DOCSLIB.ORG

Imago Theatre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Imago Theatre PHOTO BY JERRY MOUAWAD IMAGO THEATRE: LA BELLE, LOST IN THE WORLD OF THE AUTOMATON Tuesday, February 6, 2018, at 7pm Colwell Playhouse PROGRAM IMAGO THEATRE: LA BELLE, LOST IN THE WORLD OF THE AUTOMATION Written by Carol Triffle, Jerry Mouawad, and Devin Stinson Inspired from La Belle et le Bête (Beauty and the Beast) by Gabrielle-Suzanne Barbot de Villeneuve, written in 1740 SETTING An engine room on the steamship La Belle, somewhere in European waters in the early 20th century ACT I 20-minute intermission ACT II La Belle is made possible by grants from Meyer Memorial Trust, Oregon Community Trust Creative Heights, the Collins Foundation, Regional Arts and Culture Council, Wyss Foundation, James F. & Marion L. Miller Foundation, the Wessinger Foundation, Oregon Arts Commission, Regional Arts and Culture Council, Harold and Arlene Care Foundation, and the Kinsman Foundation. Imago dedicates La Belle to Roger Nelson (1948-2016). Without Roger’s ingenuity we would not have been able to create the world of automata. Imago Theatre appears by arrangement with: Opus 3 Artists 470 Park Avenue South, 9th Floor North New York, NY 10016 212.584.7500 www.opus3artists.com 2 THE ACT OF GIVING OF ACT THE THANK YOU FOR SPONSORING THIS PERFORMANCE Krannert Center honors the spirited generosity of donors who make these performances possible. This event is supported by: * * DIXIE & EVAN DICKENS THE SUSAN SARGEANT MCDONALD Thirty-Four Previous Sponsorships ENDOWED FUND FOR YOUTH Two Current Sponsorships PROGRAMMING (Suzi was the founder/developer of the Krannert Center Youth Series) CORPORATE SILVER SPONSOR First-Time Sponsor Two Current Sponsorships *PHOTO CREDIT: ILLINI STUDIO HELP SUPPORT THE FUTURE OF THE ARTS. BECOME A KRANNERT CENTER SPONSOR BY CONTACTING OUR DEVELOPMENT TEAM TODAY: KrannertCenter.com/Give • [email protected] • 217.333.1629 3 PRODUCTION CREDITS WRITTEN BY ORIGINAL MUSIC & LYRICS Carol Triffle Carol Triffle Jerry Mouawad Amanda Payne & Alyssa Payne Devin Stinson Lydia Ooghe Kyle Delamarter INSPIRED FROM La Belle et le Bête ADDITIONAL MUSIC (Beauty and the Beast) Mathew Kong by Gabrielle-Suzanne Barbot de Villeneuve Andrew Payson written in 1740 Pedro Celli Dennis Yaws CREATED AND DIRECTED BY Carol Triffle SOUND DESIGN Jerry Mouawad Kyle Delamarter SCENIC, PUPPET, & PRODUCTION DESIGN ART DIRECTION CONSULTANT Carol Triffle Paul Harrod Jerry Mouawad SHADOW ILLUSTRATION DESIGN COSTUME DESIGN Jill Mackesey Carol Triffle DIRECTOR OF FABRICATION LEAD SCULPTOR Lance Woolen Jerry Mouawad ASSOCIATE FABRICATOR PERFORMERS Erin Chmela Sam Stoker Jim Vadala FABRICATORS Lady Rose Bruce Bowman Justine Davis Brian Rooney Kyle Delamarter PUPPETEERS Lance Woolen HEAD CARPENTER & PROPS Erin Nicole Chmela Brad Saby 4 ADDITIONAL SCULPTOR PROP MASTER Bruce Bowman Sarah Andrews LIGHT DESIGN MECHANICS ELECTRICAL Jeff Forbes Jon Farley Jerry Mouawad DIGITAL PRINTING SCENIC PAINTERS Oregon Blue Print Tim Smith Elecia Beebe GRAPHIC DESIGN Sophya Vidal David Deide CAPTAIN’S VOICE SPECIAL THANKS Sean Bowie Portland Center Stage Seth Chandler UNDERSTUDIES David McCrum Mark Mullaney Brian Mooney Madeleine Delaplane Oregon Children’s Theatre Portland Opera ADDITIONAL PRODUCTION The Oregonian Ken Hansen Anne Sorce Nathan Hansen Darren McCarthy Rex Jantze Jonathan Godsey Sumi Wu Kaician Kitko Chris Balo Pratik Motwani PRODUCTION STAGE MANAGER Anet Margot Ris David Mackie Kay Ethen Jeffrey Desautels ASSISTANT DIRECTOR Ryan J Musil Charmian Creagle Anna Sell Taiga Christie DRAMATURGE Mark Forrest Jennifer Perlmutter Third Rail Repertory Theatre Geahk Burchill ADDITIONAL SHADOW DESIGN Katrina Thatcher Graham Molthan Charlie Frazier 5 PROFILES IMAGO THEATRE CAROL TRIFFLE (co-director, co-creator, co- Founded in 1979 by Carol Triffle and Jerry writer, puppet and production design, lyrics, Mouawad, Imago Theatre‘s original productions costume design) completed a third-year program have toured internationally for over three with Jacques Lecoq in 1997 after studying him decades. Imago‘s signature works have appeared for two previous years in 1986-1988. A member three times at the acclaimed New Victory Theater of the dance company The Company We Keep, on Broadway in New York; FROGZ (2000, 2002) she founded Imago Theatre in 1979 with Jerry and ZooZoo (2010). The universal nature of Mouawad and began touring the United States Imago‘s world has won audience and critical with original mask theatre. In 1997 she wrote acclaim in tours across Asia, Europe, Canada, and and directed Ginger‘s Green which marked the the United States. The company was awarded the beginning of canon of original music-theater New York Dance Film Award and “Best Touring works that includes Ajax, Oh Lost Weekend, No Production” by Independent Reviewers of New Can Do, and Missing Mona. In 2006 her music- England. Imago has been hailed by critics world- theatre works changed form after influences wide for their range of original work. Working out from Richard Maxwell and often featured of a large 18,000 square foot theatre laboratory anti-clown heros played by Danielle Vermette in Portland, Oregon, Imago‘s ensemble of actors, and Mouawad in works titled Hit Me in The dancers, designers, fabricators, and musicians Stomach, Mix Up, The Dinner, Simple People, become alchemists seeking fresh perspectives Backs Like That, Splat, and Beaux Arts Club, and of performance. The company has been honored Francesca, Isabella, Margarita on a Cloud. She for mask theatre pieces that have appealed to a co-directed with Mouawad on Broadway FROGZ wide age range, as well as for innovative works and ZooZoo. Triffle has staged works for The that push the boundaries of form, design, and Jefferson Dancers and The Oregon Symphony. story. Imago Theatre‘s methodology is based Her acting appearances in Mouawad‘s original on the teachings of Jacques Lecoq (1921-1999). plays include Dead End Ed, Samuel‘s Major Triffle studied extensively with Lecoq completing Problems, Serial Killer Parents, Apis, Tick Tack his exclusive pedagogical program. Drawing Type, Stage Left Lost, Zugzwan, and Pimento & inspiration from Lecoq, Imago Theatre aims Pullman. Awards include Best Touring Production to place form and design at the forefront of by the Independent Reviewers of New England, theatre creation and infuses each production Oregon Arts Commission Fellowship, New York with an idiosyncratic physical energy. In 2006 Dance Film Awards, Portland Theatre Awards the company‘s innovative production of Jean- for Choreography, Costume Design, and Best Paul Sartre‘s No Exit ran at two Tony Award- Original Play. winning theatres—American Repertory Theater and The Hartford Stage Company. The United States premiere of Caryl Churchill‘s A Number was produced by Imago Theatre in 2003. Imago produced the United States premiere of Yukio Mishima‘s The Black Lizard in 2012. JERRY MOUAWAD (co-director, co-creator, by the Independent Reviewers of New England, co-writer, puppet and production design, lyrics, the New York Dance Film Award, and Portland lead sculptor, co-light design) studied the Theatre Awards for Acting, Light Design, teachings of Jacques Lecoq at the Hayes-Marshall Choreography, and Best Original Play. Recent School of Theatre Arts. After co-founding Imago direction includes David Lang‘s double bill for the Theatre in 1979 with Carol Triffle, he went on to Portland Opera. collaborate with her for 14 years creating mask pieces before exploring experimental theatre. He DEVIN JAMES STINSON (co-writer/verse writer) staged two works by Richard Foreman, Samuel‘s is a native of Portland, where he currently resides. Major Problems and Symphony of Rats. He has He traveled to Los Angeles, California, for three adapted magical realism literature for the stage and a half years, where he studied recording incorporating multimedia, puppetry, and stage arts at the Los Angeles Recording School. Upon illusion in Verdad (in collaboration with Triffle) his return back to Portland in 2011, Stinson has and Half Light. Modern classic adaptations honed his spoken word writing and performing include Blood Wedding, The Imaginary Invalid, craft, and it was then that he submitted to write Exit the King, and Uncle Vanya. His adaptation verse for La Belle based on some of his spoken of Sartre‘s No Exit on a moving stage played at word picture videos on YouTube. This is Stinson‘s American Repertory Theatre and Hartford Stage first collaboration with Imago and his first as a Company. He has staged work for BodyVox, The writer for the stage. Portland Opera, and The Oregon Symphony. JIM VADALA (Sam Stoker) was born and raised The United States premiere of Caryl Churchill‘s in Philadelphia, Pennsylvania. Vadala moved A Number was directed by Mouawad at Imago to Portland in 2012 to work for the Portland Theatre. His series of original silent works titled Playhouse. Vadala received his Bachelor of Arts Opera Beyond Words include Apis, or the Taste at West Chester University and has been seen of Honey; The Cuban Missile Crisis; Tick Tack nationally on Portlandia and Grimm. Some recent Type; Stage Left Lost; and Zugzwang. His recent stage credits include HIR (Defunkt), Bloody, Pinter productions include The Lover (2013), The Bloody Andrew Jackson (Portland Playhouse), Caretaker (2014), and The Homecoming (2014). The Homecoming (Imago), Othello (Portland Additional productions include Yukio Mishima‘s Center Stage), Gruesome Playground Injuries The Black Lizard (2012), The Lady Aoi (2016), (TVonStage), Equivocation (Post5), and Enjoy and Pimento & Pullman (2014). On Broadway (CoHo). Vadala is also a regular of the irreverent he co-directed with TriffleFROGZ (2000, 2002) sketch group Spectravagasm. Vadala would like and ZooZoo (2010). He has appeared as an actor to thank the La Belle team for their work, Olivia in Triffle‘s original worksAjax, Ginger‘s Green, for her love, and you for supporting live theatre. Oh Lost Weekend, Missing Mona, The Dinner, This is Vadala‘s second season with Imago and he Simple People, Backs Like That, and Splat. Awards is honored and humbled to be a part of the team include Oregon Arts Commission Fellowship, that brings La Belle to life.
Load more

Recommended publications
  • News 2-9-11.Indd
    www.thedavidsonian.com DAVI D SON COLLEGE WE D NES D AY , FEBRUARY 9, 2011 VOLUME 102, NUMBER 15 “Dash for Davidson” Meets Success Chambers Bell KATIE LOVETT Staff Writier Chimes Again The “Dash for Davidson” campaign re- ceived a much-anticipated victory Monday night as Gerard Dash ’12 was named the Student Government Association’s (SGA) President for the 2011-2012 academic year. Yet, long before this year’s initial interest meeting for Category II Elections on January 25th, Dash had been committed to making his mark upon the Davidson community. Dash dedicated the first three years of his Davidson career to service for the SGA. His past positions include Freshman Class Senator ERI C SA W YER (2008-2009), Council Chairman (2009-2010) Staff Writer and Student Body Vice President alongside President Kevin Hubbard (2010-2011). In ad- Last week the Chambers bell stopped dition to these roles, he served on official col- ringing, and members of the Physical Plant lege committees, such as the Strategic Plan corrected the problem in several days. The Implementation Team, Council for Campus bell has been inoperative in the past for vary- and Religious Life (CCRL), National Pan- ing lengths of time. It was donated to the col- Hellenic Council Expansion Committee and lege in 1922 to replace its predecessor, which Public Safety Committee, while also holding was destroyed when the old Chambers build- the position of Union Board Treasurer from ing burned down in 1921. 2009 to 2010. “All mechanical equipment will fail from The recently elected president’s experi- time to time,” said Jerry Archer, Physical ence can be seen in the many changes he has Plant.
    [Show full text]
  • Unsaying Non-Knowledge: Georges Bataille and the Mysticism of Writing Ben Brewer Pacific Nu Iversity
    Res Cogitans Volume 4 | Issue 1 Article 15 6-19-2013 Unsaying Non-Knowledge: Georges Bataille and the Mysticism of Writing Ben Brewer Pacific nU iversity Follow this and additional works at: http://commons.pacificu.edu/rescogitans Part of the Philosophy Commons Recommended Citation Brewer, Ben (2013) "Unsaying Non-Knowledge: Georges Bataille and the Mysticism of Writing," Res Cogitans: Vol. 4: Iss. 1, Article 15. http://dx.doi.org/10.7710/2155-4838.1082 This Article is brought to you for free and open access by CommonKnowledge. It has been accepted for inclusion in Res Cogitans by an authorized administrator of CommonKnowledge. For more information, please contact [email protected]. Res Cogitans (2013) 4:116-130 2155-4838 | commons.pacificu.edu/rescogitans Unsaying Non-Knowledge: Georges Bataille and the Mysticism of Writing Ben Brewer Pacific University Published online: 19 June 2013 © Ben Brewer 2013 Abstract Georges Bataille’s writing seems to teethe with something utterly foreign to the discipline of philosophy. In this paper, I investigate what Jason Wirth calls’ Bataille’s “mad game of writing” in order to show that Bataille’s bizarre writing style is actually an extension of his ethical and philosophical commitments. Bataille’s writing attempts to produce a state within the reader rather than simply transmit information. I trace the justifications and roots for such a writing from his own system, as well as showing how such a style of writing has its roots in Kantian aesthetics and in Hegel’s Phenomenology. I live by tangible experience and not by logical explanation. I have of the divine an experience so mad that one will laugh at me if I speak of it.
    [Show full text]
  • 305 Gayane Grigoryan Lost Generation: Love and Life
    GAYANE GRIGORYAN LOST GENERATION: LOVE AND LIFE FOR A GENERATION OF SOULS LOST IN THE WORLD The Lost Generation defines a sense of moral loss or aimlessness apparent in literary figures during the 1920s. World War I seemed to have destroyed the idea that if you acted virtuously, good things would happen. Many good, young men went to war and died, or returned home either physically or mentally wounded, and their faith in the moral guideposts that had earlier given them hope, were no longer valid...they were lost. The term was popularized by Ernest Hemingway who used it as one of two contrasting epigraphs for his novel The Sun Also Rises. In that volume Hemingway credits the phrase to Gertrude Stein, who was then his mentor and patron1. The status of affairs in America in the years following the First World War spawned a generation of authors termed the lost generation. In response to the political and social atmosphere of the United States these authors sought cultural refuge in European cities. Ernest Hemingway and F. Scott Fitzgerald are two prominent authors who followed the path to becoming the lost generation. In their works The Sun Also Rises and Tender Is The Night, listed respectively, Hemingway and Fitzgerald provide works of literature that embody the spirit of the lost generation. Through provision of an account of the lost generation and analysis of Hemingways and Fitzgeralds texts, the textual embodiment of lost generation values will be highlighted. In its most literal definition it would seem as if a lost generation would not have a history.
    [Show full text]
  • Downloaded from Brill.Com10/01/2021 06:24:25AM Via Free Access 21
    P a g e | 20 http://jrmdc.com New Testament in a Digital Culture: A Biblaridion (Little Book) Lost in the Web? Claire Clivaz University of Lausanne (Switzerland) Keywords: Digital humanities; biblical studies; history of the book; classical studies; materiality of writing Abstract The digital revolution makes one attentive to a “blind spot” of modernity, the influence of the material support of writing on ideas and concepts. Modernity has led us to “believe” in the existence of “works” and “ideas” independently of their concrete expressions in the supports of writing. Such beliefs have deeply influenced modern methodologies, and among them the biblical methodological approaches. The digital revolution reminds one to take a humble attitude to our ideas, and also to our attachment to literary “works”, paying attention to the texts as documents and objects. Starting from this general idea, this article considers first the impact of some modern beliefs on Classical studies. The second part of this article argues that digital culture can particularly help us to rediscover a culture with plural literacies. Finally, this article asks if the New Testament is becoming a biblaridion (Revelation 10:2, 9- 10), a “very small booklet”, lost in the World Wide Web, losing more and more of its covers and becoming potentially a “liquid book”, as described by Jacques Derrida (Adema, 2012). To go beyond such a perception, I will consider other ways to deal with a Scripture that is going out of the Book. About the author Claire Clivaz is assistant professor in New Testament and Early Christianity at the University of Lausanne (Switzerland).
    [Show full text]
  • Anne Goffman
    ANNE GOFFMAN "This little cat will go far", her doting father is reported as having said when his last child, Anne, was born to the Muni Averback family on October 31,1999. Prophesied Dvorah, the renowned local Kochkleffel, tealeaf reader and fortuneteller, "Annele is destined to move far across the seas and malTY one of those dashing Nover Kranker fel lows-in my bones I feel his name will be Max and they'll have a couple of kids--Dne of each brand, and believe me, they won't get lost in the world! She will have many relatives and friends, all of whom will look to her for leadership and love (and a little shopping). Her love for her children, her nephews and nieces, her Hadassah and her friends is absolutely guaranteed to make her The Woman of Any YeaL" To the left: Anne & Max Below: Erving, Anne & Francis Even the omniscient Dvorah could never have anticipated the heights to which the prophecies were realized. Devoted mother to Frances and Erving, Anne's inexhaustible source of love reached out across generations and was returned exponentially. One did not have to be a relative to seek the privilege of calling her "Auntie Annie". Anne came to Winnipeg at the age of 13; she moved to Manville, Alberta at 18 when she rnaITied Max Goffman; later, with their two children they lived in Dauphin, Manitoba, until the subsequent move to Winnipeg in 1937. There were now six Averback siblings living in Winnipeg. Anne and Max left for California in 1952. These are the bare statistical facts.
    [Show full text]
  • Roads to Zion Hip Hop’S Search for the City Yet to Come
    5 Roads to Zion Hip Hop’s Search for the City Yet to Come No place to live in, no Zion See that’s forbidden, we fryin’ —Kendrick Lamar, “Heaven and Hell” (2010) The sense of the end-times and last days must be entered in order to find the creative imagination that can reveal paths of survival and threads of renewal as chaos winds its wicked way back to cosmos again. —Michael Meade Robin D. G. Kelley, in his book Freedom Dreams: The Black Radical Imagination, argues that Exodus served as the key political and moral compass for African Americans during the antebellum era and after the Civil War.1 Exodus gave people a critical language for understanding the racist state they lived in and how to build a new nation. Exodus signified new beginnings, black self-determination, and black autonomy. Marcus Garvey’s “Back to Africa” movement represented a pow- erful manifestation of this vision of Exodus to Zion. He even purchased the Black Star shipping line in order to transport goods and people back to their African motherlands. Though Garvey’s Black Star Line made only a few voyages, it has remained a powerful symbol of the longing for home. As the dream of Exodus faded, Zion has become the more central metaphor of freedom and homecoming in contemporary black cultural expressions. Along these lines, Emily Raboteau—reggae head and daughter of the re- nowned historian of African American religion Albert J. Raboteau—explores Zion as a place that black people have yearned to be in her book, Searching for Zion: The Quest for Home in the African Diaspora.2 In her wanderings through Jamaica, Ethiopia, Ghana, and the American South and her conversations with Rastafarians and African Hebrew Israelites, Evangelicals, Ethiopian Jews, and Ka- trina transplants, one truth emerges: there are many roads to Zion.
    [Show full text]
  • Use It! Don't Lose It
    7th Grade IP 612-2 UseUse It!It! Don’tDon’t LoseLose It!It! DAILY LANGUAGE PRACTICE By Marjorie Frank Use It! Don’t Lose It! LANGUAGE Daily Skills Practice Grade 7 by Marjorie Frank Thanks to Erin Linton for her assistance in researching topics, checking facts, and tracking down trivia. Illustrated by Kathleen Bullock Cover by Geoffrey Brittingham Edited by Jill Norris Copy edited by Cary Grayson ISBN 978-0-86530-652-3 Copyright ©2006 by Incentive Publications, Inc., Nashville, TN. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means (electronic, mechanical, photocopying, recording, or otherwise) without written permission from Incentive Publications, Inc., with the exception below. Pages labeled with the statement ©2006 by Incentive Publications, Inc., Nashville, TN are intended for reproduction. Permission is hereby granted to the purchaser of one copy of USE IT! DON’T LOSE IT! LANGUAGE DAILY SKILLS PRACTICE 7 to reproduce these pages in sufficient quantities for meeting the purchaser’s own classroom needs only. 2345678910 090807 PRINTED IN THE UNITED STATES OF AMERICA www.incentivepublications.com Don’t let those language skills get lost or rusty! As a teacher you work hard to teach language skills to your students. Your students work hard to master them. Do you worry that your students will forget the material as you move on to the next concept? If so, here’s a plan for you and your students—one that will keep those skills sharp. Use It! Don’t Lose It! provides daily language practice for all the basic skills.
    [Show full text]
  • A Deep Dive Into the Magnum Opus That Saved Kanyeâ•Žs Career
    Backstage Pass Volume 2 Issue 1 Article 12 2019 Redemption: A Deep Dive Into the Magnum Opus That Saved Kanye’s Career Graham D. McLaren-Finelli University of the Pacific, [email protected] Graham McLaren-Finelli (2022) is pursuing a degree in Music Industry Studies. This article was written as part of the curriculum for the Bachelor of Music in Music Management and the Bachelor of Science in Music Industry Studies at University of the Pacific. Each student conducted research based on his or her own areas of interest and study. To learn more about the program, visit: go.pacific.edu/musicindustry All images used from album covers are included under the Fair Use provision of U.S. Copyright law and remain the property of their respective copyright owners. Follow this and additional works at: https://scholarlycommons.pacific.edu/backstage-pass Part of the Arts Management Commons, Audio Arts and Acoustics Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Other Music Commons, and the Radio Commons Recommended Citation McLaren-Finelli, Graham D. (2019) "Redemption: A Deep Dive Into the Magnum Opus That Saved Kanye’s Career," Backstage Pass: Vol. 2 : Iss. 1 , Article 12. Available at: https://scholarlycommons.pacific.edu/backstage-pass/vol2/iss1/12 This Concert and Album Review is brought to you for free and open access by the Conservatory of Music at Scholarly Commons. It has been accepted for inclusion in Backstage Pass by an authorized editor of Scholarly Commons. For more information, please contact [email protected]. McLaren-Finelli: Redemption: A Deep Dive Into the Magnum Opus That Saved Kanye’s C Redemption: A Deep Dive Into the Magnum Opus That Saved Kanye’s Career By Graham McLaren-Finelli ​ My Beautiful Dark Twisted Fantasy was a turning ​ point for Kanye West.
    [Show full text]
  • Front March.Qxp
    Brent Heard ponders his debate tactics. Panthers prepare to play on new field. New Pens coach makes a statement. FORENSICS/ FEATURES / PAGE 6 BASEBALL / SPORTS / PAGE 7 PENS / SPORTS / PAGE 7 TheThe StSt.. ClairionClairion Volume 10, Issue 5 - March 2009 - Upper St. Clair High School Pittsburgh, PA 15241 All the news that fits...And then some! Ji-li Jiang captivates audiences By: Marni Schreiber Jiang was also able to answer ence that she did not denounce her lack of experience in writ- an insight into her culture and News Editor the question on the minds of the her family, as may have been ing, especially in America. the Cultural Revolution. Mary many students who have read the easier and clearly safer “I had never written a book Eddins, a junior, exclaims that On Friday March 6, Ji-li Red Scarf Girl: what before. I knew that in “I have always been interested Jiang, the acclaimed author of happens at the end? In writing there had to be in Asian studies, and Ji-li Jiang the memoir Red Scarf Girl, vis- the novel, readers are a climax and I thought was able to help me see the ited Upper St. Clair High left when the young Ji- that this choice I had to Cultural Revolution in a differ- School and held three different li Jiang is facing a ter- make was my climax,” ent light.” in-class field trips for students rible choice, to protect Jiang explained to the Nagpal goes on to say that to attend. Jiang was able to cap- the honor of her family group of students at the “one of the most shocking tivate her audiences all three or to help jumpstart her writer’s workshop.
    [Show full text]
  • Student Newsletter 2019-2020.Pdf
    THE GRANT PARK JOLLY ROGER COVID-19 EDITION TABLE OF CONTENTS Letters from the Editors ---------------------------------------------------------------------------------------------- 2 ​ School Related ---------------------------------------------------------------------------------------------------------- 3 ​ Remembering Rooster Town (J) -------------------------------------------------------------------------- 3 ​ Coronavirus Update (D) ------------------------------------------------------------------------------------ 6 ​ ​ World Issues ------------------------------------------------------------------------------------------------------------ 9 ​ Coronavirus Update: The Real One (J) ----------------------------------------------------------------- 9 ​ Europe Becomes Epicentre For Coronavirus (J) ------------------------------------------------------ 11 ​ The History of Climate Change (J) ----------------------------------------------------------------------- 13 ​ Arts and Culture -------------------------------------------------------------------------------------------------------- 15 ​ Singles Review March 2020 (O) --------------------------------------------------------------------------- 15 ​ Car Seat Headrest Review (O) ----------------------------------------------------------------------------- 17 ​ Did You Know? (D) ------------------------------------------------------------------------------------------- 21 ​ Assorted Poetry (A) ------------------------------------------------------------------------------------------ 22
    [Show full text]
  • Rabindranath Tagore's the Home and the World
    UC Riverside UC Riverside Previously Published Works Title Rabindranath Tagore’s The Home and the World: Story of the Failure of the Nationalist Project Permalink https://escholarship.org/uc/item/3fd5r9tk Journal Asiatic, 7(2) Author Pham, Chi Publication Date 2014 License https://creativecommons.org/licenses/by-nc-nd/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California ASIATIC, VOLUME 7, NUMBER 2, DECEMBER 2013 Rabindranath Tagore’s The Home and the World: Story of the Failure of the Nationalist Project1 Chi P. Pham2 Vietnam Academy of Social Sciences & University of California, Riverside, USA Abstract As an intense literary text, The Home and the World could be read in more than one way, and through different interpretations. This paper attempts to compare the novel with early twentieth century Vietnamese novels. The Home and the World is a novel that reads like an allegory on the failure of the Indian nationalist projects,3 circling around the issues of “Home” versus “World,” tradition versus modernity, created by the active involvement of the colonisers in the cultural, economic and administrative life of the colonised. It could be read as an allegory on the failure of Indian nationalism to accept tradition and modernity, home and the world, concurrently. In addition, the novel offers an alternative nationalist project that could free India from its obsession with the colonising powers: true freedom of the nationalist imagination will be gained by going beyond every form of ideological prejudice and separation, and by synthesising every conceivable value that could be useful for the development and maintenance of the nation.
    [Show full text]
  • FALL 2008 FIRETHORNE SUBMISSION POLICY Firethorne Is Gustavus Adolphus College’S Student-Run Literary Maga- Zine Comprised Solely of Student Work
    Steal the gift! You say to me that writing poetry is not your gift. If that be the case— Steal it! Fight for it! Maim for it! Break the laws of the Almighty himself to get a hold of it. Trust me, He won’t mind. -Ryan McGinty, junior FIRETHORNE FALL 2008 FIRETHORNE SUBMISSION POLICY Firethorne is Gustavus Adolphus College’s student-run literary maga- zine comprised solely of student work. Firethorne is published twice a year, with a supplemental in the fall and a full-length publication in the spring. Students may submit their work by emailing [email protected]. Emails must attach prose and poetry in Microsoft Word format in a standard font without color (Times New Roman, 12 pt.), while artwork and photography must be sent as a JPEG file with reasonable file compression (300-600 dpi). Drawings that are being submitted may either be scanned and then emailed, or can be a high quality copy. Copies can be submitted through the Gustavus Adolphus post office and sent to Professor Baker Lawley. Students may submit as many pieces as they desire; however, a greater number of submissions does not guarantee publication. Firethorne will not publish anonymous work or materials submitted from a non-Gustavus email address. The Managing Editor will systematically code all submitted work and turn over the submitted work, without attribution, for the editors’ scrutiny. Fire- thorne staff will admit submissions for creativity, originality and artistic value. For prose, submissions should be 2500 words or less. Artwork and photography can be color and up to any size, however please take note that color may be cost prohibitive depending on available funds.
    [Show full text]