Introduction: Stoppardianism
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
The Playing Field the Basketball Court LAW II
LAW I – The Playing Field ● The Basketball Court LAW II - The Ball · Size #4 · Bounce: 55-65 cm on first bounce · Material: Leather or other suitable material (i.e., not dangerous) LAW III - Number of Players · Minimum Number of Players to Start Match: 5, one of whom shall be a goalkeeper and one of whom shall be female · Maximum Number of Players on the Field of Play: 6, one of whom shall be a goalkeeper and one of whom shall be female · Substitution Limit: None · Substitution Method: "Flying substitution" (all players but the goalkeeper enter and leave as they please; goalkeeper substitutions can only be made when the ball is out of play and with a referee's consent) LAW IV - Players' Equipment Usual Equipment: Numbered shirts, shorts, socks, protective shin-guards and footwear with rubber soles LAW V - Main Referee · Duties: Enforce the laws, apply the advantage rule, keep a record of all incidents before, during and after game, stop game when deemed necessary, caution or expel players guilty of misconduct, violent conduct or other ungentlemanly behavior, allow no others to enter the pitch, stop game to have injured players removed, signal for game to be restarted after every stoppage, decide that the ball meets with the stipulated requirements. · Position: The side opposite to the player benches LAW VI: Second Referee · Duties: Same as Main Referee , ensuring that substitutions are carried out properly, and keeping a check on the 1-minute time-out. · Position: The same side as the player benches LAW VII - Timekeeper · Duties: Start game clock after kick-off, stop it when the ball is out of play, and restart it after all restarts; keep a check on 2-minutepunishment for sending off; indicate end of first half and match with some sort of sound; record time-outs and fouls (and indicate when a team has exceeded the 5-foul limit); record game stoppages, scorers, players cautioned and sent off, and other information relevant to the game. -
Some Reflections on the Analysis of Discourse and Dramatic Text: Stoppard's Jumpers
Revista Alicantina de Estudios Ingleses 8 (1995): 161-75 Some Reflections on the Analysis of Discourse and Dramatic Text: Stoppard's Jumpers Jesús-Manuel Nieto García Universidad de Jaén ABSTRACT Our proposal in this paper is basically to analyse dramatic texts according to the structure of those parts whose purpose is mainly dialogic in nature, mainly monologic, or, finally, those parts that emphasise the connection between writer and reader (or producer) from the organisational point of view. At the same time we also intend to study some basic pragmatic points such as reference, the informative nature of discourse, the kinds of illocutionary acts present in the text and the conversational norms broken. With this purpose in mind, we propose the application of a method of analysis of dramatic discourse to the play Jumpers, by Tom Stoppard. 1. Introduction and general layout of the analysis In recent years there have been many inherently discursive approaches to the analysis of drama, for instance, by Burton, Elam, Sherzer ("Dialogic Incongruities in the Theater of the Absurd" and "Langage litteraire et langage social"), Widdowson, Noguchi, Gautam, Gautam and Sharma, Golopentia-Eretescu, Simpson, Hermán, Short and Bennison.1 All these approaches somehow seem to miss the various interactive actions carried out by the text. From that point, we intend to evolve towards a method of analysis of drama covering this aspect. With this purpose in mind we cannot simply ignore other previous points which are essential to the analysis of any ldnd of discourse, and which are basically pragmatic in nature, but in any case the interactive purpose of the text itself is first and foremost and affects the analysis as a whole, and this is why our analysis of the dramatic text is presented in six columns, each corresponding to a different aspect concerning the pragmatic and interactive nature of the dramatic text. -
E-ISSN: 2536-4596
e-ISSN: 2536-4596 KARE- Uluslararası Edebiyat, Tarih ve Düşünce Dergisi KARE- International Journal of Literature, History and Philosophy Başlık/ Title: Parody and Mystery in Tom Stoppard’s The Real Inspector Hound and Jumpers Yazar/ Author ORCID ID Kenan KOÇAK 0000-0002-6422-2329 Makale Türü / Type of Article: Araştırma Makalesi / Research Article Yayın Geliş Tarihi / Submission Date: 4 Ekim 2019 Yayına Kabul Tarihi / Acceptance Date: 18 Kasım 2019 Yayın Tarihi / Date Published: 25 Kasım 2019 Web Sitesi: https://karedergi.erciyes.edu.tr/ Makale göndermek için / Submit an Article: http://dergipark.gov.tr/kare Parody and Mystery in Tom Stoppard’s The Real Inspector Hound and Jumpers Yazar: Kenan KOÇAK ∗ Tom Stoppard’ın Gerçek Müfettiş Hound (The Real Inspector Hound) ve Akrobatlar (Jumpers) Oyunlarında Parodi ve Gizem1 Özet: Tom Stoppard, Çekoslavakya doğumlu ve İngilizce’yi sonradan öğrenmiş olması sebebiyle, anadili İngilizce olan yazarlara nazaran dile daha hâkim ve dilin imkanlarını daha iyi kullanabilen, kelimelerle oynamada mahir; komik diyaloglar, yanlış anlaşılmaya mahal vermeler ve beklenmedik cevaplar yaratabilen usta bir oyun yazarıdır. Kendisi öyle olduğunu reddetse de oyunlarında kimliğin ve hafızanın önemi, gerçek ve görünen arasındaki ilişki, hayatın sıkıntıları, kendinden ve kendinden önceki yazarlardan esinlenme ve ödünç alma gibi postmodern ve absürd tiyatronun tipik özelliklerini görmek mümkündür. İlk defa 1968 yılında sergilenen Gerçek Müfettiş Hound (The Real Inspector Hound) oyunu Agatha Christie’nin 1952 yapımı Fare Kapanı (The Mousetrap) oyununun bir parodisiyken Akrobatlar (Jumpers) akademik felsefenin satirik bir eleştirisidir. Stoppard, bu makalede incelenen Gerçek Müfettiş Hound ve Akrobatlar adlı oyunlarında kurgusunu oyunlarının başında yarattığı bir gizem üzerine inşa eder. Bu gizem Gerçek Müfettiş Hound’da sahneye diğer aktörlerce fark edilmeyen bir ceset koyarak gerçekleştirilirken Akrobatlar’ın en başında akrobatlardan birinin öldürülmesi ve kimin öldürdüğünün de oyun boyunca söylenmemesiyle sağlanır. -
Shakes in Love STUDYGUIDE
Study Guide for Educators Based on the screenplay by Marc Norman and Tom Stoppard Adapted for the stage by Lee Hall Lyrics by Carolyn Leigh Music by Paddy Cunneen This production of Shakespeare In Love is generously sponsored by: Emily and Dene Hurlbert Linda Stafford Burrows Ron and Mary Nanning Ron Tindall, RN Shakespeare in Love is presented by special arrangement with Samuel French Inc 1 Welcome to the Pacific Conservatory Theatre A NOTE TO THE TEACHER Thank you for bringing your students to the Pacific Conservatory Theatre at Allan Hancock College. Here are some helpful hints for your visit to the Marian Theatre. The top priority of our staff is to provide an enjoyable day of live theatre for you and your students. We offer you this study guide as a tool to prepare your students prior to the performance. SUGGESTIONS FOR STUDENT ETIQUETTE Note-able behavior is a vital part of theater for youth. Going to the theater is not a casual event. It is a special occasion. If students are prepared properly, it will be a memorable, educational experience they will remember for years. 1. Have students enter the theater in a single file. Chaperones should be one adult for every ten students. Our ushers will assist you with locating your seats. Please wait until the usher has seated your party before any rearranging of seats to avoid injury and confusion. While seated, teachers should space themselves so they are visible, between every groups of ten students. Teachers and adults must remain with their group during the entire performance. -
Demarcating Dramaturgy
Demarcating Dramaturgy Mapping Theory onto Practice Jacqueline Louise Bolton Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Workshop Theatre, School of English August 2011 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 11 Acknowledgements This PhD research into Dramaturgy and Literary Management has been conducted under the aegis of an Arts and Humanities Research Council Collaborative Doctoral Award; a collaboration between the University of Leeds and West Yorkshire Playhouse which commenced in September 2005. I am extremely grateful to Alex Chisholm, Associate Director (Literary) at West Yorkshire Playhouse, and Professor Stephen Bottoms and Dr. Kara McKechnie at the University of Leeds for their intellectual and emotional support. Special thanks to Professor Bottoms for his continued commitment over the last eighteen months, for the time and care he has dedicated to reading and responding to my work. I would like to take this opportunity to thank everybody who agreed to be interviewed as part of this research. Thanks in particular to Dr. Peter Boenisch, Gudula Kienemund, Birgit Rasch and Anke Roeder for their insights into German theatre and for making me so welcome in Germany. Special thanks also to Dr. Gilli Bush-Bailey (a.k.a the delightful Miss. Fanny Kelly), Jack Bradley, Sarah Dickenson and Professor Dan Rebellato, for their faith and continued encouragement. -
On the Razzle by Tom Stoppard, Johann Nestroy #UL2XDHNVFOK
On the Razzle Tom Stoppard, Johann Nestroy Click here if your download doesn"t start automatically On the Razzle Tom Stoppard, Johann Nestroy On the Razzle Tom Stoppard, Johann Nestroy Comedy Characters: 15 male, 10 female, extras, plus 6 musicians. Various interior and exterior sets or unit set. This recent hit in London is a free adaptation of the 19th century farce by Johann Nestroy that provided the plot for Thornton Wilder's The Merchant of Yonkers, which led to The Matchmaker, which led to Hello, Dolly. The story is basically one long chase, chiefly after two naughty grocer's assistants who, when their master goes off on a binge with a new mistress, escape to Vienna on a spree. "While preserving the beautiful intricacies of this construction, Stoppard has embellished Razzle with a dazzle of verbal wit an unremitting firework display of puns, crossword puzzle tricks and sly sexual innuendos." London Daily Telegraph . "Apart from Jumpers and The Importance of Being Earnest there may be no script in English funnier than On the Razzle." London Observer. Download On the Razzle ...pdf Read Online On the Razzle ...pdf Download and Read Free Online On the Razzle Tom Stoppard, Johann Nestroy From reader reviews: Thomas Britton: Why don't make it to be your habit? Right now, try to prepare your time to do the important work, like looking for your favorite book and reading a guide. Beside you can solve your problem; you can add your knowledge by the publication entitled On the Razzle. Try to make book On the Razzle as your friend. -
This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Park-Finch, Heebon Title: Hypertextuality and polyphony in Tom Stoppard's stage plays General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Hypertextuality and Polyphony in Tom Stoppard's Stage Plays Heebon Park-Finch A dissertation submitted to the University of Bristol in -
The Writer and Director
The writer and director Specific learning outcomes Students will: • understand the process of developing this script. • examine how a scene in the play has been developed by the director. • understand the writer’s purpose in developing this play • understand and be able to describe the features of Stoppard’s writing • identify key ideas in the play. [These learning outcomes relate to the Communication and Interpreting in Drama (CI) and Understanding Drama in Context (UC) strands in The Arts in the New Zealand Curriculum.] Tom Stoppard “If I wanted to change the world, the last thing I would do is write a play.” Tom Stoppard Tom Stoppard was born Tomas Straussler on 3 July 1937 in Zlín, Czech Republic. Stoppard’s father, Eugene Straussler, was a company physician whose Czech company sent the family to a branch factory in Singapore in 1938/39. After the Japanese invasion, his father stayed on and was killed in a prisoner of war camp, but Mrs Straussler and her two sons escaped to India, where she married a British officer, Kenneth Stoppard, in 1946. At the age of nine, Tom and his family went to live in England. Tom Stoppard (he assumed his stepfather’s surname) quit school at the age of 17 and started his career as a journalist in Bristol. He began to write plays in 1960 after moving to London. Travesties: The writer and director, page 1 Accessed from The Arts/Ngā Toi materials, www.tki.org.nz/r/arts/drama/travesties Stoppard’s bibliography of plays, radio dramas and film scripts is extensive. -
Works by Tom Stoppard
Works by Tom Stoppard ‘A Play In Three Acts’ 56n, 463n, 581n, 582n Dogg’s Hamlet, Cahoot’s Macbeth xxiv, A Separate Peace 499, 528n xxvi, 55, 176, 354n, 393, 423, 557, 582 A Walk on the Water 516 After Magritte xxxi, 5, 8–11, 18, 39, 55–56, Empire of the Sun 7, 414, 440n 437, 470, 491, 504, 504n, 535n, 581 Enigma 77 Albert’s Bridge 155, 551 Enter a Free Man 254, 399, 454, 516n, 524, Anna Karenina 257 560, 560n, 583 Another Moon Called Earth 37n, 121, 156, 239, Every Good Boy Deserves Favour xxv–xxvi, 239n, 320, 323, 441, 443, 455, 582 xxix, 50–52, 55, 56, 59n, 90, 121, 136, Arcadia xxii, xxiv–xvii, 15, 17, 23, 37, 182–184, 235–237, 286–289, 294, 298, 38–41, 55, 74–79, 88, 88n, 118n, 126, 327n, 381–384, 437, 447, 473, 479, 136–152, 179, 185, 212, 222, 231, 234, 238, 490, 496n, 582 248, 260, 309, 313, 315, 322, 337, 347, 350–352, 369, 377n, 398n, 399, 407, ‘First Person’ 244n 412, 418, 424, 436n, 441, 451, 470, 473, ‘Freedom but thousands are still 488–489, 505, 514, 521, 523, captive’ 277n 531, 552, 566, 568–572, 575, 578–579, Funny Man 458, 559 581, 583 Article on James Thurber 5 Galileo 144, 258–259, 260, 471 Artist Descending a Staircase xxiii, xxvi, 11–14, 26, 62, 63, 64, 64n, 66, 118, 120–121, Hapgood xxiii–xxvi, xxvii–xxix, 15, 40, 153n, 157–159, 236n, 238, 326, 329, 352, 52, 55, 56, 127, 129, 135–137, 143, 145, 363, 370–372, 423, 533, 551, 560–565, 222n, 238, 258, 259n, 260, 309, 343, 347, 579, 582 349, 351, 362, 365–369, 398n, 400–407, 400n, 423–424, 426, 428, 471, 478, 488, ‘But For The Middle Classes’ 251n, 261n, 492–495, 502–503, -
Lantern Theater Company Presents the Philadelphia Premiere of Hapgood by Tom Stoppard, September 6 – October 14, 2018
St. Stephen’s Theater • 10th & Ludlow Streets • Philadelphia, PA 19107 Mailing Address: P.O. Box 53428 • Philadelphia, PA 19105-3428 215.829.9002 • Box Office: 215.829.0395 • www.lanterntheater.org Media Contact: Anne Shuff, Finance & Communications Consultant [email protected] or (215) 888-6220 Online Press Room & Photo Downloads: www.lanterntheater.org/press Join the Conversation Online: #HapgoodLTC Lantern Theater Company Presents the Philadelphia Premiere of Hapgood by Tom Stoppard, September 6 – October 14, 2018 Stoppard’s Masterful Blend of Spy Thriller, Quantum Physics, and Motherhood Launches the Lantern’s Ambitious 25th Anniversary Season PHILADELPHIA (September 6, 2018) – Lantern Theater Company kicks off its 2018/19 season with the regional premiere of Hapgood by Tom Stoppard. Longtime Lantern artistic collaborator Peter DeLaurier will direct a cast that includes McKenna Kerrigan as MI5 spymaster Elizabeth Hapgood, with Damon Bonetti, Kirk Wendell Brown, Trevor William Fayle, Christopher Patrick Mullen, Adam Phelan, David Pica, William Zielinski, and young actors Charles LaMonaca and Will Zielinski, who will share the role of Hapgood’s son Joe. Theater critics and members of the press are invited to request tickets for opening night on Wednesday, September 12 at 7 p.m. by contacting Anne Shuff at [email protected]. Performances run Thursday, September 6 through Sunday, October 14, 2018; a full schedule of performances and related special events is included in the fact sheet below. Tom Stoppard refers to Hapgood as his “plot play.” Showcasing the prolific playwright’s characteristic wit, verve, and deft wordplay, Russian espionage collides with particle physics in a mesmerizing journey through a wildly complex counterintelligence operation – and absolutely nothing is what it appears to be. -
Tom Stoppard
Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers 1939-2000 (bulk 1970-2000) Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English Access Open for research Administrative Information Acquisition Purchases and gifts, 1991-2000 Processed by Katherine Mosley, 1993-2000 Repository: Harry Ransom Center, University of Texas at Austin Stoppard, Tom Manuscript Collection MS-4062 Biographical Sketch Playwright Tom Stoppard was born Tomas Straussler in Zlin, Czechoslovakia, on July 3, 1937. However, he lived in Czechoslovakia only until 1939, when his family moved to Singapore. Stoppard, his mother, and his older brother were evacuated to India shortly before the Japanese invasion of Singapore in 1941; his father, Eugene Straussler, remained behind and was killed. In 1946, Stoppard's mother, Martha, married British army officer Kenneth Stoppard and the family moved to England, eventually settling in Bristol. Stoppard left school at the age of seventeen and began working as a journalist, first with the Western Daily Press (1954-58) and then with the Bristol Evening World (1958-60).