Waitākere Ranges Local Board Meeting Held On
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
DAVID WILLIAMSON Is Australia's Best Known and Most Widely
DAVID WILLIAMSON is Australia’s best known and most widely performed playwright. His first full-length play The Coming of Stork was presented at La Mama Theatre in 1970 and was followed by The Removalists and Don’s Party in 1971. His prodigious output since then includes The Department, The Club, Travelling North, The Perfectionist, Sons of Cain, Emerald City, Top Silk, Money and Friends, Brilliant Lies, Sanctuary, Dead White Males, After the Ball, Corporate Vibes, Face to Face, The Great Man, Up For Grabs, A Conversation, Charitable Intent, Soulmates, Birthrights, Amigos, Flatfoot, Operator, Influence, Lotte’s Gift, Scarlet O’Hara at the Crimson Parrot, Let the Sunshine and Rhinestone Rex and Miss Monica, Nothing Personal and Don Parties On, a sequel to Don’s Party, When Dad Married Fury, At Any Cost?, co-written with Mohamed Khadra, Dream Home, Happiness, Cruise Control and Jack of Hearts. His plays have been translated into many languages and performed internationally, including major productions in London, Los Angeles, New York and Washington. Dead White Males completed a successful UK production in 1999. Up For Grabs went on to a West End production starring Madonna in the lead role. In 2008 Scarlet O’Hara at the Crimson Parrot premiered at the Melbourne Theatre Company starring Caroline O’Connor and directed by Simon Phillips. As a screenwriter, David has brought to the screen his own plays including The Removalists, Don’s Party, The Club, Travelling North and Emerald City along with his original screenplays for feature films including Libido, Petersen, Gallipoli, Phar Lap, The Year of Living Dangerously and Balibo. -
Melbourne Theatre Company
David Williamson’s WELCOME At MTC we are passionate about Australian stories, be they modern masterpieces or brand new plays fresh off the page. In our 2020 season new works dominate, but there was one classic we couldn’t go past, especially as its revival marks a particularly special milestone. In his 50th year as a playwright, we celebrate David Williamson’s incredible career and achievements as a writer with this new production of Emerald City – one of his finest plays and an undeniable Australian classic. As the 21st century seems to careen again into the Greed is Good world of self-interest, self-obsession, consumerism and real estate dreams so pervasive in the 1980s, there is no better time to re-visit this classic play. Set at the height of the 80s pandemic of wealth accumulation at all costs, Emerald City takes the blowtorch to one of our most visible signs of money vs humanity – the wrestle between art and commercialism. This high-velocity dramedy, full of Williamson wit and zingers, uses of course its infamous backdrop of Sydney/Melbourne rivalry to land its exploration of seduction by wealth, beauty and a gorgeous harbour view. But more broadly, its revival in 2020 asks whether we ever really left behind the Greed is Good years of the 80s. Please do read both David’s essay in this programme and that of director Sam Strong, who each write so eloquently about Emerald City’s themes and about David’s astonishing career. David is revered around the country as one of our most popular dramatists, and his prolific output and critical success have long secured his place in the literary canon. -
Black Institutions and the Rise of Student Activism In
SHELTER IN A TIME OF STORM: BLACK COLLEGES AND THE RISE OF STUDENT ACTIVISM IN JACKSON, MISSISSIPPI DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jelani Manu-Gowon Favors, B.A., M.A. The Ohio State University 2006 Dissertation Committee: Warren Van Tine, Adviser Hasan Kwame Jeffries, Co-Adviser Leslie Alexander William Nelson Jr. Approved by Adviser Graduate Program in History Co-Adviser Graduate Program in History Copyright by Jelani M. Favors ABSTRACT The most underdeveloped area of study concerning the Civil Rights Movement of the 1960’s is the effect of Black student activism during the explosive decade. The field is currently dominated by two-dimensional studies that define student activism under the banner of the Student Nonviolent Coordinating Committee (SNCC), or the Black Studies campaigns on white college campuses in the latter half of the decade. Assessing student protests merely through this lens yields a narrow view of this generation of activists. One cause of our failure to identify these students is that scholars of the Civil Rights Movement have ignored the very environment in which the majority of student activists lived, learned, socialized, and ultimately revolted. Analyses of Black colleges invariably conclude that they were paternalistic and their curriculums were conformist, if not geared toward assimilation. Students from these all-Black institutions in the South succeeded in their public and private assault against the policies of Jim Crow and at the dawn of the Civil Rights Movement they vaulted the struggle for human rights to unprecedented levels. -
Amigos Playtext.P65 1 2/06/04, 12:53 PM 2 AMIGOS
INTRODUCTION i DAVID WILLIAMSON’s first full-length play, The Coming of Stork, premiered at the La Mama Theatre, Carlton, in 1970 and later became the film Stork, directed by Tim Burstall. The Removalists and Don’s Party followed in 1971, then Jugglers Three (1972), What If You Died Tomorrow? (1973), The Department (1975), A Handful of Friends (1976), The Club (1977) and Travelling North (1979). In 1972 The Removalists won the Australian Writers’ Guild AWGIE Award for best stage play and the best script in any medium and the British production saw Williamson nominated most promising playwright by the London Evening Standard. The 1980s saw his success continue with Celluloid Heroes (1980), The Perfectionist (1982), Sons of Cain (1985), Emerald City (1987) and Top Silk (1989); whilst the 1990s produced Siren (1990), Money and Friends (1991), Brilliant Lies (1993), Sanctuary (1994), Dead White Males (1995), Heretic (1996), Third World Blues (an adaptation of Jugglers Three) and After the Ball (both in 1997), and Corporate Vibes and Face to Face (both in 1999). The Great Man (2000), Up for Grabs, A Conversation, Charitable Intent (all in 2001), Soulmates (2002) and Birthrights (2003) have since followed. Williamson is widely recognised as Australia’s most successful playwright and over the last thirty years his plays have been performed throughout Australia and produced in Britain, United States, Canada and many European countries. A number of his stage works have been adapted for the screen, including The Removalists, Don’s Party, The Club, Travelling North, Emerald City, Sanctuary and Brilliant Lies. David Williamson has won the Australian Film Institute film script award for Petersen (1974), Don’s Party (1976), Gallipoli (1981) and Travelling North (1987) and has won eleven Australian Writers’ Guild AWGIE Awards. -
Stratus: Journal of Arts and Writing
Stratus: Journal of Arts and Writing University of Washington Professional & Continuing Education Summer 2015 Edited and with an Introduction by Roxanne Ray Stratus: Journal of Arts and Writing University of Washington Professional & Continuing Education Published by UW Professional & Continuing Education Box 359485 Seattle, WA 98195-9485 www.pce.uw.edu/art-write-culture.html Copyright © 2015 by the authors All rights reserved Printed in the United States First edition: 2015 CAUTION: Professionals and amateurs are hereby warned that the writings and images in this book are subject to a royalty. They are fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan- American Copyright Convention and the Universal Copyright Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including professional, amateur, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound taping, all other forms of mechanical or electronic reproduction such as CD-ROM and CD-I, information storage and retrieval systems and photocopying, and the rights of translation into foreign languages, are strictly reserved. Particular emphasis is laid upon the question of public readings, permission for which must be secured from the Author’s agent in writing. Stratus: Journal of Arts and Writing University of Washington Professional & Continuing Education edited and with an Introduction by Roxanne Ray American literature. 2. American photography. 3. Stratus: Journal of Arts and Writing. -
A Feminist Narrative Inquiry of NHS Midwives Supporting and Facilitating Women’S Alternative Physiological Birthing Choices
‘Practising outside of the box, whilst within the system’: A feminist narrative inquiry of NHS midwives supporting and facilitating women’s alternative physiological birthing choices. by Claire Lauren Feeley RM, BSc (Hons), MSc Volume 1 A thesis submitted in partial fulfilment for the requirements for the degree of Doctor of Philosophy at the University of Central Lancashire. August 2019 i ii Abstract This thesis presents the findings of an original study that explored NHS midwives practice of facilitating women’s alternative physiological birthing choices - defined in this study as ‘birth choices that go outside of local/national maternity guidelines or when women decline recommended treatment of care, in the pursuit of a physiological birth’. The premise for this research relates to dominant sociocultural-political discourses of medicalisation, technocratic, risk-averse and institutionalisation that has shaped childbirth practices in the UK. For midwives working in the NHS, sociocultural-political and institutional constraints can negatively impact their ability to provide care to women making alternative birth choices. A meta-ethnography was carried out, highlighting a paucity of literature in this area. Therefore, the aim of this study was to generate practice-based knowledge to answer the broad research question: ‘what are the processes, experiences, and sociocultural-political influences upon NHS midwives’ who self-define as facilitative of women’s alternative birthing choices’. Underpinned by a feminist pragmatist theoretical framework, a narrative methodology was used to conduct this study. Professional stories of practice were collected via self-written narratives and interviews to understand the processes of facilitation (the what, how, why), their experiences of carrying out facilitative actions (subjective sense-making), and what sociocultural-political factors influenced their practice. -
The Effects of Satire and Farce in the Plays of David Williamson
i “Sugared Placebos”? The effects of satire and farce in the plays of David Williamson Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Education Faculty of Human Development Victoria University By Elvira Sammut DipTeach(WASTC), BEd(ECU), MEd(ECU), LTCL(Drama) 2008 ii Declaration This Thesis contains no material which has been submitted for examination in any other course or accepted for any degree or diploma in any University. To the best of my knowledge and belief, it contains no material previously published or written by another person, except where due reference is made in the text Signed …………………………………………………………………………… Elvira Sammut. July 2008 iii This Thesis is dedicated to the memory of my Mother, Elena Suarez Gallagher Corbett, whose passion and vision instilled in me her love of reading and her deep belief in education. She travels with me. iv Acknowledgements I would like to express my thanks to Dr. Tarquam McKenna and Dr. Mary Weaven at Victoria University for supervising this thesis. I am very grateful for their generous support, constructive criticism, and many kindnesses. And for the sheer niceness of their manner. This thesis was commenced at Curtin University, Perth, Western Australia. Mention must be made of Dr. Donald Pulford and Dr. Paul Genoni who supervised the drafts of the early chapters. Thank you both. I am grateful to Dr. Felicity Haynes of University of Western Australia for her expertise, help and encouragement in enabling me to complete this project. I am also deeply indebted to Victoria University, Footscray, Victoria, for giving me the opportunity to complete this work. -
David Williamson's
WORLD PREMIERE DAVID WILLIAMSON’S 14 FEB – 9 APR 2020 WELCOME SYNOPSIS What a privilege and pleasure it is to direct David Williamson’s last ever play. His Steve is the typical Aussie bloke, self- work always has a finger on the pulse of contemporary issues and CRUNCH TIME assured, social and sports-mad. Recently sits right at the heart of the ongoing debate about the right to die with dignity. retired from a high-flying career, he’s But the main theme stems from within the family nucleus so CRUNCH TIME is passed the family business over to his son also about parents and children, husbands and wives, betrayal and ultimately Jimmy — a chip off the old block. But his love. It also happens to be very funny. eldest son Luke, an engineer with more of an interest in algebra than AFL, has never If there is a message in David’s amazing 50 year career in writing plays, it is this: quite seen eye-to-eye with his dad and be tolerant. Accept people with all their flaws, foibles and idiosyncrasies. Find a they haven’t spoken in seven years. When way to work together, and then you can move forward. I couldn’t think of a better Steve suddenly falls ill, time is running out message at this time in the world. Enjoy CRUNCH TIME and this wonderful cast to repair their broken relationship — and working with an incredible writer. Thank you David, it has been an honour. Luke and Jimmy will have to go to extreme Mark Kilmurry lengths to fulfil their father’s final wishes. -
David Williamson's LET the SUNSHINE
World Premiere David Williamson’s LET THE SUNSHINE With: JUSTIN STEWART COTTA, EMMA JACKSON, ANDREW McFARLANE, GEORGIE PARKER, KATE RAISON & WILLIAM ZAPPA Director: SANDRA BATES Designer: GRAHAM MACLEAN Lighting Designer: MATTHEW MARSHALL This brand new David Williamson, with trade-mark comedy bite, asks what happens when people of widely different political views are forced to co-exist. Toby (William Zappa), a maker of hard hitting documentaries, flees Sydney in shame when the press finds out he inadvertently used a bogus witness in his latest film. He convinces his reluctant wife Ros (Georgie Parker) to travel north with him to Noosa, a haven in Queensland fondly remembered from visits in his youth. Problem is, it has now moved from a simple fishing village to a chic, upmarket, manicured playground of the wealthy and privileged. Ros meets an old school friend, Natasha (Kate Raison), who is married to Ron (Andrew McFarlane), a hugely wealthy property developer. Ros and Natasha had little in common even at school, and to say Toby and Ron are like chalk and cheese would be understating it. The connection between the two couples seems destined to be brief and acrimonious save for one thing. Power lawyer Emma (Emma Jackson), the daughter of Natasha, and drop-out musician Rick (Justin Stewart Cotta), son of Ros, happen to meet. And then, in typical Williamson fashion, it’s on for young and old. Ensemble’s Artistic Director, Sandra Bates has assembled a stellar cast for this production, her 4th Williamson World Premiere, and her 12th Williamson production in her 24 years at the theatre’s helm. -
STUDY GUIDE: Don's Party
CurrenCy Press STUDY GUIDE The performing arts publisher www.currency.com.au DAVID WILLIAMSON’S DON’s PARTY by John McCallum . Introducing the play 1 2. The critics’ views 1 3. Questions for discussion 1 4. Further reading 1. Introducing the play detail which gives a ‘shock of recognition’ to audiences. All the trappings of an Australian Don’s Party arrived on the theatre scene in middle-class, trendy party are there: the beer, the Australia in 1972 with the same sort of impact Twisties, the home-made pizzas, the bawdy jokes that the character Cooley has when he arrives at and cracking-on by the men, the women talking the party in the play. It was energetic and fun; about their husbands in the corner (although it was exhilaratingly frank and, in the process, the details of their conversation were shocking gloriously obscene; and it deflated a lot of the to some in 1972) and the gradual decline into pretensions of the new young professionals who drunken argument. The play caused a national came to the theatres and who are represented in wave of confession by people who said that they’d the play. Above all, for the critics and audiences been to parties just like that. at the time at least, it was Australian. As the The characters are, or were, a perfect selection critic H.G. Kippax said, ‘There isn’t a line, and not a of types of a certain class of Australians. They character, that hasn’t the ring—just off-key—of represent the new professional class of teachers, one part of Australia, larger than life.’ psychologists, lawyers and others whom one This accurate social observation of Australian social commentator has called ‘sons of ocker’. -
2017 OAH Annual Meeting
2017 OAH Annual Meeting New Orleans, Louisiana April 6–9, 2017 BEDFORD/ ST. MARTIN’S Digital options you can customize HISTORY2017 to your course For more information or to request your review copy, please visit us at OAH or at macmillanlearning.com/OAH2017 Flexible and affordable, this online repository of discovery-oriented proj- ects offers: • Primary Sources , both canonical and unusual documents (texts, visuals, maps, and in the online version, audio and video). • Customizable Projects you can assign individually or in any combination, and add your own instructions and additional sources. • Easy Integration into your course management system or Web site, and offers one-click assigning, assessment with instant feedback, and a convenient gradebook. New Custom Print Option Choose up to two document projects from the collection and add them in print to a Bedford/St. Martin’s title free of charge, add additional modules to your print text at a nominal extra cost, or select an unlimited number of modules to be bound together in a custom reader. Built as an interactive learning experience, LaunchPad prepares students for class and exams while giving instructors the tools they need to quickly set up a course, shape content to a syllabus, craft presentations and lectures, assign and assess homework, and guide the progress of individual students and the class as a whole. Featuring An interactive e-Book integrating all student resources, including: • Newly redesigned LearningCurve adaptive quizzing, with questions that link back to the e-book so students can brush up on the reading when they get stumped by a question • More auto-graded source-based questions including images and excerpts from documents as prompts for student analysis. -
AVAILABLE from Frazier, Alexander Adventuring, Mastering, Associating
DOCUMENT RESUME 3D 125 074 EA 008 400 AUTHOR Frazier, Alexander TITLE Adventuring, Mastering, Associating: New Strategies for Teaching Children. INSTITUTION Association for Supervision and Curriculum Development, Washington, D.C. PUB DATE 76 NOTE 141p. AVAILABLE FROMAssociation for Supervision and Curriculum Development, Suite 1100, 1701 K Street N.W., Washington, D.C. 20006 ($5.00) EDRS PRICE MF-$0.83 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Change Strategies; *Curriculum Development; Curriculum Enrichment; Educational Improvement; Educational Innovation; Educational Theories; Elementary Secondary Education; Equal Education; *Humanistic Education ABSTRACT All children have a right to learn what is most worth learning, but for some children this right has often not been realized. An important need is to define the elements ofan "equal rights curriculum" that meets the needs of all children.One of the important elements of such a curriculum is "adventuring." Through more extensive and intensive interaction with various environments and cultural realms, adventuring broadens children's base for learning and enlivens the whole educational process. "Mastering" is another element of the equal rights curriculum. All children, including those who have been traditionally undertaught, must succeed in mastering the educational fundamentals and muchmore as well. "Associating" is the final important curricular element. Children who may have been mistaught about racial-ethnic, gender, and class differences need the correction that comes from interacting with all kinds of children and from studying the social aspects of human behavior. This proposed curriculum is meant to help those children Who have been traditionally undertaught, but it should also benefit children who have been overtaught, as well.