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2015 Kaleidoscope
The faculty advisors wish to give special recognition and thanks to these individuals who also gave of their time and energy to make this edition of the Kaleidoscope possible: Lauren Courtney, Jakob Plotts, and Tracy Snowman. Thank you! 2 Kaleidoscope Journal of Art & Literature -Editor- James Grove -Assistant Editors- Brie Coder Alexa Dailey Georgia Meagher Trista Miller Cameron Phillips -Faculty Advisors- Michael Maher Becca Werland -Cover Art- Brandy Wise 3 Alexa Dailey-17, 25 Alyssa Brown-28 Amber Burnett-8 Annalea Forrest-9, 11, 16, 18, 24 Aubrey Foust-6, 14, 20, 31 Brandy Wise-Cover Brie Coder-29 Cecilia Carrillo-12, 18 Edward Johnson-5, 9, 23, 24, 26, 27, 30 Frances G. Tate-32 Georgia Meagher-13 Jacqueline Westin-6,10, 12, 20, 26 Jakob Plotts-3, 5, 8, 21 James Grove-21, 32 Jed Vaughn-11 Lafe Richardson-10, 19 An Artist’s Still Life Paula Cortes-4 Jakob Plotts Sheretta S Miller-7, 15, 22 4 Letter from the Editor Life is filled with a variety of people; some are good and others bad. We have athletes, scholars, theatre progressives, metal heads, and far too many more to write down in the little space I have. The point is that life is filled with different walks of life, and perhaps that’s what I en- joy most about the Kaleidoscope. Within these pages, you, dear reader, will find people who’ve gained and lost, found joy and pain. You’ll find works of the sur- real, and still ones of reality. I give thanks to those who helped piece together the many to present something whole, for that is the heart of the Kaleidoscope. -
Peter Pan in Scarlet’ for Key Stage 2 Years 3-6, Ages 7-11
‘Peter Pan in Scarlet’ for Key stage 2 Years 3-6, ages 7-11 Using imagination Choose a character from Peter Pan in Scarlet and imagine the story (or part of the story) from their point of view. For example: • Peter Pan. Once Peter Pan has discovered Captain Hook’s second-best coat and decided to wear it, he morphs into a form of Captain Hook, growing long dark curls, inheriting his bad temper, and speaking like a pirate! The story centres around the idea that clothes maketh the man. Only when he removes the coat does he become himself again. Equally, when Ravello wears the coat, he is hardened and returns to the form of Captain Hook, and not the travelling, ravelling man. What is going through Peter’s mind as he morphs into Hook? • Ask your children to write letters from one of the characters to another, ie: Wendy Darling in Neverland, to her daughter Jane in London. • Tootles Darling: As an adult, Tootles is a portly judge who loves his moustache and believes everything can be solved judicially. Tootles only has daughters, so in order to return to Neverland like his fellow Old Boys, he must dress like a girl in his daughter’s clothes! This is fine with the female Tootles, who dreams of becoming a princess and a nurse, and marrying Peter, and become Tootles Pan! Imagine what it must be like for Tootles to suddenly become a girl! Ask your pupils to discuss this – both the girls and the boys. Creative and descriptive writing • Write a book review Ask your children to write a short book review on Peter Pan in Scarlet. -
Legends in a Snowfall
LEGENDS IN A SNOWFALL By Claudia Haas Performance Rights It is an infringement of the federal copyright law to copy or reproduce this script in any manner or to perform this play without royalty payment. All rights are controlled by Eldridge Publishing Co., Inc. Call the publisher for additional scripts and further licensing information. The author’s name must appear on all programs and advertising with the notice: “Produced by special arrangement with Eldridge Publishing Company.” PUBLISHED BY ELDRIDGE PUBLISHING COMPANY www.histage.com © 1999 by Claudia Haas Download your complete script from Eldridge Publishing http://www.histage.com/playdetails.asp?PID=1605 Legends in a Snowfall - 2 - STORY OF THE PLAY Winter tales from around the world come together to celebrate the joys and wonders of this dark and cold season. Ellisandra, a weather spirit who hopes to become Frost Queen, takes Faith, a frazzled mother, on a journey of imagination. They first meet the Snow Maiden, a beautiful woman who can only live during winter, in a legend from Russia. Tempesta, a stormy weather spirit who also seeks the title of Frost Queen, follows with her own Native American tale from Minnesota. It’s about a young poet at odds with a warrior lifestyle and his encounter with a Great White Bear. The tales are threaded together with an Eskimo story about the Northern Lights. The characters are a wonderful mix of humans, spirits, mischievous snowflakes and sparkling northern lights. Suggested music adds a grace note to creating the perfect winter solstice program. This play promises winter enchantment for all. -
Open Gencarelli Alicia Peterpan.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ENGLISH “TO LIVE WOULD BE AN AWFULLY BIG ADVENTURE”: MASCULINITY IN J.M. BARRIE’S PETER PAN AND ITS CINEMATIC ADAPTATIONS ALICIA GENCARELLI SUMMER 2017 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in English with honors in English Reviewed and approved* by the following: Garrett Sullivan Liberal Arts Research Professor of English Thesis Supervisor Marcy North English Honors Advisor Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT This thesis discusses the representation of masculinity in J.M. Barrie’s novel, Peter Pan, as well as in two of its cinematic adaptations: Disney’s Peter Pan and P.J. Hogan’s Peter Pan. In particular, I consider the question: What exactly keeps Peter from growing up and becoming a man? Furthermore, I examine the cultural ideals of masculinity contemporary to each work, and consider how they affected the work’s illustration of masculinity. Then, drawing upon adaptation theory, I argue that with each adaptation comes a slightly variant image of masculinity, producing new meanings within the overall narrative of Peter Pan. This discovery provides insight into the continued relevance of Peter Pan in Western society, and subsequently, how a Victorian children’s adventure fiction is adapted to reflect contemporary ideologies and values. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS ......................................................................................... iii Introduction -
Motifs of Passage Into Worlds Imaginary and Fantastic
Motifs of Passage into Worlds Imaginary and Fantastic F. Gordon Greene Sacramento, CA ABSTRACT: In this paper I match phenomena associated with the passage into otherworlds as reported during out-of-body and near-death experiences, with imagery associated with the passage into otherworlds as depicted in classic modern fantasies and fairy tales. Both sources include sensations of consciousness separating from the body, floating and flying, passage through fluidic spaces or dark tunnels toward bright lights, and emergence into super natural worlds inhabited by souls of the deceased and by higher spiritual beings; and both describe comparable psychophysical initiatory factors. I intro duce a metaphysically neutral depth psychology to explain these parallels, examine two metaphysically opposed extensions to this depth psychology, and consider several implications of a transcendental perspective. Introduction The prospect of a fantastic journey leading into realms of super natural wonder has always fired the human imagination and probably always will. Such a journey may involve a voyage to remote islands or continents hidden in uncharted seas, a trek off the edge of the Earth's flat surface, a descent into the gloomy underworld below, an ascent into the starry heavens above, or a passage through a magical portal into dimensions unseen. Whatever the pathway, the possibility of such a fantastic journey speaks irresistibly to some deep facet of human nature, this is a facet possessed of a longing that must be appeased, if not fulfilled, in the realm of human imagination, if not in that of some extra mundane reality. Mr. Greene is a free-lance writer whose principal interests have been parapsychology, religion, and metaphysics. -
SINGING SYLLABUS Qualification Specifications for Graded Exams 2018–2022
BRITTEN GERSHWIN POULENC SINGING FAURÉ SYLLABUS QUILTER THIMAN Qualification specifications for graded exams 2018–2022 MENKEN PURCELL SKEMPTON BOULANGER MENDELSSOHN BERNSTEIN CRAWLEY SCHUBERT SONDHEIM WARLOCK ROREM DRING BART ROE KEEP UP TO DATE Please check trinitycollege.com/singing to make sure you are using the current version of the syllabus and for the latest information about our Singing exams. DIGITAL ASSESSMENT: DIGITAL GRADES AND DIPLOMAS To provide even more choice and flexibility in how Trinity’s regulated qualifications can be achieved, digital assessment is available for all our classical, jazz and Rock & Pop graded exams, as well as for ATCL and LTCL music performance diplomas. This enables candidates to record their exam at a place and time of their choice and then submit the video recording via our online platform to be assessed by our expert examiners. The exams have the same academic rigour as our face-to-face exams, and candidates gain full recognition for their achievements, with the same certificate and UCAS points awarded as for the face-to-face exams. Find out more at trinitycollege.com/dgd SINGING SYLLABUS Qualification specifications for graded exams 2018–2022 Charity number England & Wales: 1014792 Charity number Scotland: SC049143 Patron: HRH The Duke of Kent KG trinitycollege.com Copyright © 2017 Trinity College London Published by Trinity College London Online edition, June 2021 1 Header Left Contents 3 / Welcome 4 / Introduction to Trinity’s graded music exams 7 / Learning outcomes and assessment criteria 8 / About the exam 10 / Exam guidance: Songs 12 / Exam guidance: Technical work 13 / Exam guidance: Supporting tests 19 / Exam guidance: Marking 24 / Initial 27 / Grade 1 31 / Grade 2 35 / Grade 3 40 / Grade 4 45 / Grade 5 51 / Grade 6 60 / Grade 7 68 / Grade 8 78 / Policies 79 / Publishers 80 / Trinity publications 80 / Join us online… Trinity accepts entries for its exams on the condition that candidates conform to the requirements of the appropriate syllabus. -
Peter Pan Goes Wrong Turns the J.M
They’re Back! Once again, the much-loved members of The Cornley Polytechnic Drama Society battle against technical hitches, flying mishaps and cast disputes with hilarious and disastrous results. Will they ever make it to Neverland? Nominated for an Olivier Award for Best New Comedy, Peter Pan Goes Wrong turns the J.M. Barrie classic, Peter Pan, into ‘a joyous masterclass of physical comedy and general disaster’ - London Evening Standard. Departing Sunday 10 February 2019 Prepare for a day of laughter on this day tour to Canberra for the hilarious performance of ‘Peter Pan Goes Wrong’. Following hot on the wobbly heels of ‘The Play that Goes Wrong’, Mischief Theatre brings its triumphant disaster Peter Pan Goes Wrong from London’s West End to the Canberra Theatre. We board the coach in the morning and commence our journey, stopping en-route for morning tea. We arrive in Canberra with time to purchase our own lunch (own arrangements and expense) prior to the 1pm show. After an afternoon of mayhem and belly laughs. We reboard the coach and commence our journey home. Cost per person: Travel club members: $180.00 Non-members: $190.00 Cost includes: Morning tea, A Reserve show ticket, tours and attractions as per itinerary and luxury coach travel. Payment: $100.00 deposit within a week of reservation and final payment by 10 January 2019 “We are known by the company we keep” ABN 27 070 482 852 Please note: This itinerary is subject to alteration without notification due to circumstances beyond our control and this tour may be cancelled if numbers are insufficient to warrant economic operation. -
Manor Primary School PE Year 1: Active Play – Invasion Games
Manor Primary School PE Year 1: Active play – invasion games Overview of the Learning: In this unit of learning children will be introduced to a multi-skills approach to learning through activities that are fundamentals of movement. This approach focuses on the development of movement, balance and co- ordination which link to the long term athlete development framework. The approach also helps children develop the five multi-abilities of creative, cognitive, social, physical and personal development. Developing competence in fundamental movement skills leads to competence in more complex sports skills. E.g) an overarm throw involves co-ordinating body parts which when mastered aids the development of throwing in cricket and rounders, the javelin throw, tennis serve and the netball shoulder pass. Core Aims Pupils should be taught to acquire and develop skills by: . develop competence to excel in a broad range of physical activities . explore basic skills, actions and ideas with increasing understanding . becoming physically active for sustained periods of time . remember and repeat simple skills and actions with increasing control and coordination. engage in competitive sports and activities . lead healthy, active lives. Pupils should be taught to select and apply skills, tactics and compositional ideas: . reflect on and evaluate evidence when making personal choices or bringing about improvements in . explore how to choose and apply skills and actions in sequence and in combination performance and behaviour . vary the way they perform skills by using simple tactics and movement phrases . generate and implement ideas, plans and strategies, exploring alternatives . apply rules and conventions for different activities. move with ease, poise, stability and control in a range of physical contexts Evaluating and improving performance. -
Fairy Dust Free
FREE FAIRY DUST PDF Gwyneth Rees | 160 pages | 01 Aug 2016 | Pan MacMillan | 9781509818679 | English | London, United Kingdom Black Fairy Dust - The Official Terraria Wiki Tinker Bell is a fictional character from J. Barrie 's play Peter Pan and its novelization Peter and Wendy. She has appeared in a variety of film and television adaptations of the Peter Pan stories, in particular the animated Walt Disney picture Peter Pan. At first only a Fairy Dust character described by her creator as "a common fairy ", her animated incarnation was a hit and has since become a widely recognized unofficial mascot of The Walt Disney Companynext to the company's official mascot Mickey Mouseand the centrepiece of its Disney Fairies media franchise Fairy Dust the direct-to-DVD film series Tinker Bell and Walt Disney's Wonderful World of Fairy Dust. Barrie described Tinker Bell as a fairy who mended pots and kettles, an actual tinker of the fairy folk. Though sometimes ill-tempered, spoiled, jealous, vindictive and inquisitive, she is also helpful and kind to Peter. At the end of the novel, when Peter flies back to find an older Wendy, it is mentioned that Tinker Bell died Fairy Dust the year after Wendy and her brothers left Neverland, and Peter no longer remembers her. In the first version of the play, she is called Tippy-toe, but became Tinker Bell in the later drafts and final version. In the original stage productions, Tinker Bell was represented on stage by a darting light "created by a small mirror held in the hand off-stage and reflecting a little circle of light from a powerful lamp" [4] and her voice was "a collar of bells and two special ones that Barrie brought from Switzerland". -
Edition 2 | 2018-2019
TABLE OF THE BUSHNELL CENTER CONTENTS for the PERFORMING ARTS TRUSTEE OFFICERS Message from the President & CEO ..................... 5 Jay S. Benet Chair The Play That Goes Wrong September 25-30 Robert E. Patricelli Co-sponsored by Farmington Bank & Travelers ........ 9 Immediate Past Chair Thomas O. Barnes Annual Fund Donor Honor Roll ......................... 22 Vice Chair Jeffrey N. Brown Vice Chair An Extra Special Thank You ............................... 26 Jeffrey S. Hoffman Vice Chair The Bushnell Services ....................................... 29 David G. Nord Vice Chair David M. Roth Vice Chair Henry M. Zachs Vice Chair Arnold C. Greenberg Treasurer Mark N. Mandell Assistant Treasurer Eric D. Daniels Secretary EXECUTIVE STAFF David R. Fay President and CEO Ronna L. Reynolds Executive Vice President Elizabeth Casasnovas Vice President, Development, and Chief Development Officer Patti Jackson Vice President, Finance, and Chief Financial Officer Yolande Spears Senior Vice President, Education and Community Initiatives Ric Waldman Vice President, Programming and Marketing The Bushnell is a 501(c)(3) not-for-profit organization that is proud to serve Connecticut and its citizens. | 3 4 | BUSHNELL PROMPTER MESSAGE FROM THE PRESIDENT & CEO The Play’s the Thing! Welcome to the Plays also help balance a Broadway official start of the season. We have the aforementioned historical 2018-2019 Bushnell phenomenon, of course, but also a fresh Broadway Series revival of the classic Fiddler on the Roof, the season! It doesn’t really Tony-winning production of the moving Come feel like we’ve been on from Away, and the family-friendly Charlie a summer break, though, and the Chocolate Factory. It’s a deep season with full houses in August for our three-week with wide appeal, and we thank Farmington run of Disney’s The Lion King and the big event Bank and Travelers for once again generously earlier this month – our Hamilton onsale. -
25-1-S2016.Pdf
The ESSE Messenger A Publication of ESSE (The European Society for the Study of English Vol. 25-1 Summer 2016 ISSN 2518-3567 All material published in the ESSE Messenger is © Copyright of ESSE and of individual contributors, unless otherwise stated. Requests for permissions to reproduce such material should be addressed to the Editor. Editor: Dr. Adrian Radu Babes-Bolyai University, Cluj-Napoca, Romania Faculty of Letters Department of English Str. Horea nr. 31 400202 Cluj-Napoca Romania Email address: [email protected] Cover drawing: Mădălina Slova (10 years), Nicolae Bălcescu High-School, Cluj-Napoa (Romania), 2016 Contents Children’s Literature 5 What’s for supper tonight? Mary Bardet 5 Of Neverland and Young Adult Spaces in Contemporary Dystopias Anna Bugajska 12 When do you stop being a young adult and start being an adult? Virginie Douglas 24 Responding to Ian Falconer’s Olivia Saves the Circus (2000) Maria Emmanouilidou 36 The Provision of Children’s Literature at Bishop Grosseteste University (Lincoln) Sibylle Erle and Janice Morris 49 The Wickedness of Feminine Evil in the Harry Potter Series Eliana Ionoaia 55 The Moral Meets the Marvellous Nada Kujundžić 68 Nursery rhymes Catalina Millán 81 Tales of Long Ago as a link between cultures Smiljana Narančić Kovač 93 Once a Riddle, Always a Riddle Marina Pirlimpou 108 The Immigrant Girl and the Western Boyfriend Anna Stibe and Ulrika Andersson Hval 122 Reviews 133 Aimee Pozorski. Roth and Trauma: The Problem of History in the Later Works (1995-2010). London and New York: Continuum, 2011. 133 David Gooblar. The Major Phases of Philip Roth. -
Peter Pan Goes Wrong’ - the Cambridge Arts Theatre, Cambridge – Tuesday 12Th November 2019 - Departing School: 6Pm, Approximate Return Time: 10.45Pm
SCO/SCK 20th June 2019 Dear Parents and Carers, Re: ‘Peter Pan Goes Wrong’ - The Cambridge Arts Theatre, Cambridge – Tuesday 12th November 2019 - Departing School: 6pm, Approximate Return Time: 10.45pm We have secured 65 tickets for an evening performance for Year 10 and 11 Drama GCSE students to see ‘Peter Pan Goes Wrong’ on Tuesday 12th November 2019. Seeing live theatre is a mandatory part of the course which forms part of the written exam. Students need to see a wide range of theatre in order to enable them to fully prepare them for their exam. We have had to book early as this is a sell-out show that is on tour from the renowned Mischief Theatre Company, and due to the popularity of this show, we have not been able to secure enough tickets for the whole cohort. Therefore, this trip will be on a ‘first come, first served’ basis, with priority given to next year’s Year 11 students. The cost of the ticket, including transport to and from the theatre, will be £45, which is a discounted rate for a group booking. If you would like to contact the school to discuss a payment plan or have a concern about finances then please contact the school office, as we may be able to offer assistance. Please note, however, that if you have any outstanding monies following attendance at previous performances, then your child will not be able to attend this one until the outstanding payment has been made. You will need to make arrangements to pick your child up from the school on our return, which will be at approximately 10.45pm.