The Glass Menagerie
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Rns Over the Long Term and Critical to Enabling This Is Continued Investment in Our Technology and People, a Capital Allocation Priority
19 May 2021 FUTURE plc 2021 HALF YEAR RESULTS Strategic momentum continues: record HY results, materially ahead of market expectations, with strong organic growth and margin progression Future plc (LSE: FUTR, “Future”, “the Group”), the global platform for specialist media, today publishes its results for the six months ended 31 March 2021. Highlights Financial results for the six months ended 31 March 2021 Adjusted results HY 2021 HY 2020 Var Revenue (£m) 272.6 144.3 +89% Adjusted operating profit (£m)1 89.2 39.9 +124% Adjusted operating profit margin (%) 33% 28% +5ppt Adjusted diluted EPS (p) 65.4 32.9 +99% Statutory results HY 2021 HY 2020 Var Revenue (£m) 272.6 144.3 +89% Operating profit (£m) 59.7 24.7 +142% Profit before tax (£m) 56.9 27.1 +110% Cash generated from operations (£m) 85.9 35.7 +141% Diluted EPS (p) 40.7 21.8 +87% Financial highlights Robust first-half performance extending our track record of growth in revenue, operating profit and cash flow: An exceptionally strong first half, with revenue up 89% to £272.6m (HY 2020: £144.3m). Revenue ahead of last year by 21% on an organic2 basis, driven by the Media division’s organic2 growth of 30% and in particular digital advertising on-platform organic2 growth of 30% and eCommerce affiliates’ organic2 growth of 56%. US achieved revenue growth of 31% on an organic2 basis and UK revenues grew by 5% organically (UK has a higher mix of events and magazines revenues which were impacted more materially by the pandemic). -
The Theatre of Tennessee Williams: Languages, Bodies and Ecologies
Barnett, David. "Index." The Theatre of Tennessee Williams: Languages, Bodies and Ecologies. London: Bloomsbury Methuen Drama, 2014. 295–310. Bloomsbury Collections. Web. 29 Sep. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 17:43 UTC. Copyright © Brenda Murphy 2014. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. INDEX Major discussions of plays are indicated in bold type . Williams ’ s works are entered under their titles. Plays by other authors are listed under authors ’ names. Actors Studio 87, 95 “ Balcony in Ferrara, Th e ” 55 Adamson, Eve 180 Bankhead, Tallulah 178 Adler, Th omas 163 Barnes, Clive 172, 177, Albee, Edward 167 268n. 17 Alpert, Hollis 189 Barnes, Howard 187 American Blues 95 Barnes, Richard 188 Ames, Daniel R. 196 – 8, Barnes, William 276 203 – 4 Barry, Philip 38 Anderson, Maxwell Here Come the Clowns 168 Truckline Caf é 215 Battle of Angels 2 , 7, 17, 32, Anderson, Robert 35 – 47 , 51, 53, 56, 64, 93, Tea and Sympathy 116 , 119 173, 210, 233, 272 “ Angel in the Alcove, Th e ” Cassandra motif 43 4, 176 censorship of 41 Ashley, Elizabeth 264 fi re scene 39 – 40 Atkinson, Brooks 72, 89, Freudian psychology in 44 104 – 5, 117, 189, 204, political content 46 – 7 209 – 10, 219 – 20 production of 39, 272 Auto-Da-Fe 264 reviews of 40 – 1, 211 Ayers, Lemuel 54, 96 Th eatre Guild production 37 Baby Doll 226 , 273, 276 themes and characters 35 Bak, John S. -
The Glass Menagerie
The Glass Menagerie By: Joe M., Emanuel M., Adrian M., Graham O. Choices of the Author Hubris Symbolism Character Foil Hubris Hubris: A great or foolish amount of pride or confidence Amanda Wingfield Euphoria for the past 17 Gentleman Callers Scene I Unrealistic Expectations for Children Lack of Motivation from both Laura and Tom Symbolism Glass Symbol for Laura: brittle, fragile representing sensitivity Amanda and Tom arguments always end with glass breaking Scene 3: Tom hits shelf of glass with overcoat “Laura cries out as if wounded” (24) Scene 7: Tom smashes his glass on the floor “Laura screams in fright” (96) At the peak of the fight when it has ended, someone leaves Character Foil Foil: A foil is another character in a story who contrasts with the main character, usually to highlight one of their attributes Jim to Tom That really good friend that does everything better and your parents are like why you can’t be like them. Tom: Lacks ambition and goes to movies Jim: Big dreams and public speaking classes Laura to Amanda Literary Lenses Marxist Psychoanalytic New Historicism Marxist The Wingfields, members middle class, function under the brutal economic laws of capitalist society during the Great Depression of the 1930's. Tom Wingfield is “a poet in a warehouse” I go to the movies because I like adventure. Adventure is something I don't have much at work, so I go to the movies. (Williams, 39). The temper of work in the warehouse does not satisfy Tom’s poetic ambitions This foreshadows Tom’s to escape from his life of hard labor and to enroll in The Union of Merchant Seamen Marxist (Contd.) Theme 1: Alienation within the workforce ambitions do not lie in the warehouse Theme 2: Limitations of Capitalism Inequality, visible in Tom’s dependency on unfulfilling manual labor Psychoanalytic Motif: Escape and Imprisonment Tom Wingfield “Yes, I have tricks in my pocket, I have things up my sleeve. -
The Glass Menagerie Teachers´Packaug
The Glass Menagerie Plot Overview The Glass Menagerie is known as a “ memory play” because it is based on the way the plays narrator, Tom, remembers events. The story is a told to us by Tom Wingfield, a merchant marine looking back on the Depression years he spent with his overbearing Southern genteel mother, Amanda, and his physically disabled, cripplingly shy sister, Laura. While Amanda strives to give her children a life beyond the decrepit St. Louis tenement they inhabit, she is herself trapped by the idealised memory of her life past . Tom, working at a shoe factory and paying the family’s rent, finds his own escape in drinking and going to the movies, while Laura pours her energy into caring for her delicate glass figurines. Tom, pressured by his mother to help find Laura a suitable husband, invites an acquaintance from the factory to the apartment, a powerful possibility that pushes Amanda deeper into her obsessions and makes Laura even more vulnerable to shattering, exposed like the glass menagerie she treasures. Williams’ intensely personal and brilliantly tender masterpiece exposes the complexity of our memories, and the ways in which we can never truly escape them. Detailed Summary Scene 1 “I give you truth in the pleasant disguise of illusion.” – Tom The narrator, Tom, explains directly to the audience that the scenes are “memory,” therefore nonrealistic. Memory omits (leaves out) details and exaggerates them according to the value of the memory. Memory, as he explains, rests mainly in the heart. We learn from the narrator that the gentleman- caller character is the most realistic because he is from the world of reality and symbolizes the “expected something that we live for.” The photograph is of the father who left the family a long time ago. -
Images of Loss in Tennessee Williams's the Glass Menagerie
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English 11-13-2007 Images of Loss in Tennessee Williams's The Glass Menagerie, Arthur Miller's Death of a Salesman, Marsha Norman's night, Mother, and Paula Vogel's How I Learned to Drive Dipa Janardanan Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Part of the English Language and Literature Commons Recommended Citation Janardanan, Dipa, "Images of Loss in Tennessee Williams's The Glass Menagerie, Arthur Miller's Death of a Salesman, Marsha Norman's night, Mother, and Paula Vogel's How I Learned to Drive." Dissertation, Georgia State University, 2007. https://scholarworks.gsu.edu/english_diss/23 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. Images of Loss in Tennessee Williams’s The Glass Menagerie , Arthur Miller’s Death of a Salesman , Marsha Norman’s ‘night , Mother , and Paula Vogel’s How I Learned to Drive by DIPA JANARDANAN Under the Direction of Matthew C. Roudané ABSTRACT This dissertation offers an analysis of the image of loss in modern American drama at three levels: the loss of physical space, loss of psychological space, and loss of moral space. The playwrights and plays examined are Tennessee Williams’s The Glass Menagerie (1945), Arthur Miller’s Death of a Salesman (1949), Marsha Norman’s ‘night, Mother (1983), and Paula Vogel’s How I Learned to Drive (1998). -
The Glass Menagerie by TENNESSEE WILLIAMS Directed by JOSEPH HAJ PLAY GUIDE Inside
Wurtele Thrust Stage / Sept 14 – Oct 27, 2019 The Glass Menagerie by TENNESSEE WILLIAMS directed by JOSEPH HAJ PLAY GUIDE Inside THE PLAY Synopsis, Setting and Characters • 4 Responses to The Glass Menagerie • 5 THE PLAYWRIGHT About Tennessee Williams • 8 Tom Is Tom • 11 In Williams’ Own Words • 13 Responses to Williams • 15 CULTURAL CONTEXT St. Louis, Missouri • 18 "The Play Is Memory" • 21 People, Places and Things in the Play • 23 ADDITIONAL INFORMATION For Further Reading and Understanding • 26 Guthrie Theater Play Guide Copyright 2019 DRAMATURG Carla Steen GRAPHIC DESIGNER Akemi Graves CONTRIBUTOR Carla Steen EDITOR Johanna Buch Guthrie Theater, 818 South 2nd Street, Minneapolis, MN 55415 All rights reserved. With the exception of classroom use by ADMINISTRATION 612.225.6000 teachers and individual personal use, no part of this Play Guide may be reproduced in any form or by any means, electronic BOX OFFICE 612.377.2224 or 1.877.44.STAGE (toll-free) or mechanical, including photocopying or recording, or by an information storage and retrieval system, without permission in guthrietheater.org • Joseph Haj, artistic director writing from the publishers. Some materials published herein are written especially for our Guide. Others are reprinted by permission of their publishers. The Guthrie Theater receives support from the National The Guthrie creates transformative theater experiences that ignite the imagination, Endowment for the Arts. This activity is made possible in part by the Minnesota State Arts Board, through an appropriation stir the heart, open the mind and build community through the illumination of our by the Minnesota State Legislature. The Minnesota State Arts common humanity. -
Women's Monologues
WOMEN’S MONOLOGUE’S Bargaining by Kellie Powell Hannah: Ryan, there's something I have to tell you. (Pause.) I was born in 1931. I never lied to you, I am 23. But I've been 23 since the year 1954. I know, I know. It's impossible, right? No one lives forever? But, sometimes they do. In 1953, I got married. A few weeks after the wedding, I suddenly fell ill. My husband took me to a hospital. I was there for almost a week. I was in so much pain. And no one could say for sure what was wrong. One night, in the hospital, a stranger came to see me. He told me, "Janie, you're going to die tomorrow." That was my name then, the name I was born with. This man, the stranger, he offered me a chance to live forever. He said, "You can die tomorrow, or you can live forever. Stay young forever." Well, of course my first thought was, the devil has come to tempt me. He wasn't the devil. And of course, I don't believe in the devil anymore. There are powerful beings on this earth, but man created Satan. And God, for that matter. My point is, this man offered me a chance to live. And I took it. I will live forever. I will never age. I cannot be harmed, not physically. I can't be hurt by bullets, or knives, or fire, or even explosions. I can't be hurt by diseases - in fact, I can't even catch a cold. -
Trends in U.S. Oil and Natural Gas Upstream Costs
Trends in U.S. Oil and Natural Gas Upstream Costs March 2016 Independent Statistics & Analysis U.S. Department of Energy www.eia.gov Washington, DC 20585 This report was prepared by the U.S. Energy Information Administration (EIA), the statistical and analytical agency within the U.S. Department of Energy. By law, EIA’s data, analyses, and forecasts are independent of approval by any other officer or employee of the United States Government. The views in this report therefore should not be construed as representing those of the Department of Energy or other federal agencies. U.S. Energy Information Administration | Trends in U.S. Oil and Natural Gas Upstream Costs i March 2016 Contents Summary .................................................................................................................................................. 1 Onshore costs .......................................................................................................................................... 2 Offshore costs .......................................................................................................................................... 5 Approach .................................................................................................................................................. 6 Appendix ‐ IHS Oil and Gas Upstream Cost Study (Commission by EIA) ................................................. 7 I. Introduction……………..………………….……………………….…………………..……………………….. IHS‐3 II. Summary of Results and Conclusions – Onshore Basins/Plays…..………………..…….… -
External Content.Pdf
i THE THEATRE OF TENNESSEE WILLIAMS Brenda Murphy is Board of Trustees Distinguished Professor of English, Emeritus at the University of Connecticut. Among her 18 books on American drama and theatre are Tennessee Williams and Elia Kazan: A Collaboration in the Theatre (1992), Understanding David Mamet (2011), Congressional Theatre: Dramatizing McCarthyism on Stage, Film, and Television (1999), The Provincetown Players and the Culture of Modernity (2005), and as editor, Critical Insights: Tennessee Williams (2011) and Critical Insights: A Streetcar Named Desire (2010). In the same series from Bloomsbury Methuen Drama: THE PLAYS OF SAMUEL BECKETT by Katherine Weiss THE THEATRE OF MARTIN CRIMP (SECOND EDITION) by Aleks Sierz THE THEATRE OF BRIAN FRIEL by Christopher Murray THE THEATRE OF DAVID GREIG by Clare Wallace THE THEATRE AND FILMS OF MARTIN MCDONAGH by Patrick Lonergan MODERN ASIAN THEATRE AND PERFORMANCE 1900–2000 Kevin J. Wetmore and Siyuan Liu THE THEATRE OF SEAN O’CASEY by James Moran THE THEATRE OF HAROLD PINTER by Mark Taylor-Batty THE THEATRE OF TIMBERLAKE WERTENBAKER by Sophie Bush Forthcoming: THE THEATRE OF CARYL CHURCHILL by R. Darren Gobert THE THEATRE OF TENNESSEE WILLIAMS Brenda Murphy Series Editors: Patrick Lonergan and Erin Hurley LONDON • NEW DELHI • NEW YORK • SYDNEY Bloomsbury Methuen Drama An imprint of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com Bloomsbury is a registered trademark of Bloomsbury Publishing Plc First published 2014 © Brenda Murphy, 2014 This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher. -
The Future of U.S. Commercial Imagery VISION IMPLEMENTATION
» INTERNATIONAL COMPETITION » NEW CONCERNS ABOUT PRIVACY SUMMER 2012 THE OFFICIAL MAGAZINE OF THE UNITED STATES GEOSPATIAL INTELLIGENCE FOUNDATION Crossroads The Future of U.S. Commercial Imagery VISION IMPLEMENTATION At L-3 STRATIS, we help organizations make the technological and cultural changes needed to implement their vision. Our innovative cyber, intel and next generation IT solutions enable your mission, while reducing costs and improving the user experience. Find out more. Contact [email protected] or visit www.L3STRATIS.com STRATIS L-3com.com contents summer 2012 2 | VANTAGE POINT Features 27 | MEMBERSHIP PULSE Introducing the new Accenture upgrades to USGIF strategic partner. trajectory magazine. 9 | AT A CROSSROADS 4 | INTSIDER Proposed cuts to NGA’s EnhancedView 28 | GEN YPG News updates plus high- program revive the commercial Beacon of Hope and YPG lights from got geoint? imagery debate. work together to help By Kristin Quinn rebuild New Orleans. 6 | IN MOTION Small Business Advisory 30 | HORIZONS Working Group hosts Reading List, Peer Intel, 16 | THE $4B GLOBAL PIE luncheon with guest Calendar. speakers from NGA. New competition is forming in the commercial data marketplace. 32 | APERTURE 8 | ELEVATE By Brad Causey Canada has it. Germany Mizzou’s Center for has it. Italy has it. Back in Geospatial Intelligence the U.S., SAR? goes beyond academics. 22 | PIGEONHOLED Privacy policies threaten advances ON THE COVER Cover image of Dallas, Texas, in technology. courtesy of GeoEye. Image has By Jim Hodges been altered with permission for editorial purposes. trAJectorYmAGAZIne.com eXcLusIVes VIDEO PODCAST PANEL “What can you do with Exclusive interview Recap of the Space geography?” National with Kevin Pomfret, Enterprise Council's Geographic video director of the Centre panel on the impor- featuring Keith for Spatial Law and tance of commercial Masback of USGIF. -
Directing Tennessee Williams' the Glass Menagerie in 2017 Jon Cole Wimpee University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Are Unicorns Extinct in the Modern World?: Directing Tennessee Williams' The Glass Menagerie in 2017 Jon Cole Wimpee University of Arkansas, Fayetteville Follow this and additional works at: https://scholarworks.uark.edu/etd Part of the Other Theatre and Performance Studies Commons Recommended Citation Wimpee, Jon Cole, "Are Unicorns Extinct in the Modern World?: Directing Tennessee Williams' The Glass Menagerie in 2017" (2018). Theses and Dissertations. 2928. https://scholarworks.uark.edu/etd/2928 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Are Unicorns Extinct in the Modern World ?: Directing Tennessee Williams' The Glass Menagerie in 2017 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theater by Jon Cole Wimpee Texas State University Bachelor of Fine Arts, Acting - 2003 August 2018 University of Arkansas This thesis is approved for recommendation to the Graduate Council. _________________________________ Michael Landman, M.F.A. Thesis Director _________________________________ ___________________________________ Patricia Martin, M.F.A. Shawn D. Irish, M.F.A. Committee Member Committee Member ABSTRACT What follows is a description of my process directing The Glass Menagerie by Tennessee Williams. I’ve made an effort to track the journey I undertook starting from my earliest encounter with the play and the selection of the story as a thesis project. This document contains my initial script analysis, notes from design meeting collaborations, casting decisions, general research approaches, the rehearsal process, performance insights, and evaluations after completion. -
Future of Defense Task Force Report 2020 Cover Photo Credit: NASA Future of Defense Task Force
draft Future of Defense Task Force Report 2020 Cover photo credit: NASA Future of Defense Task Force FUTURE OF DEFENSE TASK FORCE September 23, 2020 The Honorable Adam Smith Chairman House Armed Services Committee 2216 Rayburn House Office Building Washington, D.C. 20515 The Honorable William “Mac” Thornberry Ranking Member House Armed Services Committee 2216 Rayburn House Office Building Washington, D.C. 20515 Dear Chairman Smith and Ranking Member Thornberry: Thank you for your support in standing up the Future of Defense Task Force. We are pleased to present you with our final report. Sincerely, Seth Moulton Jim Banks Chair Chair Future of Defense Task Force Future of Defense Task Force Susan Davis Scott DesJarlais Member of Congress Member of Congress Chrissy Houlahan Paul Mitchell Member of Congress Member of Congress Elissa Slotkin Michael Waltz Member of Congress Member of Congress Future of Defense Task Force Table of Contents PROLOGUE ............................................................................................... 1 TASK FORCE MEMBERS ........................................................................ 3 FINDINGS .................................................................................................. 5 RECOMMENDATIONS ........................................................................... 7 EXECUTIVE SUMMARY ....................................................................... 13 EVIDENCE .............................................................................................. 21 EMERGING