Harvey Milk Archives
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Index Academy Awards (Oscars), 34, 57, Antares , 2 1 8 98, 103, 167, 184 Antonioni, Michelangelo, 80–90, Actors ’ Studio, 5 7 92–93, 118, 159, 170, 188, 193, Adaptation, 1, 3, 23–24, 69–70, 243, 255 98–100, 111, 121, 125, 145, 169, Ariel , 158–160 171, 178–179, 182, 184, 197–199, Aristotle, 2 4 , 80 201–204, 206, 273 Armstrong, Gillian, 121, 124, 129 A denauer, Konrad, 1 3 4 , 137 Armstrong, Louis, 180 A lbee, Edward, 113 L ’ Atalante, 63 Alexandra, 176 Atget, Eugène, 64 Aliyev, Arif, 175 Auteurism , 6 7 , 118, 142, 145, 147, All About Anna , 2 18 149, 175, 187, 195, 269 All My Sons , 52 Avant-gardism, 82 Amidei, Sergio, 36 L ’ A vventura ( The Adventure), 80–90, Anatomy of Hell, 2 18 243, 255, 270, 272, 274 And Life Goes On . , 186, 238 Anderson, Lindsay, 58 Baba, Masuru, 145 Andersson,COPYRIGHTED Karl, 27 Bach, MATERIAL Johann Sebastian, 92 Anne Pedersdotter , 2 3 , 25 Bagheri, Abdolhossein, 195 Ansah, Kwaw, 157 Baise-moi, 2 18 Film Analysis: A Casebook, First Edition. Bert Cardullo. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 284 Index Bal Poussière , 157 Bodrov, Sergei Jr., 184 Balabanov, Aleksei, 176, 184 Bolshevism, 5 The Ballad of Narayama , 147, Boogie , 234 149–150 Braine, John, 69–70 Ballad of a Soldier , 174, 183–184 Bram Stoker ’ s Dracula , 1 Bancroft, Anne, 114 Brando, Marlon, 5 4 , 56–57, 59 Banks, Russell, 197–198, 201–204, Brandt, Willy, 137 206 BRD Trilogy (Fassbinder), see FRG Barbarosa, 129 Trilogy Barker, Philip, 207 Breaker Morant, 120, 129 Barrett, Ray, 128 Breathless , 60, 62, 67 Battle -
Harvey Milk Page 1 of 3 Opera Assn
San Francisco Orpheum 1996-1997 Harvey Milk Page 1 of 3 Opera Assn. Theatre Production made possible by a generous grant from Madeleine Haas Russell. Harvey Milk (in English) Opera in three acts by Stewart Wallace Libretto by Michael Korie Commissioned by S. F. Opera, Houston Grand Opera, and New York City Opera The commission for "Harvey Milk" has been funded in substantial part by a generous gift from Drs. Dennis and Susan Carlyle and has been supported by major grants from the Lila Wallace-Reader's Digest Opera for a New America, a project of OPERA America; the Caddell & Conwell Foundation for the Arts; as well as the National Endowment for the Arts. Conductor CAST Donald Runnicles Harvey Milk Robert Orth Production Messenger James Maddalena Christopher Alden Mama Elizabeth Bishop Set designer Young Harvey Adam Jacobs Paul Steinberg Dan White Raymond Very Costume Designer Man at the opera James Maddalena Gabriel Berry Gidon Saks Lighting Designer Bradley Williams Heather Carson Randall Wong Sound Designer William Pickersgill Roger Gans Richard Walker Chorus Director Man in a tranch coat/Cop Raymond Very Ian Robertson Central Park cop David Okerlund Choreographer Joe Randall Wong Ross Perry Jack Michael Chioldi Realized by Craig Bradley Williams Victoria Morgan Beard Juliana Gondek Musical Preparation Mintz James Maddalena Peter Grunberg Horst Brauer Gidon Saks Bryndon Hassman Adelle Eslinger Scott Smith Bradley Williams Kathleen Kelly Concentration camp inmate Randall Wong Ernest Fredric Knell James Maddalena Synthesizer Programmer -
Teacher Guide
MILWAUKEE REPERTORY THEATER TEACHER’S GUIDE November 18-December 21, 2014 | The Quadracci Powerhouse CLASSROOM ACTIVITIES Teacher Guide written by Deanie Vallone, Education Intern, with contributions by Lindsey Hoel-Neds, Education Associate, By Mary Chase and Hope Parow, Education Assistant Directed by KJ Sanchez Executive Producer Judy Hansen SUGGESTED TEACHING TOPICS 1.) Family & Relationships This Teacher’s Guide is designed to be used in the classroom along with The Rep’s Play Guide for Harvey. 2.) Reality vs. Fantasy These are some suggested activities for your classroom. The Play Guide is available online at http://www.milwaukeerep.com/Tickets/2014-15-Season/Harvey-Play-Guide/ 3.) Changing Identities & Perspectives FAMILY & RELATIONSHIPS DISCUSS: Pre-Show Questions • Harvey’s plot revolves around the Dowd family and how they interact with each other. Over the course of the play they learn to make sacrifices for each other, and they redefine how they view one another. How do you define family? What kind of exceptions do you make for family? How do you treat your family members differently from other people? DISCUSS: Post-Show Questions • Harvey depicts one type of family from the 1940s. How have family dynamics changed since that time period? How is your family similar to Scenes from the 1949 Broadway or different from the Dowd family inHarvey ? production of Harvey. Photo courtesy of Program Publishing Company. PERFORM: Family Portrait Tableaus Have students create tableaus (frozen images that tell a story) to illustrate family as a central theme. Their tableaus should be candid in the sense that they are not depicting a traditional formal family portrait, but families engaged in daily life. -
Index of Authors
Index of Authors Abel, Richard 19, 20, 134, 135, 136, Alexander, David 441 Andre, Marle 92 Aros (= Alfred Rosenthal) 196, 225, 173 Alexander, lohn 274 Andres, Eduard P. 81 244, 249, 250 Abel, Viktor 400 Alexander, Scott 242, 325 Andrew, Geoff 4, 12, 176, 261,292 Aros, Andrew A. 9 Abercrombie, Nicholas 446 Alexander, William 73 Andrew, 1. Dudley 136, 246, 280, Aroseff, A. 155 Aberdeen, l.A. 183 Alexowitz, Myriam 292 330, 337, 367, 368 Arpe, Verner 4 Aberly, Rache! 233 Alfonsi, Laurence 315 Andrew, Paul 280 Arrabal, Fernando 202 About, Claude 318 Alkin, Glyn 393 Andrews, Bart 438 Arriens, Klaus 76 Abramson, Albert 436 Allan, Angela 6 Andrews, Nigel 306 Arrowsmith, William 201 Abusch, Alexander 121 Allan, Elkan 6 Andreychuk, Ed 38 Arroyo, lose 55 Achard, Maurice 245 Allan, Robin 227 Andriopoulos, Stefan 18 Arvidson, Linda 14 Achenbach, Michael 131 Allan, Sean 122 Andritzky, Christoph 429 Arzooni, Ora G. 165 Achternbusch, Herbert 195 Allardt-Nostitz, Felicitas 311 Anfang, Günther 414 Ascher, Steven 375 Ackbar, Abbas 325 Allen, Don 314 Ang, Ien 441, 446 Ash, Rene 1. 387 Acker, Ally 340 Allen, Jeanne Thomas 291 Angelopoulos, Theodoros 200 Ashbrook, lohn 220 Ackerknecht, Erwin 10, 415, 420 Allen, lerry C. 316 Angelucci, Gianfranco 238 Ashbury, Roy 193 Ackerman, Forrest }. 40, 42 Allen, Michael 249 Anger, Cedric 137 Ashby, lustine 144 Acre, Hector 279 Allen, Miriam Marx 277 Anger, Kenneth 169 Ashley, Leonard R.N. 46 Adair, Gilbert 5, 50, 328 Allen, Richard 254, 348, 370, 372 Angst-Nowik, Doris ll8 Asmus, Hans-Werner 7 Adam, Gerhard 58, 352 Allen, Robert C. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
Who Tells Your Story?: Intersections of Power, Domesticity, and Sexuality Relating to Rap and Song in the Musical Hamilton
WHO TELLS YOUR STORY?: INTERSECTIONS OF POWER, DOMESTICITY, AND SEXUALITY RELATING TO RAP AND SONG IN THE MUSICAL HAMILTON By Tia Marie Harvey A THESIS Submitted to Michigan State University in partial fulfillment of the requirement for the degree Musicology—Master of Arts 2019 ABSTRACT WHO TELLS YOUR STORY?: INTERSECTIONS OF POWER, DOMESTICITY, AND SEXUALITY RELATING TO RAP AND SONG IN THE MUSICAL HAMILTON By Tia Marie Harvey In January 2015, Lin-Manuel Miranda’s Hamilton: An American Musical premiered at The Public Theater in New York City. Later that year it moved to Broadway with an engagement at the Richard Rodgers Theater, followed by productions in Chicago and London. Commercially successful and critically acclaimed, Hamilton continues to hold significant cultural relevance in 2019. As a result of this musical’s cultural significance, it has the ability to communicate positive, but also limiting, aspects of our society. In this thesis, I examine the concept of rap as a musical language of power. To do this, I assert that characters in Hamilton who have power, and particularly when expressing that power, do so through rap. In contrast, when characters don’t have power, or are entering realms of the powerless (i.e. spaces gendered female), they do so through lyrical song. In chapter 1, I set up the divide between rap and song as it primarily translates among male characters and class. Chapter 2 is focused on the domestic sphere, and in chapter 3 I discuss sexuality. In the conclusion of this thesis, I revisit the character of Eliza and explore the perceived power of her role as storyteller and the way in which the themes I discuss illuminate many missed opportunities to present an interpretation of America’s founding that is truly revolutionary. -
Centrespread Centrespread 15 OCTOBER 23-29, 2016 OCTOBER 23-29, 2016
14 centrespread centrespread 15 OCTOBER 23-29, 2016 OCTOBER 23-29, 2016 As the maximum city’s cinephiles flock to the 18th edition of the Mumbai Film Festival (October 20-27), organised by the Mumbai Academy of Moving Image, ET Magazine looks at some of its most famous counterparts across the world and also in India Other Festivals in IndiaInddia :: G Seetharaman International Film Festivalstival of Kerala Begun in 1996, the festivalstival is believed to be betterter curated than its counterparts in thee Cannes Film Festival (Cannes, France) Venice Film Festival (Italy) country. It is organisedanised by the state governmenternment STARTED IN: 1946 STARTED IN: 1932 TOP AWARD: Palme d’Or (Golden Palm) TOP AWARD: Golden Lion and held annually in Thiruvananthapuram NOTABLE WINNERS OF TOP AWARD: Blow-Up, Taxi Driver, Apocalypse Now, Pulp Fiction, Fahrenheit 9/11 NOTABLE WINNERS OF TOP AWARD: Rashomon, Belle de jour, Au revoir les enfants, Vera Drake, Brokeback Mountain ABOUT: Undoubtedly the most prestigious of all film festivals, Cannes' top awards are second only to the Oscars in their Internationalnal FilmF Festival of India cachet. Filmmakers like Woody Allen, Wes Anderson and Pedro Almodovar have premiered their films at Cannes, which is ABOUT: Given Italy’s great filmmaking tradition — think Vittorio de Sica, as much about the business of films as their aesthetics; the distribution rights for the best of world cinema are acquired by Federico Fellini and Michelangelo Antonioni — it is no surprise that the Run jointly by the information and giants like the Weinstein Company and Sony Pictures Classics, giving them a real shot at country hosts one of the finest film festivals in the world. -
Towards a Comparative Montage of the Female Portrait
Gonzalo de Lucas Translated by Alejandra Rosenberg TOWARDS A COMPARATIVE MONTAGE OF THE FEMALE PORTRAIT. THE THEATRE OF THE BODY: FICTIONAL TEARS AND REAL TEARS One of the many ways of approach- a more realistic image, thereby eroding ing film history—and probably one the distant, ideal image constructed in of the most neglected— is to examine the studio: a transition from an iconic how filmmakers portray actresses: the image to an indexical image, in which distances, relationships, and stories the effects of reality and the passing of which, behind the main plot, are cap- time on the body are made visible. In tured between the one filming and the the 1960s, filmmakers such as Bergman one being filmed. In cinema, unlike lit- or Cassavetes would take these signs to erature or painting, a character is not the absolute extreme, stripping the ac- only an imaginary being, but also a real tress of all but her condition as a per- person who inscribes his or her voice, son or a mask. gestures and gazes into the experience An actress usually portrays cry- of the film; this occurs “in the world ing as a fictitious and depersonalised and with the world, with real creatures dramatic moment of her private life. as raw material, before the intervention However, when modern filmmakers of language” (BERGALA, 2006: 8). transformed the cinematic forms of In this article, I will explore this the female portrait, in an effort to ex- work with corporeal matter, the signs pand the limits of everyday realism, inscribed as real presences, through they sought to make tears evoke or the tears of actresses in performances reveal something that belonged to the filmed by D. -
Rent Glossary of Terms
Rent Glossary of Terms 11th Street and Avenue B CBGB’s – More properly CBGB & OMFUG, a club on Bowery Ave between 1st and 2nd streets. The following is taken from the website http://www.cbgb.com. It is a history written by Hilly Kristal, the founder of CBGB and OMFUG. The question most often asked of me is, "What does CBGB stand for?" I reply, "It stands for the kind of music I intended to have, but not the kind that we became famous for: COUNTRY BLUEGRASS BLUES." The next question is always, "but what does OMFUG stand for?" and I say "That's more of what we do, It means OTHER MUSIC FOR UPLIFTING GORMANDIZERS." And what is a gormandizer? It’s a voracious eater of, in this case, MUSIC. […] The obvious follow up question is often "is this your favorite kind of music?" No!!! I've always liked all kinds but half the radio stations all over the U.S. were playing country music, cool juke boxes were playing blues and bluegrass as well as folk and country. Also, a lot of my artist/writer friends were always going off to some fiddlers convention (bluegrass concert) or blues and folk festivals. So I thought it would be a whole lot of fun to have my own club with all this kind of music playing there. Unfortunately—or perhaps FORTUNATELY—things didn't work out quite the way I 'd expected. That first year was an exercise in persistence and a trial in patience. My determination to book only musicians who played their own music instead of copying others, was indomitable. -
Clarence Brown Theatre Production History
Clarence Brown Theatre Production History 1974-75 1979-80 1984-85 Everyman Oh, What a Lovely War Loof’s Tower The Second Shepherd’s Play Twelfth Night Electra Headhunters A Christmas Carol The Frog Prince Playboy of the Western World Three Men on a Horse Peter Pan Ruling Class Night Must Fall Richard III Aristotle’s Bellows Mother Courage and Her Children The Caretaker Henry IV, part 1 The Physicists She Stoops to Conquer Last of the Red Hot Lovers Arsenic and Old Lace Beauty and the Beast The Music Man Mysterious Arabian Nights The House of Blue Leaves Androcles and the Lion The Elephant Man 1975-76 Brigadoon No, No, Nanette 1985-86 New Majestic Follies 1980-81 The King and I Rosencrantz & Guildenstern Are Dead The Heiress Extremities Woyzeck Candide Byron in Hell Macbeth Christmas All Over the Place A Christmas Carol Rip Van Winkle The Merchant of Venice Getting Out Tobacco Road The Oldest Living Graduate Macready The Tavern The Male Animal The Lion in Winter Command Performance Dracula: A Musical Nightmare The Vinegar Tree All the King’s Men An Italian Straw Hat True West All the Way Home Bus Stop Rosemarie 1981-82 Evita Ah, Wilderness 1976-77 Carousel 1986-87 Smoke on the Mountain Mr. Roosevelt’s Train The Matchmaker Jesus Christ Superstar The Confounding Christmas The Taming of the Shrew Indians Medea Beyond Therapy The Tax Collector For Colored Girls Who Have A Christmas Carol Cat on a Hot Tin Roof Considered Suicide When the Present Laughter Tom Sawyer Rainbow is Enuf Joe Egg Ghosts Two Gentlemen of Verona The Harmful Effects of Tobacco.. -
Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 10 Things I Hate About You DVD-0812 27 Dresses DVD-8204 1000 Eyes of Dr. Mabuse DVD-0048 28 Days Later DVD-4333 10th Victim DVD-5591 DVD-6187 12 DVD-1200 28 Weeks Later c.2 DVD-4805 c.2 12 and Holding DVD-5110 3 Women DVD-4850 12 Angry Men DVD-0850 3 Worlds of Gulliver DVD-4239 12 Monkeys DVD-3375 3:10 to Yuma DVD-4340 12 Years a Slave DVD-7691 30 Days of Night DVD-4812 1776 DVD-0397 300 DVD-6064 1900 DVD-4443 35 Shots of Rum DVD-4729 1984 (Hurt) DVD-4640 39 Steps DVD-0337 DVD-6795 4 Little Girls DVD-0051 1984 (Obrien) DVD-6971 400 Blows DVD-0336 2 Autumns, 3 Summers DVD-7930 42 DVD-5254 2 or 3 Things I Know About Her DVD-6091 50 First Dates DVD-4486 20 Million Miles to Earth DVD-3608 500 Years Later DVD-5438 2001: A Space Odyssey DVD-0260 61 DVD-4523 2010: The Year We Make Contact DVD-3418 70's DVD-0418 2012 DVD-4759 7th Voyage of Sinbad DVD-4166 2012 (Blu-Ray) DVD-7622 8 1/2 DVD-3832 21 Up South Africa DVD-3691 8 Mile DVD-1639 24 Season 1 (Discs 1-3) DVD-2780 Discs 9 to 5 DVD-2063 25th Hour DVD-2291 9.99 DVD-5662 9/1/2015 9th Company DVD-1383 Adventures of Ozzie and Harriet DVD-0831 A.I. -
Table of Contents
GEVA THEATRE CENTER PRODUCTION HISTORY TH 2012-2013 SEASON – 40 ANNIVERSARY SEASON Mainstage: You Can't Take it With You (Moss Hart and George S. Kaufman) Freud's Last Session (Mark St. Germain) A Christmas Carol (Charles Dickens; Adapted/Directed by Mark Cuddy/Music/Lyrics by Gregg Coffin) Next to Normal (Music by Tom Kitt, Book/Lyrics by Brian Yorkey) The Book Club Play (Karen Zacarias) The Whipping Man (Matthew Lopez) A Midsummer Night's Dream (William Shakespeare) Nextstage: 44 Plays For 44 Presidents (The Neofuturists) Sister’s Christmas Catechism (Entertainment Events) The Agony And The Ecstasy Of Steve Jobs (Mike Daisey) No Child (Nilaja Sun) BOB (Peter Sinn Nachtrieb, an Aurora Theatre Production) Venus in Fur (David Ives, a Southern Repertory Theatre Production) Readings and Festivals: The Hornets’ Nest Festival of New Theatre Plays in Progress Regional Writers Showcase Young Writers Showcase 2011-2012 SEASON Mainstage: On Golden Pond (Ernest Thompson) Dracula (Steven Dietz; Adapted from the novel by Bram Stoker) A Christmas Carol (Charles Dickens; Adapted/Directed by Mark Cuddy/Music/Lyrics by Gregg Coffin) Perfect Wedding (Robin Hawdon) A Raisin in the Sun (Lorraine Hansberry) Superior Donuts (Tracy Letts) Company (Book by George Furth, Music, & Lyrics by Stephen Sondheim) Nextstage: Late Night Catechism (Entertainment Events) I Got Sick Then I Got Better (Written and performed by Jenny Allen) Angels in America, Part One: Millennium Approaches (Tony Kushner, Method Machine, Producer) Voices of the Spirits in my Soul (Written and performed by Nora Cole) Two Jews Walk into a War… (Seth Rozin) Readings and Festivals: The Hornets’ Nest Festival of New Theatre Plays in Progress Regional Writers Showcase Young Writers Showcase 2010-2011 SEASON Mainstage: Amadeus (Peter Schaffer) Carry it On (Phillip Himberg & M.