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Annual Review 2001 Contents
accounts and lottery report annual review 2001 Contents 3 Welcome 4 Arts Council of England grant-in-aid accounts 27 Grants awarded 2000/01 39 Arts Council of England lottery distribution accounts 61 National Lottery Report 2000/01 78 Advisory Panels 79 Regional Arts Boards 4 Arts Council of England grant-in-aid accounts 25 Grants awarded 1999/2000 44 Arts Council of England lottery distribution accounts 64 National Lottery Report 1999/2000 78 Advisory Panels 79 Regional Arts Boards THE ARTS COUNCIL OF ENGLAND 2 Welcome to the Arts Council of England’s Annual Review for 2001 – Accounts and Lottery Report The Arts Council is the national body for the arts in England. We distribute public money from Government and the National Lottery to artists and arts organisations, both directly and through the 10 English regional arts boards. As an independent, non-political body,working at arm’s length from Government, we champion the arts — promoting the importance of artistic endeavour to the economic, physical, social and, not least, spiritual well-being of the country.We commission research, promote innovation in the arts, and provide advice and information. Our strategic priorities are to bring the arts to a wider audience, support the individual artist, nurture creativity across the generations, embrace the diversity of our culture and explore new forms of expression. In 2000 we successfully made the case to Government for a substantial increase in public funding for the arts.This review sets out how we are using this money and our plans for ensuring that England’s artists and arts communities remain among the most dynamic, vibrant and resourceful in the world. -
What Ever Happened to In-Yer-Face Theatre?
What Ever Happened to in-yer-face theatre? Aleks SIERZ (Theatre Critic and Visiting Research Fellow, Rose Bruford College) “I have one ambition – to write a book that will hold good for ten years afterwards.” Cyril Connolly, Enemies of Promise • Tuesday, 23 February 1999; Brixton, south London; morning. A Victorian terraced house in a road with no trees. Inside, a cloud of acrid dust rises from the ground floor. Two workmen are demolishing the wall that separates the dining room from the living room. They sweat; they curse; they sing; they laugh. The floor is covered in plaster, wooden slats, torn paper and lots of dust. Dust hangs in the air. Upstairs, Aleks is hiding from the disruption. He is sitting at his desk. His partner Lia is on a train, travelling across the city to deliver a lecture at the University of East London. Suddenly, the phone rings. It’s her. And she tells him that Sarah Kane is dead. She’s just seen the playwright’s photograph in the newspaper and read the story, straining to see over someone’s shoulder. Aleks immediately runs out, buys a newspaper, then phones playwright Mark Ravenhill, a friend of Kane’s. He gets in touch with Mel Kenyon, her agent. Yes, it’s true: Kane, who suffered from depression for much of her life, has committed suicide. She is just twenty-eight years old. Her celebrity status, her central role in the history of contemporary British theatre, is attested by the obituaries published by all the major newspapers. Aleks returns to his desk. -
At Play Fall-Winter 03.Qxd
representing the american theatre by publishing and licensing the works of new and established playwrights JacquesBrelisAliveandWell Polly Pen on Writing Musicals Cowgirls’ Mary Murfitt Issue 9, Fall/Winter 2003 MUSICALS INTERVIEW WITH A BAT BOY Director of Professional Rights Robert Vaughan and Director of Publications Michael Fellmeth met with Bat Boy in the Palm Court of the Plaza Hotel in Manhattan to talk about growing up in a cave in Hope Falls, West Virginia, Bat Boy: The Musical, and his rise to global celebrity as the lead in a hit show about his own life. The pointy- eared, fanged star arrived with an entourage of bodyguards, personal assistants, agent, lawyer and publi- cist. Bat Boy, immaculately clad in Savile Row, seemed only vaguely aware of their presence. He greeted us warmly, sat down, lit a miniature cigar and ordered a bloody mary. continued on next page FELLMETH. Let me begin by saying how taken I EDGAR. Ahhh, Jenna. Jenna the Menace, that lips” motion.) Perhaps we’d best not discuss Dr. am with your voice, Bat Boy. Did you have any was my pet name for her. She was such a terror. Parker. That is a difficult subject for me. formal training? The media had it all wrong, though. It was she FELLMETH. Understandably so. A father who BAT BOY. Please don’t call me Bat Boy. My name who took to following me. After I finally got a abandoned you in infancy to be raised by bats is Edgar. restraining order she went on that binge in Texas and then — as if that weren’t enough — tried to FELLMETH. -
Through FILMS 70 Years of European History Through Films Is a Product in Erasmus+ Project „70 Years of European History 1945-2015”
through FILMS 70 years of European History through films is a product in Erasmus+ project „70 years of European History 1945-2015”. It was prepared by the teachers and students involved in the project – from: Greece, Czech Republic, Italy, Poland, Portugal, Romania, Spain, Turkey. It’ll be a teaching aid and the source of information about the recent European history. A DANGEROUS METHOD (2011) Director: David Cronenberg Writers: Christopher Hampton, Christopher Hampton Stars: Michael Fassbender, Keira Knightley, Viggo Mortensen Country: UK | GE | Canada | CH Genres: Biography | Drama | Romance | Thriller Trailer In the early twentieth century, Zurich-based Carl Jung is a follower in the new theories of psychoanalysis of Vienna-based Sigmund Freud, who states that all psychological problems are rooted in sex. Jung uses those theories for the first time as part of his treatment of Sabina Spielrein, a young Russian woman bro- ught to his care. She is obviously troubled despite her assertions that she is not crazy. Jung is able to uncover the reasons for Sa- bina’s psychological problems, she who is an aspiring physician herself. In this latter role, Jung employs her to work in his own research, which often includes him and his wife Emma as test subjects. Jung is eventually able to meet Freud himself, they, ba- sed on their enthusiasm, who develop a friendship driven by the- ir lengthy philosophical discussions on psychoanalysis. Actions by Jung based on his discussions with another patient, a fellow psychoanalyst named Otto Gross, lead to fundamental chan- ges in Jung’s relationships with Freud, Sabina and Emma. -
The London Merchant; Or, the History of George Barnwell, and Fatal
T^testtdeb to rftlje ^niiJersit^ of 'Qloroitta The Estate of the late Professor A.S.P. '.Toodhouse > 'Bj €6e ^AWMmu^ J>erie^ SECTION III THE ENGLISH DRAMA FROM ITS BEGINNING TO THE PRESENT DAY GENERAL EDITOR GEORGE PIERCE BAKER rSOFBSSOK OF DRAMATIC IJTKRATO»« IN HAKVAKD UHIVKSSITV From Perin in Cornwall; OF A mod Bloody and vn-exampled Murthcr »ery latcJ; coniii)itted by a Father on his owne SoniK (»*# WitUtilf rttariui frim thi l»ijti) it ihe InAiguion of a mcccilefle Stcp-aothcr* Tt^etitr wilt titirftiUTtltmtJI viritetedemits. Mug all pcrfoimcdin tiic Month of Scptem- LONDON Ptiotcdb7£.4f.tadatc(aticfoldcaiCi>itCiwiigKCaIfl8» HE LONDON MERCHANT OR THE HISTORY OF GEORGE BARNWELL AND FATAL CURIOSITY By GEORGE LILLO EDITED BY ADOLPHUS WILLIAM WARiJ, Litt.D., F.B.A. MASTER OF PETERHOUSE COLLEGE CAMBRIDGE, ENGLAND BOSTON, U.S.A., AND LONDON D. C. HEATH & CO., PUBLISHERS COPYRIGHT, 1906, BY D. C. HEATH ft Ott ALL SIGHTS RESERVED 2 EO ppin , l3fograpi^r Very little is known concerning the personal life of George Lillo, the author of the two plays which are re- (irinted in this volume, and each of which may be said to have a place of its own in the history of the modem drama. His name is Flemish, and he was very probably a descendant of refugees whom religious persecution had driven to this country. ' Lillo ' was the name of the fort that stood above Antwerp on the northern bank of the Scheldt." On the occasion of the marriage, in 1734, of the Prin- cess Royal of Great Britain (Anne, daughter of King George II) to the Prince of Orange (William IV), Lillo produced a masque entitled Britannia and Bata'via. -
Masculinization of Tragedy in Joseph Addison's Cato and George Lillo's
Litera: Dil, Edebiyat ve Kültür Araştırmaları Dergisi Litera: Journal of Language, Literature and Culture Studies Litera 2018; 28(2): 233-252 DOI: 10.26650/LITERA2018-0006 Research Article Masculinization of Tragedy in Joseph Addison’s Cato and George Lillo’s The London Merchant Joseph Addison’un Cato ve George Lillo’nun Londralı Tüccar Eserlerinde Tragedyanın Maskülenleşmesi Sinan GÜL1 ABSTRACT During the 18th century, the development of gender and sexuality in the modern Western world was under tremendous impact of visual and literary culture. Considering this, by examining Addison’s Cato. A Tragedy. By Mr. Addison. Without the Love Scenes (1764) (Latin version) and Lillo’s The London Merchant (1731), this article analyzes the masculine features of the characters of 18th-century tragedies in England and investigates the reasons behind the dismissal and belittlement of love scenes and feminine qualities in those tragedies. In comedies, women and their qualities were openly ridiculed, while in tragedies, masculine values and patriarchal rules were overtly protected. Depicting societal norms and ideals, Cato and The London Merchant portray the evolving notions of masculinity. Despite increasing female influence in political and social culture, love, often associated with feminine qualities, was belittled in domestic and public domains. In doing so, playwrights either entirely ignored the idea of using female characters in their plays, thus creating contextual errors of portraying husbands without wives or sons without mothers, or depicted women as the sources of passion that could potentially destroy society, men in particular. Therefore, the concept of love was neglected, undervalued, or dismissed, with playwrights rather offering patriotic or capitalist virtues to substitute the idea of love so that their plays would be deemed as appropriate for public appreciation. -
Scanned Using Scannx OS15000 PC
^uest director chosen for Otterbein Theatreei You’ll want to grab a stool and film versions, which rere- Among the other major ant director, and senior,senior. att the counter for “Come tained the same actresses as characters are Stella May, Anne Barnes is stage man-man ; Back To The Five & Dime, the trio of aging fans: Sandy (junior JoBeth Phalen), now ager for the production. Jimmy Dean, Jimmy Dean,” Dennis. Cher, and Karen a fat, married, tough-talk Tickets for “Come Back to to be presented by the Black. ing, and hard-drinking the Five & Dime, Jimmy Otterbein College Theatre, Basically, “Jimmy Dean” woman, and Edna Louise Dean, Jimmy Dean,” a play Feb. 7-10, at 8:15 p.m. in is a story about a group of (sophomore Charlotte which employs adult themes Cowan Hall. Dr. Roy Bowen, kids in a-^dried up, dusty Dougherty), now as before, and language, are available former director of theatre at Texas town in the middle of a wispy waif, although very at the Cowan Hall-box office The Ohio State University, nowhere and how the near pregnant with her seventh from 1-4:30 p^.m. weekdays, will direct. by filming of “Giant,” Dean’s child. and at the door for one hour An Otterbein graduate. last movie before he died in While the play is about preceding each perform- ' Dr. Bowen, has spent more the high-speed crash of his Dean as. the ultimate cult than 30 years in theatrical Porche in 1955, has affected figure, there are any num work in the Columbus area, their lives. -
Columbus Gay Men's Chorus Presents Friday, June Nineteenth And
columbus gay men's chorus presents friday, June nineteenth and Saturday, june twentith nineteen hundred and U ninety - two seven- thirty pm ft we i g e I hall the Ohio state university through o u r voices w e celebrate our lives, through o u r lives w e celebrate o u r diversity. our mission The Columbus Gay Men's Chorus was formed to produce vocal music of the highest quality in the rich tradition of men's choral singing. The Chorus <^&AJtfa^^^ unites as a gay men's chorus to rehearse and work in an atmosphere of camaraderie and support; and secondly, to perform publicly before general audiences thus fostering increased recognition, understanding, and acceptance of gays and lesbians in society. Although the Chorus operates LAMPS • JEWELRY « RUGS within the constraints of its art form, i.e., a men's singing group, the Chorus is open to all individuals regardless of race, gender, color, religion, national POTTERY • PRINTS * MUSIC origin, disability, age, or sexual orientation. Through our voices we celebrate T-SHIRTS • CLOCKS our lives, through our lives we celebrate our diversity. \yo&L-xr<3k. of di: Handcrafted Gifts Scott H. Coffin, Secretary Martin R. Dean, Treasurer & Decorative Items Sean M. Kirkpatrick, Membership Chair Celebrating and Preserving Phil Martin, Concert Logistics Chair Our Country's Native Douglas Motz, Musical Coordination Chair American Heritage Karl Schlagheck, Fundraising Chair Val-Christopher Tekaucic, Promotions Chair LOCATED IN Volunteer Coordination courtesy Accounting Services courtsey THE MARKET AT of Bruce Glatter of Brian Delphia, CPA 486-4296 Jim Van Horn, Music Librarian advisory council CHITTENDEN WELCOME James E. -
The Times and Influence of Samuel Johnson
UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA Katedra anglistiky a amerikanistiky Martina Tesařová The Times and Influence of Samuel Johnson Bakalářská práce Studijní obor: Anglická filologie Vedoucí práce: Mgr. Ema Jelínková, Ph.D. OLOMOUC 2013 Prohlášení Prohlašuji, že jsem bakalářskou práci na téma „Doba a vliv Samuela Johnsona“ vypracovala samostatně a uvedla úplný seznam použité a citované literatury. V Olomouci dne 15.srpna 2013 …………………………………….. podpis Poděkování Ráda bych poděkovala Mgr. Emě Jelínkové, Ph.D. za její stále přítomný humor, velkou trpělivost, vstřícnost, cenné rady, zapůjčenou literaturu a ochotu vždy pomoci. Rovněž děkuji svému manželovi, Joe Shermanovi, za podporu a jazykovou korekturu. Johnson, to be sure, has a roughness in his manner, but no man alive has a more tender heart. —James Boswell Table of Contents 1. Introduction ..................................................................................................... 1 2. The Age of Johnson: A Time of Reason and Good Manners ......................... 3 3. Samuel Johnson Himself ................................................................................. 5 3.1. Life and Health ......................................................................................... 5 3.2. Works ..................................................................................................... 10 3.3. Johnson’s Club ....................................................................................... 18 3.4. Opinions and Practice ............................................................................ -
HOW DON NIGRO IS REIMAGINING HISTORY for the STAGE by JENN CALVANO B.A., Massachusetts College of Liberal Arts, 2005
HOW DON NIGRO IS REIMAGINING HISTORY FOR THE STAGE by JENN CALVANO B.A., Massachusetts College of Liberal Arts, 2005 B.A., University of Maryland, 2006 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Theatre and Dance 2012 This thesis entitled: HOW DON NIGRO IS REIMAGINING HISTORY FOR THE STAGE written by Jenn Calvano has been approved for the Department of Theatre and Dance Bud Coleman, Ph.D. Oliver Gerland, Ph.D. Merrill Lessley, Ph.D. Date The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. iii Calvano, Jenn (M.A., Theatre) HOW DON NIGRO IS REIMAGINING HISTORY FOR THE STAGE Thesis directed by Associate Professor Bud Coleman American playwright Don Nigro has written over 300 plays; however, he is not as widely known as one would expect from someone with such a diverse and vast body of work. His historical plays are satirical comedies that mix fact and fiction together to reimagine historical events for the audience, presenting these stories from a new perspective. This thesis analyzes several of Nigro’s historical plays through a lens similar to that employed by theorist Hayden White in his study of nineteenth century historical writers in his 1973 work Metahistory. In combining the study of these plays with a historical methodology allows one to acquire an understanding of the similarities between how history is typically written and how Don Nigro is not only reimagining history, but the unique style he employs within this genre. -
Presents by Tarell Alvin Mccraney Director – Marc David Pinate Vocal
presents by Tarell Alvin McCraney Director – Marc David Pinate Vocal Coach – Phil Timberlake Scenic Designer – Ingrid Larson Costume Designer – Chloe Patten Lighting Designer – Peyton Smith Sound Designer – Rachel Regan Dramaturg – Laura Routh Stage Manager – Abbie Betts November 2 -November 11 , 2012 The 2012-2013 Theatre School Season is dedicated in loving memory to Director of Development Tessa Craib-Cox (1944-2012). Greenhouse Theatre Center 2257 N. Lincoln Ave. Chicago, IL 60614 [email protected] theatre.depaul.edu (312) 922-1999 In the Red and Brown Water 1 CAST (IN ORDER OF APPEARANCE ) PRODUCTION STAFF O Li Roon/The Man from State ..............................................................................Matthew Browning Faculty Advisor ............................................................................................................................ Lisa Portes Nia ........................................................................................................................................... Adrienne Jones Assistant Director ....................................................................................................................Lucas Baisch Oya .............................................................................................................................................Kiandra Layne Elegba ...........................................................................................................................................James Lewis Assistant Stage Manager .................................................................................................... -
I Give Permission for Public Access to My Thesis and for Any Copying to Be Done at the Discretion of the Archives Librarian And/Or the College Librarian
I give permission for public access to my thesis and for any copying to be done at the discretion of the archives librarian and/or the College librarian. _________________________________________________ Molly G. Taylor 2 THE ITALIAN JOURNEY OF HESTER LYNCH PIOZZI; The personal and cultural transformation of a Georgian lady Molly George Taylor A Thesis Presented to the Faculty of Mount Holyoke College in partial fulfillment of The requirement for the degree of Bachelor of Arts with Honor. History Department Mount Holyoke College South Hadley, Massachusetts April 29, 2005 3 Acknowledgements This thesis project has taken me on journey across Europe and through time and it has only been possible through the generosity of both old and new friends. The journey began and ended with the guidance of Mount Holyoke College professors, foremost my advisor, Frederick McGinness. I am also grateful for the further mentoring of Barbara Stevenson, Ombretta Frau and Robert Schwartz. Research of my topic was generously funded by a Pugh grant in the summer of 2004 and the Almara grant in January 2005. Thanks to the benefactors of those awards and to the history department that administered them. The entire history department was supportive of this project, especially Holly Sharac and Holly Hanson. Youth hostels and dear friends in England and Italy provided inspiration, enlightening conversation, and lodgings while conducting research. The Langford family in Cambridge became my own for the month of June 2004. Tom Müller in Florence and Prudence Crane in Bologna were my spiritual mentors while abroad and their homes gave me quiet refuges for study.