Feb. 2013 Spotlight
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The Playing Field the Basketball Court LAW II
LAW I – The Playing Field ● The Basketball Court LAW II - The Ball · Size #4 · Bounce: 55-65 cm on first bounce · Material: Leather or other suitable material (i.e., not dangerous) LAW III - Number of Players · Minimum Number of Players to Start Match: 5, one of whom shall be a goalkeeper and one of whom shall be female · Maximum Number of Players on the Field of Play: 6, one of whom shall be a goalkeeper and one of whom shall be female · Substitution Limit: None · Substitution Method: "Flying substitution" (all players but the goalkeeper enter and leave as they please; goalkeeper substitutions can only be made when the ball is out of play and with a referee's consent) LAW IV - Players' Equipment Usual Equipment: Numbered shirts, shorts, socks, protective shin-guards and footwear with rubber soles LAW V - Main Referee · Duties: Enforce the laws, apply the advantage rule, keep a record of all incidents before, during and after game, stop game when deemed necessary, caution or expel players guilty of misconduct, violent conduct or other ungentlemanly behavior, allow no others to enter the pitch, stop game to have injured players removed, signal for game to be restarted after every stoppage, decide that the ball meets with the stipulated requirements. · Position: The side opposite to the player benches LAW VI: Second Referee · Duties: Same as Main Referee , ensuring that substitutions are carried out properly, and keeping a check on the 1-minute time-out. · Position: The same side as the player benches LAW VII - Timekeeper · Duties: Start game clock after kick-off, stop it when the ball is out of play, and restart it after all restarts; keep a check on 2-minutepunishment for sending off; indicate end of first half and match with some sort of sound; record time-outs and fouls (and indicate when a team has exceeded the 5-foul limit); record game stoppages, scorers, players cautioned and sent off, and other information relevant to the game. -
Shakes in Love STUDYGUIDE
Study Guide for Educators Based on the screenplay by Marc Norman and Tom Stoppard Adapted for the stage by Lee Hall Lyrics by Carolyn Leigh Music by Paddy Cunneen This production of Shakespeare In Love is generously sponsored by: Emily and Dene Hurlbert Linda Stafford Burrows Ron and Mary Nanning Ron Tindall, RN Shakespeare in Love is presented by special arrangement with Samuel French Inc 1 Welcome to the Pacific Conservatory Theatre A NOTE TO THE TEACHER Thank you for bringing your students to the Pacific Conservatory Theatre at Allan Hancock College. Here are some helpful hints for your visit to the Marian Theatre. The top priority of our staff is to provide an enjoyable day of live theatre for you and your students. We offer you this study guide as a tool to prepare your students prior to the performance. SUGGESTIONS FOR STUDENT ETIQUETTE Note-able behavior is a vital part of theater for youth. Going to the theater is not a casual event. It is a special occasion. If students are prepared properly, it will be a memorable, educational experience they will remember for years. 1. Have students enter the theater in a single file. Chaperones should be one adult for every ten students. Our ushers will assist you with locating your seats. Please wait until the usher has seated your party before any rearranging of seats to avoid injury and confusion. While seated, teachers should space themselves so they are visible, between every groups of ten students. Teachers and adults must remain with their group during the entire performance. -
This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Park-Finch, Heebon Title: Hypertextuality and polyphony in Tom Stoppard's stage plays General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Hypertextuality and Polyphony in Tom Stoppard's Stage Plays Heebon Park-Finch A dissertation submitted to the University of Bristol in -
The Writer and Director
The writer and director Specific learning outcomes Students will: • understand the process of developing this script. • examine how a scene in the play has been developed by the director. • understand the writer’s purpose in developing this play • understand and be able to describe the features of Stoppard’s writing • identify key ideas in the play. [These learning outcomes relate to the Communication and Interpreting in Drama (CI) and Understanding Drama in Context (UC) strands in The Arts in the New Zealand Curriculum.] Tom Stoppard “If I wanted to change the world, the last thing I would do is write a play.” Tom Stoppard Tom Stoppard was born Tomas Straussler on 3 July 1937 in Zlín, Czech Republic. Stoppard’s father, Eugene Straussler, was a company physician whose Czech company sent the family to a branch factory in Singapore in 1938/39. After the Japanese invasion, his father stayed on and was killed in a prisoner of war camp, but Mrs Straussler and her two sons escaped to India, where she married a British officer, Kenneth Stoppard, in 1946. At the age of nine, Tom and his family went to live in England. Tom Stoppard (he assumed his stepfather’s surname) quit school at the age of 17 and started his career as a journalist in Bristol. He began to write plays in 1960 after moving to London. Travesties: The writer and director, page 1 Accessed from The Arts/Ngā Toi materials, www.tki.org.nz/r/arts/drama/travesties Stoppard’s bibliography of plays, radio dramas and film scripts is extensive. -
Works by Tom Stoppard
Works by Tom Stoppard ‘A Play In Three Acts’ 56n, 463n, 581n, 582n Dogg’s Hamlet, Cahoot’s Macbeth xxiv, A Separate Peace 499, 528n xxvi, 55, 176, 354n, 393, 423, 557, 582 A Walk on the Water 516 After Magritte xxxi, 5, 8–11, 18, 39, 55–56, Empire of the Sun 7, 414, 440n 437, 470, 491, 504, 504n, 535n, 581 Enigma 77 Albert’s Bridge 155, 551 Enter a Free Man 254, 399, 454, 516n, 524, Anna Karenina 257 560, 560n, 583 Another Moon Called Earth 37n, 121, 156, 239, Every Good Boy Deserves Favour xxv–xxvi, 239n, 320, 323, 441, 443, 455, 582 xxix, 50–52, 55, 56, 59n, 90, 121, 136, Arcadia xxii, xxiv–xvii, 15, 17, 23, 37, 182–184, 235–237, 286–289, 294, 298, 38–41, 55, 74–79, 88, 88n, 118n, 126, 327n, 381–384, 437, 447, 473, 479, 136–152, 179, 185, 212, 222, 231, 234, 238, 490, 496n, 582 248, 260, 309, 313, 315, 322, 337, 347, 350–352, 369, 377n, 398n, 399, 407, ‘First Person’ 244n 412, 418, 424, 436n, 441, 451, 470, 473, ‘Freedom but thousands are still 488–489, 505, 514, 521, 523, captive’ 277n 531, 552, 566, 568–572, 575, 578–579, Funny Man 458, 559 581, 583 Article on James Thurber 5 Galileo 144, 258–259, 260, 471 Artist Descending a Staircase xxiii, xxvi, 11–14, 26, 62, 63, 64, 64n, 66, 118, 120–121, Hapgood xxiii–xxvi, xxvii–xxix, 15, 40, 153n, 157–159, 236n, 238, 326, 329, 352, 52, 55, 56, 127, 129, 135–137, 143, 145, 363, 370–372, 423, 533, 551, 560–565, 222n, 238, 258, 259n, 260, 309, 343, 347, 579, 582 349, 351, 362, 365–369, 398n, 400–407, 400n, 423–424, 426, 428, 471, 478, 488, ‘But For The Middle Classes’ 251n, 261n, 492–495, 502–503, -
Tom Stoppard
Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers 1939-2000 (bulk 1970-2000) Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English Access Open for research Administrative Information Acquisition Purchases and gifts, 1991-2000 Processed by Katherine Mosley, 1993-2000 Repository: Harry Ransom Center, University of Texas at Austin Stoppard, Tom Manuscript Collection MS-4062 Biographical Sketch Playwright Tom Stoppard was born Tomas Straussler in Zlin, Czechoslovakia, on July 3, 1937. However, he lived in Czechoslovakia only until 1939, when his family moved to Singapore. Stoppard, his mother, and his older brother were evacuated to India shortly before the Japanese invasion of Singapore in 1941; his father, Eugene Straussler, remained behind and was killed. In 1946, Stoppard's mother, Martha, married British army officer Kenneth Stoppard and the family moved to England, eventually settling in Bristol. Stoppard left school at the age of seventeen and began working as a journalist, first with the Western Daily Press (1954-58) and then with the Bristol Evening World (1958-60). -
Tom Stoppard
Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English. Arrangement Due to size, this inventory has been divided into two separate units which can be accessed by clicking on the highlighted text below: Tom Stoppard Papers--Series descriptions and Series I. through Series II. [Part I] Tom Stoppard Papers--Series III. through Series V. and Indices [Part II] [This page] Stoppard, Tom Manuscript Collection MS-4062 Series III. Correspondence, 1954-2000, nd 19 boxes Subseries A: General Correspondence, 1954-2000, nd By Date 1968-2000, nd Container 124.1-5 1994, nd Container 66.7 "Miscellaneous," Aug. 1992-Nov. 1993 Container 53.4 Copies of outgoing letters, 1989-91 Container 125.3 Copies of outgoing -
Kahlil Gibran a Tear and a Smile (1950)
“perplexity is the beginning of knowledge…” Kahlil Gibran A Tear and A Smile (1950) STYLIN’! SAMBA JOY VERSUS STRUCTURAL PRECISION THE SOCCER CASE STUDIES OF BRAZIL AND GERMANY Dissertation Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Susan P. Milby, M.A. * * * * * The Ohio State University 2006 Dissertation Committee: Approved by Professor Melvin Adelman, Adviser Professor William J. Morgan Professor Sarah Fields _______________________________ Adviser College of Education Graduate Program Copyright by Susan P. Milby 2006 ABSTRACT Soccer playing style has not been addressed in detail in the academic literature, as playing style has often been dismissed as the aesthetic element of the game. Brief mention of playing style is considered when discussing national identity and gender. Through a literature research methodology and detailed study of game situations, this dissertation addresses a definitive definition of playing style and details the cultural elements that influence it. A case study analysis of German and Brazilian soccer exemplifies how cultural elements shape, influence, and intersect with playing style. Eight signature elements of playing style are determined: tactics, technique, body image, concept of soccer, values, tradition, ecological and a miscellaneous category. Each of these elements is then extrapolated for Germany and Brazil, setting up a comparative binary. Literature analysis further reinforces this contrasting comparison. Both history of the country and the sport history of the country are necessary determinants when considering style, as style must be historically situated when being discussed in order to avoid stereotypification. Historic time lines of significant German and Brazilian style changes are determined and interpretated. -
Programs to Our Community
We l c o m e t o Glorious greetings to you all! What a pair of pearls The Old Globe has in store for us this fall, as we kick off It’s an exciting time at The Old Globe. The our newly reconfigured Season 2003-04! 2003-04 season is beginning in the Old Globe Ahoy to the gifted Stan Theatre and the Cassius Carter Centre Stage, Wojewodski, who returns to us after while the final production of our triumphant serving as Dean of the Yale School of summer season plays the Lowell Davies Festival Drama and Artistic Director of the Yale Theatre. This summer San Diego theatregoers Repertory Theater, with his rousing pro- were treated to spectacular performances by duction of Tom Stoppard’s Rough Crossing. The celebrated André Globe artists to rave reviews. You may have seen Previn provides a few witty tunes for this art deco transatlantic the exceptional notice and rare west coast cruise which flounders in storms on the high seas as two play- review The New York Times gave our production of Julius Caesar. The wrights race against time to find an ending to their new musical, 2003-04 season is sure to continue The Old Globe tradition of theatri- The Cruise of the Dodo! Hilarious complications ensue as they try cal excellence beginning with Tom Stoppard’s hilarious Rough Crossing to mollify their fragile and jealous composer, while navigating the and the Olivier Award-winning Blue/Orange. treacherous romantic currents of their lead actors and an eager Of course, before we know it, the holiday season will be upon us, but hopeless ship’s steward. -
Guide to the Dr. Gerald N. Wachs Collection of Tom Stoppard 1967-2013
University of Chicago Library Guide to the Dr. Gerald N. Wachs Collection of Tom Stoppard 1967-2013 © 2017 University of Chicago Library Table of Contents Descriptive Summary 3 Information on Use 3 Access 3 Citation 3 Biographical Note 3 Scope Note 4 Related Resources 5 Subject Headings 5 INVENTORY 5 Series I: Correspondence 5 Series II: Tom Stoppard: A Bibliographical History 6 Series III: Plays, Films, and Radio Productions 8 Series IV: Other Writings 13 Series V: Photographs 14 Series VI: Oversize 14 Descriptive Summary Identifier ICU.SPCL.WACHS Title Wachs, Dr. Gerald N. Collection of Tom Stoppard Date 1967-2013 Size 7 linear feet (11 boxes, 1 oversize folder) Repository Special Collections Research Center University of Chicago Library 1100 East 57th Street Chicago, Illinois 60637 U.S.A. Abstract The Dr. Gerald N. Wachs Collection contains materials relating to the production of Tom Stoppard’s plays on stage and screen – including advertising, playbills, reviews, and ephemera – and cards, letters, and photographs signed by Stoppard. Of particular note are drafts and working copies of scripts and screenplays, and first run programs. Also included are materials which were used in the preparation of Gerald Wachs’ Tom Stoppard bibliography, published by Oak Knoll Press in 2010 as Tom Stoppard: A Bibliographical History. Information on Use Access The collection is open for research. Citation When quoting material from this collection, the preferred citation is: Wachs, Dr. Gerald N. Collection of Tom Stoppard, [Box #, Folder #], Special Collections Research Center, University of Chicago Library. Biographical Note Gerald N. Wachs, M.D. (1937-2013) was a doctor and dermatologist from Millburn, New Jersey. -
Tom Stoppard Writer
Tom Stoppard Writer Please send all permissions and press requests to [email protected] Agents St John Donald Associate Agent Jonny Jones [email protected] +44 (0) 20 3214 0928 Anthony Jones Associate Agent Danielle Walker [email protected] +44 (0) 20 3214 0858 Rose Cobbe Assistant Florence Hyde [email protected] +44 (0) 20 3214 0957 Credits Film Production Company Notes United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] ANNA KARENINA Working Title/Universal/Focus Screenplay from the novel by 2012 Features Tolstoy Directed by Joe Wright Produced by Tim Bevan, Paul Webster with Keira Knightley, Jude Law, Aaron Taylor-Johnson *Nominated for Outstanding British Film, BAFTA 2013 ENIGMA Intermedia/Paramount Screenplay from the novel by 2001 Robert Harris Directed by Michael Apted Produced by Mick Jagger, Lorne Michaels with Kate Winslet, Dougray Scott, Saffron Burrows VATEL Legende/Miramax English adaptation 2000 Directed by Roland Joffe Produced by Alain Goldman with Uma Thurman, Gerard Depardieu, Tom Roth United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] SHAKESPEARE IN LOVE Miramax Screenplay from Marc Norman 1998 Directed by John Madden Produced by Donna Gigliotti, David Parfitt, Harvey Weinstein, Edward Zwick with Gwyneth Paltrow and Joseph Fiennes * Winner of a South Bank Show Award for Cinema 2000 * Winner of Best Screenplay, Evening Standard -
Arcadia Program (PDF)
Upcoming School of Drama Productions: The Water Children by Wendy MacLeod directed by Valerie Curtis-Newton Penthouse Theatre May 20-June 3 The battle of reproductive rights gets personal, when Megan, a staunch liberal, stars in a commercial for the right-to-life movement. An activist roommate, an unexpected romance with the organization’s executive di- rector, a right-to-life zealot, and the complications of an unexpected preg- nancy send Megan on an unforgettable personal journey in this humorous and thought-provoking drama. Tickets available at 206.543.4880 and on-line at http://depts.washington.edu/uwdrama In Conjunction with the School of Music Dido and Aeneas by Henery Purcell directed by Claudia Zahn Meany Studio May 23,255-27 Henry Purcell”s Dido and Aeneas, the first great opera in English, tells the tragic story of Dido, Queen of Carthage; and her fateful love for the warrior Aeneas. Tickets available at 206.543-4880 and on-line at http://meany.org/tickets Are you missing out? Have you subscribed to our E-News yet? If not, visit our website and sign up today. It’s easy and takes less than a minute. We’ll send you monthly e-mails reminding you of productions, special events and other significant news from the School of Drama. Playhouse Theatre Join the E-News list at: http://depts.washington.edu/uwdrama 41th Season Comments? 76th Production Let us know your thoughts at: [email protected] April 22—May 6, 2007 Arcadia ` by Tom Stoppard Did You Know? Director Tamara Fisch + THE UW SCHOOL OF DRAMA ..