When She Danced Study Guide
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Stage by Stage South Bank: 1988 – 1996
Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’. -
Sherman, Martin (B
Sherman, Martin (b. 1938) by Bud Coleman Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2007 glbtq, Inc. Reprinted from http://www.glbtq.com Activist and fellow playwright Larry Kramer paid tribute to Martin Sherman by noting that he "has consistently written about his sexuality and has managed to make a living out of it." This is no small feat for an artist whose peers have more often than not created their art from inside the closet. Best known for his groundbreaking play Bent (1978), this iconoclastic playwright and screenwriter has created an impressive body of work. The only child of Russian-Jewish parents, Sherman was born in Philadelphia on December 22, 1938, but grew up in Camden, New Jersey. His father was an attorney. Yiddish was spoken at home; and as his grandparents were observant, they kept a Kosher home. Frequent theater trips to Philadelphia and New York City helped Sherman get through adolescence. Sherman was educated at Boston University, where he received a B.A. and an M.F.A. in theater. Although trained as an actor, he was early drawn to writing plays. He describes his early efforts as "terrible," though some were given Off-Off-Broadway productions by the Herbert Berghof Playwrights Foundation, including the one-act play Next Year in Jerusalem (1968). In Sherman's own account, a 1975 production of his play Passing By by London's Gay Sweatshop "was the first good production I'd ever had of anything." The story of the relationship between two men--a painter and a diver--in New York, whose bond is tested by illness and by their focus on career goals, Passing By and another early gay-themed play, Cracks (1975), set in the Los Angeles home of a recently murdered rock star, anticipate his breakthrough achievement in Bent but fail to rise to the latter's moral seriousness. -
The Boy from Oz Music and Lyrics by Peter Allen Book by Martin Sherman and Nick Enright with (In Alphabetical Order) Andrew Bongiorno, Michayla Brown, Marcus S
and Bruce W. Zisterer present in association with Nicholas Caprio, Michael C. Kricfalusi, Todd Milliner, and Jack Morrissey The Boy From Oz Music and Lyrics by Peter Allen Book by Martin Sherman and Nick Enright with (in alphabetical order) Andrew Bongiorno, Michayla Brown, Marcus S. Daniel, Michael Taylor Gray*, Erica Hanrahan-Ball*, Kelly Lester*, Chelsea Martin, Michael Mittman, Nathan Mohebbi, Bess Motta, Jessica Pennington*, Shanta’ Marie Robinson Scenic Designer Lighting Designer Costume Designer Yuri Okahana Derrick McDaniel Michael Mullen Properties Designer Sound Designer Hair and Wig Designer Michael O’Hara Eric Snodgrass Byron Batista Marketing/PR Casting David Elzer/DEMAND PR Jami Rudofsky Production Stage Manager Graphic Designer Photographers Jennifer Leigh Sears* Huntley Woods Casey Kringlen and Kevin McIntyre Assistant Director Associate Producer Assistant Choreographer Kyle Cooper Mark Giberson Michael Quiett Produced by Andrew Carlberg Musical Direction by Bryan Blaskie Choreographed by Janet Roston Directed by Michael A. Shepperd *Member of Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States. Original Production by Ben Gannon and Robert Fox by arrangement with David Spicer Productions www.davidspicer.com.au CAST (Alphabetical) ANDREW BONGIORNO Peter Allen MICHAYLA BROWN Young Peter Allen MARCUS S. DANIEL Chris and Others MICHAEL TAYLOR GRAY* Dee and Others ERICA HANRAHAN-BALL* Karen and Others KELLY LESTER* Marion Woolnough CHELSEA MARTIN Linelle and Others MICHAEL MITTMAN Greg and Others NATHAN MOHEBBI Mark and Others BESS MOTTA Judy Garland JESSICA PENNINGTON* Liza Minnelli SHANTA’ MARIE ROBINSON Shena and Others SWINGS (See Insert) *Member of Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States. -
Mercury's Low-Reflectance Material: Constraints from Hollows
Mercury’s low-reflectance material: Constraints from hollows Rebecca Thomas, Brian Hynek, David Rothery, Susan Conway To cite this version: Rebecca Thomas, Brian Hynek, David Rothery, Susan Conway. Mercury’s low-reflectance material: Constraints from hollows. Icarus, Elsevier, 2016, 277, pp.455-465. 10.1016/j.icarus.2016.05.036. hal-02271739 HAL Id: hal-02271739 https://hal.archives-ouvertes.fr/hal-02271739 Submitted on 27 Aug 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Accepted Manuscript Mercury’s Low-Reflectance Material: Constraints from Hollows Rebecca J. Thomas , Brian M. Hynek , David A. Rothery , Susan J. Conway PII: S0019-1035(16)30246-9 DOI: 10.1016/j.icarus.2016.05.036 Reference: YICAR 12084 To appear in: Icarus Received date: 23 February 2016 Revised date: 9 May 2016 Accepted date: 24 May 2016 Please cite this article as: Rebecca J. Thomas , Brian M. Hynek , David A. Rothery , Susan J. Conway , Mercury’s Low-Reflectance Material: Constraints from Hollows, Icarus (2016), doi: 10.1016/j.icarus.2016.05.036 This is a PDF file of an unedited manuscript that has been accepted for publication. As a service to our customers we are providing this early version of the manuscript. -
Off the Pedestal, on the Stage: Animation and De-Animation in Art
Off the Pedestal; On the Stage Animation and De-animation in Art and Theatre Aura Satz Slade School of Fine Art, University College, London PhD in Fine Art 2002 Abstract Whereas most genealogies of the puppet invariably conclude with robots and androids, this dissertation explores an alternative narrative. Here the inanimate object, first perceived either miraculously or idolatrously to come to life, is then observed as something that the live actor can aspire to, not necessarily the end-result of an ever evolving technological accomplishment. This research project examines a fundamental oscillation between the perception of inanimate images as coming alive, and the converse experience of human actors becoming inanimate images, whilst interrogating how this might articulate, substantiate or defy belief. Chapters i and 2 consider the literary documentation of objects miraculously coming to life, informed by the theology of incarnation and resurrection in Early Christianity, Byzantium and the Middle Ages. This includes examinations of icons, relics, incorrupt cadavers, and articulated crucifixes. Their use in ritual gradually leads on to the birth of a Christian theatre, its use of inanimate figures intermingling with live actors, and the practice of tableaux vivants, live human figures emulating the stillness of a statue. The remaining chapters focus on cultural phenomena that internalise the inanimate object’s immobility or strange movement quality. Chapter 3 studies secular tableaux vivants from the late eighteenth century onwards. Chapter 4 explores puppets-automata, with particular emphasis on Kempelen's Chess-player and the physical relation between object-manipulator and manipulated-object. The main emphasis is a choreographic one, on the ways in which live movement can translate into inanimate hardness, and how this form of movement can then be appropriated. -
Teaching Standards- Based Creativity in the Arts
Teaching Standards-based Creativity in the Arts Issued by Office of Academic Standards South Carolina Department of Education Jim Rex State Superintendent of Education 2007 1 Table of Contents CONTRIBUTORS ................................................................................. 3 WHY CREATIVITY? ............................................................................. 5 CULTIVATING CREATIVITY IN ARTS EDUCATION: MYTHS, MISCONCEPTIONS, AND PRACTICAL PROCEDURES………………………..7 DANCE: .......................................................................................... 100 GRADES PREK-K ............................................................................... 101 GRADES 1-2 .................................................................................... 111 GRADES 3-5 .................................................................................... 122 GRADES 6-8 .................................................................................... 139 GRADES 9-12 .................................................................................. 162 GRADES 9-12 ADVANCED .................................................................... 186 DANCE CREATIVITY RESOURCE LIST ........................................................ 208 MUSIC ............................................................................................ 213 MUSIC: GENERAL ............................................................................. 214 GRADES PREK-K .............................................................................. -
NEO-Orientalisms UGLY WOMEN and the PARISIAN
NEO-ORIENTALISMs UGLY WOMEN AND THE PARISIAN AVANT-GARDE, 1905 - 1908 By ELIZABETH GAIL KIRK B.F.A., University of Manitoba, 1982 B.A., University of Manitoba, 1983 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE FACULTY OF GRADUATE STUDIES (Department of Fine Arts) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA . October 1988 <£> Elizabeth Gail Kirk, 1988 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Fine Arts The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date October, 1988 DE-6(3/81) ABSTRACT The Neo-Orientalism of Matisse's The Blue Nude (Souvenir of Biskra), and Picasso's Les Demoiselles d'Avignon, both of 1907, exists in the similarity of the extreme distortion of the female form and defines the different meanings attached to these "ugly" women relative to distinctive notions of erotic and exotic imagery. To understand Neo-Orientalism, that is, 19th century Orientalist concepts which were filtered through Primitivism in the 20th century, the racial, sexual and class antagonisms of the period, which not only influenced attitudes towards erotic and exotic imagery, but also defined and categorized humanity, must be considered in their historical context. -
Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608
Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608 This finding aid was produced using ArchivesSpace on June 11, 2018. English Describing Archives: A Content Standard Walter P. Reuther Library 5401 Cass Avenue Detroit, MI 48202 URL: https://reuther.wayne.edu Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608 Table of Contents Summary Information .................................................................................................................................... 3 History ............................................................................................................................................................ 4 Scope and Content ......................................................................................................................................... 4 Arrangement ................................................................................................................................................... 6 Administrative Information ............................................................................................................................ 6 Related Materials ........................................................................................................................................... 7 Controlled Access Headings .......................................................................................................................... 7 Collection Inventory ...................................................................................................................................... -
Impact Melt Emplacement on Mercury
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 7-24-2018 2:00 PM Impact Melt Emplacement on Mercury Jeffrey Daniels The University of Western Ontario Supervisor Neish, Catherine D. The University of Western Ontario Graduate Program in Geology A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Science © Jeffrey Daniels 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Geology Commons, Physical Processes Commons, and the The Sun and the Solar System Commons Recommended Citation Daniels, Jeffrey, "Impact Melt Emplacement on Mercury" (2018). Electronic Thesis and Dissertation Repository. 5657. https://ir.lib.uwo.ca/etd/5657 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Impact cratering is an abrupt, spectacular process that occurs on any world with a solid surface. On Earth, these craters are easily eroded or destroyed through endogenic processes. The Moon and Mercury, however, lack a significant atmosphere, meaning craters on these worlds remain intact longer, geologically. In this thesis, remote-sensing techniques were used to investigate impact melt emplacement about Mercury’s fresh, complex craters. For complex lunar craters, impact melt is preferentially ejected from the lowest rim elevation, implying topographic control. On Venus, impact melt is preferentially ejected downrange from the impact site, implying impactor-direction control. Mercury, despite its heavily-cratered surface, trends more like Venus than like the Moon. -
Pushkin and the Futurists
1 A Stowaway on the Steamship of Modernity: Pushkin and the Futurists James Rann UCL Submitted for the Degree of Doctor of Philosophy 2 Declaration I, James Rann, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Acknowledgements I owe a great debt of gratitude to my supervisor, Robin Aizlewood, who has been an inspirational discussion partner and an assiduous reader. Any errors in interpretation, argumentation or presentation are, however, my own. Many thanks must also go to numerous people who have read parts of this thesis, in various incarnations, and offered generous and insightful commentary. They include: Julian Graffy, Pamela Davidson, Seth Graham, Andreas Schönle, Alexandra Smith and Mark D. Steinberg. I am grateful to Chris Tapp for his willingness to lead me through certain aspects of Biblical exegesis, and to Robert Chandler and Robin Milner-Gulland for sharing their insights into Khlebnikov’s ‘Odinokii litsedei’ with me. I would also like to thank Julia, for her inspiration, kindness and support, and my parents, for everything. 4 Note on Conventions I have used the Library of Congress system of transliteration throughout, with the exception of the names of tsars and the cities Moscow and St Petersburg. References have been cited in accordance with the latest guidelines of the Modern Humanities Research Association. In the relevant chapters specific works have been referenced within the body of the text. They are as follows: Chapter One—Vladimir Markov, ed., Manifesty i programmy russkikh futuristov; Chapter Two—Velimir Khlebnikov, Sobranie sochinenii v shesti tomakh, ed. -
"The Dance of the Future"
Chap 1 Isadora Duncan THE DANCER OF THE FUTURE I HE MOVEMENT OF WAVES, of winds, of the earth is ever in the T same lasting harmony. V·le do not stand on the beach and inquire of th€ E>t:ea:n what was its movement in the past and what will be its movement in the future. We realize that the movement peculiar to its nature is eternal to its nature. The movement of the free animals and birds remains always in correspondence to their nature, the necessities and wants of that nature, and its correspond ence to the earth nature. It is only when you put free animals under ~~restr iction s that the"y lose the power-or moving lnlla rr'n o~y with nature, and adopt a movement expressive of the restncflons placed about thel!l. · . ------~- ,. So it has been with civili zed man. The movements of the savage, who lived in freedom in constant touch with Nature, were unrestricted, natural and beautiful. Only the movements of the r:ilkeJ..J22.9.y_ca~ be p:rfectl): 12_a~al. Man, arrived at the end of civilization, will have to return to nakedness, not to tl1e uncon scious nakedness of the savage, but to the conscious and acknow ledged nakedness of the mature Man,· whose body will be th~ harmonious expression of his spiritual being And the movements of tl1is Man will be natural and beautiful like those of the free animals. The movement of the universe concentrating in an individual becomes what is termed the will; for example, tl1e movement of the earth, being the concentration of surrounding· forces, gives to the earth its individuality, its will of movement. -
Spring 2018 Picks of the Lists
Spring 2018 Picks of the Lists Boydell & Brewer The Art of Swordsmanship By Hans Medievalism: In A Song Lecküchner of Ice And Fire And Lecküchner, Hans Game Of Thrones Boydell & Brewer/Boydell Carroll, Shiloh Press Boydell & Brewer/D. S. 9781783272914 Brewer Translated by Jeffrey L. 9781843844846 Forgeng. 443 b/w 192 pages illustrations hardcover 488 pages $39.95 paperback Publish Date: 3/1/2018 $25.95 catalog page: 2 Publish Date: 3/1/2018 catalog page: 4 Game of Thrones is famously inspired by the Middle Ages - but how NEW IN PAPERBACK. A vivid modern translation of authentic is the world it presents? a medieval sword fighting manual. This book explores George R. R. Martin’s and HBO’s Completed in 1482, Johannes Lecküchner’s Art of approaches to and beliefs about the Middle Ages Combat with the Langes Messer is among the most and how those beliefs fall into traditional important documents on the combat arts of the medievalist and fantastic literary patterns. It Middle Ages. The Messer was a single-edged, one- analyzes how the drive for historical realism affects handed utility sword peculiar to central Europe, the books’ and show’s treatment of men, women, but Lecküchner’s techniques apply to cut-and- people of colour, sexuality, and imperialism. And thrust swords in general. Not only is this treatise how it has in turn come to define the ‘real’ Middle the single most substantial work on the use of one- Ages for many of its readers and viewers. handed swords to survive from this period, but it is also the most detailed explanation of the SHILOH CARROLL teaches in foundational two-handed sword techniques of the the writing centre at great fourteenth-century master Johannes Tennessee State University.