FRENCH CONVENTION SCHOLARS BOWL Toss-Up Questions 1. Where
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Marcel Marceau with JEAN-LUC VERNA and JONATHAN LAMBERT
Presented by in Arbor THE UNIVERSITY imer MUSICAL SOCIETY OF THE HstiM UNIVERSITY OF MICHIGAN Marcel Marceau with JEAN-LUC VERNA and JONATHAN LAMBERT Two different programs: Saturday and Sunday, July 7 and 8, 1984, at 8:00 (Program I) Wednesday and Thursday, July 11 and 12, 1984, at 8:00 (Program II) Power Center for the Performing Arts Ann Arbor, Michigan Mr. Marceau will make his selections from the following: Style Pantomimes Walking Contrasts Walking Against the Wind The Maskmaker The Staircase The Seven Deadly Sins The Tight Rope Walker Youth, Maturity, Old Age and Death The Public Garden The Tango Dancer The Bill Poster The Small Cafe The Kite The Dice Players The Sculptor The Four Seasons The Painter The Dream The Cage The Creation of the World The Bureaucrats The Trial The Hands The Angel Rememberances The Dress The Side Show The Tree The Pickpocket's Nightmare The Amusement Park INTERMISSION Bip Pantomimes Bip in the Subway Bip as a Baby Sitter Bip Travels by Train Bip as a Professor of Botany Bip as a Skater Bip as a Lion Tamer Bip Hunts Butterflies Bip Looks for a Job Bip Plays David and Goliath Bip in the Modern and Future Life Bip Commits Suicide Bip as a Tailor in Love Bip as a Soldier Bip Dreams He Is Don Juan Bip at a Society Party Bip, Great Star of a Traveling Circus Bip as a Street Musician Bip and the Dating Service Bip as a China Salesman Bip as a Great Artist Bip as a Fireman Bip Remembers Presentation of Cards by Jean-Luc Verna About the Artist Marcel Marceau, master of the ancient dramatic art of mime, brings his creative genius and his esteemed teaching abilities to the first Ann Arbor Summer Festival. -
The Magazine
in this edition : THE 3 Joris Ivens on DVD The release in Europe 6 Joris Ivens 110 Tom Gunning MAGAZINE 9 Politics of Documen- tary Nr 14-15 | July 2009 European Foundation Joris Ivens Michael Chanan ar ers y Jo iv r 16 - Ivens, Goldberg & n is n I a v the Kinamo e h n t Michael Buckland s 0 1 1 s110 e p u ecial iss 40 - Ma vie balagan Marceline Loridan-Ivens 22 - Ivens & the Limbourg Brothers Nijmegen artists 34 - Ivens & Antonioni Jie Li 30 - Ivens & Capa Rixt Bosma July 2009 | 14-15 1 The films of MAGAZINE Joris Ivens COLOPHON Table of contents European Foundation Joris Ivens after a thorough digital restoration Europese Stichting Joris Ivens Fondation Européenne Joris Ivens Europäische Stiftung Joris Ivens 3 The release of the Ivens DVD-box set The European DVD-box set release André Stufkens Office 6 Joris Ivens 110 Visiting adress Tom Gunning Arsenaalpoort 12, 6511 PN Nijmegen Mail 9 Politics of Documentary Pb 606 NL – 6500 AP Nijmegen Michael Chanan Telephone +31 (0)24 38 88 77 4 11 Art on Ivens Fax Anthony Freestone +31 (0)24 38 88 77 6 E-mail 12 Joris Ivens 110 in Beijing [email protected] Sun Hongyung / Sun Jinyi Homepage www.ivens.nl 14 The Foundation update Consultation archives: Het Archief, Centrum voor Stads-en Streekhistorie Nijmegen / Municipal 16 Joris Ivens, Emanuel Goldberg & the Archives Nijmegen Mariënburg 27, by appointment Kinamo Movie Machine Board Michael Buckland Marceline Loridan-Ivens, president Claude Brunel, vice-president 21 Revisit Films: José Manuel Costa, member Tineke de Vaal, member - Chile: Ivens research -
Mime. This Study Was Executed in a Four-Month Class Taught at Texas Tech University
MIME AS AN ACTOR TRAINING TECHNIQUE A PROFESSIONAL PROBLEM by DEBORA FAY DAVIS, B.F.A., M.F.A. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted May, 1991 Copyright 1991 Debora Fay Davis ACKNOWLEDGMENTS I would like to thank my committee for their support with a particular debt of gratitude to Dr. George W. Sorensen for all of his guidance and direction in this project. I would also like to thank the students in my class who made this project possible through their hard work and patience. I would particularly like to thank my parents who have always been there when I needed them through the thick and the thin of it all. Thanks to you all for allowing me to work on a project that is very dear to my heart! 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT v CHAPTER I. INTRODUCTION 1 Background of the Problem 1 Methodology 5 11 . MIME IN SEARCH OF ITS MARK 12 What is Mime? 12 A Brief History of Mime 28 III . THE EMPLOYMENT OF THE EXERCISE 45 The Body 48 The Arms 60 The Legs 72 The Complete Illusion 80 IV. THE MATURATION OF THE MIME 92 The Complete Mime 94 The Fantastic Mime 97 The Realistic Mime 110 The Improvisation 121 V. THE INTERDISCIPLINARY INTEGRATION 128 The Interdisciplinary Philosophy 131 The Interdisciplinary Mime 139 iii VI . PROPS AND PECULIARITIES OF THE MIME 162 Costumes 165 Makeup 167 Silence 170 Masks 17 4 Props and Scenery 178 VII. -
January 2021
ESTMINSTER Volume XII No.1 UARTERLY January 2021 A Jewish society wedding c.1892 Anglo-Jewish High Society The Philippines and the Holocaust The Children Smuggler ‘The Little Doctor’ From the Rabbi ‘Woe is me, perhaps because I have have identified; they suggest that, as the sinned, the world around me is being Festival itself marks increased darkness, darkened and returning to its state of let the candles reflect this reality too. chaos and confusion; this then is the Remove one each day, starting with the kind of death to which I have been eighth. The view of the School of Hillel sentenced from Heaven!’ So he began may also acknowledge that the world is keeping an eight-day fast. getting darker, but the ritual response is the opposite. When the world gets darker But as he observed the winter solstice we bring more light. and noted the day getting increasingly longer, he said, ‘This is the world’s So let us pay respect to both views. course’, and he set forth to keep an eight- Together we have the strength in our day festival. community to acknowledge the darkness in the world, and also to bring more light. (Adapted from the Babylonian Talmud, Many of us in the last year have stepped tractate Avodah Zara, page 8a.) up to contact and care for other members of our community, and we have benefited Together we have the from the resulting conversations and How do we respond to increased relations. We have found new creativity darkness? In Franz Kafka’s short story, strength in our to ensure our togetherness, building Before the Law, a man spends his whole community to special High Holy Days. -
Compositions Grandes Lignes, Époque Ivb 1980-1990
Composition des trains grandes lignes – Bourgogne - 1500V - époque IVb 1980-1990 HIVER 1980/81 EXP 5320 BOURG ST MAURICE- LE HAVRE CC 7100 + B9c9x UIC + A4c4B5c5x UIC + B9c9x UIC + B9c9x UIC + A4c4B5c5x UIC + B9c9x UIC + B9c9x UIC + A4c4B5c5x UIC + B9c9x UIC + B9c9x UIC + A4c4B5c5x UIC + B9c9x UIC ETE 1980 RAP 182 “LE TRAIN BLEU” VINTIMILLE - PARIS BB 22200 + WLAB T2 + WLAB T2 + WLAB MU + WLAB MU + WLAB MU + B10c10x VU + B10c10x VU + B9c9x UIC + B10c10x VU + B10c10x VU + B10c10x VU + B10c10x VU + B10c10x VU + B10c10x VU RAP 196 “L’ESTEREL” NICE - PARIS BB 22200 + B10c10x VU + B10c10x VU + B10c10x VU + B10c10x VU + B10c10x VU + B10c10x VU + B10c10x VU + B10c10x VU + WLAB T2 + WLAB T2 + WLAB MU + Dd4 UIC Rmb – Rails miniatures de la boucle Sigle SNCF : 1985 "nouille", 1992 "casquette", 2005 "carmillon" 1 Composition des trains grandes lignes – Bourgogne - 1500V - époque IVb 1980-1990 RAP 5018 “COTE D’AZUR” NICE - PARIS BB 22200 + B10 UIC + B10 UIC + B10 UIC + A8j DEV + A4c4B5cx UIC + B9c9x UIC + B9c9x UIC + B9c9x UIC + B9c9x UIC + B9c9x UIC + A9c9x VU + A9c9x VU + A9c9x VU RAP 5024 NICE - PARIS BB 7200 + A9u VSE + B11tu VTU + B11tu VTU + B11tu VTU + B6Du VU + B11tu VTU + B11tu VTU + B11tu VTU + VR GE + A9u VSE + A9u VSE + A10tu VTU + A9u VSE + B11tu VTU EXP 5061 PARIS - VINTIMILLE BB 22200 + WLAB MU + WLAB T2 + A9c9x VU + B10c10x VU +A9 UIC + B10 UIC + B10 UIC + B10 UIC + B10 UIC + B10c10x VU + A9c9x VU + A9c9x VU + A9c9x VU + Dd2s MC76 + Paz UIC Rmb – Rails miniatures de la boucle Sigle SNCF : 1985 "nouille", 1992 "casquette", 2005 "carmillon" -
Genèse Du Mistral Par Interaction Barocline Et Advection Du Tourbillon Potentiel
24 Genèse du Mistral par interaction barocline et advection du tourbillon potentiel GENÈSE DU MISTRAL PAR INTERACTION BAROCLINE ET ADVECTION DU TOURBILLON POTENTIEL « Vers une nouvelle approche dynamique pour une meilleure définition du maître des vents » Christophe YOHIA UMS 3470 OSU - Institut Pythéas Aix-Marseille Université, CNRS / INSU, IRD, Toulon Université 163 avenue de Luminy, Case 901 13288 Marseille – France [email protected] Résumé Cette étude introduit la notion de cyclonisme dynamique de Lee dans la genèse de la situation météorologique de Mistral. Ensuite, le processus d'interaction barocline renforçant les conditions de violence, de sécheresse et de fraîcheur de ce ʺmaître des ventsʺ de Provence est décrit. Enfin, le cas des régimes de vents de nord-ouest, ayant une dynamique atmosphérique bien différente de celle du Mistral bien qu’ils soient de même secteur, sera détaillé afin de discriminer les deux cas et de spécifier les critères permettant d'affiner la définition du Mistral. La nouvelle définition dite dynamique montre que le nombre de jours de Mistral serait en moyenne de 30 jours contre 80 jours par an. Mots-clés : Mistral, barocline, tourbillon potentiel, effet Venturi, cyclone de Lee. Abstract Genesis of Mistral: a combination of baroclinic interaction and potential vorticity advection The present study introduces the concept of Lee cyclonism dynamic in the genesis of the Mistral meteorological situation in the western Mediterranean. It subsequently describes the baroclinic interaction process intensifying the violence, drought and coldness conditions of this ʺmaster windʺ of Provence. Finally, this study lightens the other north-west wind conditions, regularly mistaken with Mistral due to their commun direction, however with different atmospheric dynamics. -
European Train Names: a Historic Outline Christian Weyers
ONOMÀSTICA BIBLIOTECA TÈCNICA DE POLÍTICA LINGÜÍSTICA European Train Names: a Historic Outline* Christian Weyers DOI: 10.2436/15.8040.01.201 Abstract This paper gives a first overview of the onomastic category of train names, searches to classify the corpus and reviews different stages of their productivity. Apart from geographical names (toponyms, choronyms, compass directions) generally indicating points of origin and destination of the trains in question, a considerable number of personal names have entered this category, of classical literary authors, musicians and scientists, but also of many fictional or non-fictional characters taken from literature or legendary traditions. In some cases also certain symbolic attributes of these persons and finally even heraldic figures have given their names to trains. In terms of their functionality, train names originally were an indicator of exclusiveness and high grade of travel quality, but they developed gradually, as they dispersed over the European continent, into a rather unspecific, generalized appellation, also for regional and local trains. After two periods of prosperity after 1950, the privatisation of railway companies starting in the 1990s had again a very positive effect on the category, as the number of named trains initially reached a new record in this decade. ***** The first train names appeared in England in the 1860s in addition to names for steam locomotives, and on two different levels. The Special Scotch Express between London King’s Cross and Edinburgh (inaugurated in 1862) was called by the public The Flying Scotsman from the 1870s, but it succeeded as the official name not before 1924. Also the names of the German diesel trainsets Der Fliegende Hamburger and Der Fliegende Kölner were colloquial name creations, as were the Train Bleu and the Settebello operated from 1922 and 1953 but officially named in 1947 and 1958, respectively. -
Activity 12Th November 2013
Episode 32 Activity 12th November 2013 Mime Key Learning Students will practise and perform their own mime, work cooperatively with other classmates and develop creativity. The Australian Curriculum English / Literacy / Interacting with others English / Literacy / Interacting with others Use interaction skills when discussing and presenting ideas and Use interaction skills, for example paraphrasing, questioning information, selecting body language, voice qualities and other and interpreting non-verbal cues and choose vocabulary and elements, (for example music and sound) to add interest and vocal effects appropriate for different audiences and meaning (ACELY1804) purposes (ACELY1796) Discussion Questions 1. What is mime? 2. What does mime mean in ancient Greek? a. To imitate b. To run c. To be happy 3. Mime is one of the earliest forms of drama. True or false? 4. A mime artist will often dress in which two colours? 5. What French actor is famous for their miming performances? 6. What Aussie performers are well known for their mime? 7. What skills do you need to be a good mime artist? 8. What mime routine does Tash practise in the Mime story? 9. What colour do mime artists often paint their face? 10. Practice the ‘trapped in a box’ mime as a class. Activities Practise mime As a class practice the ‘trapped in a box mime’ like Tash does in the BtN Mime story. Refer to Step 5 in the WikiHow ‘How to Mime’ tutorial http://www.wikihow.com/Mime What did you find difficult? How did you use your body to convey emotions, attitudes and reactions? How could you make your mime interesting for your audience? Why is imagination and creativity so important in the art of mime? ©ABC 2013 Ask students to choose another physical movement to mime, for example flying a kite, playing soccer or cooking a cake. -
Miming Modernity: Representations of Pierrot in Fin-De-Siècle France
Southern Methodist University SMU Scholar Art History Theses and Dissertations Art History Spring 5-15-2021 Miming Modernity: Representations of Pierrot in Fin-de-Siècle France Ana Norman [email protected] Follow this and additional works at: https://scholar.smu.edu/arts_arthistory_etds Part of the Lesbian, Gay, Bisexual, and Transgender Studies Commons, and the Modern Art and Architecture Commons Recommended Citation Norman, Ana, "Miming Modernity: Representations of Pierrot in Fin-de-Siècle France" (2021). Art History Theses and Dissertations. 7. https://scholar.smu.edu/arts_arthistory_etds/7 This Thesis is brought to you for free and open access by the Art History at SMU Scholar. It has been accepted for inclusion in Art History Theses and Dissertations by an authorized administrator of SMU Scholar. For more information, please visit http://digitalrepository.smu.edu. MIMING MODERNITY: REPRESENTATIONS OF PIERROT IN FIN-DE-SIÈCLE FRANCE Approved by: _______________________________ Dr. Amy Freund Associate Professor of Art History _______________________________ Dr. Elizabeth Eager Assistant Professor of Art History _______________________________ Dr. Randall Griffin Distinguished Professor of Art History !"Doc ID: ec9532a69b51b36bccf406d911c8bbe8b5ed34ce MIMING MODERNITY: REPRESENTATIONS OF PIERROT IN FIN-DE-SIÈCLE FRANCE A Thesis Presented to the Graduate Faculty of Meadows School of the Arts Southern Methodist University in Partial Fulfillment of the Requirements for the degree of Master of Art History by Ana Norman B.A., Art History, University of Dallas May 15, 2021 Norman, Ana B.A., Art History, University of Dallas Miming Modernity: Representations of Pierrot in Fin-de-Si cle France Advisor: Dr. Amy Freund Master of Art History conferred May 15, 2021 Thesis completed May 3, 2021 This thesis examines the commedia dell’arte character Pierrot through the lens of gender performance in order to decipher the ways in which he complicates and expands understandings of gender and the normative model of sexuality in fin de siècle France. -
Publication DILA
o Cinquantième année. – N 159 A ISSN 0298-296X Samedi 13 et dimanche 14 août 2016 BODACCBULLETIN OFFICIEL DES ANNONCES CIVILES ET COMMERCIALES ANNEXÉ AU JOURNAL OFFICIEL DE LA RÉPUBLIQUE FRANÇAISE DIRECTION DE L’INFORMATION Standard......................................... 01-40-58-75-00 LÉGALE ET ADMINISTRATIVE Annonces....................................... 01-40-58-77-56 26, rue Desaix, 75727 PARIS CEDEX 15 Accueil commercial....................... 01-40-15-70-10 www.dila.premier-ministre.gouv.fr www.bodacc.fr Télécopie........................................ 01-40-58-79-14 BODACC “A” Ventes et cessions - Créations d’établissements Procédures collectives Procédures de rétablissement personnel Avis relatifs aux successions Avis aux lecteurs Les autres catégories d’insertions sont publiées dans deux autres éditions séparées selon la répartition suivante Modifications diverses........................................ BODACC “B” Radiations ............................................................ } Avis de dépôt des comptes des sociétés ....... BODACC “C” Conformément à l’article 4 de l’arrêté du 17 mai 1984 relatif à la constitution et à la commercialisation d’une banque de données télématique des informations contenues dans le BODACC, le droit d’accès prévu par la loi no 78-17 du 6 janvier 1978 s’exerce auprès de la Direction de l’information légale et administrative. Avis aux lecteurs Les parutions du BODACC ont cessé d’être imprimées depuis le 1er juillet 2015. Chaque jour, retrouvez les derniers bulletins diffusés en page d’accueil du site www.bodacc.fr www.bodacc.fr les annonces civiles et commerciales sur Internet . 2 − BODACC no 159 A − 14 août 2016 VENTES ET CESSIONS CRÉATIONS D’ÉTABLISSEMENTS IMMATRICULATIONS (Décrets nos 67-237 et 67-238 du 23 mars 1967, no 78-705 du 3 juillet 1978) 01 - AIN montage de flexibles se rapportant exclusivement à l’incendie la plongée et l’environnement moteur. -
The Routledge Companion to Performance Practitioners Copeau
This article was downloaded by: 10.3.98.104 On: 23 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK The Routledge Companion to Performance Practitioners Franc Chamberlain, Bernadette Sweeney Copeau (1879–1949) Publication details https://www.routledgehandbooks.com/doi/10.4324/9780367815998-3 Mark Evans Published online on: 17 Aug 2020 How to cite :- Mark Evans. 17 Aug 2020, Copeau (1879–1949) from: The Routledge Companion to Performance Practitioners Routledge Accessed on: 23 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780367815998-3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 COPEAU (1879–1949) Mark Evans 3.1 The life of Jacques Copeau In the history of the French theatre there are two periods: before and after Copeau. (Albert Camus in Saint-Denis 1982: 32) Jacques Copeau’s international success in the fields of journalism, playwriting, directing, acting and teaching represent a level of achievement unmatched in the history of modern French, and perhaps even modern European, theatre. -
Women in the Western Theatre Tradition Antiquity to 1700
Women in the Western Theatre Tradition Antiquity to 1700 Timeline Classical Period The Greek Theatre 2000-1100 B.C.E. Bronze Age Arrival of the Greeks in Greece. Rise and Fall of the Mycenean kingdoms. Trojan War occurs near the end of this period 1400 B.C. Cult of Dionysus, God of Wine, intoxication and sexual vitality established in Greece 1100-800 B.C.E. Dark Age Social and political recovery, evolution of the Greek City State, Rebirth of literacy Homer writes The Iliad and Odyssey on the exploits of the great Trojan and Greek Heroes of the Trojan War. Hesiod writes the Theogony, an epic account of the gods, their origins and exploits 7th-6th B.C.E. Cult of Dionysus reaches its greatest power. Festivals started with choruses of satyrs dancing in the street, followed by “fat” people wearing phalli. Dithyramb, hymn or song of praise to Dionysus started celebrating his life, death and resurrection. Choral leader emerges. Becomes narrator, improvising the story in song while the chorus fills in the story with traditional song and dance Women Most women, as far as can be traced, live private, domestic lives under the domination of fathers and husbands. Women in aristocratic families sometimes educated. Great mythic figures of women – goddesses, queens, princesses, priestesses – who will become the subjects of the great tragedies, recorded in the writings of Hesiod and Homer. Sappho (630-12?-570) first extant woman poet in the Greek tradition writes. Widely admired for her lyrical and love poetry. Later European women writers often compared to her favorably as continuing to write in her tradition.