DOCSLIB.ORG

Utah Valley University October 13 – November 5, 2011

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Utah Valley University October 13 – November 5, 2011 Eurydice Utah Valley University October 13 – November 5, 2011 Dramaturg: Wendy Gourley 210 S. Alpine Dr. Alpine, UT 84004 (801) 492-3553 [email protected] Nominator: Dr. Lisa Hall Hagen 800 W. University Parkway, MS 234 Orem, UT 84058-5999 (801) 863-6272 [email protected] 0 Table of Contents Introduction 2 The Call – Choosing the Project 3 Crossing the Threshold - Research 5 The Belly of the Beast - Rehearsal 45 The Boon - Outreach 52 The Return – Production and Beyond 64 Topical Index Letters of Recommendation Lisa Hagen, director 78 Dr. John Newman, Director of Noorda Theatre 56 Kathryn McPherson, UVU English Professor 63 Susan Griffith, audience member 74 Research Major Treatments of Orpheus and Eurydice 21 Eurydice Production History 30 Comparative Myths 35 Analysis Why This Play Now? 36 Play Analysis 37 Character Analysis 40 Sermons in Stones 7 Prelude to a Stone: The Grandmother Character 11 The Gaze: Of Seeing and Being Seen 13 Modern-day Myths 15 Educational Outreach The Dear Eurydice Blog 6 Learning Stages 52 Classroom Outreach Visits 58 Lobby Display 64 Program Note 69 The Dear Eurydice Project 70 Review 76 1 TableIntroduction of Contents “It was – mysterious.” Eurydice First Movement, Scene 7 Entering into the world of Sarah Ruhl’s Eurydice was mysterious – and taking on the new role of dramaturg was even more mysterious. I found myself on what seemed like my own epic journey; a personal participant in the monomyth, looking for the ultimate boon or gift and trying to bring it back to share with others. I felt a silent partner with Eurydice; traveling by her side down that dark and unsure path – hoping it would lead to enlightenment. In keeping with the mythological roots of Eurydice and my own journey I will relate my experiences in story. I have chronicled my journey as Eurydice’s dramaturg in five monomyth terms: The Call – where someone or something calls the hero to a journey. This is my choosing of the play, my reasons behind it, and what I hoped to achieve. Crossing the Threshold – the moment the hero leaves her comfortable and familiar surroundings and begins her journey into the unknown; where she encounters this new world for the first time. This section will recount my research phase. The Belly of the Beast – the moment when the hero must face her darkest fears and be willing to give the ultimate sacrifice if necessary. My story now enters the rehearsal phase where I begin to apply my research into practice and the ups and down of that process. The Boon – the ultimate gift; it could be a talisman or piece of deep knowledge; it is the reason for the hero’s journey. This section covers my outreach leading up to opening night and things it taught me. The Return – when the hero brings the boon back to her world and shares it with her community. We end my story with the production and the ways in which I shared what I learned with the audience. 2 The Call “So would you like to accompany me to this interesting affair?” Eurydice First Movement, Scene 3 One dark and stormy night, Wen sat by the fire. She was an unassuming creature, studious and apt to ponder the complexities of life. All of the sudden, there was a knock at the door and the village witch appeared. “I have come to send you on a wondrous journey – one in which you will scale the highest heights and plumb the deepest depths; a journey of…. Dramaturgy,” she said with effect. “Nay,” said Wen, “I will stay by the fire and knit, for I am near to graduation and wish to be a writer of plays. Dramaturgy sounds a dodgy business.” Wen began to hum to her cat, but the witch was undeterred. “Dramaturgy will teach you secrets that will unlock many doors to an aspiring playwright,” the witch replied mysteriously. It was true Wen was a bit long in the tooth, but this remark lit an unmistakable spark in her eye for she had an irresistible yearning for secrets. “Will I be home by tea time?” Wen inquired. The witch fixed her steely gaze upon Wen and said, “Not if I can help it.” Choosing the Project Eurydice has been a fulfilling and challenging project. Last spring, I took a three week workshop with Professor Lisa Hall Hagen and was offered the opportunity to be the dramaturg for one of the university’s upcoming shows. The choice of play was important to me as I was a senior with only one semester left. I knew this would be my only chance to learn the ropes as a dramaturg. I loved what I had learned about dramaturgy thus far and as a writer and a researcher, I felt it was an area for which I was well suited. I wanted to learn as much as I could in the little time I had left at school. I chose Sarah Ruhl’s Eurydice for three main reasons: First of all, Lisa Hagen was the assigned director and as she was my dramaturgy teacher, I knew she would push me and guide me through the process. Another major reason I was drawn to Eurydice, was its roots in mythology. I have worked for years as a performance storyteller and have 3 developed a great love of mythology. I was looking forward to digging into the rich symbolism and layers of meaning found in the play. The last reason was more practical. The timing of the production worked well for my schedule and gave me the whole summer to research, write and develop my materials. I would not have been able to revel in this project as much as I did had I been in the middle of a full semester schedule. What is Dramaturgy? First I had to figure out my philosophy of dramaturgy. What was it that I loved so much? Where should my focus be? I decided, for me, dramaturgy is about connection. I felt it was my job to create as many intersections with the play as I could to connect the cast, crew and audience to this complex and compelling piece of theatre. There were many times when I made decisions based on this philosophy, such as choosing different writing styles for different audiences. I felt it was paramount to make the materials and information as accessible as possible. I also felt it wasn’t important for me to find concrete answers per se, but to find possibilities of meaning. The connection had to start with me. I needed to explore the text, the world it creates, and the history that brought it here. I needed to enter the enigmatic and mysterious world of the story. 4 Crossing The Threshold “The station is like a train, but there is no train. The train has wheels that are not wheels. There is the opposite of smoke and the opposite of a train.” Eurydice Second Movement, Scene 1 So armed with the tools of Dramaturgy obtained from the witch; Wen descended into the murky abyss. Nothing was as it seemed. There were rooms made of string and stones that talked. Wen was perplexed and muddled – well, Wen was often muddled, so that was nothing new. But floating on the swirling mist, the voice of the Witch reminded Wen, “Follow the signs.” Researching the Text I started with the text. I admit, after my first reading I thought, “hmmm…” I liked the whimsy and was intrigued by the symbolism, but I was a little let down by the ending and didn’t feel as if I understood it very well. I decided to focus my attention on the symbols. In my own writing, I love the use of symbolism and have made quite a study of it in regards to myths and folktales. I reread the script again, this time looking for symbols and marking as I went. I created little signs for each reoccurring symbol, such as water or remembering and forgetting. 5 The Dear Eurydice Blog The next thing I did was set up a blog. I wanted a place to gather my discoveries; where people could easily come and interact with the material. I chose settings that sent each post to the cast and crew’s email inbox and I also posted to Facebook to generate interest with our potential audience members. Again, I came back to the idea of connection. How should I present the information in a way that people will read it? Although I would eventually include many of the posts in my director’s packet, I knew they had to be less academically rigorous than Dr. Hall would normally prefer. I tried to keep the post short and used pictures to keep the interest of the audience. I tried to write about a variety of subjects and look at the play from as many viewpoints as I could. In keeping with the idea of letters in the play, I called the blog Dear Eurydice. It was where I sent my “letters” – my posts from my journey back to the cast and crew. It was where I reached out to our potential audience trying to intrigue them and draw them into the world we were creating. Here is the link to the blog, followed by other links to specific pages: www.deareurydice.blogspot.com In addition to posting my analysis and explorations on the play, I created a Dear Eurydice Music page where, by request of the director, the cast submitted songs that connected them to the play and their characters; a Dear Eurydice Stories page where I collected comparative myths and folktales on death themes; and a page for The Dear Eurydice Project (see page 70 for a full description of the Dear Eurydice Project.) I also posted cast interviews and various bits of research requested by the director.
Load more

Recommended publications
  • Download Your PDF Copy of Orpheus Descending: a Study Guide
    Tennessee Williams’ Directed by Virginia Reh Assistant Directed by Karen McDonald Designed by Michael Greves Department of Dramatic Arts of the Marilyn I. Walker School of Fine and Performing Arts, Brock University Presented in the Sean O’ Sullivan Theatre Centre for the Arts, Brock University St. Catharines, Ontario November 10-12, 2011 Orpheus Descending: A Study Guide Prepared by: Virginia Reh, Director and Department of Dramatic Arts Associate Professor Michael Greves, Scenographer Karen McDonald, Assistant Director and Dramatic Arts Student Erica Charles, Dramaturge and Third Year Dramatic Arts Student Tami Friedman, Historical Consultant Discussion Questions Prepared by Kathy Cavaleri, Dramatic Arts Student “There’s something wild in the country...” ! -Val Xavier, Act 1, Scene 4i Figure 1. “A Great Black and White Desert Snake Eating” Orpheus Descending: A Study Guide!!! !!!!!!! Brock University Department of Dramatic Arts Marilyn I. Walker School of Fine and Performing Arts Page 1 of 35 November, 2011 TABLE OF CONTENTS 1. Collaboration 2. List of Characters 3. The Plot 4. The Playwright: Tennessee Williams 5. Director’s Notes 6. Production History 7. Faith, Myth and Spirituality 8. Aunt Conjure and the Choctaw 9. Historical Content 10. Dramaturge’s Notes 11. Discussion Questions 12. List of Terms 13. List of Figures 14. Endnotes and Bibliography Orpheus Descending: A Study Guide!!! Brock University Department of Dramatic Arts Marilyn I. Walker School of Fine and Performing Arts Page 2 of 35 November, 2011 1. Collaboration Orpheus Descending !!!!!! Written by Tennessee Williams November 10, 11, 12, 2011 at 7:30pm; November 11, 2011 at 1:00pm Brock University Department of Dramatic Arts Marilyn I.
    [Show full text]
  • THE MYTH of ORPHEUS and EURYDICE in WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., Universi
    THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., University of Toronto, 1957 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OP PHILOSOPHY in the Department of- Classics We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September, i960 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada. ©he Pttttrerstt^ of ^riitsl} (Eolimtbta FACULTY OF GRADUATE STUDIES PROGRAMME OF THE FINAL ORAL EXAMINATION FOR THE DEGREE OF DOCTOR OF PHILOSOPHY of MARK OWEN LEE, C.S.B. B.A. University of Toronto, 1953 M.A. University of Toronto, 1957 S.T.B. University of Toronto, 1957 WEDNESDAY, SEPTEMBER 21, 1960 AT 3:00 P.M. IN ROOM 256, BUCHANAN BUILDING COMMITTEE IN CHARGE DEAN G. M. SHRUM, Chairman M. F. MCGREGOR G. B. RIDDEHOUGH W. L. GRANT P. C. F. GUTHRIE C. W. J. ELIOT B. SAVERY G. W. MARQUIS A. E. BIRNEY External Examiner: T. G. ROSENMEYER University of Washington THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN Myth sometimes evolves art-forms in which to express itself: LITERATURE Politian's Orfeo, a secular subject, which used music to tell its story, is seen to be the forerunner of the opera (Chapter IV); later, the ABSTRACT myth of Orpheus and Eurydice evolved the opera, in the works of the Florentine Camerata and Monteverdi, and served as the pattern This dissertion traces the course of the myth of Orpheus and for its reform, in Gluck (Chapter V).
    [Show full text]
  • Extracts of Orfeu Da Conceição (Translated by David Treece)
    Extracts of Orfeu da Conceição (translated by David Treece) Extracts of Orfeu da Conceição (translated by David Treece) The poems and songs here translated are from the play Orfeu da Conceição, by Vinicius de Moraes and Antonio Carlos Jobim. This selection was part of the libretto for “Playing with Orpheus”, performed by the King’s Brazil Ensemble in October 2016, as part of the Festival of Arts and Humanities at King’s College London. Orpheus Eurydice… Eurydice… Eurydice … The name that bids one to speak Of love: name of my love, which the wind Learned so as to pluck the flower’s petals Name of the nameless star… Eurydice… Coryphaeus The perils of this life are too many For those who feel passion, above all When a moon suddenly appears And hangs there in the sky, as if forgotten. And if the moonlight in its wild frenzy Is joined by some melody Then you must watch out For a woman must be there about. A woman must be there about, made Of music, moonlight and feeling And life won’t let her be, so perfect is she. A woman who is like the very Moon: So lovely that she leaves a trail of suffering So filled with innocence that she stands naked there. Orpheus Eurydice… Eurydice… Eurydice… The name that asks to speak Of love: name of my love, which the wind - 597 - RASILIANA: Journal for Brazilian Studies. ISSN 2245-4373. Vol. 9 No. 1 (2020). Extracts of Orfeu da Conceição (translated by David Treece) Learned so as to pluck the flower’s petals Name of the nameless star… Eurydice… A Woman’s name A woman’s name Just a name, no more… And a self-respecting man Breaks down and weeps And acts against his will And is deprived of peace.
    [Show full text]
  • The Orphic Mysteries 48 Joscelyn Godwin, Ph.D
    Each issue of the Rosicrucian Digest provides members and all interested readers with a compendium of materials regarding the ongoing flow of the Rosicrucian Timeline. The articles, historical excerpts, art, and literature included in this Digest span the ages, and are not only interesting in themselves, but also seek to provide a lasting reference shelf to stimulate continuing study of all of those factors which make up Rosicrucian history and thought. Therefore, we present classical background, historical development, and modern reflections on each of our subjects, using the many forms of primary sources, reflective commentaries, the arts, creative fiction, and poetry. This magazine is dedicated• to all the women and men throughout the ages who have contributed to and perpetuated the wisdom of the Rosicrucian, Western esoteric, tradition. May we ever be •worthy of the light with which we have been entrusted. In this issue, the Orphic• Mysteries take center stage. Having completely changed the way that ancient Greek religion viewed the relations between humans and the Divine, Orpheus continues to weave his melodies across more than 2,600 years to transform our hearts, our minds, and our works. No. 1 - 2008 Vol. 86 - No. 1 Orpheus and Eurydice from the Metamorphoses 2 Official Magazine of the Ovid Worldwide The Theology of Orpheus 4 Rosicrucian Order G.R.S. Mead Established in 1915 by the Supreme An Orphic Timeline 9 Grand Lodge of the English Language Rosicrucian Research Library Jurisdiction, AMORC, Rosicrucian Park, San Jose, CA 95191. The Mystic Philosophy of Orpheus 19 Copyright 2008 by the Supreme Grand Imperator Ralph M.
    [Show full text]
  • Poetics of Enchantment: Language, Sacramentality, and Meaning in Twentieth-Century Argentine Poetry
    University of Kentucky UKnowledge Theses and Dissertations--Hispanic Studies Hispanic Studies 2011 POETICS OF ENCHANTMENT: LANGUAGE, SACRAMENTALITY, AND MEANING IN TWENTIETH-CENTURY ARGENTINE POETRY Adam Gregory Glover University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Glover, Adam Gregory, "POETICS OF ENCHANTMENT: LANGUAGE, SACRAMENTALITY, AND MEANING IN TWENTIETH-CENTURY ARGENTINE POETRY" (2011). Theses and Dissertations--Hispanic Studies. 3. https://uknowledge.uky.edu/hisp_etds/3 This Doctoral Dissertation is brought to you for free and open access by the Hispanic Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Hispanic Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies.
    [Show full text]
  • Baltimore City Historic Preservation Design Guidelines
    Baltimore City Historic Preservation Design Guidelines Adopted by the Commission for Historical and Architectural Preservation Baltimore City Department of Planning City of Baltimore, Maryland Chris Ryer Catherine E. Pugh Date of Adoption - December 8, 2015 Director of Planning Mayor Last Update - April 13, 2021 2 Baltimore City Historic Preservation Design Guidelines Table of Contents Chapter 1: Design Guidelines for Building Exteriors . 7 1.1 Identifying and Preserving Historic Building Fabric..............................7 1.2 Masonry..........................................................8 1.3 Wood .......................................................... 13 1.4 Metals.......................................................... 15 1.5 Alternative Materials . 17 1.6 Doors .......................................................... 18 1.7 Windows ........................................................ 20 1.8 Roofing and Gutters ................................................. 25 1.9 Porches, Steps, Railings and Decks . 30 1.10 Paint and Color ................................................... 33 1.11 Lighting ........................................................ 36 1.12 Signage and Awnings ............................................... 37 1.13 Mechanical, Electrical & Plumbing ...................................... 39 1.14 Modern Equipment................................................. 40 1.15 Accessibility . 41 1.16 Lead-Based Paint Hazards . 42 1.17 Alterations and Additions ............................................ 44
    [Show full text]
  • Memory Rings
    2016 BAM Next Wave Festival #MemoryRings Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Executive Producer Memory Rings BAM Harvey Theater Nov 17—19 at 7:30pm; Nov 20 at 3pm Running time: approx. one hour & 20 minutes, no intermission Phantom Limb Company Conceived by Jessica Grindstaff and Erik Sanko Choreography by Ryan Heffington Direction and design by Jessica Grindstaff Original music and puppet design by Erik Sanko Costume design by Henrik Vibskov Lighting design by Brian H Scott Sound design by Darron L West Projection design by Keith Skretch Dramaturgy by Janice Paran Creative producer Mara Isaacs/Octopus Theatricals Season Sponsor: Major support for theater at BAM provided by: The Francena T. Harrison Foundation Trust Donald R. Mullen Jr. The SHS Foundation The Shubert Foundation, Inc. Additional support provided by The Jim Henson Foundation. Memory Rings CAST Toby Billowitz Rowan Magee Marissa Brown Aaron Mattocks Emeri Fetzer Daniel Selon Takemi Kitamura Carlton Cyrus Ward ADDITIONAL CREDITS Stage manager Randi Rivera Production manager Corps Liminis Design architect Gia Wolff Fragrance design Douglas Little Rehearsal director Aaron Mattocks Cello recording Jeffrey Ziegler Producing associate/Company manager Bryan Hunt Bramble costumes designed by Jessica Grindstaff Costumes fabricated by Henrik Vibskov Studio Bramble costumes fabricated by Daniel Selon and Kaitlyn Horpedahl, Sarah
    [Show full text]
  • Hudičev Turn
    2014 estival stare f glasbe arly v music efestival estival arly stare music f glasbe efestival Republika Slovenija République française Suomen tasavalta Bosna i Hercegovina Repubblica Italiana Reino de España Republika Hrvatska Република Србија România Rzeczpospolita Polska Republik Österreich Koninkrijk der Nederlanden aš letošnji katalog smo oblikovali nekoliko drugače. Vse do zdaj smo poudarjali gostujoče umetnike in njihove e have decided to make this year’s catalogue different from its forerunners. Up until now we have highlighted the programe, ob tem pa čim bolj smiselno vključevali tudi dodatne vsebine, povezane predvsem s kulturno dediščino. visiting artists and their programmes, all the while including also additional content of interest, in particular from NPrizadevanja, da festivalski program povezujemo z lokalnimi okolji, obstajajo že vrsto let in so bila rodovitna. Wthe field of cultural heritage. Endeavours to link the festival programme with local areas have existed for several Nov koncept kataloga odraža naše želje, da v tesni povezavi vrhunskega evropskega kulturnega programa in nadvse years and have proven fruitful. By closely linking our superb European cultural programme and rich Slovenian heritage, bogate ponudbe te odlične dežele prispevamo, da bo Slovenija postala še bolj zanimiva destinacija na mednarodnem the new concept of the catalogue reflects our desire to help Slovenia become an even more interesting destination on the kulturnem, turističnem in družbenem zemljevidu. Naša udeležba v mednarodnih projektih, kot sta Purpur in eeemerging, international cultural, tourist and social map. Our participation in the international projects such as Purpur and ‘eeemerging’ ali vključevanje v evropske makroregije tako nista le črpanje evropskih sredstev ali obogatitev festivalskega programa kot or involvement in European macro regions therefore mean more than acquiring European funds or enriching the festival takega, ampak tudi močan vsebinski naboj festivala, ki bo še vrsto let plemenitil tako Slovenijo kot Evropo in uspešno programme.
    [Show full text]
  • Download Brochure
    Covid-19 Motorcoach Enhanced Disinfecting Procedures on page 28 Picture courtesy of Washington.org hamilton Free customized flyers provided for all tours in this brochure. www.davidtours.travel DUTCH APPLE DINNER THEATRE PENNS PEAK, Jim Thorpe, PA Lancaster PA Roundtrip Luxury Motorcoach Transportation Roundtrip Luxury Motorcoach Transportation The Ultimate Johnny Cash Tribute Always A Bridesmaid (Jan 7 –Feb 14) (Sept. 14) Happy Days (Feb 19– April 3) Lights Out ,The Music of Franki Valli On Your Feet, The Story of Emilio & (Sept. 15) Gloria Estefan (April 15-May 29) Branson Fever (Sept. 21 & 22) Beauty and the Beast (June 3-July 31) Tom Jones Tribute *(Sept. 28) Grumpy Old Men (Aug 5-Sept. 4)) Real Diamond (Sept. 29-30) Mamma Mia! (Sept 9-Nov 6) A Tribute to Elvis (Oct. 12) Miracle on 34th Street (Nov 11-Dec 23) The Jersey Beach Boys (Oct 13) Includes: Luncheon and Show Tribute to Hank Williams SR (Oct 14) 44 paid passengers + 2 Free from $102.00 pp A Tribute to Tony Bennett (Oct 19) 38 paid passengers + 2 Free from $106.00 pp The Glen Miller Orchestra * (Oct 20) Jukebox Saturday Night – A Tribute to the Big Bands (Oct. 21) The Everly Brothers Experience (Oct 26) Islands In The Stream (Oct 27 - 28) *Price higher for this show Includes: Luncheon and Show 44 paid passengers + 2 Free from $94.50 pp 38 paid passengers + 2 Free from $96.50 pp TOBY’S DINNER THEATRE Columbia, MD Roundtrip Luxury Motorcoach Transportation Monty Python’s Spamalot (Jan. 15 to Feb. 28) Shrek the Musical (March 5 to May 2) Godspell (May 7 to June 20) Wednesday Matinee only Includes: Luncheon and Show 44 paid passengers + 2 Free from $109.00 pp 38 paid passengers + 2 Free from $114.00 pp Call for additional 2021 Dinner Theatre Show Schedules Page 2 David Tours & Travel | 866.772.7227 | 215.677.8300 | www.davidtours.travel AMERICAN MUSIC THEATRE Lancaster, PA Roundtrip Luxury Motorcoach Transportation Meal Included Britain's Best (May 18 to June 24) 44 passengers + 2 Free from $98.00 pp 38 Passengers + 2 Free from $102.00 pp Winter Wonderland (Nov.
    [Show full text]
  • 34 Writers Head to 7Th Annual Johnny Mercer Foundation Writers Colony at Goodspeed Musicals
    NEWS RELEASE FOR MORE INFORMATION, CONTACT: Elisa Hale at (860) 873-8664, ext. 323 [email protected] Dan McMahon at (860) 873-8664, ext. 324 [email protected] 34 Writers Head to 7th Annual Johnny Mercer Foundation Writers Colony at Goodspeed Musicals – 21 Brand New Musicals will be part of this exclusive month-long retreat – This year’s participants boast credits as diverse as: Songwriters of India Aire’s “High Above” (T. Rosser, C. Sohne) Music Director for NY branch of Playing For Change (O. Matias) Composer for PBS (M. Medeiros) Author of Muppets Meet the Classic series (E. F. Jackson) Founder of RANGE a capella (R. Baum) Lyricist for Cirque du Soleil’s Paramour (J. Stafford) Member of the Board of Directors for The Lilly Awards Foundation and Founding Director of MAESTRA (G. Stitt) Celebrated Recording Artists MIGHTY KATE (K. Pfaffl) Teaching artist working with NYC Public Charter schools and the Rose M. Singer Center on Riker’s Island (I. Fields Stewart) Broadway Music Director/Arranger for If/Then, American Idiot, The 25th Annual Putnam County Spelling Bee and others (C. Dean) EAST HADDAM, CONN.,JANUARY 8 , 2019: In what has become an annual ritual, a total of 34 established and emerging composers, lyricists, and librettists will converge on the Goodspeed campus from mid-January through mid-February 2019 to participate in the Johnny Mercer Foundation Writers Colony at Goodspeed Musicals. The writing teams, representing 21 new musicals, will populate the campus, creating a truly exciting environment for discovery and inspiration. The Johnny Mercer Writers Colony at Goodspeed is an unparalleled, long-term residency program devoted exclusively to musical theatre writing.
    [Show full text]
  • Amerika Dienst
    AMKRIKA DIENST U. S. Feature Service Bad Godeiberg I • Postfach 300 • Telefon Kad Codesberg 713257 Allgemeines X. Jahrgang. Nr, 26 3. Juli 1957 INHALTSVERZEICHNIS DIE FREIHEIT IST DAS HÖCHSTE GUT Einige Bemerkungen zu den jüngsten Entscheidungen des Obersten Bundesgerichts der Vereinigten Staaten (84 Zeilen) Seite ATOM - WISSENSCHAFT - TECHNIK SHIPPINGPORT VOR DER VOLLENDUNG (.40 Zeilen) Seite 4 FORSCHUNGSREAKTOR Ft)R FARBWERKE HOECHST (6 Zeilen) Seite 5 HINTER DEN KULISSEN MODERNER TECHNIK (17 Zeilen, 5 Bilder) Seite 6 JOHN STELNBECK UND SEINE KRITIKER Zwei Steinbeckbücher: Ein neuer Roman und eine Kritikensammlung Von Norman Smith (90 Zeilen) Seite 8 ANHANG JOHN FQSTER DULLES: DIE CHINAPOLITIK DER USA Wortlaut einer Rede des US-Außenministers vom 28. Juni 1957 vor der "Lions, International" in San Francisco * * * * * AMKRIKA DIENST U. S. Feature Service Bad Godesberg I • Postfach 300 • Telefon Bad Codesberg 713257 Allgemeines X. Jahrgang. Nr. 27 10. Juli 1957 INHALTSVERZEICHNIS ERZIEHUNG IM UMBRUCH Neue Methoden und Erkenntnisse für den Unterricht an amerikanischen Schulen und Universitäten Von John Kerigan (70 Zeilen, 2 Bilder) ' Seite DIE WISSENSCHAFT KOTIERT HERZDIAGNOSEN MIT KONTRASTMITTEL Operationen zur Behebung angeborener Herzfehler erleichtert (80 Zeilen) Seite EXPERIMENT MIT DEM JAZZ Sommerfestspiele der Brandeis-Universität Von Norman Smith (68 Zeilen) Seite KULTURELLE KURZNACHRICHTEN Abschlußbericht 1956/57 der Metropolitan-Qper (6 Zeilen) Seite 9 Gründung der "Schule für Jazz" (4 Zeilen) Seite 9 Sena Jurinac singt Titelrolle in "Vanessa" (3 Zeilen) Seite 9 ANHANG AMERIKAS ZIEL; DIE ERHALTUNG DES WELTFRIEDENS Wortlaut der Rede von Francis 0. Wilcox, Unterstaatssekretär im US-Außenministerium, vom 27. Juni 1957 vor dem Amerikanischen Akademikerinnenverband in Boston. * * * * * AMKRIKA DIENST U. S.
    [Show full text]
  • Performeando Orfeu Negro
    Performeando Orfeu Negro Leslie O’Toole The University of Arizona a película Orfeu Negro es una coproducción entre Brasil y Francia, con un direc- tor francés. Fue estrenada en 1959 con mucha aclamación crítica fuera de Brasil. Ganó una cantidad de premios, incluyendo el Palm d’Or en 1959 en Cannes, Llos premios Golden Globe y Academy Award para en 1960 Mejor Película Extranjera y el premio BAFTA en 1961. Antes del premio BAFTA fue considerada una película francesa, pero con este premio recibió la atribución de ser una coproducción. Aunque la película era muy popular en todo el mundo, los brasileños tenían algunas frustra- ciones con la imagen extranjera de Brasil que muestra. Orfeu Negro tiene un director, empresa de producción y equipo de rodaje francés, por eso los brasileños sentían que la película representaba la vida de las favelas de Rio de Janeiro en una luz demasiadamente romántica y estilizada. En 2001, Carlos Diegues produjo y dirigió una nueva versión, llamada Orfeu, que tiene lugar en las modernas favelas de Rio de Janeiro. Esta película, que muestra la banda sonora de Caetano Veloso, un famoso músico brasileño y uno de los fundadores del estilo tropicalismo, fue bien recibida por el publico brasileño pero no recibió mucha aclamación o atención fuera de Brasil. ¿Cómo podía embelesar una película como Orfeu Negro su audiencia mundial y por qué continúa de cautivar su atención? Creo que Orfeu Negro, con la metaforicalización de un mito, ha tocado tantas personas porque muestra nuestros deseos y humanidad. Propongo investigar cómo la película cumple esta visualización a través del uso de dife- rentes teóricos, filósofos y antropólogos, más predominantemente, Mikhail Bakhtin, Victor Turner y Joseph Roach.
    [Show full text]