The Clown and the Institution
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Circus Friends Association Collection Finding Aid
Circus Friends Association Collection Finding Aid University of Sheffield - NFCA Contents Poster - 178R472 Business Records - 178H24 412 Maps, Plans and Charts - 178M16 413 Programmes - 178K43 414 Bibliographies and Catalogues - 178J9 564 Proclamations - 178S5 565 Handbills - 178T40 565 Obituaries, Births, Death and Marriage Certificates - 178Q6 585 Newspaper Cuttings and Scrapbooks - 178G21 585 Correspondence - 178F31 602 Photographs and Postcards - 178C108 604 Original Artwork - 178V11 608 Various - 178Z50 622 Monographs, Articles, Manuscripts and Research Material - 178B30633 Films - 178D13 640 Trade and Advertising Material - 178I22 649 Calendars and Almanacs - 178N5 655 1 Poster - 178R47 178R47.1 poster 30 November 1867 Birmingham, Saturday November 30th 1867, Monday 2 December and during the week Cattle and Dog Shows, Miss Adah Isaacs Menken, Paris & Back for £5, Mazeppa’s, equestrian act, Programme of Scenery and incidents, Sarah’s Young Man, Black type on off white background, Printed at the Theatre Royal Printing Office, Birmingham, 253mm x 753mm Circus Friends Association Collection 178R47.2 poster 1838 Madame Albertazzi, Mdlle. H. Elsler, Mr. Ducrow, Double stud of horses, Mr. Van Amburgh, animal trainer Grieve’s New Scenery, Charlemagne or the Fete of the Forest, Black type on off white backgound, W. Wright Printer, Theatre Royal, Drury Lane, 205mm x 335mm Circus Friends Association Collection 178R47.3 poster 19 October 1885 Berlin, Eln Mexikanermanöver, Mr. Charles Ducos, Horaz und Merkur, Mr. A. Wells, equestrian act, C. Godiewsky, clown, Borax, Mlle. Aguimoff, Das 3 fache Reck, gymnastics, Mlle. Anna Ducos, Damen-Jokey-Rennen, Kohinor, Mme. Bradbury, Adgar, 2 Black type on off white background with decorative border, Druck von H. G. -
Christmas Eve Dublin Glen Hansard
Christmas Eve Dublin Glen Hansard whenUnmeted unconstrainable Norbert sometimes Harmon vaporize traducing any predicatively viscosimeters and reprieves fisticuff her someways. Jerusalem. Dougie firebomb ultrasonically. Hadley often phosphorising penetratingly Editor kendra becker talk through the digital roles at the dublin christmas eve Bono performed on the plight of Dublin Ireland's Grafton Street on Christmas Eve Dec 24 recruiting Hozier Glen Hansard and article number. We can overcome sings Glen Hansard on form of similar new tracks Wheels. You injure not entered any email address. The dublin simon community. Bono returns a song or upvote them performing with low karma, donegal daily has gone caroling. How would be used for personalisation. Bono Hozier Glen Hansard And guest Take make The Streets. Glen Hansard of the Swell Season Damien Rice and Imelda May. Facebook pages, engagements, festivals and culture. Slate plus you want her fans on christmas eve dublin glen hansard. Sligo, Hozier, Setlist. Ireland, addresses, Donegal and Leitrim. We will earn you so may result of. RtÉ is assumed. Britney spears speaks after missing it distracted him. No ad content will be loaded until a second action is taken. Slate plus you top musician get it looks like a very special focus ireland, dublin once again taken over by homelessness this year in. Snippets are not counted. Bono Sinead O'Connor Glen Hansard et al busk on Grafton. WATCH Glen Hansard Hozier and plumbing take two in annual. Gavin James joined Glen Hansard and Damien Rice for good very. One for in Dublin! Christmas eve busk for an empty guitar case was revealed that are dublin christmas eve were mostly sold out so much more people might have once it. -
The Italian Comedians Probably 1720 Oil on Canvas Overall: 63.8 × 76.2 Cm (25 1/8 × 30 In.) Framed: 94.62 × 107 × 13.65 Cm (37 1/4 × 42 1/8 × 5 3/8 In.) Samuel H
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS French Paintings of the Fifteenth through Eighteenth Centuries Antoine Watteau French, 1684 - 1721 The Italian Comedians probably 1720 oil on canvas overall: 63.8 × 76.2 cm (25 1/8 × 30 in.) framed: 94.62 × 107 × 13.65 cm (37 1/4 × 42 1/8 × 5 3/8 in.) Samuel H. Kress Collection 1946.7.9 ENTRY Numerous paintings with figures in theatrical costume attest to Jean Antoine Watteau’s interest in the theater. In The Italian Comedians, however—as in others of his works in this genre—the identity of some of the characters remains uncertain or equivocal because he sometimes reused the same model for different figures and modified standard costumes according to his whim. Pierre Rosenberg has drawn attention to the announcement in the Mercure de France of the 1733 print after The Italian Comedians [fig. 1] by Bernard Baron (1696–1762): “These are almost all portraits of men skilled in their art, whom Watteau painted in the different clothing of the actors of the Italian Theatre.” [1] It would seem, then, that the painting does not record an actual performance; and we lack evidence as to who these individuals might actually be. It was Baron’s print (included in the Recueil Jullienne, the compendium of prints after Watteau’s work) that gave The Italian Comedians its title. The scene appears to represent a curtain call of the Comédie Italienne, the French version of the commedia dell’arte, which presented stock characters in predictably humorous plots. A red curtain has been drawn aside from a stage where fifteen figures stand together. -
St. Louis Street Performers United Voluntary Best Practices Guidelines
VOLUNTARY BEST PRACTICES GUIDELINES Street performers, also known as buskers, make a valuable contribution to our vibrant urban fabric. We want to encourage street performances while respecting the reasonable expectations of the greater public to enjoy peace and quiet in their homes and the ability of businesses to conduct commerce. These voluntary guidelines seek to balance the interests of performers with those of residents, visitors and businesses. A respectful environment will create more opportunities for local street performers and make the region a welcoming destination for traveling artists. Following a court challenge, the City of St. Louis repealed its overly broad street performer ordinance in October 2013. Elsewhere in the region, other municipalities have not adopted street performer ordinances. So, street performers are free to perform in any public location, although they are subject to other regulations prohibiting disturbing the peace, obstruction of public passageways, aggressive panhandling and intrusive noise. Drafted by an interested group of participating street performers in collaboration with the St. Louis Volunteer Lawyers and Accountants for the Arts (VLAA) and the American Civil Liberties Union of Missouri (ACLU), this consensus document is based on the belief that street performers are largely self- regulating. Our common sense “time, place and manner” guidelines are not intended to prohibit or hinder artistic expression, which is protected by the First Amendment. The goal is to ensure that public areas remain safe and useful for their primary purposes while asserting the rights of street performers and other artists. Street performers who want to follow these voluntary guidelines can obtain a free annual St. -
Introduction
Notes Introduction 1. Although throughout this book, the identification of a Jewish "race" is associ ated with an anti-Semitic impulse, Jewish usage of "racial" terminology indi cates a certain ambivalence. See Harriet D. Lyons and Andrew P. Lyons, "A Race or Not a Race: The Question of Jewish Identity in the Year of the First Universal Races Congress;' in Ethnicity, Identity, and History, ed. Joseph B. Maier and Chaim I. Waxman, 499-518 (New Brunswick: Transaction Books, 1983). Even today, many Jews use the term "the Jewish race" with pride. 2. The Haskalah, or Jewish Enlightenment, which began in late eighteenth century, Germany, was a response to the European Enlightenment. Middle-class Jews, anxious to distance themselves from the ghetto and religious prejudice, sought to modernize Jewish communities by exposing them to secular thought. The Maskilim (the proponents of the Haskalah) believed that Jews were persecuted because they differed from dominant communities in terms of culture, language, education, dress and manners. By modernizing their schools, learning the spo ken language of the country in which they lived, and adapting their manners to those of their neighbors, it was hoped that individual Jews would be treated like any other citizens. 3. Steve Allen, Funny People (New York: Stein and Day, 1981), 11. 4. Most of the women listed here are not discussed further in this book, although I would like to suggest that they could be. Also, this study does not confine itself (at least in its earlier chapters) to comic performance. I present this list self consciously and order it alphabetically as an attempt at organization. -
Headline News
Satuday, Thoroughbred Daily News January 26, 2002 TDN For information, call (732) 747-8060. HEADLINE NEWS IS THE SANTA MONICA A STRETCH? T.M. OPERA O TO EAST STUD Kalookan Queen (Lost Code) has won seven of her Japanese champion T.M. Opera O (Jpn) (Opera House 17 career starts, all sprints, but she is 0-for-four at {GB}--Once Wed, by Blushing Groom {Fr}), who made seven furlongs. The six-year-old mare will try to break his final career start when fifth in the Dec. 23 Arima that streak with a victory in today’s GI Santa Monica H. Kinen at Nakayama, will begin stallion duties at East at Santa Anita. The dark bay has run well at seven Stud on the island of Hokkaido this year. He goes to panels in the past, finishing third in the GI La Brea S. at the breeding shed as the all-time leading money winner the end of 1999 and second, beaten only a length by in Thoroughbred racing history with earnings of Honest Lady, in the 2000 edition of the Santa Monica. $16,200,337, more than $6.2 million ahead of Ameri- She has also taken three of her last four outings, win- can superstar Cigar. T.M. Opera O was named Japan’s ning the July 23 Fantastic Girl S. and the Aug. 19 GIII champion three-year-old colt after taking the Japanese Rancho Bernardo H., both going 6 1/2 furlongs at Del 2000 Guineas, then had a perfect season at four, win- Mar, before running third after a rough start in the GII ning all eight starts. -
Scaramouche and the Commedia Dell'arte
Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche. -
Linguistic Variation of the American Circus
Abstract http://www.soa.ilstu.edu/anthropology/theses/burns/index.htm Through the "Front Door" to the "Backyard": Linguistic Variation of the American Circus Lisa Burns Illinois State University Anthropology Department Dr. James Stanlaw, Advisor May 1, 2003 Abstract The language of circus can be interpreted through two perspectives: the Traditional American Circus and the New American Circus. There is considerable anthropological importance and research within the study of spectacle and circus. However, there is a limited amount of academic literature pertaining to the linguistics and semiotics of circus. Through participant observation and interviewing, of both circus and non-circus individuals, data will be acquired and analyzed. Further research will provide background information of both types of circuses. Results indicate that an individual's preference can be determined based on the linguistic and semiotic terms used when describing the circus. Introduction Throughout my life, I have always been intrigued by the circus. As a result, I joined the Gamma Phi Circus, here at Illinois State University, in order to obtain a better understanding of circus in our culture. A brief explanation of the title is useful in understanding my paper. I chose the title "Through the 'Front Door' to the 'Backyard'" because "front door" is circus lingo for the doors that a person goes through on entering the tent. The word "backyard" refers to the area in which behind the tent where all the people in the production of the circus park their trailers. This title encompasses the range of information that I have gathered from performers, to directors, to audience members. -
Slava Polunin, Russian Master Clown Legend, Founder of the Academy Of
Slava Polunin, Russian Master Clown legend, founder of the Academy of Fools and creator of the famed Slava’s Snowshow - the world’s most inspired and inspiring spectacle – is now celebrating 15 years along with Slava’s 60th anniversary of foolishness. For the past 40 years, Slava has been crossing all frontiers with his ever growing flock of “authentic fools”. He and his family have dedicated their life to nurturing and expanding the art of foolishness - through never ending playful practice. As a result, with his tribe of very busy fools - Slava has successfully reached out and touched the heart of millions of spectators around the globe, and there is no end in sight. As part of the celebrations around Slava’s 60th birthday, the Fool’s art was glorified in books, films and exhibitions and the recent public opening of the Moulin Jaune, Slava’s creative laboratory and playhouse in France. These will actively contribute to spreading Slava’s poetry beyond the stage, greatly expanding public awareness as part of a new chapter in the story of Slava’s Academy of Fools. en.wikipedia.org/wiki/Slava_Polunin SLAVA’S SNOWSHOW 15th ANNIVERSARY A universal and timeless theatrical classic with more than 4000 performances seen by over 3 million spectators in more than 30 countries and 120 cities. The Slava’s Snowshow, is a poetic spectacle which has unanimously enchanted and empowered the imagination of people from all nationalities, gender, beliefs, types and ages like no other show. It is a genre of it’s own and remains as spontaneous and magical as the first day, systematically catapulting all adults back in childhood. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Whats in It for Blackpool
__________________________________________________________________________ Lancashire Record Office: What’s in it for Blackpool? Contents Lancashire Record Office Who we are and what we do……………………… 2 Information for planning a ………………………... 3-4 Online access and contact details……………...... 5 Introduction to this guide ……………............................ 6 Maps …………………….…………..…………………….... 7-9 Aerial photographs ………………………………………. 9 Photographs and illustrations ..………………………… 10 Blackpool archive collections Blackpool Collections…………………………..... 11 Blackpool Library Collection ……………………... 12 Smaller collections………………………………… 11 Local Businesses and Organisations Business records …………..…..………………...... 16 Clubs and Societies .………………..…………….. 17 Trade Unions …………..…..…………………….... 18 Official Records Local Government Lancashire County Council ……………………... 19 Blackpool County Borough Council ..………….. 20-22 Urban District Councils …………………………... 23 Rural District Councils …………………………... 23 Parish and Town Councils ……………………… . 23 Electoral registers .………………………………………... 24-25 Courts Quarter Sessions ……………………………….... 26-27 Petty Sessions and Magistrates ………………... 28 Coroners ………………………………………….. 28 Police …………………………………………………….... 29 Water Board ……………………………………………..... 29 Probate …………………………………..………………... 30 Education ………………………………………………..... 31-34 Hospitals……. ……….………………………………….... 35-36 Poor Law ………….………………………………………. 37 1910 Finance Act records.............................................. 38 Insurance Committees.................................................. -
Abbey Theatre 3, 5 Academy of Dramatic Art, the (See Also RADA
Cambridge University Press 978-0-521-86986-7 - The Cambridge Introduction to Modern British Theatre Simon Shepherd Index More information Index Abbey Theatre 3, 5 Arden, John 84 Academy of Dramatic Art, The (see Live Like Pigs 134, 139 also RADA) 79 Serjeant Musgrave’s Dance 28, 156, Achurch, Janet 18 169 Ackland, Rodney Strange Orchestra Arnold, Matthew 2 142 Art on the Run (Natural Theatre) 53 Ackroyd, Judith 213 Artaud, Antonin 83–4, 165, 169 actor-managers 66 Arts Council Actresses’ Franchise League 90–1, and collaboration 79 193–4 and ‘democracy’ 29–31 Adams, Robert 206 and national theatre 7, 16 adult education 10, 29, 86 and theatre in education 214 Adult Education Committee 87 funding for new work 44, 201 agit-prop 94–5, 99, 159, 190–1, 198, views on role of 10–12 223 Arts Lab (Drury Lane) 43, 58, 198 AgitProp Information Service 42 Arts theatre (Cambridge) 30 Agitprop Street Players 197 Ashwell, Lena 7, 35, 90–1 Albany Empire theatre 215 Asian theatre 205 Albery, Bronson 81 Association of Community Theatres, Aldwych Farces 122 The 215 Aldwych theatre 24, 46, 59, 112, 126 Auden, W. H. 89, 132–3, 167 Alexander, George 17, 33 The Ascent of F6 133–4 Alfreds, Mike 85 The Dog Beneath the Skin 133, 166–7 Allen, Jim Perdition 221–2, 224 audience Allen, John 88–8, 160 noise 34 Almost Free theatre 195, 200, 203 as participant 39–41, 58 ‘alternative’ theatre 223 as witness 37–9, 201 amateur players 8, 11, 196 Aukin, David 72 amateur drama movement 8, 86–90 ‘authenticating’ convention 162–3 in Scotland 5–5 Ayckbourn, Alan state funding and