Bernard Bragg Collection
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New York Deaf Theatre, Ltd. 14Th Anniversary Season
New York Deaf Theatre, Ltd. 14th Anniversary Season The Hearing Test by Willy Conley &: 2S Cents by Aaron B. Weir December 4 .. 19, 1993 DEAF MOSAIC Congratulate New York Deaf Theatre, Ltd. and welcomes the opening of its 14th season D Watch D F MOSAIC 9:00 a.m. undays on The Discovery Channel DEAF MOSAIC is produced by the DEPARTMENT OF TELEVISION, FILM, AND PHOTOGRAPHY GALLAUDET UNIVERSITY 800 Florida Ave. NE Washington, DC 20002-3695 (202) 651-5115 (TTY IV) (202) 651-5124 (FAX) COOPER..HEWITI MUSEUM National of Wishes You aJoyous J{oliday Season and you to Join Us in uploring the World of'Design EXHIBITIONS Mechanical Brides: Woman and Machines from Home to Office Now through 2, 1994 Fancy Fronts: Men's Waistcoats of Eighteenth Now February 13, 1994 Crane: Children Now through February 13, 1994 From to Building: A in Singapore Architect Paul Randolph Now through 13,1994 the New: Design and the American Consumer 1925 - 1975 February 8 - June 14, 1994 EDUCATIONAL PROGRAMS Thursday, April 14 at 6:30 pm • "New Designs for Industry in the 19th Fee: $15 General $10 Museum Members; $5 Students and Seniors Tuesday, April 19 at 6:30 pm "Landscapes Peril: Memory Nuclear Fee: $10 Public; $8 Museum Students and Seniors Tuesday, April 26 at 6:30 One Word: in American 1950-1970" Fee: $15 Public; $10 Museum Members; Students and 2 East 91 Street at Fifth Avenue l'eaist~!1' for Programs or to book Group Gallery Tours call TOO (212) 86()"6865 or, Voice (212) 86()..6899 In Memory Jim Tala 1951 - 1993 'Brok.en Spok.es I99° a Christmas Carol I99 I Jackie Roth Tony Allicino Artistic Director General Manager NEW YORK DEAF THEATRE, LTD. -
Cultural Arts Among Deaf People Robert Panara
Rochester Institute of Technology RIT Scholar Works Articles 1983 Cultural arts among deaf people Robert Panara Follow this and additional works at: http://scholarworks.rit.edu/article Recommended Citation Panara, R. (1983). Cultual arts among deaf people. Gallaudet Today, 13(3), 12-16. This Article is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Articles by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. -- --- cultural Arts Among Deaf people by Robert F. Panara he publicationof that remarkable novel, Roots, by TAlex Haley,and its .dramatizationon nationaltelevision has probably created more awareness of "the Black . experience" in America than any other single work since 1852,when Harriet Beecher Stowe published Unde Tom~ Cabin. It is also important to note that Roots, unlike Unde Tom~ Cabin, was the work of a Blackauthor an~ that Black . persons played the leading roles on Tv. This "cultural breakthrough" has great significance when we consider the state of the cultural arts among deaf people. To begin with, there is.the outstanding achievement of the National Theatre of the Deaf which has helped awaken the public to "Deaf Awareness." Since its establishment in 1967, NTDhas influenced millions of hearing people, in the theatre and on TV.. In their han~s, the sign language of the so-called "deaf and dumb~' has '- "The Camel Driver" is a dry-point etching by Cadwallader Washbum. Mr. Washbum, who graduated from Gallaudet In 1890, was not only an artist of International note, but also a journalist, oologlst, entomologist, world traveler, and explorer. -
Bernard Bragg
Bernard Bragg 1928-2018 Early Life ● Bragg grew up in Brooklyn, and was fully immersed in the Deaf culture through his Deaf parents, aunt and uncle. ● Bragg was also involved in the acting culture through his dad's job as an amateur actor. Education ● Bernard studied theater at Gallaudet University (at the time called Gallaudet College). ○ While studying, Bragg had lead roles in performances, and gained experience directing ○ Bragg was also interested in literature and won the Teegarden Award for Creative Poetry during his final year Life after College ● After he finished his Education, Bragg became an instructor at the California School for the Deaf (CSD), and taught there for 15 years. ○ While he was there, he was also involved in extracurricular activities such as supervising and directing student productions ○ Bernard also continued to pursue his own opportunities in theater by directed convention shows for the National Association for the Deaf and performing at the Los Angeles Club for the Deaf An Interesting Opportunity ● While working at CSD, Bragg had an opportunity to see famous mime Marcel Marceau while he was on tour. ○ At this performance, Bernard was lucky enough to arrange a meeting with Marcel. This connection opened the door for an audition by Bernhard that resulted in him receiving an offer by Marcel to study under him in Paris. ○ Bernard accepted Marcel’s offer, and traveled to France once the school year was complete. Returning to America ● Marcel inspired Bragg to perform more, because, as he said, “If he can do a two-hour show without saying a word, why can’t I?”. -
Arts Accessibility for the Deaf. INSTITUTION National Access Center, Washingtof DC
DOCUMENT RESUME ED 213 235 EC ]41 192 AUTHOR Bergman, Eugene TITLE Arts Accessibility for the Deaf. INSTITUTION National Access Center, Washingtof DC. SPONS AGENCY National Endowment for the Arts, Washington, D.C. PUB DATE Mar 81 NOTE 24p. AVAILABLE FROMNational Access Center, 1419 27th St., N.W., Washington, DC 20007. EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Accessibility (for Disabled); *Art; *Cultural Activities; Dance; *Deafness; Museums; Music; Television; *Theater Arts ABSTRACT The booklet provides information and resources for cultural organizations and institutions interested in making the arts accessible to deaf citizens. Preliminary information includes a discussion of deafness in America and the deaf in the history of the arts and notes that the era of silent films was the golden age of cinema. Listed are 36 theaters of and for the deaf as well as 18 hearing theaters with accessibility for the deaf. Also considered are television shows with deaf characters, entertainment programs for the deaf, news programing, the deaf and educational television, closed captioning, and videodiscs. Brief sections discuss resources for deaf dance as well as music and the visual arts. Museums offering interpreted tours and/or special programs for the deaf are listed. The booklet's suggestions for improving arts accessibility include involving the staff in awareness training, developing a deaf audience, and designing programs which consider visual cueing, lighting, fire and emergency warning, acoustics, and hearing amplification. Sources o..esign information are noted. Finally, resources are given for locating deaf people in the community, locating deaf artists, and reaching deaf audiences. (DB) ********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. -
The Past and the Present of Deaf Theatres Around the World
THE PAST AND THE PRESENT OF DEAF THEATRES AROUND THE WORLD BERNARD BRAGG (Based on a presentation at the first deaf theatre companies in the world. annual conference of National and We were impressed by each other's An accomplished actor, director, Worldwide DeafTheatres, Connecticut, high performance standards, distinct playwright and lecturer, Bernard August 2-12, 1995) styles, and by our respective innova Brag was born deaf into a deaffam tive adaptations of sign language for iJy_ He grew up in the world of the Thirty years ago, in 1966, at the time the stage. We began to envision the atre and has performed aU his life for deaf and hearing audiences David Hays and I were discussing the possibility ofestablishing an exchange around the globe. He attended the possibility of a National Theatre of the program for the actors. Many Deaf New York School for the Deaf; is a Deaf (NTD), he brought up the idea of people from different parts of the world Gallaudet graduate and holds a taking our yet-to-be-founded theatre to attending that conference were master's degree in special educa Europe to partIcIpate in the inspired by the Russian and American tion with a minor in drama from International Theatre Festival to be groups to establish their own theatre San Francisco State University. He held in Warsaw in 1967. This took companies when they returned home taught at the California School for place many months before the National to their respective countries. The 1969 the Deaf in Berkeley for a number Theatre of the Deaf was established, CISS-sponsored games in Belgrade of years. -
150 Years 1864-2014 Reunion
YEARS 150 1864 2014 Reunion PAST PRESENT FUTURE July 9–13, 2014 ContentsTable of Contents General Information . 2 . Messages From Gallaudet University President . .3 . Gallaudet University Provost . 4 . Gallaudet Reunion Committee Chair . 5 Alumni Relations . 7 GUAA President . 8 GUAA Awards—Winners and Criteria . 9 Sesquicentennial Distinguished Alumni Award . 10 Museum/Exhibit Information . 12 Schedule of Events Wednesday, July 9 . .14 . Thursday, July 10 . 16 Friday, July 11 . 27 Saturday, July 12 . 31 Campus Map . 34 . 1 General Information Bison Shop Check out Gallaudet Reunion keepsake items at the Gallaudet Bison Shop on the main level of JSAC . GUAA members receive a 10 percent discount on Gallaudet imprinted items . The Bison Shop is located on the main floor of the I . King Jordan Student Academic Center . • Wednesday, July 9 to Friday, July 11 • Saturday, July 12 9 a .m .–8 p .m . 10 a .m .–5 p .m . Sponsor Exhibit Booths • Wednesday, July 9 to Saturday, July 12 9 a .m .–5 p .m . Multipurpose Room I . King Jordan Student Academic Center Gallaudet University Press “The History of Gallaudet University,” a heavily illustrated chronicle by David F . Armstrong, traces the devel opment of the only liberal arts college for deaf and hard of hearing students through its 150-year existence as it became a modern, comprehensive American university . The book will be on sale at a special 20 percent discount, and the author will be available for a signing the afternoon of Thursday, July 10 . • Thursday, July 10 and Friday, July 11 • Saturday, July 12 9 a .m .–5 p .m . -
Performing Arts 273
Performing arts 273 PERFORMING ARTS Broadway play was so successful that several other professional companies were formed to take it to The pride of the deafCOIn ~ theaters outside New York City In of and language, or actress played the leading significant. When .' The national touring persons their deaf counterparts ci j ies throughout the on stage, the movies, it serves i('atured Linda Bove; the remove the "stereotype" of deafness, had Freda Norman They discover and develop greater (England) company confidence attitude toward groups have since played and and society, It also encourages them to seek other South Africa, and repeat performances continued role models in the performing arts, to captivate audiences in regional theaters through out the United States. Altogether, scores of deaf PERFORMING ARTISTS persons have been employed in leading or sup In many ways, deaf persons as individuals have porting roles or as understudies and substitutes. blazed new pathways in the performing arts for The film rights to the play were purchased by others to follow. One of these individuals is Ber a Hollywood production company in 1984. See nard Bragg. He studied mime with Marcel Marceau FRELICH, PHYLLIS. in Paris United States with people who had acquired one-man the best night clubs had already made an theaters. television appearances frdich and Bove. Among clude his The Quiet Man in Fabray and Johnnie Ray, appearances on unusual distinction ofbeing guest spots on television RA,y,JOHNNIE. States. Bragg also helped Theatre ofthe Deaf (NTD) TELEVISION and was one ofits brightest stars for over 10 years. One of the first profoundly deaf persons to appear The publication of his biography, Si,1!)IS of Silence on prime-time television was Audree (Bennett) (1974), by Helen Powers, is an inspiration for all Norton, who had toured nationally with the NTD. -
National Endowment for the Arts Annual Report 1977
Annual Rcport 1977 National National Endowmcnt Council for thc Arts on the Arts National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1977. The fiscal year covered in this report preceded my tenure as chairman. Respectfully, Livingston L. Biddle, Jr. Chairman The President The White House Washington, D.C. September 1978 Contcnts The Agency and Its Functions 2 Chairmen’s Statements 6 Members, National Council on the Arts, Fiscal 1977 8 Aclvisory Panel Members and (~onsultants 10 1977-78 Challenge Grants 30 Grants by Programs Architecture q- Environmental Arts 32 Dance 38 Education 44 Expansion Arts 48 Federal-State Parmership 60 Literature 66 Media Arts 74 Museums 82 Music 94 ~ Special Projects 108 Theatre 114 Visual Arts 120 Financial Summary 134 History of Authorizations and Appropriations 136 Staff of the National Endowment for the Arts 139 Thc and lts " The National Foundation on the law m advise the Chairman on policies, Arts and the Humanities programs, and procedures. It also must In 1965, Congress created the National review and make recommendations on Foundation on the Arts and the applications for grants. Humanities as an independent agency The National Endowment for the Arts of the Executive Branch of the Federal The Natíonal Endowment for the Arts Government. The Act, Public Law is, in effect, ah independent federal 89-209, was last amended by Public agency, with its own Chairman, Na Law 94-462 in October 1976. -
University of California, Santa Barbara, Arts and Lectures Records
http://oac.cdlib.org/findaid/ark:/13030/kt5q2nf145 No online items Guide to the University of California, Santa Barbara, Arts and Lectures Records Processed by Special Collections staff; latest revision A. Demeter Department of Special Collections Davidson Library University of California, Santa Barbara Santa Barbara, CA 93106 Phone: (805) 893-3062 Fax: (805) 893-5749 Email: [email protected] URL: http://www.library.ucsb.edu/special-collections/ © 2009-2013 The Regents of the University of California. All rights reserved. Guide to the University of UArch 16 1 California, Santa Barbara, Arts and Lectures Records Guide to the University of California, Santa Barbara, Arts and Lectures Records, ca. 1955-2013 [bulk dates 1968-1989] Collection number: UArch 16 Department of Special Collections Davidson Library University of California, Santa Barbara Processed by: Processed by Special Collections staff; latest revision A. Demeter Date Completed: Feb. 26, 2009 Latest revision: May 9, 2013 Encoded by: A. Demeter © 2009-2013 The Regents of the University of California. All rights reserved. Descriptive Summary Title: University of California, Santa Barbara, Arts and Lectures Records Dates: ca. 1955-2013 Bulk Dates: 1968-1989 Collection number: UArch 16 Creator: University of California, Santa Barbara. Arts and Lectures Collection Size: ca. 45 linear feet (57 document boxes, 12 oversize flat boxes, 369 audiotapes) and 1 map cabinet drawer. Repository: University of California, Santa Barbara. Library. Dept. of Special Collections Santa Barbara, CA 93106 Abstract: The UCSB Arts and Lectures records contain individual files relating to lectures, performances, film series and other events arranged and/or sponsored by the committee, as well as general files on press releases, calendars and programs, and other materials. -
Face-To-Face Tradition in the American Deaf Community Dynamics of the Teller, the Tale, and the Audience
© 2006 UC Regents Buy this book University of California Press, one of the most distinguished univer- sity presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2006 by The Regents of the University of California DVD © 2006 by DawnSignPress and The Regents of the University of California; compiled materials used by permission Library of Congress Cataloging-in-Publication Data Signing the body poetic : essays on American Sign Language literature / H-Dirksen L. Bauman, Jennifer L. Nelson, Heidi M. Rose, editors ; with a foreword by William C. Stokoe and a preface by W. J. T. Mitchell. p. cm. “Includes DVD.” Includes bibliographical references and index. isbn-13: 978-0-520-22975-4 (cloth : alk. paper) isbn-10: 0-520-22975-4 (cloth : alk. paper) isbn-13: 978-0-520-22976-1 (pbk. : alk. paper) isbn-10: 0-520-22976-2 (pbk. : alk. paper) 1. American Sign Language literature. 2. Deaf authors. 3. Deaf, Theater for the. 4. Visual literature—History and criticism. I. Bauman, H-Dirksen L., 1964– II. Nelson, Jennifer L., 1965– III. Rose, Heidi M., 1963– HV2353.S53 2007 890—dc22 2006016236 Manufactured in the United States of America 15 14 13 12 11 10 09 08 07 06 10 987654321 This book is printed on New Leaf EcoBook 60, containing 60% post-consumer waste, processed chlorine free; 30% de-inked recycled fiber, elemental chlorine free; and 10% FSC-certified virgin fiber, totally chlorine free. -
Visual Vernacular an Inter and Intra Sign Language Poetry Genre Comparison
Visual Vernacular An Inter and Intra Sign Language Poetry Genre Comparison Bachelor Thesis 2017-2018 BA Linguistics – Language and Cognition Leiden University Name: Marieke van Brandwijk Student number: S1512137 Supervisor: Victoria Nyst Second corrector: Maarten Kossmann Table of contents Chapter 1 – Introduction 4 Chapter 2 – Background 5 2.1 History 5 2.2 Definition 6 2.2.1 Cinematographic techniques 6 2.2.2 Iconicity 6 2.2.3 Internationally comprehensible 8 2.2.4 Not translatable 8 2.3 Famous visual vernacular performers 9 2.3.1 Bernard Bragg 9 2.3.2 Giuseppe Giuranna 9 2.3.3 Guy Bouchauveau 9 Chapter 3 – Methodology 9 Chapter 4 – Results 10 4.1 Styles 10 4.4.1 Variation through the years and inspiration sources 11 4.4.1.1 Early visual vernacular 11 4.4.1.2 Contemporary visual vernacular 13 4.4.1.2.1 Role switching and increased speed 13 4.4.1.2.2 Fluency and geek culture 14 4.4.1.2.3 Editing tools in videos 15 4.4.1.3 Stories based on any day events 16 4.4.2 Variation from performer to performer 16 4.4.2.1 Giuseppe Giuranna – rhythm 16 4.4.2.2 Guy Bouchauveau – comedy and comic books 18 2 4.4.2.3 Ace Mahbaz – popping 18 4.4.2.4 Ian Sanborn – balance between opposites 18 Chapter 5 – Discussion 19 5.1 Categorization 19 5.1.1 Poetry 19 5.1.2 Stories with constraints 20 5.1.3 Narratives 20 5.2 Differences between visual vernacular and similar genres 22 5.2.1 Classifier stories 22 5.2.2 Pantomime 24 5.2.2.1 No clear definition 24 5.2.2.2 Comparison with different stage types of pantomime 24 5.2.2.3 Comparison with general pantomime characteristics 25 5.2.2.4 Overview of similarities and differences 28 5.2.2.5 Suggestion for future research 28 Chapter 6 – Conclusion 29 Bibliography 31 3 1.