Massacre on Aisle 12 Press Packet
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Sagawkit Acceptancespeechtran
Screen Actors Guild Awards Acceptance Speech Transcripts TABLE OF CONTENTS INAUGURAL SCREEN ACTORS GUILD AWARDS ...........................................................................................2 2ND ANNUAL SCREEN ACTORS GUILD AWARDS .........................................................................................6 3RD ANNUAL SCREEN ACTORS GUILD AWARDS ...................................................................................... 11 4TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 15 5TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 20 6TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 24 7TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 28 8TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 32 9TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 36 10TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 42 11TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 48 12TH ANNUAL SCREEN ACTORS GUILD AWARDS .................................................................................... -
Varieties of Applied Theatre and Performance PDF Book
INTERACTIVE AND IMPROVISATIONAL DRAMA: VARIETIES OF APPLIED THEATRE AND PERFORMANCE PDF, EPUB, EBOOK MD Adam Blatner | 383 pages | 13 Feb 2007 | iUniverse | 9780595417506 | English | Bloomington IN, United States Interactive and Improvisational Drama: Varieties of Applied Theatre and Performance PDF Book The Brave New Workshop has been crafting audacious, hilarious, and thought-provoking original comedy, improv and satire in Minneapolis since — longer than any other theatre in the U. Want to Read saving…. Chapter Archived from the original on All Languages. From the actions of the Futurist Movement through to the groundswell in political theatre after the s, radical thought has always been applied to theatrical forms. From Wikipedia, the free encyclopedia. Drama in healthcare is drama created in medical contexts, often with the intention of rehabilitation. TheatreSports : David Young describes how improvisation has become an intra-scholastic competitive activity with variants also used in other community settings. Drama is a great field! Museum theatre aims to use theatrical techniques to add emotion and value to the museum experience. This avante-garde theatre group explored political, artistic, and social issues. Goals included social skills-learning and performance as well as bringing socially relevant issues to the community. In order for an improvised scene to be successful, the improvisers involved must work together responsively to define the parameters and action of the scene, in a process of co-creation. Medieval Re-enactments : Tom Stallone discusses the development of medieval re-creation and re-enactment groups over the last few decades and the opportunities they create to take live-action role playing into new areas. -
Commedia Dell'arte Influences on Shakespearean Plays
The University of Akron IdeaExchange@UAkron Selected Papers of the Ohio Valley Shakespeare Literary Magazines Conference May 2015 Commedia Dell’Arte Influences on Shakespearean Plays: The Tempest, Love’s Labor's Lost, and The Taming of the Shrew Amy Drake Franklin University, [email protected] Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Follow this and additional works at: http://ideaexchange.uakron.edu/spovsc Part of the Literature in English, British Isles Commons, and the Theatre and Performance Studies Commons Recommended Citation Drake, Amy (2013) "Commedia Dell’Arte Influences on Shakespearean Plays: The Tempest, Love’s Labor's Lost, and The Taming of the Shrew," Selected Papers of the Ohio Valley Shakespeare Conference: Vol. 6 , Article 3. Available at: http://ideaexchange.uakron.edu/spovsc/vol6/iss2013/3 This Article is brought to you for free and open access by Literary Magazines at IdeaExchange@UAkron, the institutional repository of The nivU ersity of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Selected Papers of the Ohio Valley Shakespeare Conference by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. Commedia Dell’Arte Influences on Shakespearean Plays: The Tempest, Love’s Labor's Lost , and The Taming of the Shrew Amy Drake, Franklin University illiam Shakespeare incorporated the rich theatrical tradition of commedia dell’arte into some of his plays by basing some plots W and characters on Italian pastoral scenarios. -
HOUSE of FUN Pee-Wee’S Playhouse Enchanted Kids and Adults Alike with Its Sense of Childish Delight
Over its fi ve years, Pee-wee’s Playhouse won 22 Emmy Awards. HOUSE of FUN Pee-wee’s Playhouse enchanted kids and adults alike with its sense of childish delight NE NIGHT IN the late 1970s, actor Paul Reubens was confronted with a challenge onstage with the Los Angeles improv group the Groundlings: to create the persona of the world’s worst standup comedian. “I decided I would be the type of comic who you would Olook at and know he would never make it,” Reubens remembers. The character, whom he named “Pee-wee” after a brand of harmonica, came together from many sources: a small, gray suit was given by the group’s director Gary Austin, and a black bow tie from another friend. Even Pee- wee Herman’s voice was something Reubens borrowed—from himself. Having just done the play Life with Father in Sarasota, Fla., the actor remembers, “I had unwittingly over the course of three months turned my character into a kind of cartoon. By the end, I had developed this very cartoony voice.” I KNOW YOU ARE, BUT WHAT AM I? A few years later, in the early 1980s, Reubens had the opportunity to audi- ON A ROLL: tion for the changing cast of Saturday Pee-wee’s Night Live—and didn’t get the gig. Playhouse aired from Initially “panicked” by the rejection, 1986 to Reubens remembers that he eventually 1991 “decided to produce my own show, and try to on CBS. see what I could make happen on my own.” With $7,500 borrowed from his parents, the actor teamed with fellow Groundlings John Paragon, Lynne Marie Stewart and Phil Hart- man to put a production on stage—fi rst at the Groundlings theater, and later at the hip Roxy CBS ARCHIVE nightclub, where midnight shows of The Pee-wee Herman Show ran for fi ve months and attracted the hippest in Hollywood. -
A Look at the Upright Citizens Brigade Theatre and Hidden Collections of Improv Comedy
Never Done Before, Never Seen Again: A Look at the Upright Citizens Brigade Theatre and Hidden Collections of Improv Comedy By Caroline Roll A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Moving Image Archiving and Preservation Program Department of Cinema Studies New York University May 2017 1 Table of Contents Introduction ……………………………………………………………………………………… 2 Chapter 1: A History of Improv Comedy ...……………………………………………………... 5 Chapter 2: Improv in Film and Television ...…………………………………………………… 20 Chapter 3: Case Studies: The Second City, The Groundlings, and iO Chicago ...……………... 28 Chapter 4: Assessment of the UCB Collection ……………..………………………………….. 36 5: Recommendations ………..………………………………………………………………….. 52 Conclusion ……………………………………………………………………………………... 57 Bibliography …………………………………………………………………………………… 60 Acknowledgements …...………………………………………………………………………... 64 2 Introduction All forms of live performance have a certain measure of ephemerality, but no form is more fleeting than an improvised performance, which is conceived in the moment and then never performed again. The most popular contemporary form of improvised performance is improv comedy, which maintains a philosophy that is deeply entrenched in the idea that a show only happens once. The history, principles, and techniques of improv are well documented in texts and in moving images. There are guides on how to improvise, articles and books on its development and cultural impact, and footage of comedians discussing improv in interviews and documentaries. Yet recordings of improv performances are much less prevalent, despite the fact that they could have significant educational, historical, or entertainment value. Unfortunately, improv theatres are concentrated in major cities, and people who live outside of those areas lack access to improv shows. This limits the scope for researchers as well. -
Download One-Sheet
Tracy Newman Tracy Newman grew up in Los Angeles. She started playing guitar at 14, usually sitting on the diving board of her family’s pool, strumming for hours each day. Back then she was mostly influenced by the Kingston Trio, because she could actually play some of their songs, especially “Tom Dooley” which had, and still has, only two chords. After high school, Tracy wanted to be a folksinger, but her parents insisted she go to college. She went to the U of A in Tucson and quickly discovered the “folk” community. She stopped attending college and began playing on street corners for money, otherwise known as “busking.” Understandably, this freaked out her mother who flew to Tucson and dragged Tracy back to LA for “help.” The therapist, an elderly man in a suit and tie, kept nodding off during the sessions. Apparently, he couldn’t relate to an upper middle class teenage girl who just wanted to be a folksinger. It’s taken Tracy a while to get back to her dream. In the early 70s, she joined an improv class taught by Gary Austin, which soon became The Groundlings. Tracy is a founding member, and besides performing, she taught and directed. Her sister, Laraine Newman was the first Groundling to be discovered there by Lorne Michaels for Saturday Night Live. Some other Groundling alumni include: Melissa McCarthy, Will Ferrell, Kristen Wiig, Paul “Pee Wee Herman” Reubens and Kathy Griffin. It was at the Groundlings that Tracy met her future TV writing partner, Jonathan Stark. Their first staff job was on “Cheers,” followed by “Bob”(Bob Newhart), “The Nanny,” “Ellen” and “The Drew Carey Show.” In 1997, Newman and Stark won an Emmy and Peabody Award for writing the groundbreaking “coming out” episode of “Ellen.” In 2001, they created the ABC comedy, "According to Jim," which ran for eight seasons. -
L.A. Intensive 2011 Schedule
L.A. Intensive 2011 Schedule Saturday, July 30 4:00 p.m. Check-in at UCLA 5:00 p.m. Orientation meeting 6:00 p.m. Dinner at UCLA Roundtable: Welcome to Hollywood Michael Kirk, Program Director Alexa Alemanni Boothe, Programming Coordinator 7:00 p.m. Walking tour of Westwood 8:00 p.m. Dessert at Diddy Riece Sunday, July 31 7:30 a.m. Breakfast at UCLA 8:30 a.m. Depart UCLA for driving tour of Los Angeles 9:30 a.m. Visit: Graumann’s Chinese Theater 11:00 a.m. Lunch: The Grove and The Farmer’s Market 1:00 p.m. Walking Tour: Rodeo Drive 3:00 p.m. Visit: Santa Monica Place and Santa Monica Pier 5:00 p.m. Return to UCLA 6:00 p.m. Dinner at UCLA Roundtable: Getting Started in Television Elizabeth Hershberger Gray, Art Director, Dexter, Pushing Daisies, Californication Jim Danger Gray, Writer, Pushing Daisies, In Plain Sight, Crossing Jordan, Untitled SyFy Pilot Monday, August 1 7:00 a.m. Breakfast at UCLA 8:00 a.m. Screening: Hood To Coast Hood to Coast follows four unlikely teams on their epic journey to conquer the world’s largest relay race. The film captures the love, dedication, and insanity of the every day runner as well as the excitement, pain, and humor of the unprepared first-timer. Their stories are reminders that no matter who you are, you can push yourself beyond where you thought your limits were. 9:30 a.m. Roundtable: The Making of Hood to Coast Anna Campbell, Producer Christoph Baaden, Director and Editor 11:15 a.m. -
2008–2009 Season Sponsors
2008–2009 Season Sponsors The City of Cerritos gratefully thanks our 2008–2009 Season Sponsors for their generous support of the Cerritos Center for the Performing Arts. Season 08/09 YOUR FAVORITE ENTERTAINERS, YOUR FAVORITE THEATER If your company would like to become a Cerritos Center for the Performing Arts sponsor, please contact the CCPA Administrative Offices at (562) 916-8510. THE CERRITOS CENTER FOR THE PERFORMING ARTS (CCPA) thanks the following CCPA Associates who have contributed to the CCPA’s Endowment Fund. The Endowment Fund was established in 1994 under the visionary leadership of the Cerritos City Council to ensure that the CCPA would remain a welcoming, accessible, and affordable venue in which patrons can experience the joy of entertainment and cultural enrichment. For more information about the Endowment Fund or to make a contribution, please contact the CCPA Administrative Offices at (562) 916-8510. Benefactor Morris Bernstein Linda Dowell Ping Ho $50,001-$100,000 Norman Blanco Gloria Dumais Jon Howerton José Iturbi Foundation James Blevins Stanley Dzieminski Christina and Michael Hughes Michael Bley Lee Eakin Melvin Hughes Patron Kathleen Blomo Dee Eaton Marianne and Bob Hughlett, Ed.D. $20,001-$50,000 Marilyn Bogenschutz Susie Edber and Allen Grogan Mark Itzkowitz Linda and Sergio Bonetti Gary Edward Grace and Tom Izuhara National Endowment for the Arts Patricia Bongeorno Jill Edwards Sharon Jacoby Ilana and Allen Brackett Carla Ellis David Jaynes Partner Paula Briggs Robert Ellis Cathy and James Juliani $5,001-$20,000 Darrell Brooke Eric Eltinge Luanne Kamiya Bryan A. Stirrat & Associates Mary Brough Teri Esposito Roland Kerby Chamber Music Society of Detroit Dr. -
1 of 1 HISTORY of IMPROVISATION Edited and Summarized by Walt Frasier
EIGHT IS NEVER ENOUGH STUDY GUIDE 1 of 1 HISTORY of IMPROVISATION Edited and summarized by Walt Frasier. Go to http://en.wikipedia.org/ to discover more amazing information on the following companies and key figures in Improvisation Theater History. Viola Spolin was an American drama teacher and author. She is considered by many to be the American Grandmother of Improvisation. Author of “Improvisation for the theater” still respected as one of the best books on the subject. Paul Sills was a director and improvisation teacher, and the original director of The Second City, Playwrights and Compass Players. Paul was the son of teacher and writer Viola Spolin. Mike Nichols (born 6 November 1931) is one of America’s most imprortant television, stage and film director, writer, and producers. Nichols is one of the few people to have won all the major American entertainment awards: an Oscar, Grammy, Emmy and Tony Award. Started as an Improv Actor/Comedian. Toured with Elain May in the popular team act “Nichols & May”. Recently directed SPAMALOT on Broadway. Del Close is considered one of the premier influences on modern improvisational theater. An actor, improviser, writer, and teacher, Close had a prolific career, appearing in a number of films and television shows. He was a co-author of the book Truth in Comedy along with partner Charna Halpern, which outlines techniques now common to longform improvisational theater and describes the overall structure of “Harold” which remains a common frame for longer improvisational scenes. The Compass Players (or Compass Theater) was a 1950s cabaret revue show started by alumni from the University of Chicago.[1]. -
Alumni at Large
Colby Magazine Volume 102 Issue 4 Spring 2014 Article 9 April 2014 Alumni at Large Follow this and additional works at: https://digitalcommons.colby.edu/colbymagazine Recommended Citation (2014) "Alumni at Large," Colby Magazine: Vol. 102 : Iss. 4 , Article 9. Available at: https://digitalcommons.colby.edu/colbymagazine/vol102/iss4/9 This Contents is brought to you for free and open access by the Colby College Archives at Digital Commons @ Colby. It has been accepted for inclusion in Colby Magazine by an authorized editor of Digital Commons @ Colby. CATCHING UP | ALUMNI ProfILes Shaken, Not Stirred | Andrew Volk ’05 Behind the Hunt & Alpine Club bar— a bar, and his response was immediate 35 feet of brushed galvanized steel inside and unenthusiastic. “But then I thought, 75 Market Street in Portland’s Old Port— ‘Hey, maybe actually, between the skills Andrew Volk ’05 moves with staccato and what I’ve seen and what I’ve done … assurance. He taps to check if patrons this could actually work.’” need a refill, swings to wash glasses in a It took almost two years to plan, raise hidden sink, and moves his Boston shaker capital, and build out the space, but he with a speed and energy usually reserved opened his doors in September—and for maracas: over the shoulder, down, Portland’s food scene took notice. In back up. A pour through, then tap. You, November the Hunt & Alpine Club sir, have a drink. was featured on eater.com (a national Volk has been tending bar for almost restaurant gossip site) in a roundup of the a decade, since he landed a gig in Glacier 30 hottest cocktail bars in America. -
The Harold: a Revolutionary Form That Changed
THE HAROLD: A REVOLUTIONARY FORM THAT CHANGED IMPROVISATIONAL THEATRE & AMERICAN COMEDY A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By MATT FOTIS Dr. M. Heather Carver, Dissertation Supervisor MAY 2012 © Copyright by Matt Fotis 2012 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled THE HAROLD: A REVOLUTIONARY FORM THAT CHANGED IMPROVISATIONAL THEATRE & AMERICAN COMEDY Presented by Matt Fotis A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Professor M. Heather Carver Professor David Crespy Professor Cheryl Black Professor Cornelius Eady ACKNOWLEDGEMENTS This dissertation would have never happened without the help, support, and encouragement of numerous people. First and foremost I want to thank my committee— Heather Carver, David Crespy, Cheryl Black, and Cornelius Eady—for their guidance, questions, epiphanies, and good humor, without which I would not be writing this thank you. I want to thank Ann Haugo, John Poole, and Liz Mullenix for first beginning this journey with me. Of course many thanks go out to Charna Halpern, Ted Flicker, and all the generous improvisers who agreed to be interviewed for this project, as well as the countless improvisers who simply took the time to informally discuss improv with me. I would be nowhere without the teachers that taught me how to improvise and the students who continue to teach me. My beautiful wife, whom I first got to know through improvisation, thank you for your love, support, and patience…and for usually laughing at my jokes…and for telling me when I’m not funny. -
Bear Necessities Ed and Shari Glazer’S Teddy Bears Bring Comfort to Young Patients Contents
Catalyst Bear Necessities Ed and Shari Glazer’s teddy bears bring comfort to young patients Contents Catalyst The Starting Point 1 Senior Vice President’s Letter | Arthur J. Ochoa Catalyst is published three times a year by the Community Relations and Development Department Building Momentum of Cedars-Sinai Medical Center. 2 Open Your Heart to Health Senior Vice President for Community Relations and Development 3 Remembering Irving Feintech Arthur J. Ochoa, Esq. 4 Bicycles Built for Joy Director, Development Communications 6 King’s Speeches Kenneth Ross 7 Changing of the Guard: Lawrence B. Platt Editor 7 First Lady of Cedars-Sinai: Barbara Factor Bentley Laura Grunberger Editorial Coordinator Louise Cobb The Major Catalyst Managing Editor 8 Cover Story | Ed and Shari Glazer: Bear Necessities Susan Wampler Editorial Assistant Amanda Busick The Philanthropic Spark Art Direction 12 Thomas D. Gordon and Jon A. Kobashigawa, MD: A Family Affair The Doyle | Logan Company 15 Ryan Gurman: The Young and the Selfless Contributing Writers Louise Cobb Sarah Spivack Forward Motion Photographers Max S. Gerber 16 Appointments, dedications, and events in the Cedars-Sinai community John Livzey Ted & Debbie Teri Weber Dynamic Energy Event Photography 24 Women’s Guild Sally Aristei Alex Berliner 27 The Helping Hand of Los Angeles Vince Bucci Photography 28 The Heart Foundation Angela Daves Haley Lisa Hollis 28 Sports Spectacular Thomas Neerken 30 run for her® Baron Erik Spafford 32 Board of Governors 36 Fashion Industries Guild Community Pulse 38 Heart to Heart: Ambassadors Share Hope and a Special Bond Illuminations © 2011 by Cedars-Sinai Medical Center Letters to the editor, address changes, 44 Philanthropic Tributes | Cedars-Sinai Medical Center Honor Roll requests to be added/removed from our mailing list, or all other inquiries can be addressed to Catalyst, Cedars-Sinai Medical Center, 8700 Beverly Blvd., Suite 2416, Connections Los Angeles, CA 90048.