Rebecca Rossen
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New Breed 2018 July 2018
NEW BREED 2018 MEET THE NEW BREED OF AUSTRALIAN CHOREOGRAPHERS Forimmediate release August7 2018 29 NOV – 8 DEC CARRIAGEWORKS SYDNEY Sydney DanCe Company and Carriageworks, in conjunCtion with The Balnaves Foundation, announCe four Australian choreographers commissioned to Create works for the aCClaimed New Breed initiative that supports Australia’s next generation of dance-maKers. ‘An eclectic and consistently satisfying night of dance’ Time Out Sydney Co-presented by two of Australia’s most dynamic arts organisations – Carriageworks and Sydney Dance Company – with the generous support of The Balnaves Foundation, New Breed 2018 will provide Australian choreographers Prue Lang (Melbourne), Katina Olsen (Sydney/Sunshine Coast), Holly Doyle (Sydney) and Janessa Dufty (Yamba) with an invaluable opportunity to work with Australia’s finest contemporary dancers on a newly commissioned dance piece. These four new works will comprise the New Breed 2018 season from 29 November to 8 December 2018. The New Breed initiative made its debut in November 2014, supporting five emerging Australian choreographers through the commissioning and presentation of new dance work. Four sold out seasons in 2014, 2015, 2016 and 2017 ensued. Adelaide-based New Breed 2014 choreographer Gabrielle Nankivell was the recipient of the 2015 Tanja Liedtke Fellowship for her New Breed premiere, Wildebeest. Wildebeest was part of Sydney Dance Company’s stunning double bill Untamed in 2016, and nominated for a Helpmann Award for Best Choreography in a Ballet, Dance or Physical Theatre Production in 2017. It went on to bepart of Sydney Dance Company’s European Spring Tour in April 2018, which included sold-out performances at the Chaillot - Théâtre National de la Danse in Paris. -
Sexuality, Blood, Imperialism and the Mytho-Celtic Origins of Dracula
Droch Fhola: Sexuality, Blood, Imperialism and the Mytho-Celtic Origins of Dracula Author: Joseph A Mendes Persistent link: http://hdl.handle.net/2345/399 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2005 Copyright is held by the author, with all rights reserved, unless otherwise noted. 1 Introduction: Dracula. Drac-ula . It is hard to ignore the menace in the name, the morbid delight one gets in pronouncing a name that is riddled with such meaning. At some level, human society is fascinated with the notion of a vampire: a revenant that ret urns from beyond the grave to extract the blood of the living in order to extend its unholy life. It plays on our basic fears as humans, the fear of the dead, the fear of dying, the fear of the unknown, and a fascination with this substance consisting of p lasma, platelets, and cells that runs through our veins. Bram Stoker took all of these fears to new heights when he wrote Dracula , one of the most enduring horror stories to ever be composed. The novel has generated enormous criticism that has chiefly been divided into the camps of Irishness, colonialism/imperialism, and sexuality. Whether it was intentional or not, Stoker’s novel is a breeding ground for almost every sexual fetish, deviance, and perversion that is known to mankind. Characters in the novel engage in mutilation, blood-drinking, perverted fellation, sexual acts in front of their spouse, female domination, male domination, group rape, homosexuality, male penetration, and sadomasochism. -
Accompaniment for Aural Ballet
Dance group to open tour in Amarillo By Kart Fluegel - 812 Austin American-Statesman Assistant Editor f I Review The Sharir Dance Company (SOC), formerly the American I Poetry provides Deaf Dance Company (ADDC), wlll open its spring tour with a performance Saturday at 8 p.m. ! accompaniment In the Concert Hall Theater. I . Opening night marks the for aural ballet beginning of a new phase of , development forthecompany. It By DEBI MARTIN Is the first attempt to showcase Specie! to the Amerlcen-Stetesm11n the talents of both the deaf and People who think all dance is done to music the newly-admitted hearing may have been shocked Saturday night at the Per dancers. The company has forming Arts Center. All pieces on the program used verbal material as accompaniment in a var Included only deaf dancers for iety of ways. the past five years. The guest performers, the Margaret Jenkins The preparation for this uni Company from California, presented a strikingly que mixture of dancers involved theatrical view of how words can be used as ac five years of Intensive work with companiment. In "Versions by Turning," poetry theADDC. was spoken by the dancers. In each section, the ADDC has toured throughout words and dance expanded on the p0$lbilities of the two mediums in one space. the United States, including per formances In Washington D.C., As with musical accompaniment, the poetry Virginia, New York, Arkansas provided rhythm, a second structural base for the dance, mood and atmosphere. Since the poetry and North Carolina, besides vir contained lines that were amusing, intimate or tually every major city in Texas. -
Smartilience Presentation
SMARTilience integrated monitoring model for the climate-resilient smart city 1 WHAT YOU WILL GET Insight into the topic of climate and resilience Contribute a tool that promotes climate-friendly work in cities (SMARTilience) Informations about transforming research Possibility to become a member of our Peer to Peer Insight into some projects in the area of civil protection 2 CLIMATE ADAPTATION Source: https://www.morgenstadt.de/de/projekte/aktuelle-projekte/innovationsprogramm_klimaneutrale_staedte.html 3 GOVERNANCE AND RESILIENCE “wide” definition of the governance term (see Mayntz 2004; Benz et al 2007 and Zürn 2008) "While the concept of control explicitly targets the control actions of political actors, the governance perspective deals with the institutional structure and its effects on the actions of the addresses (Trute et al 2008: 177)" (Stoy 2015: 34). Preparedness: dealing with possible climate impacts Recovery: probability to recover again 4 CORONA EFFECTS Comparison NO2 in Europe, source: https://www.dlr.de/content/de/artikel/news/2020/02/20200505_corona-effekt- auf-luftqualitaet-eindeutig.html 5 WHAT IS THE SMARTILIENCE PROJECT ABOUT? Promotion by o Federal Ministry of Education and Research (BMBF) o Funding measure "Flagship Initiative Zukunftsstadt“ Promoter o DLR German Aerospace Center e. V. Duration o 1-year definition phase (2017-2018) o 3-year research and development phase (2019-2022) Consortia: cities Halle and Mannheim, HafenCity University and University of Stuttgart, Drees&Sommer and Malik Management Gmbh 6 URBAN GOVERNANCE TOOLBOX The operation Development of a socio-technical control model for climate-resilient urban development (urban governance toolbox) Testing of the control model in the Halle (Saale) and Mannheim real-life laboratories The objective to support municipal decision-makers and actors* in taking efficient climate action 7 SMART TOOLS AND WORK PACKAGES Control, planning and implementation of climate protection and climate adaptation measures are data- based. -
Dance, American Dance
DA CONSTAANTLYN EVOLVINGCE TRADITION AD CONSTAANTLY NEVOLVINGCE TRADITION BY OCTAVIO ROCA here is no time like the Michael Smuin’s jazzy abandon, in present to look at the future of Broadway’s newfound love of dance, American dance. So much in every daring bit of performance art keeps coming, so much is left that tries to redefine what dance is behind, and the uncertainty and what it is not. American dancers Tand immense promise of all that lies today represent the finest, most ahead tell us that the young century exciting, and most diverse aspects of is witnessing a watershed in our country’s cultural riches. American dance history. Candid The phenomenal aspect of dance is shots of American artists on the that it takes two to give meaning to move reveal a wide-open landscape the phenomenon. The meaning of a of dance, from classical to modern dance arises not in a vacuum but in to postmodern and beyond. public, in real life, in the magical Each of our dance traditions moment when an audience witnesses carries a distinctive flavor, and each a performance. What makes demands attention: the living American dance unique is not just its legacies of George Balanchine and A poster advertises the appearance of New distinctive, multicultural mix of Antony Tudor, the ever-surprising York City Ballet as part of Festival Verdi influences, but also the distinctively 2001 in Parma, Italy. genius of Merce Cunningham, the American mix of its audiences. That all-American exuberance of Paul Taylor, the social mix is even more of a melting pot as the new commitment of Bill T. -
Workshops & Research
WORKSHOPS & RESEARCH 20 JULY - 16 AUGUST 2014 Workshops in Contemporary Dance and Bodywork for all levels from beginners to professional dancers. Seven phases which can be attended independently from each other (each week- workshop: 1 class per day, each intensive-workshop: 2 classes per day) «impressions'14»: 20 July ! Week1: 21 - 25 July Intensive1: 26 + 27 July Week2: 28 July - 01 August! Intensive2: 02 + 03 August! Week3: 04 - 08 August! Intensive3: 09 + 10 August! Week4: 11 - 15 August ! «expressions'14»: 16 August Index 3 Artists listed by departments 4 - 133 All workshop descriptions listed by artists 134 - 149 All Field Project descriptions listed by artists 149 - 150 Pro Series description 2 CONTEMPORARY DANCE Jose Agudo | Conny Aitzetmueller | Kristina Alleyne | Sadé Alleyne | Laura Arís | Iñaki Azpillaga | Susanne Bentley | Marco Berrettini | Bruno Caverna | Marta Coronado | Zoi Dimitriou | Frey Faust | Ori Flomin | Saju Hari | Sascha Hauser aka CIONN | Kathleen Hermesdorf | Damien Jalet | Peter Jasko | German Jauregui | Kira Kirsch | Kerstin Kussmaul | Juliana Neves | Sabine Parzer | Rasmus Ölme | Francesco Scavetta | Rakesh Sukesh | Samantha Van Wissen | Hagit Yakira | David Zambrano IMPROVISATION Marco Berrettini | Adriana Borriello | Alice Chauchat | Ivo Dimchev | Zoi Dimitriou | Defne Erdur | Judith Grodowitz | Miguel Gutierrez | Francesca Harper | Andrew Harwood de Lotbinière | Keith Hennessy | Damien Jalet | Martin Kilvády | Barbara Kraus | Aiko Kazuko Kurosaki | Jennifer Lacey | Benoît Lachambre | Nita Little | Eroca -
Black Grace March 19 / 2:30 Pm Memorial Auditorium
PROGRAM: BLACK GRACE MARCH 19 / 2:30 PM MEMORIAL AUDITORIUM ARTISTS PROGRAM Black Grace All choreography by Neil Ieremia. A separate program will be provided at Minoi (1999) the performance. Minoi fuses a traditional Samoan dance style known as Fa’ataupati (slap dance) and western contemporary dance as a means of exploring cultural identity issues, live singing, and vocalizations. Pati Pati (2009) This work is a mixture of excerpts from older repertoire that utilizes body percussion influenced by traditional Samoan Sasa (seated dance) and Fa’ataupati (slap dance). Crying Men – Excerpt (new work) In this sneak preview of his latest work, Ieremia explores masculinity from a Pacific perspective. Mother Mother (premiered 2013) Mother Mother was originally choreographed for a music video, on request from the popular New Zealand band Fat Freddy’s Drop. INTERMISSION As Night Falls (2016) A poetic ode to our troubled world, As Night Falls is a beautiful new work set to the timeless and passionate sounds of Antonio Vivaldi. PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms. Photography and recording of any kind are not permitted. Thank you. 28 STANFORD LIVE MAGAZINE MARCH 2017 his work has been presented in Australia, Canada, Germany, Holland, Luxembourg, Mexico, New Caledonia, South Korea, Scotland, Switzerland, Japan, and the United States. Numerous firsts for a New Zealand choreographer include sell-out performances at Jacob’s Pillow Dance Festival (U.S. debut 2004 and 2005), a four-week season on New York City’s 42nd Street, and performances at the renowned Cervantino Festival in Mexico, the John F. -
1. PERSONAL DETAILS Piekkari, Maiden Name Marschan, Rebecca, Born 1967, Finnish Citizen, Researcher ID L-2736-2016, ORCHID 000-0002-4026-5850 2
1. PERSONAL DETAILS Piekkari, maiden name Marschan, Rebecca, born 1967, Finnish citizen, Researcher ID L-2736-2016, ORCHID 000-0002-4026-5850 2. EDUCATION AND DEGREES COMPLETED 10.5.1996 DSc (International Marketing, Helsinki School of Economics, Finland 27.5.1994 LSc (International Marketing), Helsinki School of Economics, Finland 25.5.1990 MSc (International Marketing, Helsinki School of Economics, Finland 3. CURRENT POSITION 2016– Head of International Business Unit, Aalto University School of Business, Finland 2004– Professor of International Business, Aalto University School of Business, Finland 4. PREVIOUS POSITIONS 2011–2015 Vice Dean, Research and International Relations, Aalto University School of Business 2007–2010 Head of International Business Unit, Aalto University School of Business 2002–2004 Research Fellow, Hanken School of Economics, Finland 2000–2000 Lecturer, University of Bath, School of Management, UK 1999–1999 Research Associate, Sheffield University Management School, UK 5. CAREER BREAKS 19.11.2000–1.12.2001 (12 months),19.1.2005–1.12.2007 (24 months) Maternity leave 6. PERSONAL RESEARCH FUNDING AND GRANTS 1.8.2014–31.7.2015 Sabbatical grants from Professoripooli (27 000e + 5 000e for travels); Marcus Wallenberg Foundation (10 000e); HSE Foundation (2 800e) 7. LEADERSHIP AND SUPERVISION EXPERIENCE Supervisor of post-doctoral researchers (5), Aalto University School of Business; Supervisor of doctoral dissertations as Committee Chair, Aalto University School of Business: Rauni Seppola (2004), Kristiina Mäkelä (2006), -
US Helsinki Commission
Commission on Security & Cooperation in Europe: U.S. Helsinki Commission “U.S. Priorities for Engagement at the OSCE” Committee Members Present: Senator Roger Wicker (R-MS), Co-Chairman; Senator Ben Cardin (D-MD), Ranking Member; Representative Joe Wilson (R-SC), Ranking Member; Senator John Boozman (R-AR); Senator Sheldon Whitehouse (D-RI); Representative Emanuel Cleaver, II (D-MO); Representative Marc Veasey (D-TX); Representative Richard Hudson (R-NC); Representative Sheila Jackson Lee (D-TX) Committee Staff Present: Rebecca Neff, State Department Senior Advisor, Commission for Security and Cooperation in Europe Witness: Ambassador Philip T. Reeker, Senior Bureau Official, U.S. Department of State The Hearing Was Held From 10:04 a.m. To 11:34 a.m. via Videoconference, Senator Ben Cardin (D-MD), Ranking Member, Commission for Security and Cooperation in Europe, presiding Date: Tuesday, December 8, 2020 Transcript By Superior Transcriptions LLC www.superiortranscriptions.com CARDIN: (In progress) I participated, Senator Wicker participated, I think Senator Hudson also participated in some of the side meetings that we’ve had during this period of time within the OSCE Parliamentary Assembly. And we had a meeting virtually to reaffirm our commitment to the OSCE moving forward. So, it was a commitment by parliamentarians from the OSCE states that we recognized we needed to do more. Last month we celebrated the 30th anniversary of the Charter of Paris. We had a Parliamentary Assembly gathering to help celebrate the Charter. It was the fall of the iron curtain that brought that about. And one of the great opportunities that I’ve had in my lifetime was to be in Berlin and actually take home a piece of the wall, and to see the fall of the iron curtain. -
Saluteremembering WW1: Four Dance Works
EDUCATION RESOURCE Education rnzb.org.nz facebook.com/nzballet SALUTERemembering WW1: Four dance works NATIONAL SPONSOR SUPPORTED BY MAJOR SUPPORTER SUPPORTING EDUCATION CURRICULUM In this unit you and your students will: LEARNING OBJECTIVES FOR • Learn about the elements that come LEVELS 7 & 8 together to create a theatrical ballet experience. Level 7 students will learn how to: • Identify the processes involved in making a • Understand dance in context – Investigate theatre production. and evaluate the effects of individual, social, cultural, and technological influences on the development of a variety of dance genres and styles. CURRICULUM LINKS IN THIS • Develop practical knowledge – UNIT Extend skills in the vocabulary, practices, Values and technologies of selected dance genres Students will be encouraged to value: and styles. • Innovation, inquiry and curiosity, by thinking • Communicate and interpret – Analyse, critically, creatively and reflectively. explain, and discuss aspects of performance • Diversity, as found in our different cultures and choreography in a range of dance and heritages. works. • Community and participation for the common good. Level 8 students will learn how to: • Understand dance in context – Investigate, analyse, and discuss the features, history, KEY COMPETENCIES issues, and development of dance in New Zealand, including the contribution of • Using language, symbols and text – selected individuals and groups. Students will recognise how choices of • Develop practical knowledge – language and symbols in live theatre affect Extend and refine skills, practices, and use people’s understanding and the ways in of technologies in a range of dance genres which they respond. and styles. • Relating to others – Students will develop • Communicate and interpret – Critically the ability to listen actively and share ideas analyse, interpret, and evaluate the artistic regarding theatrical ballet performances. -
The Joyce Ballet Festival | Criticaldance 2015-12-09, 12:18 AM
MOVE: the company at The Joyce Ballet Festival | CriticalDance 2015-12-09, 12:18 AM Search… Follow @CriticalDance An Inclusive Site for Dancers and Dance Audiences Home About Reviews and Features Taiwan International Festival of the Arts Dance Salad 2015 Forum Archives Links Contact ! BALLET (USA & CANADA), REVIEWS FOLLOW US ON MOVE: the company at The Joyce Ballet Festival FACEBOOK The Joyce CriticalDance Theater, New Like Page 1.8k likes York, NY August 4, 2015 REVIEWS AND Jerry FEATURES: BY Hochman CATEGORY The two-week Reviews and Features: summer 2015 By Category Joyce Ballet Select Cate Festival began gory with the first Joshua Beamish’s Burrow of two REVIEWS AND (dancers here: Nicol Edmonds, Matthew Ball) FEATURES: BY performances Photo Alice Pennefather MONTH by Canadian- born dancer Reviews and Features: and contemporary ballet choreographer Joshua Beamish’s MOVE: the company. By Month Select Mon Beamish is one of ballet’s choreographers du jour – a post-up-and-coming but not quite th household name who is virtually ubiquitous, having presented Conditional Sentences in Wendy Whelan’s Restless Creatures program in May (also at the Joyce), his company’s RECENT COMPANIES tenth anniversary performance in Vancouver, a world premiere at the Fire Island Dance Festival last month, and Rouge et Noir (reportedly an homage to the Ballet Russes) for Akram Khan the Ashley Bouder Project at this same Joyce Festival; and he gets to work with some of Alonzo King LINES Ballet the finest dancers in the world. American Ballet Theatre American Of the pieces danced here, Stay and Surface Properties have more interest than the Repertory Ballet AXIS others, but each was skillfully crafted and superbly executed. -
Hollywood Pantages Theatre Los Angeles, California
® HOLLYWOOD PANTAGES THEATRE LOS ANGELES, CALIFORNIA PLAYBILL.COM 04-03 Love Never Dies Cover - Retro.indd 1 3/9/18 12:29 PM HOLLYWOOD PANTAGES THEATRE TROIKA ENTERTAINMENT PRESENTS Music Lyrics ANDREW LLOYD WEBBER GLENN SLATER Book BEN ELTON Based on The Phantom of Manhattan by FREDERICK FORSYTH Additional Lyrics CHARLES HART Orchestration DAVID CULLEN & ANDREW LLOYD WEBBER Starring GARDAR THOR CORTES MEGHAN PICERNO KATRINA KEMP RICHARD KOONS CASEY LYONS JAKE HESTON MILLER RACHEL ANNE MOORE BRONSON NORRIS MURPHY MARY MICHAEL PATTERSON STEPHEN PETROVICH SEAN THOMPSON and KAREN MASON Chelsey Arce, Erin Chupinsky, Diana DiMarzio, Tyler Donahue, Yesy Garcia, Alyssa Giannetti, Michael Gillis, Tamar Greene, Natalia Lepore Hagan, Lauren Lukacek, Alyssa McAnany, Dave Schoonover, Adam Soniak, John Swapshire IV, Kelly Swint, Lucas Thompson, Correy West, Arthur Wise Set & Costume Design Sound Design Lighting Design Wig & Hair Design GABRIELA TYLESOVA MICK POTTER NICK SCHLIEPER BACKSTAGE ARTISTRY Design Supervisor Technical Director Music Supervisor Casting by EDWARD PIERCE RANDY MORELAND KRISTEN BLODGETTE TARA RUBIN CASTING LINDSAY LEVINE, CSA Tour Booking, Press & Marketing Production Manager Music Coordinator General Manager BROADWAY BOOKING ANNA E. BATE DAVID LAI KAREN BERRY OFFICE NYC TALITHA FEHR Company Manager Music Director Production Stage Manager AARON QUINTANA DALE RIELING DANIEL S. ROSOKOFF Associate Director Executive Producer Associate Choreographer GAVIN MITFORD RANDALL A. BUCK SIMONE SAULT Choreographed by GRAEME MURPHY AO Directed