ANN'S | Donkin STRATHLORNE | Big Hill BOULARDERIE | 3 PORT MORIEN | 125 SYDNEY | L 10 Westmount A BADDECK | 4 K Ross Ferry E Barachois A COXHEATH | I MEMBERTOU | N 5 S East Lake Ainslie 8 L I 9 7 E 6 SYDNEY RIVER | WAGMATCOOK7 | HOWIE CENTRE | WEST MABOU | 8 Homeville West Lake Ainslie PRIME BROOK | BOISDALE -
Lumière 2020 P O S S I B L E F U T U R E S Wasoqnmamkewe’L 2020
LUMIÈRE 2020 P O S S I B L E F U T U R E S WASOQNMAMKEWE’L 2020 WITH THANKS The Lumière Arts Festival Association extends its deepest thanks to the many sponsors, partners and community members who have provided support over the years. Without their generosity, this annual festival would not be possible. This year has been an especially difficult one for many businesses, organizations and individuals in our community and beyond Unama’ki / Cape Breton. The Lumière board would like to take this opportunity to recognize the following for their assistance in making Lumière 2020 happen: Fully Promoted Cape Breton, Cape Breton Partnership, Cape Breton University, Protocase, Island Folk Cider House, Cape Breton Centre for Craft and Design, The Convent, Highland Bow and Arrow, Thyme for Ewe farm, Stone Church Restoration Society, NovaStream, Cape Breton Drive-In, Parks Canada, Heritage Canada, Arts Nova Scotia, Nova Scotia Communities, Culture and Heritage, New Dawn Enterprises Ltd., Atlantic Art at Night Festivals Alliance, CBU Art Gallery, Port Hawkesbury Civic Centre, MacKenzie Motorsports We would also like to thank: Credit Union Sydney, Old Sydney Society, NSCC, Membertou Heritage Park, Corey Katz, Colbourne Ford, Doktor Luke’s, A Better Bite, Celtic Colours International Festival, Homestead Senior Care, Keltic Kubota, The River Filly, No Quarter Deli & Market, JA Douglas McCurdy Sydney Airport, Breton Brewing, CBC Radio Canada, Cape Breton Post, Cape 94.9, Visual Arts Nova Scotia, Cape Breton Regional Library, Cape Breton Island, Cape Breton Regional Municipality We appreciate all of your past support and look forward to 2021! TREATIES OF PEACE AND FRIENDSHIP The Lumière Arts Festival Association acknowledges that this event takes place in Mi’kma’ki, the ancestral and unceded territory of the Mi’kmaq People. -
Theatre6 Present
THEATRE6 PRESENT ADAPTED BY STEPHANIE DALE DIRECTED BY KATE Mc GREGOR MUSIC BY MARIA HAÏK ESCUDERO ADAPTED BY STEPHANIE DALE WELCOME FROM THEATRE6’S Persuasion debuted at the Playground ARTISTIC DIRECTOR, KATE MCGREGOR Theatre on Tuesday 17 April 2018. Welcome to Theatre6’s production of Jane Austen’s final novel Persuasion. This LATE SUMMER 1814 brand new adaptation by Stephanie Dale celebrates 200 years since the novel’s TO SPRING 1815. publication. Opening at the Playground Theatre in London, this production will tour Anne and Wentworth were young across the country, including two performances at one of the novel’s most famous and in love. Persuaded by her locations – Lyme Regis. prosperous and prominent family to refuse Wentworth’s proposal, Jane Austen loved the sea, music, nature and her family. She wrote during the Anne lost the great love of her life. Napoleonic Wars and saw two of her brothers become Captains in the Navy. Bath Our play, as in Austen’s original was a place she spent a great deal of time. Her own life was not free of tragedy story, takes place eight years after and heartbreak. What is remarkable about Jane’s writing is not only her detailed these events. understanding of her characters, plots, locations and the impact of society and history on people but also her ability to write about the human spirit. In a time where The performance lasts for approximately women had very little agency and power in society, she created female protagonists 2 hours including an interval. with aspirations, who longed for adventure, who were able to decipher their feelings and analyse their place in a changing world. -
Creative Economy Growth Plan
JUNE 2017 CAPE BRETON REGIONAL MUNICIPALITY Creative Economy Growth Plan 1 Overview 4 Introduction 6 Table of Acknowledgements 10 Contents Methodology 12 Situation Analysis 14 Background 15 Community Resources 20 Strategy 43 Guiding Principles 44 Vision 46 VISION STATEMENT 1 47 CBRM understands and embraces the value of a strong creative economy for community building and economic growth. VISION STATEMENT 2 51 CBRM plays a strong role in exposing our children and youth to arts, culture and heritage, and providing pathways to their creative development. VISION STATEMENT 3 55 CBRM fosters a culture of collaboration within its creative sector. VISION STATEMENT 4 59 CBRM makes a signifcant investment in the creative economy through the designation and leveraging of existing funds. VISION STATEMENT 5 62 CBRM has a policy framework that supports the growth of the creative sector. Action Plan 67 Evaluation & Measurement 74 Appendix 77 2 At stakeholder consultation sessions, we asked… “What does the creative economy look like to you?” “What are our challenges and our opportunities?” model nurture develop action media challenge positive opportunities generate space appreciation after school cluster liaise income quality Venues Renaissance regulations audience pop-up enterprise self-starting spirit showcase fluff producers incentive recognition collaboration youth issue expression hubs contribution engage business intersect evidence communication empathy naysayers internship positive commissions radical educate vibrant impact navigate reluctance -
Equality, Diversity and the Creative Case
Equality, Diversity and the Creative Case A Data Report 2018-19 Getting started Read a Foreword from our Chair, Sir Nicholas Serota; find out more about where the data in this report is from; and get the key findings from the Executive Summary. EQUALITY, DIVERSITY AND THE CREATIVE CASE A DATA REPORT: 2018-19 2 Foreword Foreword by Sir Nicholas Serota, Chair, Arts Council England In 2017, we announced a new This is the first report to focus on this new analysis, review of reports, conversations To fully embrace these opportunities, the National Portfolio and it’s also the first time and two national consultations. A core cultural sector needs to apply its creativity National Portfolio of organisations we’ve been able to look deeper into the detail. principle of the investment that will be made to all aspects of its business and activities. that would receive regular funding This reveals more information across different under the 2020-30 Strategy is the need to Organisations need to continue to change parts of the country and different types of diversify the cultural sector – the leadership, and develop, to innovate, to explore and to for the period 2018-22. Libraries organisations. We’ve also been able to release workforce and governance of organisations; progress. Diversity of thought, experience and Museums were integrated more granular data looking across disciplines, the audiences and visitors influencing and and perspective are vital, and inclusivity and including individual Creative Case ratings. experiencing the creative and cultural offer; relevance are therefore driving principles in into the portfolio for the first and the artists, creatives and producers. -
Introduction to Ecovenue Ecovenue Is a Signifi Cant Theatre-Specifi C Environmental Project Being Run by the Theatres Trust
Introduction to Ecovenue Ecovenue is a signifi cant theatre-specifi c environmental project being run by The Theatres Trust. It aims to improve the environmental performance of forty-eight London theatres and raise awareness of how to make theatres greener. Ecovenue is promoting the sustainability of theatres and the reduction of carbon emissions through the provision of free theatre-specifi c, environmental advice. The project started in 2009 and runs until 2012. Forty-eight venues each undergo an Environmental Audit, and receive a Display Energy Certifi cate (DEC) and Advisory Report. They track their energy use through SMEasure. Each venue receives a second DEC a year after their fi rst to measure progress. Ecovenue includes a ‘DEC Pool’ of performing arts venues across the UK that have obtained DECs. The DEC Pool helps us to evaluate the project and share best practice and information, establish meaningful benchmarks, and provide a better understanding of energy use of theatres. Any theatre can join the DEC Pool. The Trust’s Theatres Magazine provides quarterly reports on the participants and the work of the Ecovenue project. The Theatres Trust Ecovenue project receives fi nancial support from the European Regional Development Fund. Participating Theatres Albany Theatre Etcetera Theatre Old Vic Arcola Finborough Theatre Orange Tree Theatre Arts Theatre Gate Theatre Pleasance Islington artsdepot Greenwich & Lewisham Young Polka Theatre Brockley Jack People’s Theatre Putney Arts Theatre Bush Theatre Greenwich Playhouse Questors Camden People’s -
Download Publication
Arts Council OF GREAT BRITAI N Value fir Money ;ES;VHH AND IN,'-ORMATiON L13PARY DO NOT REMOVE FROM OM THIS ROOM Thirty-second annual report and accounts year ended 31 March 1977 Thirty-second Annual Report and Accounts 197 7 ISBN 07287 0143 X Published by the Arts Council of Great Britai n 105 Piccadilly, London W 1 V OA U Designed by Paul Sharp Printed in England by Shenval Pres s The montage on the cover illustrates the work of the Art s Council's specialist departments : Music : Page of vocal score of Sir William Walton 's Troilus and Cressida, showing revisions made by the composer for the 1976 production by the Royal Opera Art : Foy Nissen's Bombay by Howard Hodgkin Drama : The Olivier auditorium at the National Theatr e Literature : Some books and magazines published or subsidise d by the Council Contents Chairman 's Introduction 5 Secretary-General's Report 7 Regional Activities 15 Drama 1 6 Drama 1948-1977 (a personal commen t by N. V. Linklater) 20 Music 23 Visual Arts 26 Literature 30 Touring 3 1 Community Arts 32 Festivals 34 Housing the Arts 34 Training 35 Research and Information 36 Marketing 36 Scotland 37 Wales 41 Membership of Council and Staff 44 Council, Committees and Panels 45 Annual Accounts 53 The objects for which the Arts Council of Great Britai n is established by Royal Charter are : 1 To develop and .Improve the knowledge, understanding and practice of the arts ; 2 To increase the accessibility of the arts to the publi c throughout Great Britain ; and 3 To co-operate with government departments, local authorities and other bodies to achieve these objects. -
Theatre Archive Project Archive
University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no. -
2019 Experience Guide
2019 EXPERIENCE GUIDE Cabot Trail Cape Breton Highlands National Park Welcome to Cape Breton Island At the northern tip of Nova Scotia, Outdoor Adventure, Coastal Adventure, Living Cultures, Culinary, History, Music & the Arts, and Golf. Inside, you’ll Cape Breton Island is a magical place of find an array of exciting packages and experiences that spectacular coastline, exceptional scenery, range from cooking lobster on a beach in Cape Breton delicious seafood, and rich culture. Highlands National Park to learning traditional basket weaving with an Indigenous Mi’kmaw artisan. There’s so much to see and do on the Island, so it’s best if We recommend spending at least 5-7 days on the Island we break it down for you into seven experience for a full experience. And you may return home after categories: 2 your vacation, but your heart will never leave. 3 PRT-AUXUE Meat Cove NENN A Easy to Find. Hard to Leave. D PRT-AUX-BASQUE A Several carriers fly into the JA Douglas McCurdy Sydney N RGENI Pleasant Bay A 6 S PEE Airport via Halifax Stanfield International Airport; there are C ET UEON QEBEC 2 PNCE EARD SN also direct flights from Toronto, Ontario. 16 Ingonish By car, the Trans-Canada Highway in Nova Scotia will lead NE BNSC 2 DNEY Chéticamp you to Cape Breton Island. Maritime Bus provides bus service 12 45 1 NREL 104 3h from various locations. ONTARIO 14h 30m MNE Visitors from the Northeast United States, New Brunswick OTTAWA 2h 25m 2 15 HIFX Englishtown and Prince Edward Island can ferry to Nova Scotia and 401 ENT R RR Margaree drive through to Cape Breton. -
Black and Asian Theatre in Britain a History
Black and Asian Theatre in Britain A History Edited by Colin Chambers First published 2011 ISBN 13: 978-0-415-36513-0 (hbk) ISBN 13: 978-0-415-37598-6 (pbk) Chapter 8 ‘All a we is English’ Colin Chambers CC BY-NC-ND 4.0 8 ‘All A WE IS English’1 Britain under Conservative rule in the 1980s and for much of the 1990s saw black and Asian theatre wax and then wane, its growth the result of earlier forces’ coming to a head and its falling away a consequence of cuts allied to a state-driven cultural project that celebrated the individual over the collective and gave renewed impetus to aggressive, narrow nationalism. How to survive while simultaneously asserting the heterodox, hybrid nature of non-white theatre and its contribution to British theatre was the urgent challenge. Within two years of the Thatcher government’s election to power in 1979, Britain saw perhaps the most serious rioting of its postwar era, which led to major developments in public diversity policy, though less significant change at the level of delivery. The black community could no longer be taken for granted and was demanding its rights as British citizens. The theatre group that epitomized this new urgency and resilience and the need to adapt to survive was the Black Theatre Co-operative (BTC).2 The group was founded by Mustapha Matura and white director Charlie Hanson in 1978 after Hanson had failed to interest any theatres in Welcome Home Jacko, despite Matura’s standing as the leading black playwright of his generation. -
Candidate Briefing Document 1
USTINOV STUDIO, THEATRE ROYAL BATH ARTISTIC DIRECTOR CANDIDATE BRIEFING DOCUMENT 1. BACKGROUND Built in 1805, the Theatre Royal Bath is one of the oldest and most beautiful theatres in the country. Home to an exquisite main auditorium (800 seats); the state-of-the-art Ustinov Studio (125 seats); and the much-acclaimed egg theatre (125 seats) for children and their families, the Theatre Royal Bath presents a year-round programme. The Main House presents many productions prior to, or post West End, including drama, comedy, opera and dance, frequent Sunday concerts and a traditional Christmas pantomime. Since 2011, the Ustinov Studio has presented highly acclaimed programmes of world and UK premieres, alongside the best in small-scale touring theatre, comedy, music and dance. Since opening in 2005, the egg theatre has provided a unique venue for young audiences and become a nationally recognised hub for exceptional outreach work with young people, community groups, schools, universities and colleges across the country. Theatre Royal Bath Productions is the Theatre Royal’s production arm, and one of the most prolific British theatre producers in the West End, on UK tour and internationally. We have produced over 200 plays and productions since our inception, including more than 40 West End transfers. Theatre Royal Bath Productions produces on average 4 productions a year plus 6 as part of Jonathan Church’s Summer Season. Recent West End transfers include Mrs Henderson Presents (Noël Coward Theatre); The Libertine by Stephen Jeffreys (Theatre Royal Haymarket); Hobson’s Choice by Harold Brighouse (Vaudeville Theatre); Stepping Out by Richard Harris (Vaudeville Theatre); Switzerland by Joanna Murray-Smith (Ambassadors Theatre); and The Price by Arthur Miller (Wyndham’s Theatre).