Annual Report Food Is Hope
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Gestolten CONTENT
MORE FLEETING ARCHITECTURE AND HIDEOUTS EDITED BY ROBERT KLANTEN AND LUKAS FEIREISS gestolten CONTENT SPACECRAFT 2 PAGE 004 LIVING IN A BOX PAGE 006 LET'S PLAY HOUSE PAGE 054 WHEN NATURE CALLS PAGE 088 WALK THIS WAY PAGE 134 JUST LOSE IT PAGE 180 BLOW UP PAGE 232 --------------------------------......q INDEX \ NOX PAGE 258 PIET HEIN EEK PAGES 1B2, 183 ROB VOERMAN PAGES 206, 207 Lars Spuybroek Netherlands I www.pietheineek.nl Netherlands I www.robvoerman.nl Netherlands I www.noxarch.com [KROLLER-MOLLER TICKET HOUSE I GAROENHOUSE TEAROOMJ [ANNEX # 4J Credits: Collection ABN-AMRO Bank [SON-O-HOUSEJ Credits: In collaboration with Chris Seung-woo Yoo, [TARNUNG # 2J Photos (interior): Berthold Stadler I Credits: Courtesy Josef Glas, Ludovica Tramontin, Kris Mun, Josef Glas, Geri Stavreva, PJOTR MULLER PAGE 19 Upstream Gallery and BodhiBerlin. exhibition made possible by the and Nicola Lammers Netherlands I pjotrmuller.org Netherlands Foundation for Visual Arts, Architecture and Design and [HOUSE FOR OR. JUNGJ Photos: Rik Klein Gotink I Credits: www.phoebus.nl the Dutch Embassy. 02 TREEEHOUSE PAGE 124 Dustin Feider PRIMITIVO SUAREZ-WOLFE, GINGER WOLFE-SUAREZ 6 ROCIO ROMERO PAGE 30 USA I www.o2Treehouse.com AND MOIRA ROTH PAGE 27 [02 TREEHOUSE SEQUOIAJ Photos: Oustin Feider USA [SHELTER FOR POETRYJ Photos: Courtesy Yerba Buena Center for OBSERVATORIUM PAGES 52, 65, 94 the Arts Geert van de Camp, Andre Dekker, Ruud Reutelingsperger Netherlands I www.observatorium.org PROJECT OR PAGE 257 RODERICK ROMERO PAGES 121, 128 [PAVILION FOR ZECHE ZOLLVEREINJ -
Book by Winnie Holzman
Libretto Book Wicked A New Musical Music and Lyrics by Stephen Schwartz Book by Winnie Holzman Based on the novel Wicked: The Life and Times of The Wicked Witch of the West by Gregory Maguire Originally Directed by Joe Mantello Originally Produced on Broadway by Marc Platt, Universal Pictures, The Araca Group, Jon B. Platt and David Stone HTTP://COPIONI.CORRIERESPETTACOLO.IT Wicked Cast: Glinda Kristin Chenoweth Elphaba Idina Menzel Fiyero Norbert Leo Butz Nessarose Michelle Federer Boq Christopher Fitzgerald The Wonderful Wizard of Oz Joel Grey Madame Morrible Carole Shelley Doctor Dillamond William Youmans Ensemble Kristy Cates Melissa Bell Chait Marcus Choi Kristoffer Cusick Kathy Deitch Melissa Fahn Rhett G. George Manuel Herrera Kisha Howard LJ Jellison Cristy Candler Sean McCourt Corinne McFadden Jan Neuberger Walter Winston Oneil Andrew Palermo Andy Pellick Michael Seelbach Lorna Ventura Ioana Alfonso Ben Cameron HTTP://COPIONI.CORRIERESPETTACOLO.IT ACT I [Scene 1 - No One Mourns The Wicked] Ozians: GOOD NEWS, SHE'S DEAD! THE WITCH OF THE WEST IS DEAD! THE WICKEDEST WITCH THERE EVER WAS, THE ENEMY OF ALL OF US HERE IN OZ, IS DEAD! GOOD NEWS! GOOD NEWS! Ozian: Look, it's Glinda! (Glinda floats in on a giant bubble) Glinda: It's good to see me, isn't it? (Ozians Agree) No need to respond that was rhetorical. Fellow Ozians, LET US BE GLAD, LET US BE GRATEFUL, LET US REJOICIFY THAT GOODNESS COULD SUBDUE THE WICKED WORKINGS OF YOU KNOW WHO! ISN'T IT NICE TO KNOW THAT GOOD WILL CONQUER EVIL? THE TRUTH WE ALL BELIEVE'LL BY AND BY OUTLIVE A LIE FOR YOU AND.. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Doing the Time Warp: Queer Temporalities and Musical Theater Permalink https://escholarship.org/uc/item/1k1860wx Author Ellis, Sarah Taylor Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Doing the Time Warp: Queer Temporalities and Musical Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Sarah Taylor Ellis 2013 ABSTRACT OF THE DISSERTATION Doing the Time Warp: Queer Temporalities and Musical Theater by Sarah Taylor Ellis Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2013 Professor Sue-Ellen Case, Co-chair Professor Raymond Knapp, Co-chair This dissertation explores queer processes of identification with the genre of musical theater. I examine how song and dance – sites of aesthetic difference within the musical – can warp time and enable marginalized and semi-marginalized fans to imagine different ways of being in the world. Musical numbers can complicate a linear, developmental plot by accelerating and decelerating time, foregrounding repetition and circularity, bringing the past to life and projecting into the future, and physicalizing dreams in a narratively open present. These excesses have the potential to contest naturalized constructions of historical, progressive time, as well as concordant constructions of gender, sexual, and racial identities. While the musical has historically been a rich source of identification for the stereotypical white gay male show queen, this project validates a broad and flexible range of non-normative readings. -
2018 Annual Report
Annual Report 2018 Dear Friends, welcome anyone, whether they have worked in performing arts and In 2018, The Actors Fund entertainment or not, who may need our world-class short-stay helped 17,352 people Thanks to your generous support, The Actors Fund is here for rehabilitation therapies (physical, occupational and speech)—all with everyone in performing arts and entertainment throughout their the goal of a safe return home after a hospital stay (p. 14). nationally. lives and careers, and especially at times of great distress. Thanks to your generous support, The Actors Fund continues, Our programs and services Last year overall we provided $1,970,360 in emergency financial stronger than ever and is here for those who need us most. Our offer social and health services, work would not be possible without an engaged Board as well as ANNUAL REPORT assistance for crucial needs such as preventing evictions and employment and training the efforts of our top notch staff and volunteers. paying for essential medications. We were devastated to see programs, emergency financial the destruction and loss of life caused by last year’s wildfires in assistance, affordable housing, 2018 California—the most deadly in history, and nearly $134,000 went In addition, Broadway Cares/Equity Fights AIDS continues to be our and more. to those in our community affected by the fires and other natural steadfast partner, assuring help is there in these uncertain times. disasters (p. 7). Your support is part of a grand tradition of caring for our entertainment and performing arts community. Thank you Mission As a national organization, we’re building awareness of how our CENTS OF for helping to assure that the show will go on, and on. -
NEW Media Document.Indd
MEDIA RELEASE WICKED is coming to Australia. The hottest musical in the world will open in Melbourne’s Regent Theatre in July 2008. With combined box office sales of $US 1/2 billion, WICKED is already one of the most successful shows in theatre history. WICKED opened on Broadway in October 2003. Since then over two and a half million people have seen WICKED in New York and just over another two million have seen the North American touring production. The smash-hit musical with music and lyrics by Stephen Schwartz (Godspell, Pippin, Academy Award-winner for Pocahontas and The Prince of Egypt) and book by Winnie Holzman (My So Called Life, Once And Again and thirtysomething) is based on the best-selling novel by Gregory Maguire. WICKED is produced by Marc Platt, Universal Pictures, The Araca Group, Jon B. Platt and David Stone. ‘We’re delighted that Melbourne is now set to follow WICKED productions in New York, Chicago, Los Angeles, the North American tour and London’s West End,’ Marc Platt and David Stone said in a joint statement from New York. ‘Melbourne will join new productions springing up around the world over the next 16 months, and we’re absolutely sure that Aussies – and international visitors to Melbourne – will be just as enchanted by WICKED as the audiences are in America and England.’ WICKED will premiere in Tokyo in June; Stuttgart in November; Melbourne in July 2008; and Amsterdam in 2008. Winner of 15 major awards including the Grammy Award and three Tony Awards, WICKED is the untold story of the witches of Oz. -
A Rhetorical Analysis of Wicked's Elphaba
“IT’S JUST THAT FOR THE FIRST TIME, I FEEL… WICKED”: A RHETORICAL ANALYSIS OF WICKED’S ELPHABA USING KENNETH BURKE’S GUILT-PURIFICATION-REDEMPTION CYCLE by Patricia C. Foreman A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree Master of Arts in Communication Studies at Liberty University May 2013 Foreman 2 Acknowledgements First and foremost, to “my Dearest, Darlingest Momsy and Popsicle,” and to my brother Gary, thank you so much for your constant support, encouragement, direction and love. I appreciate your words of wisdom and advice that always seem to be just what I need to hear. To each of my fellow graduate assistants, thank you for “dancing through life” with me. Thank you for becoming not only co-workers, but also some of my best friends. To my thesis committee – Dr. William Mullen, Dr. Faith Mullen, and Dr. Lynnda S. Beavers – thank you all so much for your help. This finished thesis is, without a doubt, the “proudliest sight” I’ve ever seen, and I thank you for your time, effort and input in making this finished product a success. Finally, to Mrs. Kim, and all of my fellow “Touch of Swing”-ers, who inspired my love of the Wicked production, and thus, this study. For the long days of rehearsals, even longer nights on tour buses, and endless hours of memories that I’ll not soon forget... “Who can say if I’ve been changed for the better? I do believe I have been changed for the better. And because I knew you, I have been changed for good.” Foreman 3 In Memory Of… Lauren Tuck May 14, 1990 – September 2, 2010 “It well may be that we will never meet again in this lifetime, so let me say before we part, so much of me is made of what I learned from you. -
Info Fair Resources
………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… Info Fair Resources ………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… SCHOOL OF VISUAL ARTS 209 East 23 Street, New York, NY 10010-3994 212.592.2100 sva.edu Table of Contents Admissions……………...……………………………………………………………………………………… 1 Transfer FAQ…………………………………………………….…………………………………………….. 2 Alumni Affairs and Development………………………….…………………………………………. 4 Notable Alumni………………………….……………………………………………………………………. 7 Career Development………………………….……………………………………………………………. 24 Disability Resources………………………….…………………………………………………………….. 26 Financial Aid…………………………………………………...………………………….…………………… 30 Financial Aid Resources for International Students……………...…………….…………… 32 International Students Office………………………….………………………………………………. 33 Registrar………………………….………………………………………………………………………………. 34 Residence Life………………………….……………………………………………………………………... 37 Student Accounts………………………….…………………………………………………………………. 41 Student Engagement and Leadership………………………….………………………………….. 43 Student Health and Counseling………………………….……………………………………………. 46 SVA Campus Store Coupon……………….……………….…………………………………………….. 48 Undergraduate Admissions 342 East 24th Street, 1st Floor, New York, NY 10010 Tel: 212.592.2100 Email: [email protected] Admissions What We Do SVA Admissions guides prospective students along their path to SVA. Reach out -
English 252: Theatre in England 2006-2007 * [Optional Events
English 252: Theatre in England 2006-2007 * [Optional events — seen by some] Wednesday December 27 *2:30 p.m. Guys and Dolls (1950). Dir. Michael Grandage. Music & lyrics by Frank Loesser, Book by Jo Swerling and Abe Burrows. Based on a story and characters of Damon Runyon. Designer: Christopher Oram. Choreographer: Rob Ashford. Cast: Alex Ferns (Nathan Detroit), Samantha Janus (Miss Adelaide), Amy Nuttal (Sarah Brown), Norman Bowman (Sky Masterson), Steve Elias (Nicely Nicely Johnson), Nick Cavaliere (Big Julie), John Conroy (Arvide Abernathy), Gaye Brown (General Cartwright), Jo Servi (Lt. Brannigan), Sebastien Torkia (Benny Southstreet), Andrew Playfoot (Rusty Charlie/ Joey Biltmore), Denise Pitter (Agatha), Richard Costello (Calvin/The Greek), Keisha Atwell (Martha/Waitress), Robbie Scotcher (Harry the Horse), Dominic Watson (Angie the Ox/MC), Matt Flint (Society Max), Spencer Stafford (Brandy Bottle Bates), Darren Carnall (Scranton Slim), Taylor James (Liverlips Louis/Havana Boy), Louise Albright (Hot Box Girl Mary-Lou Albright), Louise Bearman (Hot Box Girl Mimi), Anna Woodside (Hot Box Girl Tallulha Bloom), Verity Bentham (Hotbox Girl Dolly Devine), Ashley Hale (Hotbox Girl Cutie Singleton/Havana Girl), Claire Taylor (Hot Box Girl Ruby Simmons). Dance Captain: Darren Carnall. Swing: Kate Alexander, Christopher Bennett, Vivien Carter, Rory Locke, Wayne Fitzsimmons. Thursday December 28 *2:30 p.m. George Gershwin. Porgy and Bess (1935). Lyrics by DuBose Heyward and Ira Gershwin. Book by Dubose and Dorothy Heyward. Dir. Trevor Nunn. Design by John Gunter. New Orchestrations by Gareth Valentine. Choreography by Kate Champion. Lighting by David Hersey. Costumes by Sue Blane. Cast: Clarke Peters (Porgy), Nicola Hughes (Bess), Cornell S. John (Crown), Dawn Hope (Serena), O-T Fagbenie (Sporting Life), Melanie E. -
Press Release
Press Release Whitney Museum of American Art Contact: 945 Madison Avenue at 75th Street Whitney Museum of American Art New York, NY 10021 212-570-3633 www.whitney.org/press Tel. (212) 570-3633 Fax (212) 570-4169 [email protected] ARTISTS SELECTED FOR 2008 WHITNEY BIENNIAL, OPENING MARCH 6 New York, March 4, 2008 – Eighty-one artists are participating in the 2008 Whitney Biennial, which opens at the Whitney Museum of American Art, 945 Madison Avenue at 75th Street, on March 6, and runs through June 1, 2008. Installations and performances organized by the Whitney and Art Production Fund,will also be presented in association with Park Avenue Armory (67th Street) from March 6-23. Since its founding in 1932, the Biennial has evolved into the Whitney’s signature exhibition as well as the most important survey of the state of contemporary art in the United States today. The exhibition will occupy the entire Museum, with the exception of the fifth floor, which is devoted to the permanent collection. For the first time, the Biennial will expand beyond the Museum’s Breuer building into Park Avenue Armory’s monumental Drill Hall and historic period rooms, creating an opportunity to present works that could not be accommodated within the Whitney’s walls and remaining true to the fluid, interactive way in which these works were conceived. The 2008 Biennial is curated by Henriette Huldisch, Assistant Curator at the Whitney, and Shamim M. Momin, Associate Curator at the Whitney and Branch Director and Curator of the Whitney Museum at Altria, and overseen by Donna De Salvo, the Whitney’s Chief Curator and Associate Director for Programs. -
The Stocking Ancestry
T HE S TOCKING A NCE S T RY II The date usually accepted as th at on wh i c h surnames came into recog . o D 1 0 0 0 . y o o ni ze d use is A . The were m re generally names b rr wed from wh i c h or estates on their wearers resided , and they , therefore , indicate igi of r nal landed proprietors . In process of time , the use su names was to on o extended natural obj ects , and later , to the professi ns and trades , and even to personal traits and characteristics . On the accession of to William the Conqueror to the English crown , he caused be published , in 1 0 8 —8 6 i 3 , a survey of the demesnes in his new k ngdom , with their metes o r and b unds , description of lands , varieties of tenures , classes of pe sons , o o . es kinds of m ney , statistical accounts , and hist rical matters From th e t k o o of William ascer ained a nowledge of the p ssessi ns the crown , the num - y ber of land holders , the militar strength , and best sources of revenue . m B ok This publication was known as D o esday o . It was the first record two published at the cost of the nation ; in volumes , it forms until the of hi ri of present day the basis sto cal records those ancient times , and fixes ! the domiciles of all the then families of p osition and respectability . -
Star Power, Pandemics, and Politics: the Role of Cultural Elites in Global Health Security Holly Lynne Swayne University of South Florida, [email protected]
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School September 2018 Star Power, Pandemics, and Politics: The Role of Cultural Elites in Global Health Security Holly Lynne Swayne University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the Mass Communication Commons, Political Science Commons, and the Public Health Commons Scholar Commons Citation Swayne, Holly Lynne, "Star Power, Pandemics, and Politics: The Role of Cultural Elites in Global Health Security" (2018). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/7581 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Star Power, Pandemics, and Politics The Role of Cultural Elites in Global Health Security by Holly Lynne Swayne A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy School of Interdisciplinary Global Studies University of South Florida Major Professor: M. Scott Solomon, Ph.D. Linda Whiteford, Ph.D. Janna Merrick, Ph.D. Peter N. Funke, Ph.D. Date of Approval March 30, 2018 Keywords: global health, celebrity, activism, culture studies, mass media, power, influence. Copyright © 2018, Holly Lynne Swayne Dedication To my mom, whose strength has inspired and saved me in ways I cannot begin to describe. To my dad, who taught me by example about grace and compassion, and always believed in the beauty of my dreams. -
The German Pavilion Team Welcomes You at the 52Nd International Art Exhibition La Biennale Di Venezia 2007
Welcome! The German Pavilion team welcomes you at the 52nd International Art Exhibition La Biennale di Venezia 2007. Our press kit comprises following information: • Press information • Information in brief • Isa Genzken´s work “Oil” for the German Pavilion • Conversation between Isa Genzken and Nicolaus Schafhausen • Biography of the artist Isa Genzken • Biography of the curator Nicolaus Schafhausen • Background information of the German Pavilion • Press information of the commissioner Federal Foreign Office (Auswärtiges Amt) • Press information of the collaborator Institute of Foreign Cultural Relations (ifa) • Press information of the main sponsor Deutsche Bank • Press information of the sponsor AXA Art Kunstversicherung • Press information of the media partner DW-TV – Deutsche Welle • Press information of the catalogue partner DuMont Literatur und Kunst Verlag • “Vogue Special German Pavilion” of the media partner Vogue Germany Thank you for your interest in the German Pavilion. We wish you a pleasant and in- spiring stay at Venice! Press Information Isa Genzken Oil German Pavilion La Biennale di Venezia 2007 Isa Genzken is the artist of the German contribution to the 52nd International Art Exhi- bition of the Biennale in Venice. The curator is Nicolaus Schafhausen, director of the Witte de With, Center for Contemporary Art in Rotterdam. For more than thirty years, Genzken (born in 1948) has been producing a diverse oeuvre that is continually being refined with new twists. Her extensive body of work includes sculpture and installations as well as photographs, collages and films. Genzken is creating an exhibition for the German Pavilion in Venice that envelops the architecture of the building, which is steeped in history, and presents it in a mise-en- scène that also comments that history.