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The Commercial & Artistic Viability of the Fringe Movement
Rowan University Rowan Digital Works Theses and Dissertations 1-13-2013 The commercial & artistic viability of the fringe movement Charles Garrison Follow this and additional works at: https://rdw.rowan.edu/etd Part of the Theatre and Performance Studies Commons Recommended Citation Garrison, Charles, "The commercial & artistic viability of the fringe movement" (2013). Theses and Dissertations. 490. https://rdw.rowan.edu/etd/490 This Thesis is brought to you for free and open access by Rowan Digital Works. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Rowan Digital Works. For more information, please contact [email protected]. THE COMMERCIAL & ARTISTIC VIABLILITY OF THE FRINGE MOVEMENT By Charles J. Garrison A Thesis Submitted to the Department of Theatre & Dance College of Performing Arts In partial fulfillment of the requirement For the degree of Master of Arts At Rowan University December 13, 2012 Thesis Chair: Dr. Elisabeth Hostetter © 2012 Charles J. Garrison Dedication I would like to dedicate this to my drama students at Absegami High School, to my mother, Rosemary who’s wish it was that I finish this work, and to my wife, Lois and daughter, Colleen for pushing me, loving me, putting up with me through it all. Acknowledgements I would like to express my appreciation to Jason Bruffy and John Clancy for the inspiration as artists and theatrical visionaries, to the staff of the American High School Theatre Festival for opening the door to the Fringe experience for me in Edinburgh, and to Dr. Elisabeth Hostetter, without whose patience and guidance this thesis would ever have been written. -
Netflix's Bloodline
Economic Impacts of the Netflix Original Series Bloodline Prepared for the Monroe County Tourist Development Council December 2015 Monroe County Tourist Development Council Economic Impact Analysis of the Netflix Original Series Bloodline TABLE OF CONTENTS Summary of Results ................................................................................................. 2 Introduction .............................................................................................................. 4 Study Purpose .......................................................................................................... 4 Season 1 Production Spending in Florida ............................................................. 4 Season 1 Production Spending in Monroe County ............................................... 5 Economic Impacts of Production Spending .......................................................... 5 Film Induced Tourism Impacts ............................................................................... 6 Additional Impacts ................................................................................................... 7 Appendix A – Economic Impact Methodology ...................................................... 8 Appendix B – Share of Production Spending in Monroe County......................... 9 Appendix C – Comparison of Economic Impacts from Visitor Spending ......... 10 Page | i Monroe County Tourist Development Council Economic Impact Analysis of the Netflix Original Series Bloodline SUMMARY OF RESULTS The -
Annual Report
ANNUAL REPORT 2016 INSIDE Mission + History 3 Letter From IRT 4 Season Highlights 5 3B Development Series 7 Westside Experiment 20 Archive Residency 23 IRT Productions 26 Events/Workshops 27 After Residency 31 Photography Credits 32 Mission for Deaf artists. Second, IRT mentors the next gen- eration of theater artists through its educational IRT is a grassroots laboratory for independent theater program. Launched in 2012, Westside Experiment, and performance in New York City, providing space is a teen acting laboratory that pairs students with and support to a new generation of artists. Tucked working experimental theater artists to learn about away in the old Archive Building in Greenwich Village, their craft and create an original theater piece at IRT. IRT’s mission is to build a community of emerging and established artists by creating a home for the Some of the pioneering artists who have developed development and presentation of new work. work at IRT are: Young Jean Lee, Reggie Watts, Mike Daisey, New York Live Arts, Tommy Smith, Thomas HistorY Bradshaw, Crystal Skillman, Jose Zayas, May Adrales, terraNOVA Collective, Immediate Medium, Vampire In 2007, IRT Theater embarked on a groundbreaking Cowboys, The Nonsense Company/Rick Burkhardt, journey to support emerging and established artists, The Mad Ones, Collaboration Town, Rady&Bloom, to give young artists a unique opportunity to work Katt Lissard, Erica Fay and many others. with professionals, and to offer development and performance opportunities for Deaf artists and audi- Established in 1986 as Interborough Repertory ences. With new Artistic Director, Kori Rushton, the Theater by Luane Haggerty & Jonathan Fluck, IRT company created its artist in residency program & spent its first two decades nurturing artistic freedom completely revamped its staff & business model. -
The Process of Salvation in <I>Pearl
Volume 37 Number 1 Article 2 10-15-2018 The Process of Salvation in Pearl and The Great Divorce Amber Dunai Texas A&M University - Central Texas Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the English Language and Literature Commons Recommended Citation Dunai, Amber (2018) "The Process of Salvation in Pearl and The Great Divorce," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 37 : No. 1 , Article 2. Available at: https://dc.swosu.edu/mythlore/vol37/iss1/2 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Analyzes the structural, aesthetic, and thematic parallels between C.S. Lewis’s The Great Divorce and the Middle English dream vision Pearl. By exploring the tension between worldly and heavenly conceptions of justice, value, and possession in The Great Divorce and Pearl, this study demonstrates Lewis’s skill at utilizing and updating medieval source material in order to respond to twentieth-century problems. -
1 the Politics of Falling Juli Carson What If I Say to You Now: Do You
The Politics of Falling Juli Carson What if I say to you now: Do you remember going to the Fabulous Forum? —Daniel Joseph Martinez Mise-en-scène Try to remember something: an event, a person or a place. It’s a testament to your individual consciousness, your fundamental agency as a subject. Simply, memories are the scaffolding for our intuitive sense of self. And yet, what if this self is really nothing more than a cherished chimera? As Thomas Metzinger, a German philosopher informed by neuroscience, instructs: “Nobody ever was or had a self. All that ever existed were conscious self-models that could not be recognized as models.” From this perspective, the phenomenal self is really a process, not a thing. Moreover, this process—this self- model—is necessarily transparent. “Because you cannot recognize your self-model as a self-model . you look right through it. You don’t see it. But you see with it.”1 In reality, consciousness is thus a transparent, invisible process whereby we feel ourselves feeling ourselves, even though the means through which we do this can never be seen as such.2 Just the same, Daniel Martinez’s The Report of My Death Is an Exaggeration; Memoirs: Of Becoming Narrenschiff is an attempt to do just that: to make us collectively see our 1 self-model as a model. Accordingly, a libidinal pulse throbs through Memoirs: Of Becoming Narrenschiff—the individual self alternately falling apart and falling together— a consequence of Martinez’s journey into the urban sublime when he embarked upon his Narrenschiff, his Ship of Fools. -
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
Outstate Trowel Trades Fringe Benefit Funds
OUTSTATE TROWEL TRADES FRINGE BENEFIT FUNDS Michigan Trowel Trades Health and Welfare Fund Outstate Michigan Trowel Trades Pension Fund Michigan Operative Plasterers’ and Cement Masons’ International Association Apprenticeship and Training Fund EMPLOYER HANDBOOK Outstate Michigan and Road Builder Employers 1 This Employer Handbook is prepared on behalf of the Michigan Trowel Trades Health and Welfare Fund (“Health and Welfare Fund”), the Outstate Michigan Trowel Trades Pension Fund (“Pension Fund”) and the Michigan Operative Plasterers’ and Cement Masons’ International Association Apprenticeship and Training Fund (“Apprenticeship Fund”) (together, “Funds”) for use by employers obligated to pay fringe benefit contributions to those Funds pursuant to Collective Bargaining Agreements negotiated by the Operative Plasterers’ and Cement Masons’ International Association Local 514 covering work performed in Michigan (other than work performed in Metropolitan Detroit and the Upper Peninsula) and covering work described in the collective bargaining agreement negotiated with the Michigan Infrastructure & Transportation Association - Labor Relations Division. If there are any conflicts between the information in this Employer Handbook and the Collective Bargaining Agreements or Funds’ document, the Collective Bargaining Agreements and/or Funds’ document shall control. WILL THE FUNDS ACCEPT YOUR CONTRIBUTIONS? If an employer is party to a Collective Bargaining Agreement or other written Agreement which requires it to make contributions to the Funds, the Funds will accept the employer’s contributions. Federal law requires that all fringe benefit contributions must be made based upon a written agreement. ORAL AGREEMENTS REGARDING THE PAYMENT OF FRINGE BENEFIT CONTRIBUTIONS ARE ILLEGAL. For this reason, the Funds monitor incoming contributions to make sure that every contributing employer has a written agreement detailing the basis on which contributions are made. -
Fringe Season 1 Transcripts
PROLOGUE Flight 627 - A Contagious Event (Glatterflug Airlines Flight 627 is enroute from Hamburg, Germany to Boston, Massachusetts) ANNOUNCEMENT: ... ist eingeschaltet. Befestigen sie bitte ihre Sicherheitsgürtel. ANNOUNCEMENT: The Captain has turned on the fasten seat-belts sign. Please make sure your seatbelts are securely fastened. GERMAN WOMAN: Ich möchte sehen wie der Film weitergeht. (I would like to see the film continue) MAN FROM DENVER: I don't speak German. I'm from Denver. GERMAN WOMAN: Dies ist mein erster Flug. (this is my first flight) MAN FROM DENVER: I'm from Denver. ANNOUNCEMENT: Wir durchfliegen jetzt starke Turbulenzen. Nehmen sie bitte ihre Plätze ein. (we are flying through strong turbulence. please return to your seats) INDIAN MAN: Hey, friend. It's just an electrical storm. MORGAN STEIG: I understand. INDIAN MAN: Here. Gum? MORGAN STEIG: No, thank you. FLIGHT ATTENDANT: Mein Herr, sie müssen sich hinsetzen! (sir, you must sit down) Beruhigen sie sich! (calm down!) Beruhigen sie sich! (calm down!) Entschuldigen sie bitte! Gehen sie zu ihrem Sitz zurück! [please, go back to your seat!] FLIGHT ATTENDANT: (on phone) Kapitän! Wir haben eine Notsituation! (Captain, we have a difficult situation!) PILOT: ... gibt eine Not-... (... if necessary...) Sprechen sie mit mir! (talk to me) Was zum Teufel passiert! (what the hell is going on?) Beruhigen ... (...calm down...) Warum antworten sie mir nicht! (why don't you answer me?) Reden sie mit mir! (talk to me) ACT I Turnpike Motel - A Romantic Interlude OLIVIA: Oh my god! JOHN: What? OLIVIA: This bed is loud. JOHN: You think? OLIVIA: We can't keep doing this. -
Wraith: the Arisen
WRAITH: THE ARISEN A BOOK OF RESTLESS SHADES... By: J. Edward Tremlett and Chris Jackson with art by Taz Jurs and Lost Soul Character sheets by MrGone Compiled and edited by Faust91x Date: December 31, 2013 Contents 1 Statement of Intent.8 1.1 From Faust91x..................................... 11 2 LEXICON. 13 2.1 General Terms:.................................... 13 2.2 Old Form:....................................... 16 2.3 Modern Slang:.................................... 16 3 DEAD TO THE WORLD. 18 3.1 GHOSTS........................................ 20 3.1.1 Creation songs................................. 20 3.1.2 Sleeping reason................................ 20 3.1.3 Means of demise................................ 21 3.2 INNER STRUCTURES................................ 23 3.2.1 Shadows.................................... 25 3.3 STATES OF NON-BEING............................... 26 3.3.1 Body is soul.................................. 26 3.3.2 Soul damage.................................. 27 3.3.3 Ossification.................................. 28 3.3.4 Getting Lost.................................. 29 3.3.5 Damnation................................... 30 3.4 OUTER REALITIES.................................. 31 3.4.1 Here and there................................. 31 3.4.2 The Catacombs................................. 32 3.4.3 Dead weather.................................. 34 3.4.4 Shadowlands.................................. 35 3.5 THE FINAL OBSTRUCTION............................. 36 3.5.1 The Great Unknown............................. -
2019-06-30 LM Financial Statements AUDITED Final
LEGAL MOMENTUM FINANCIAL STATEMENTS JUNE 30, 2019 and 2018 INDEPENDENT AUDITORS' REPORT Board of Directors Legal Momentum New York, New York Report on the Financial Statements We have audited the accompanying financial statements of Legal Momentum (the "Organization"), which comprise the statements of financial position as of June 30, 2019 and 2018, and the related statements of activities, functional expenses, and cash flows for the years then ended, and the related notes to the financial statements. Management's Responsibility for the Financial Statements The Organization's management is responsible for the preparation and fair presentation of these financial statements in accordance with accounting principles generally accepted in the United States of America; this includes the design, implementation, and maintenance of internal control relevant to the preparation and fair presentation of financial statements that are free from material misstatement, whether due to fraud or error. Auditor's Responsibility Our responsibility is to express an opinion on these financial statements based on our audits. We conducted our audits in accordance with auditing standards generally accepted in the United States of America. Those standards require that we plan and perform the audit to obtain reasonable assurance about whether the financial statements are free from material misstatement. An audit involves performing procedures to obtain evidence about the amounts and disclosures in the financial statements. The procedures selected depend on the auditor's judgment, including the assessment of the risks of material misstatement of the financial statements, whether due to fraud or error. In making those risk assessments, the auditor considers internal control relevant to the entity's preparation and fair presentation of the financial statements, in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the entity's internal control. -
'"There's More Than One of Everything": Navigating Fringe's Cofactual Multiverse'
. Volume 13, Issue 1 May 2016 ‘There’s More Than One of Everything’: Navigating Fringe’s cofactual multiverse Casey J. McCormick, McGill University, Montréal, Canada Abstract: This article analyzes how viewers of Fringe (FOX 2008-2013) make sense of the series’ complex science fictional storyworld. It argues that Fringe presents multiple iterations of worlds and characters in a way that encourages ‘cofactual’ interpretation: rather than figuring parallel universes and alternate timelines as ontologically hierarchical, the narrative accommodates all versions of reality and invites viewers to participate in shaping the multiverse. The article offers a close reading of Fringe’s complex narrative structure alongside an exploration of how audiences responded to and impacted the series through fannish practices such as vidding and narrative mapping. It concludes that cofactual narration opens up an array of participatory practices that blur the text/paratext distinction and facilitate interactive storyworld building. Keywords: Complex TV, Fandom, Narrative, Paratexts, Counterfactual, Cofactual, Possible Worlds Cofactual Interpretation By the time viewers reach the series finale of Fringe (FOX 2008-2013), they have travelled across two spatially-distinct universes, three versions of the future, and at least four different timelines, with each world-iteration populated by different versions of the show’s central characters. Through its reinvigoration of science fiction tropes, such as time travel, alternate realities, and temporal resets, Fringe asks viewers to re-evaluate typical models of narrative world-building. The series constructs a multiverse comprised of what I deem cofactual diegetic worlds. I use the term ‘cofactual’ in contradistinction to the more common narrative term ‘counterfactual’ as a means of emphasizing the plurality and simultaneity of diegetic worlds in Fringe. -
Creating an Omaha Fringe Festival
Omaha Fringe Festival UNO Theatre Graduate Program Tamar Neumann Creating an Omaha Fringe Festival Project Description: In 1947, after World War II, Edinburgh created an arts festival called Edinburgh International Festival. Eight artists, not invited to perform, showed up anyway and began performing on the fringes of the festival. Each year after that more performers showed up to the festival performing on the fringes, until 1958 when the official Festival Fringe Society was created. When the constitution for the Festival Fringe was written, they made sure to keep the integrity of those first performers by guaranteeing the festival would be a space open to anyone willing to perform. Today, the Edinburgh Fringe Festival is the biggest Fringe Festival in the world. From their example, artists all over the world have gravitated towards festivals that celebrate the arts in a similar way. A Fringe festival derives its name from those performers who began on the Fringes of the Edinburgh Festival Fringe. These festivals are simply a place where artists of all types can come together and perform or show their art. The works are generally performance based, self produced and self funded. In some cases the performers are all theatre based, but in others the festival can consist of musicians, stand up comics, theatre shows, and visual arts. Some festivals are open access, some are lottery, some are juried and some are a mix. After Edinburgh, Fringe festivals began to show up all over the world. Currently, the World Fringe website states there are over 250 Fringe festivals in countries from Europe to Africa to Asia to America.