Intro to Light Fixtures IN THE BEGINNING PRIMITIVE LAMPS - (c 13,000 BC to 3,000 BC) Prehistoric man, used primitive lamps to illuminate his cave. These lamps, made from naturally occurring materials, such as rocks, shells, horns and stones, were filled with grease and had a fiber wick. Lamps typically used animal or vegetable fats as fuel. In the ancient civilizations of Babylonian and Egypt, light was a luxury. The Arabian Nights were far from the brilliance of today. The palaces of the wealthy were lighted only by flickering flames of simple oil lamps. These were usually in the form of small open bowls with a lip or spout to hold the wick. Animal fats, fish oils or vegetable oils (palm and olive) furnished the fuels. Early Developments Early Developments Rush lights: Candles: Tall, grass-like plant dipped in fat Most expensive candles made of beeswax Most common in churches and homes of nobility Snuffers cut the wick while maintaining the flame Early Developments Early Developments New Developments There was a need to improve the light several ways: 1. The need for a constant flame, which could me left unattended for a longer period of time 2. Decrease heat and smoke for interior use 3. To increase the light output 4. An easier way to replenish the source….thus, the development of gas and electricity 5. Produce light with little waste or conserve energy Page 1 Intro to Light Fixtures Industrial Revolution - Europe Gas lamps developed: London well known for gas lamps Argand Lamp Eiffel Tower (1889) originally used gas lamps The Argand burner, which was introduced in 1784 by the Swiss inventor Argand, was a major improvement in brightness compared to traditional open-flame oil lamps.
Get Ready for the Newest Broadway Musical Coming Your Way in 2014
ALADDIN – Get ready for the newest Broadway musical coming your way in 2014 from Disney Theatricals! With more information is coming soon, Aladdin is being adapted from centuries-old Arabian folktales including “One Thousand and One Nights,” will feature a full Broadway score including the five beloved songs from the film. Check back in November, 2013 for more information! ANNIE - The sun will come out this fall, when the legendary musical Annie returns to Broadway to delight a new generation of theatregoers. The plucky redheaded orphan and her scruffy mutt Sandy make their way in Depression-era New York from a dismal orphanage to the home of billionaire Daddy Warbucks. BIG FISH - With elements of adventure as well as fantasy, the musical creates a magical world complete with a witch, a giant, Siamese twins and a really big fish. Based on the novel by Daniel Wallace and the 2003 film. BOOK OF MORMON, THE -Have they written it on golden plates? Only the creators (South Park + Avenue Q) know for sure in this smash-hit Tony Award Winning Musical. BREAKFAST AT TIFFANY’S - Emilia Clarke ("Game of Thrones") takes on the iconic role of the self- invented Holly Golightly, a character played memorably by Audrey Hepburn in the 1961 movie version. In New York City in 1943, Fred, a young writer from Louisiana, meets Holly Golightly, a charming, vivacious and elusive good-time girl. Everyone falls in love with Holly — including Fred. But he is poor, and Holly's other suitors include a playboy millionaire and the future president of Brazil.
Brea Wardlaw Meigs Academic Magnet Middle School • Title
Brea Wardlaw Meigs Academic Magnet Middle School • Title: Actress • Job Description: An actor is a person who portrays a character in a performance (also actress; see below).[1] The actor performs "in the flesh" in the traditional medium of the theatre or in modern media such as film, radio, and television. The analogous Greek term is ὑποκριτής (hupokritḗs), literally "one who answers".[2] The actor's interpretation of their role—the art of acting—pertains to the role played, whether based on a real person or fictional character.* *Source: en.m.wikipedia.org • Why would I like to have this job? I’d like to be an actress because I LOVE to act. It’s fun because I can get to be a different person. It’s like being your own alter ego. I feel happy and powerful when I’m acting. The best thing about it is getting to tell a story in your own way, by acting the words you say (haha that rhymes!) What makes a good actress? To be a good actor/actress, you have to feel the part to be the part. And you have to be passionate about the role you are playing. Having chemistry and getting along with the other cast members is also a very important part of acting. A good actor/actress also needs to step out of his or her comfort zone, every once in a while so they can embrace themselves. Are you a good actress? I feel like I am. I feel like I have all of the right traits and abilities and the right personality.
PRODUCTION HANDBOOK University of Virginia Department of Drama IMPORTANT PHONE NUMBERS Box Office 4-3376 Light Booth 3-8951 Computer Lab 2-2929 Prop Shop 4-8967 Costume Shop 4-8968 Scene Shop 4-7811 or 4-4180 Green Room 4-3058 1 TABLE OF CONTENTS I. Mission 4 II. Theatres 5 III. Season 6 Mainstage Season 6 Mainstage Season Structure 6 Mainstage Season Selection 7 Lab/Studio Season 8 Studio Production Policies 9 Studio Application Forms: Application for Director 13 Production Team Contract 14 Production Team Declaration 15 Set/Prop/Costume Form 16 Set/Prop/Costume Checkout Sheet 17 IV. Personnel 18 Theatre Faculty & Staff 18 Students 19 V. Production Positions 21 Directing 22 Director 22 Assistant Director 22 Stage Management 23 Production Stage Manager 23 Assistant Stage Manager 23 Scene Design and Production 24 Scene Studio Policies 24 Scene Shop Safety Rules 24 Professional Behavior 25 Scenic Designer 26 Assistant Scenic Designer 27 Scenic Charge 27 Technical Director 28 Assistant Technical Director 28 Master Carpenter/Shop Foreman 28 Shop Assistant 29 Lab Scene Shop Carpenters 29 Prop Running Crew 30 Fly Crew 31 Key Grip 31 Stage Run Crew 32 Costume Design and Production 33 Costume Designer 33 Assistant Costume Designer 34 Costume Shop Teaching Assistant 35 Undergraduate Costume Shop Assistant 35 Costume Shop Lab Student 36 2 Wardrobe Crew Head 36 Wardrobe Crew 37 Lighting and Sound Design and Production 38 Light Shop Policies 38 Safety 38 Responsibilities 38 Lighting Designer 39 Assistant Lighting Designer 40 Production Master Electrician 41 Light Board Operator/Run Crew 42 Electrics Crew 42 Undergraduate Light shop Assistant 42 Graduate Light shop Teaching Assistant 43 Sound Designer 43 Undergraduate Sound Assistant 44 Sound Operator/Run Crew 44 Acting 45 Audition Information 46 Audition and Casting Policy and Procedures 46 Sample Audition Form 48 Building Policies 49 Booking Policy 49 Rehearsal Studio Protocol 50 Sample Rehearsal Space Sign-up Sheet 51 Smoking, Food, and Beverage Policy 52 3 I.
“HAMILTON” ONE-LINER: An unforgettable cinematic stage performance, the filmed version of the original Broadway production of “Hamilton” combines the best elements of live theater, film and streaming to bring the cultural phenomenon to homes around the world for a thrilling, once-in-a-lifetime experience. OFFICIAL BOILERPLATE: An unforgettable cinematic stage performance, the filmed version of the original Broadway production of “Hamilton” combines the best elements of live theater, film and streaming to bring the cultural phenomenon to homes around the world for a thrilling, once-in-a-lifetime experience. “Hamilton” is the story of America then, told by America now. Featuring a score that blends hip-hop, jazz, R&B and Broadway, “Hamilton” has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education. Filmed at The Richard Rodgers Theatre on Broadway in June of 2016, the film transports its audience into the world of the Broadway show in a uniquely intimate way. With book, music, and lyrics by Lin-Manuel Miranda and direction by Thomas Kail, “Hamilton” is inspired by the book “Alexander Hamilton” by Ron Chernow and produced by Thomas Kail, Lin-Manuel Miranda and Jeffrey Seller, with Sander Jacobs and Jill Furman serving as executive producers. The 11-time-Tony Award®-, GRAMMY Award®-, Olivier Award- and Pulitzer Prize-winning stage musical stars: Daveed Diggs as Marquis de Lafayette/Thomas Jefferson; Renée Elise Goldsberry as Angelica Schuyler; Jonathan Groff as King George; Christopher Jackson as George Washington; Jasmine Cephas Jones as Peggy Schuyler/Maria Reynolds; Lin-Manuel Miranda as Alexander Hamilton; Leslie Odom, Jr.
Rushlight Cumulative Index, 1980 – 2006 Vol. 46 – 72 (Pages 2305 – 3951) Part 1: Subject Index Page 2 Part 2: Author Index Page 21 Part 3: Illustration Index Page 25 Notes: The following conventions are used in this index: a slash (/) after the page number indicates the item is an illustration with little or no text. MA before an entry indicates a notice of a magazine article; BR indicates a book review. Please note that if issues were mispaginated, the corrected page numbers are used in this index. The following chart lists the range of pages in each volume of the Rushlight covered by this index. Volume Range of Pages Volume Range of Pages 46 (1980) 2305-2355 60 (1994) 3139-3202 47 (1981) 2356-2406a 61 (1995) 3203-3261 48 (1982) 2406b-2465 62 (1996) 3262-3312 49 (1983) 2465a-2524 63 (1997) 3313-3386 50 (1984) 2524a-2592 64 (1998) 3387-3434 51 (1985) 2593-2679 65 (1999) 3435-3512 52 (1986) 2680-2752 66 (2000) 3513-3569 53 (1987) 2753-2803 67 (2001) 3570-3620 54 (1988) 2804-2851 68 (2002) 3621-3687 55 (1989) 2852-2909 69 (2003) 3688-3745 56 (1990) 2910-2974 70 (2004) 3746-3815 57 (1991) 2974a-3032 71 (2005) 3816-3893 58 (1992) 3033-3083 72 (2006) 3894-3951 59 (1993) 3084-3138 1 Rushlight Subject Index Subject Page Andrews' burning fluid vapor lamps 3400-05 Abraham Gesner: Father of Kerosene 2543-47 Andrews patent vapor burner 3359/ Accessories for decorating lamps 2924 Andrews safety lamp, award refused 3774 Acetylene bicycle lamps, sandwich style 3071-79 Andrews, Solomon, 1831 gas generator 3401 Acetylene bicycle lamps, Solar 2993-3004
Technology Meets Art: the Wild & Wessel Lamp Factory in Berlin And
António Cota Fevereiro Technology Meets Art: The Wild & Wessel Lamp Factory in Berlin and the Wedgwood Entrepreneurial Model Nineteenth-Century Art Worldwide 19, no. 2 (Autumn 2020) Citation: António Cota Fevereiro, “Technology Meets Art: The Wild & Wessel Lamp Factory in Berlin and the Wedgwood Entrepreneurial Model,” Nineteenth-Century Art Worldwide 19, no. 2 (Autumn 2020), https://doi.org/10.29411/ncaw.2020.19.2.2. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Accessed: October 30 2020 Fevereiro: The Wild & Wessel Lamp Factory in Berlin and the Wedgwood Entrepreneurial Model Nineteenth-Century Art Worldwide 19, no. 2 (Autumn 2020) Technology Meets Art: The Wild & Wessel Lamp Factory in Berlin and the Wedgwood Entrepreneurial Model by António Cota Fevereiro Few domestic conveniences in the long nineteenth century experienced such rapid and constant transformation as lights. By the end of the eighteenth century, candles and traditional oil lamps—which had been in use since antiquity—began to be superseded by a new class of oil-burning lamps that, thanks to a series of improvements, provided considerably more light than any previous form of indoor lighting. Plant oils (Europe) or whale oil (United States) fueled these lamps until, by the middle of the nineteenth century, they were gradually replaced by a petroleum derivative called kerosene. Though kerosene lamps remained popular until well into the twentieth century (and in some places until today), by the late nineteenth century they began to be supplanted by gas and electrical lights.
SUPPORT FOR THE 2021 SEASON OF THE TOM PATTERSON THEATRE IS GENEROUSLY PROVIDED BY PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY THE HARKINS & MANNING FAMILIES IN MEMORY OF SUSAN & JIM HARKINS LAND ACKNOWLEDGEMENT Welcome to the Stratford Festival. It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity — and therefore storytelling — for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come. A MESSAGE FROM OUR ARTISTIC DIRECTOR WORLDS WITHOUT WALLS Two young people are in love. They’re next- cocoon, and now it’s time to emerge in a door neighbours, but their families don’t get blaze of new colour, with lively, searching on. So they’re not allowed to meet: all they work that deals with profound questions and can do is whisper sweet nothings to each prompts us to think and see in new ways. other through a small gap in the garden wall between them. Eventually, they plan to While I do intend to program in future run off together – but on the night of their seasons all the plays we’d planned to elopement, a terrible accident of fate impels present in 2020, I also know we can’t just them both to take their own lives.
THE ILLINOIS WESLEYAN SCHOOL OF THEATRE ARTS PRESENTS SHINE LIKE THE SUN F E A T U R I N G T H E M E M B E R S O F T H E C L A S S O F 2 0 2 1 A P R I L 2 0 2 1 Filmed by KATIE WESTON, CURTIS KELCH, DAVID O'NEAL, & JUSTIN PIOTROWSKI Program Photography by MEGAN CHRISTOFERSON, PETE GUITHER, & ANGIE CORNWELL Graphic Design by A N G I E C O R N W E L L Produced by S C O T T S U S O N G Edited by A N G I E C O R N W E L L Choreographed by J E S S I C A R I S S - W A L T R I P Music Directed by C H A R L I E B E R G G R E N shine like the sun 01 Instructed/Directed by N O L E J O N E S 2021 ORDER O P E N I N G "SUN'S GONNA SHINE" from Bright Star by Steve Martin and Edie Brickell “ONCE MORE I CAN SEE” from Wonderland by Frank Wildhorn C H E R O N “GOOD GIRL” by Chris DeStefano, Ashley Gorley, and Carrie Underwood “TUESDAYS, THURSDAYS” from Far from Heaven by Scott Frankel and Michael Korie A N G I E “HERE I AM” from Dirty Rotten Scoundrels by David Yazbek O Beautiful by Theresa Rebeck C I A R A jellyfish pine by Michael Yichao “THIS IS NOT OVER YET” from Parade by Jason Robert Brown M A T T H E W “VIENNA” by Billy Joel J A Z Z D A N C E “YOU DESERVE IT" from Bandstand by Richard Oberacker and Robert Taylor K I E R A N The Curious Incident of the Dog in the Night-Time by Simon Stephens Much Ado About Nothing by William Shakespeare "It’s A Perfect Relationship” from Bells Are Ringing by Jule Styne, Betty Comden, & Adolph Green P E A R L I E A Moon for the Misbegotten by Eugene O’Neill “YOUR TRUE LOVE” by Andrew Lippa J .
Reminder List of Productions Eligible for the 88Th Academy Awards
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 88TH ACADEMY AWARDS ADULT BEGINNERS Actors: Nick Kroll. Bobby Cannavale. Matthew Paddock. Caleb Paddock. Joel McHale. Jason Mantzoukas. Mike Birbiglia. Bobby Moynihan. Actresses: Rose Byrne. Jane Krakowski. AFTER WORDS Actors: Óscar Jaenada. Actresses: Marcia Gay Harden. Jenna Ortega. THE AGE OF ADALINE Actors: Michiel Huisman. Harrison Ford. Actresses: Blake Lively. Kathy Baker. Ellen Burstyn. ALLELUIA Actors: Laurent Lucas. Actresses: Lola Dueñas. ALOFT Actors: Cillian Murphy. Zen McGrath. Winta McGrath. Peter McRobbie. Ian Tracey. William Shimell. Andy Murray. Actresses: Jennifer Connelly. Mélanie Laurent. Oona Chaplin. ALOHA Actors: Bradley Cooper. Bill Murray. John Krasinski. Danny McBride. Alec Baldwin. Bill Camp. Actresses: Emma Stone. Rachel McAdams. ALTERED MINDS Actors: Judd Hirsch. Ryan O'Nan. C. S. Lee. Joseph Lyle Taylor. Actresses: Caroline Lagerfelt. Jaime Ray Newman. ALVIN AND THE CHIPMUNKS: THE ROAD CHIP Actors: Jason Lee. Tony Hale. Josh Green. Flula Borg. Eddie Steeples. Justin Long. Matthew Gray Gubler. Jesse McCartney. José D. Xuconoxtli, Jr.. Actresses: Kimberly Williams-Paisley. Bella Thorne. Uzo Aduba. Retta. Kaley Cuoco. Anna Faris. Christina Applegate. Jennifer Coolidge. Jesica Ahlberg. Denitra Isler. 88th Academy Awards Page 1 of 32 AMERICAN ULTRA Actors: Jesse Eisenberg. Topher Grace. Walton Goggins. John Leguizamo. Bill Pullman. Tony Hale. Actresses: Kristen Stewart. Connie Britton. AMY ANOMALISA Actors: Tom Noonan. David Thewlis. Actresses: Jennifer Jason Leigh. ANT-MAN Actors: Paul Rudd. Corey Stoll. Bobby Cannavale. Michael Peña. Tip "T.I." Harris. Anthony Mackie. Wood Harris. David Dastmalchian. Martin Donovan. Michael Douglas. Actresses: Evangeline Lilly. Judy Greer. Abby Ryder Fortson. Hayley Atwell. ARDOR Actors: Gael García Bernal. Claudio Tolcachir.
A Theory for Subjectivity in the Psychological Humanities Complicities
PALGRAVE STUDIES IN THE THEORY AND HISTORY OF PSYCHOLOGY Complicities A theory for subjectivity in the psychological humanities Natasha Distiller Palgrave Studies in the Theory and History of Psychology Series Editor Thomas Teo Department of Psychology York University Toronto, ON, Canada Palgrave Studies in the Teory and History of Psychology publishes schol- arly books that use historical and theoretical methods to critically examine the historical development and contemporary status of psychological con- cepts, methods, research, theories, and interventions. Books in this series are characterised by one, or a combination of, the following: (a) an empha- sis on the concrete particulars of psychologists' scientifc and professional practices, together with a critical examination of the assumptions that attend their use; (b) expanding the horizon of the discipline to include more interdisciplinary and transdisciplinary work performed by researchers and practitioners inside and outside of the discipline, increasing the knowl- edge created by the psychological humanities; (c) “doing justice” to the persons, communities, marginalized and oppressed people, or to academic ideas such as science or objectivity, or to critical concepts such social justice, resistance, agency, power, and democratic research. Tese examinations are anchored in clear, accessible descriptions of what psychologists do and believe about their activities. All the books in the series share the aim of advancing the scientifc and professional practices of psychology and psy- chologists, even as they ofer probing and detailed questioning and critical reconstructions of these practices. Te series welcomes proposals for edited and authored works, in the form of full-length monographs or Palgrave Pivots; contact beth.farrow@palgrave.com for further information.