One Flew Over the Cuckoo's Nest
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Premiererne Eastmancolor(?)
Muo, Ma San. Udi: Panorama. Prem: 15.3.76 World Cinema. Karatevold. DERSU UZALA Dersu Uzala. USSR/Japan 1975. P-selskab: Sovex- port/Mosfilm. Instr: Akira Kurosawa. Manus: Akira Kurosawa, Yuri Nagibin. Efter: rejseskildring af Vladimir Arsenjev (1872-1930), da. overs. 1946: »Jægeren fra den sibiriske urskov«. Foto: Asakadru Nakat, Yuri Gantman, Fjodor Dobrovravov. Farve: Premiererne Eastmancolor(?). Medv: Maxim Munzuk (Dersu Uzala), Yuri Nagibin (Arsenjev). Længde: 137 min. 3840 m. Censur: Rød. Udi: Posthusteatret. Prem: 1.1.-31.3.76/ved Claus Hesselberg 15.3.76 Alexandra. Tilkendt en Oscar som bedste udenlandske film. Anm. Kos. 130. DET FRÆKKE ER OGSÅ GODT Quirk. USA. Farve: Eastmancolor(?). Længde: 75 min. 2000 m. Censur: Hvid. Fb.u.16. Udi: Dansk- Anvendte forkortelser: Svensk. Prem: 23.2.76 Carlton. Porno. Adapt: = Adaption Komp: = Komponist DIAMANTKUPPET Ark: = Filmarkitekt Kost: = Kostumer Diamonds. USA/lsrael 1975. P-selskab: AmeriEuro Arr: = Musikarrangør Medv: = Medvirkende skuespillere Productions. P: Menahem Golan. Ex-P: Harry N. As-P: = Associate Producer P: Producere Blum. As-P: Yoram Globus. P-leder: Arik Dichner. Instr: Instr-ass: = P-leder: = Produktionsleder Menahem Golan. Zion Chen, Ass: Assistent Shmuel Firstenberg, Roger Richman. Manus: David Dekor: = Scenedekorationer Prem: = Dansk premiere Paulsen, Menahem Golan, Ken Globus. Efter: for Dir: = Dirigent P-selskab: = Produktionsselskab tælling af Menahem Golan. Foto: Adam Greenberg. Dist: = Udlejer i oprindelsesland P-sup: = Produktions-superviser Farve: Eastmancolor. Klip: Dov Hoenig. Ark: Kuli Ex-P: = Executive Producer P-tegn: = Produktionstegner (design) Sander. Dekor: Alfred Gershoni. Sp-E: Hanz Kram Foto: = Cheffotograf Rekvis: = Rekvisitør sky. Musik: Roy Budd. Sang: »Diamonds« af Roy Budd, Jack Fishman. Solister: The Three Degrees. -
Man of La Mancha August 16–September 9, 2018
THE S. MARK TAPER FOUNDATION PRESENTS A NOISE WITHIN’S REPERTORY THEATRE SEASON STUDY GUIDE MAN OF LA MANCHA AUGUST 16–SEPTEMBER 9, 2018 Pictured: Geoff Elliott, Kasey Mahaffy. Photo by Craig Schwartz. STUDY GUIDES FROM A NOISE WITHIN A rich resource for teachers of English, reading, arts, and drama education. Dear Reader, We’re delighted you’re interested in our study guides, designed to provide a full range of information on our plays to teachers of all grade levels. A Noise Within’s study guides include: • General information about the play (characters, synopsis, timeline, and more) • Playwright biography and literary analysis • Historical content of the play • Scholarly articles • Production information (costumes, lights, direction, etc.) • Suggested classroom activities • Related resources (videos, books, etc.) • Discussion themes • Background on verse and prose (for Shakespeare’s plays) Our study guides allow you to review and share information with students to enhance both lesson plans and pupils’ theatrical experience and appreciation. They are designed to let you extrapolate articles and other information that best align with your own curricula and pedagogic goals. More information? It would be our pleasure. We’re here to make your students’ learning experience as rewarding and memorable as it can be! All the best, Pictured: Donnla Hughes, Romeo and Juliet, 2016. PHOTO BY CRAIG SCHWARTZ. Alicia Green DIRECTOR OF EDUCATION We are grateful for the additional sponsorship of all student matinees for Man of La Mancha by Anni Frandsen Low, Ph.D. TABLE OF CONTENTS Special thanks to our Dinner On Stage donors who kept the arts thriving this year by supporting our Student Matinees (SMATs): SMAT PERFORMANCE SPONSOR ($5,000 AND ABOVE) Dr. -
Development of a Visual Arts Curriculum for Young Children
.-... I . At .... DOCUMENT RESUME ED 032 939 24 PS 002 205 By-Grayson. Mary; And Others . Development of a Visual Arts Curriculum for YoungChildren. CAREL Arts and Humanities Curriculum Development Program for Young Children. Central Atlantic Regional Educational Lab., Washington,D.C. Spons Agency-Office of Education (DHEW). Washington. D.C.Bureau of Research. Bureau No-BR -6 -2938 Pub Date Jun 69 . Contract -OEC -2 -7 -062938 -3058 Note-166p. EDRS Price MF-S0.75 HC-$8.40 Descriptors-Artists.*Curriculum Development. Kindergarten. Painting. PerceptualDevelopment. Primary Grades. *Program Descriptions. Space. Teacher Education, TeachingTechniques, *Visual Arts. Visual Perception The objective of the Central Atlantic Regional EducationalLaboratory (CAREL) visual arts program was to develop a curriculum thatwould increase children's visual knowledge of artists and art work. develop theirvisual sensitivity and perceptual ability. and encourage creative production and perceptionof art work. Workshops were conducted to combinecurriculum theory with teaching practice and to Present a conceptual art framework to teachers. The curriculum waspresented to 190 children. grades kindergarten through 3. from all socioeconomiclevels. Focal points were definition of the artist. artistic expressiveness. spatial awarenessand spatial relationships. visual rhythm (recoznized pattern of parts to partsand parts to whole), and visits to an art museum.I eacher preparation and curriculumcontent were evaluated through classroom observation by the CARELstaff. teachers' responses to workshops and questionnaires. and anecodotal records.Results indicated a need for betterteacher preparation and curriculumdesignplanning.Childrenshowed development of visual rhythm. and improvement in their perceptionof aesthetic qualities. Curriculum units and sample evaluations are are included.(DR) F. C\1 i t DEPARTMENT OF HEALTH. -
An Interview with Dale Wasserman
An Interview with Dale Wasserman This interview took place on May 23, 1997. It was transcribed by Amy Williamsen, then reviewed and corrected by Mr. Wasserman. The original videotape is held by Television Services of Northern Arizona University. A talk by Mr. Wasserman, “Don Quixote as Theater,” was published in Cervantes, 19.1 (1999), 125–30. A just-published memoir on his early years as a hobo is “Flipping the Meat Train,” American Heritage, February 2001, 58–66. DAN EISENBERG: Good afternoon. My name is Daniel Eisenberg, of Northern Arizona University. We are honored to have here in Flagstaff and at Northern Arizona University Mr. Dale Wasserman. Welcome. DALE WASSERMAN: Thank you. DE: Mr. Wasserman is a distinguished playwright. He is still composing and having new plays produced. He is best known, perhaps, for his composition of the play One Flew Over the Cuckoo’s Nest and especially for the work that concerns us here this afternoon, which is Man of La Mancha. We’re going to have an innovative and exciting production here at Northern Arizona University beginning on June 6 [1997]. Mr. Wasserman, could you 85 86 AN INTERVIEW WITH DALE WASSERMAN Cervantes tell us something about how you came to write this play and what attracted you about the figure of Don Quixote? DW: It happened by pure accident, actually. I was in Spain writing a movie when I read in a newspaper that I was there for the purpose of researching a dramatization of Don Quixote. That was a laughing matter because, like most people on earth, I had not read Don Quixote, but Spain seemed just the right place to repair that omission. -
2020-21 Theatrical Design Prompt
#artbyartistico by Stan by Vlad Petruchik By Carlos Prokopenko LaCamara By Carlos Art credits for 2020-21 By Octavio Lacamara UIL Theatrical Design Ocampo Contest Poster By Christina By Juan Munoz Gastelum By Onix By Leonardo Rodriguez By Carlos Pereira Da By Dennis Cox Silva 2020-21 Theatrical Design Directorial Prompt We will produce the musical, Man of La Mancha by Dale Wasserman, Joe Darion and Mitch Leigh in a way that it has not been produced before. The original story that inspired the musical, DON QUIXOTE by Miguel de Cervantes, is considered the first novel and one of the greatest pieces of literature of all time. It has been enjoyed in over fifty languages and has inspired artists of every medium to take a turn sharing their personal reaction, interpretation, or vision of the messages, characters and moments from the story. Some famous art, some obscure…they all become a visualization of the words of the universal story of Don Quixote and his quest. Man of La Mancha is described as the first true "concept musical," the kind of musical in which the over- arching metaphor or statement is more important than the actual narrative—in which the method of storytelling is more important than the story. Playwright Dale Wasserman calls for a definite convention of theatrical production which you will follow, but you will look to artists who have captured their own vision of Don Quixote for visual inspiration. The key conventional elements Wasserman specified were as follows: 1) The entire play takes place within the prison. All the theatrics of the “charades” are created from items taken from Cervantes’ belongings and incorporated with found items from within the prison itself. -
Asides Magazine
2014|2015 SEASON Issue 5 TABLE OF Dear Friend, Queridos amigos: CONTENTS Welcome to Sidney Harman Bienvenidos al Sidney Harman Hall y a la producción Hall and to this evening’s de esta noche de El hombre de La Mancha. Personalmente, production of Man of La Mancha. 2 Title page The opening line of Don esta obra ocupa un espacio cálido pero enreversado en I have a personally warm and mi corazón al haber sido testigo de su nacimiento. Era 3 Musical Numbers complicated spot in my heart Quixote is as resonant in el año 1965 en la Casa de Opera Goodspeed en East for this show, since I was a Latino cultures as Dickens, Haddam, Connecticut. Estaban montando la premier 5 Cast witness to its birth. It was in 1965, at the Goodspeed Twain, or Austen might mundial, dirigida por Albert Marre. Se suponía que Opera House in East Haddam, CT. They were Albert iba a dirigir otra premier para ellos, la cual iba 7 About the Author mounting the world premiere, directed by Albert be in English literature. a presentarse en repertorio con La Mancha, pero Albert Marre. Now, Albert was supposed to direct another 10 Director’s Words world premiere for them, which was going to run In recognition of consiguió un trabajo importante en Hollywood y les recomendó a otro director: a mí. 12 The Impossible Musical in repertory with La Mancha, but he got a big job in Cervantes’ legacy, we at Hollywood, and he recommended another director. by Drew Lichtenberg That was me. STC want to extend our Así que fui a Goodspeed y dirigí la otra obra. -
Sample Pages
About This Volume Robert C. Evans Ken Kesey’s important status in recent American literature rests primarily on two novels: One Flew Over the Cuckoo’s Nest (1962) and Sometimes a Great Notion 7KH¿UVWZDVLPPHGLDWHO\ SRSXODUZLGHO\UHDGDQGLPPHQVHO\LQÀXHQWLDO7KHVHFRQGZKLFK Kesey and many critics considered his masterpiece, remains in print, GHVHUYHV PRUH DWWHQWLRQ EXW LV PXFK OHVV NQRZQ$IWHU ¿QLVKLQJ his second novel, Kesey became perhaps even more famous as a WUDQVIRUPDWLYH FXOWXUDO ¿JXUH WKDQ DV D VHULRXV GHGLFDWHG ZULWHU His drug use, his advocacy of drug use, and his arrest for drug use brought him a different kind of public attention than the kind won by his novels. But it was his 1964 cross-country tour in an old school bus (painted in bright psychedelic colors and crammed with “high,” high-spirited “Merry Prankster” friends) that epitomized the spirit of the 1960s. It was the bus trip that made Kesey a cultural icon. Immortalized in 7RP:ROIH¶VEHVWVHOOHUThe Electric Kool- Aid Acid Test, the bus tour remained the focus of public attention IRUWKHUHVWRI.HVH\¶VOLIH+HKLPVHOIFRQVLGHUHGLWKLV¿QHVWKRXU Lovers of Kesey’s writing often wish that he had produced IXUWKHUOLWHUDU\WULXPSKV7KURXJKRXWKLVOLIHKHFRQWLQXHGWRZULWH but even Kesey felt that he never did (and never could) produce a better book than Notion. Meanwhile, Cuckoo’s Nest remained the novel for which he was best known and most widely appreciated. It was soon adapted (by Dale Wasserman) into a play that is still widely performed. And, of course, the novel also became the basis IRURQHRIWKHPRVWFULWLFDOO\DQGFRPPHUFLDOO\VXFFHVVIXO¿OPVRI DOO WLPH .HVH\ KRZHYHU GHVSLVHG WKH ¿OP DQG FODLPHG WR KDYH never seen it. -
Gay, Mccall, Isaacks, Gordon & Roberts, P.C
Law Offices of Gay, McCall, Isaacks, presents Gordon & Roberts, P.C. 777 East 15th Street Mark Twain’s Plano, Texas 75074 (972) 424-8501 A Murder, A Mystery & A Marriage Fax: (972) 424-5619 John E. Gay ? David McCall* Lewis L. Isaacks+* Book and Lyrics by Aaron Posner Music by James Sugg Sydna H. Gordon William J. Roberts* John Douglas Burnside A brand spankin’ new musical Robert T. Dry, III based on a long-lost Mark Twain short story Barbara R. Hunt* and sponsored by Gay, McCall, Isaacks, Gordon, & Roberts, P.C. Jennifer T. Pettit J. Brantley Saunders* Courtyard Theater Mark A. Walsh March 4-20, 2010 *Attorney-Mediator +Board Certified Civil Trial Law by Texas Board of Legal Specialization Other attorneys not board certified as to specialization Rover Dramawerks’ Season Sponsors Rover Dramawerks Donors Crusader - $10,000 and above Anonymous ▪ City of Plano ▪ Gay, McCall, Isaacks, Gordon & Roberts, P.C. ▪ Haggard Property Group ▪ Plano Arts & Cultural Endowment Trailblazer - $5000 to $9999 Lake & Lucas Joint Venture The Dale Wasserman Foundation ▪ Caitlin Schraufnagel ▪ Texas Commission on the Arts The Dale Wasserman Foundation Pioneer - $2500 to $4999 Plano Arts & Cultural Endowment, Inc. Anonymous ▪ Jason & Carol Rice Explorer - $1000 to $2499 Special Thanks Jenifer Balch ▪ Bankruptcy Services, Inc. ▪ City of Richardson ▪ Curran Tomko Tarski LLP ▪ Premier Wines A Murder, A Mystery & A Marriage would not have been possible without Adventurer - $500 to $999 the generous contributions of the following: Anonymous ▪ Tim & Jane Birkhead ▪ -
MAN of LA MANCHA Book by Dale Wasserman Music by Mitch Leigh Lyrics by Joe Darion Original Production Staged by Albert Marre Originally Produced by Albert W
barringtonstagecompany AWARD-WINNING THEATRE IN DOWNTOWN PITTSFIELD Julianne Boyd, Artistic Director Tristan Wilson, Managing Director and Cynthia and Randolph Nelson present MAN OF LA MANCHA Book by Dale Wasserman Music by Mitch Leigh Lyrics by Joe Darion Original Production Staged by Albert Marre Originally Produced by Albert W. Selden and Hal James Starring Jeff McCarthy and Felicia Boswell Rosalie Burke Meg Bussert Ed Dixon Todd Horman Lexi Janz Sara Kase Matthew Krob Parker Krug Sean MacLaughlin Louie Napoleon Waldemar Quinones-Villanueva Chris Ramirez Lyonel Reneau Tom Alan Robbins Ben Schrager Jonathan Spivey Joseph Torello Scenic Designer Costume Designer Lighting Designer Sound Designer James Kronzer Olivera Gajic Chris Lee Ed Chapman Director of Production Casting Press Representative Jeff Roudabush Pat McCorkle, CSA Charlie Siedenburg Fight Choreographer Production Stage Manager Ryan Winkles Renee Lutz Musical Direction by Darren R. Cohen Choreography by Greg Graham Directed by Julianne Boyd Man of La Mancha is sponsored in part by Bonnie and Terry Burman & The Feigenbaum Foundation MAN OF LA MANCHA is presented by arrangement with Tams-Witmark Music Library, Inc., 560 Lexington Avenue, New York, NY 10022. BOYD-QUINSON MAINSTAGE JUNE 10-JULY 11, 2015 Cast (in order of appearance) Esté Fuego Dancer/Moorish Dancer ............................................................... Lexi Janz Esté Fuego Singer/Muleteer .................................................................. Joseph Torello* Cervantes/Don Quixote ........................................................................... -
Man of La Mancha First Folio
1 FIRST FOLIO: TEACHER AND STUDENT RESOURCE GUIDE Consistent with the Shakespeare Theatre Company’s central mission to be the leading force in producing and preserving the Table of Contents highest quality classic theatre, the Education Department challenges learners of all ages to explore the ideas, emotions Synopsis 3 and principles contained in classic texts and to discover the connection between classic theatre and our modern perceptions. Who’s Who 4 We hope that this First Folio: Teacher and Student Resource Guide will prove useful to you while preparing to attend Man of About the Author 6 La Mancha. Cast of Characters: Artists of 7 First Folio provides information and activities to help students La Mancha form a personal connection to the play before attending the production. First Folio contains material about the playwrights, The Impossible Musical 8 their world and their works. Also included are approaches to By Drew Lichtenberg explore the plays and productions in the classroom before and after the performance. Men of La Mancha: 10 Stages of Don Quixote First Folio is designed as a resource both for teachers and By Edward Friedman students. All Folio activities meet the “Vocabulary Acquisition and Use” and “Knowledge of Language” requirements for the grades Questions for Discussion 12 8-12 Common Core English Language Arts Standards. We Classroom Activities 13 encourage you to photocopy these articles and activities and use them as supplemental material to the text. Resource List 15 Enjoy the show! Theatre Etiquette 16 Founding Sponsors The First Folio Teacher and Student Resource Guide for Miles Gilburne and Nina Zolt the 2014-2015 Season was developed by the Shakespeare Theatre Company Education Department: Presenting Education Sponsor Director of Education Samantha K. -
Eduqas a Level Film Studies Knowledge Organiser
COMPONENT 1A: HOLLYWOOD 1930- COMPONENT 1B: HOLLYWOOD COMPONENT 1C: BRITISH FILM 1990 (VERTIGO & ONE FLEW OVER THE AFTER 2005 (INCEPTION & AFTER 1995 (TRAINSPOTTING & CUCKOO’S NEST) FRANCES HA) THIS IS ENGLAND) Auteur (Bazin) Auteur (Bazin) Spectatorship Spectatorship Narrative Narrative Studio System New Hollywood Ideology Ideology Ideology Ideology Art of blocking a scene Social realism Postmodernism Mumblecore Performance Performance ‘The Hitchcock Blonde’ Anti-authoritarian Simulation Persona Social Realism Social Realism Fetishism & necrophilia Psychoanalysis Mise-en-abyme B/W cinematography Britpop Nationalism Voyeurism Dystopia Demographics Spectatorship Character arc Thatcherism Femme fatale Analogy – Vietnam Alignment Indie Hollywood Aesthetic Character arc Patriarchy Distinctive stylistic Allegiance Demographics Feminist critique Aesthetic Hays Code features Audience positioning Feminist critique Auteur Auteur Vertigo/Acrophobia Binary oppositions (Levi- Passive/active Mass/niche Cult fandom Political context Aesthetic Strauss) Preferred, negotiated, Preferred, negotiated, Adaptation – Irvin Welsh Franchise? Classical Formalism Ideology oppositional oppositional Counter-culture Far Left vs Far Right Hitchcock Blonde Subvert/challenge Auteur Auteur - dialogue Franchise? Open/closed ending Zolly shoot (dolly zoom) Postcolonial (Gilroy) Spectacle Dystopia Dramatic irony Intertextuality Composition Psychoanalytic Male gaze (Mulvey) Vertigo One Flew Over The Inception Frances Ha Trainspotting This is England (1958, dir: Alfred Hitchcock, -
3. Dancing Lessons: Hearing the Beat and Understanding the Body
Learning to Listen, Learning to Be: African-American Girls and Hip-Hop at a Durham, NC Boys and Girls Club by Jennifer A. Woodruff Department of Music Duke University Date:_______________________ Approved: ___________________________ Louise Meintjes, Supervisor ___________________________ John L. Jackson ___________________________ Mark Anthony Neal ___________________________ Diane Nelson ___________________________ Philip Rupprecht Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2009 ABSTRACT Learning to Listen, Learning to Be: African-American Girls and Hip-Hop at a Durham, NC Boys and Girls Club by Jennifer A. Woodruff Department of Music Duke University Date:_______________________ Approved: ___________________________ Louise Meintjes, Supervisor ___________________________ John L. Jackson ___________________________ Mark Anthony Neal ___________________________ Diane Nelson ___________________________ Philip Rupprecht An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2009 Copyright by Jennifer A. Woodruff 2009 Abstract This dissertation documents African-American girls’ musical practices at a Boys and Girls Club in Durham, NC. Hip-hop is the cornerstone of social exchanges at John Avery, and is integrated into virtually all club activities. Detractors point to the misogyny, sexual exploitation and violence predominant in hip-hop’s most popular incarnations, suggesting that the music is a corrupting influence on America’s youth. Girls are familiar with these arguments, and they appreciate that hip-hop is a contested and sometimes illicit terrain. Yet they also recognize that knowledge about and participation in hip-hop-related activities is crucial to their interactions at the club, at school, and at home.