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OCTOBER 2002 Winner for PARENTS, EDUCATORS & STUDENTS
Award www.EDUCATIONUPDATE.com Volume VIII, No. 2 • New York City • OCTOBER 2002 Winner FOR PARENTS, EDUCATORS & STUDENTS JOSHUA BELL Virtuoso Educator U.S. POSTAGE PAID U.S. POSTAGE VOORHEES, NJ Permit No.500 PRSRT STD. 2 Award EDUCATION UPDATE ■ FOR PARENTS, EDUCATORS & STUDENTS ■ OCTOBER 2002 Winner GUEST EDITORIAL EDUCATION UPDATE Leadership in Our Schools: The Principal Part Mailing Address: 276 5th Avenue, Suite 1005 By CHARLOTTE K. FRANK, Ph.D. dren with their studies; dealing with children place. Principal means, quite literally, taking New York, NY 10001 Over this century, countless “magic bullets” with emotional or behavioral problems; follow- the principal role of leadership on the team that email: [email protected] have been suggested for reforming our schools. ing and implementing federal rules regarding contributes to effective learning. That team www.educationupdate.com In the 1920s, a progressive movement sought to special education; and taking on such other must also include parents and members of the Tel: 212-481-5519 eliminate curricula and external standards. In roles as union negotiator, community and par- community, who, so often, are eager to help if Fax: 212-481-3919 the 1950s, we were advised that the answer was ent public relations liaison; master of play- only they were personally called upon and to create fewer, larger schools out of the many, ground rules, bus schedules and budgets; and, guided in making their specific contributions. smaller ones—yet today, we see many larger in some cases, emergency plumber. But seeing where they can help, and personally PUBLISHER AND EDITOR: schools being divided into smaller learning School leadership today is upside down. -
The Egg Center for the Performing Arts Albany, New York Kitty Carlisle Hart Theatre Technical Specifications
The Egg Center for the Performing Arts Albany, New York Kitty Carlisle Hart Theatre Technical Specifications 1 | Hart Theatre Tech Specs - T h e E g g DIRECTIONS DO NOT USE GPS TO GET TO THE EGG. IT WILL SEND YOU TO THE WRONG PLACE. WE DO NOT HAVE A PHYSICAL STREET ADDRESS From the South (New York City): New York State Throughway/I-87 North to exit 23/787 N. Take 787 N to exit 3. Follow signs towards the Empire State Plaza. Loading dock A will be the first turn off on your right as your enter the tunnel. From the North (Montreal): I-87 South to exit 1A/I-90 east. Take exit 6A/787 S towards Albany downtown. Take exit 3A. Follow signs to the Empire State Plaza. Loading dock A will be the first turn off on your right as your enter the tunnel. From the East (Boston): I-90 W. Take exit 6A/787 S towards Albany downtown. Take exit 3A. Follow signs to the Empire State Plaza. Loading dock A will be the first turn off on your right as your enter the tunnel. From the West (Buffalo): I-90 E to exit 24 (exiting the Throughway). Continue on I-90 E to exit 6A/787 S towards Albany downtown. Take exit 3A. Follow signs to the Empire State Plaza. Loading dock A will be the first turn off on your right as your enter the tunnel. o For non-truck vehicle parking follow signs to visitor parking. o Please contact the Production Manager if you need directions from any local hotel to The Egg’s loading dock or visitor parking. -
The Algonquin Round Table New York: a Historical Guide the Algonquin Round Table New York: a Historical Guide
(Read free ebook) The Algonquin Round Table New York: A Historical Guide The Algonquin Round Table New York: A Historical Guide QxKpnBVVk The Algonquin Round Table New York: A Historical Guide GF-51433 USmix/Data/US-2015 4.5/5 From 294 Reviews Kevin C. Fitzpatrick DOC | *audiobook | ebooks | Download PDF | ePub 13 of 13 people found the following review helpful. A great way to introduce yourself to a group who made literary historyBy Greg HatfieldIt seems my entire life has been connected to the Algonquin Round Table. When I first discovered Harpo Marx, as a youngster, it led me to his autobiography, Harpo Speaks,where I then learned about the Round Table. Alexander Woollcott, George S. Kaufman, Dorothy Parker, Robert Benchley, Franklin P. Adams, Edna Ferber, Heywood Broun, and all the rest who made up the Vicious Circle, became an obsession to me and I had to learn about their lives and, more importantly, their work.Kevin Fitzpatrick has done a remarkable job with this book, putting the group into a historical perspective, and giving the reader a terrific overview of what made the Algonquin Round Table unique and worthy of your time. They were the leading writers and critics of the 1920's, who really did enjoy one another's company, meeting practically every day for lunch for ten years at the Algonquin Hotel.Fitzpatrick says, in one section, that there isn't a day, in this modern era, where someone, somewhere, mentions one of the group in a glowing context (I'm paraphrasing here). The fact remains that the work of Kaufman, Mrs. -
Orson Welles: CHIMES at MIDNIGHT (1965), 115 Min
October 18, 2016 (XXXIII:8) Orson Welles: CHIMES AT MIDNIGHT (1965), 115 min. Directed by Orson Welles Written by William Shakespeare (plays), Raphael Holinshed (book), Orson Welles (screenplay) Produced by Ángel Escolano, Emiliano Piedra, Harry Saltzman Music Angelo Francesco Lavagnino Cinematography Edmond Richard Film Editing Elena Jaumandreu , Frederick Muller, Peter Parasheles Production Design Mariano Erdoiza Set Decoration José Antonio de la Guerra Costume Design Orson Welles Cast Orson Welles…Falstaff Jeanne Moreau…Doll Tearsheet Worlds" panicked thousands of listeners. His made his Margaret Rutherford…Mistress Quickly first film Citizen Kane (1941), which tops nearly all lists John Gielgud ... Henry IV of the world's greatest films, when he was only 25. Marina Vlady ... Kate Percy Despite his reputation as an actor and master filmmaker, Walter Chiari ... Mr. Silence he maintained his memberships in the International Michael Aldridge ...Pistol Brotherhood of Magicians and the Society of American Tony Beckley ... Ned Poins and regularly practiced sleight-of-hand magic in case his Jeremy Rowe ... Prince John career came to an abrupt end. Welles occasionally Alan Webb ... Shallow performed at the annual conventions of each organization, Fernando Rey ... Worcester and was considered by fellow magicians to be extremely Keith Baxter...Prince Hal accomplished. Laurence Olivier had wanted to cast him as Norman Rodway ... Henry 'Hotspur' Percy Buckingham in Richard III (1955), his film of William José Nieto ... Northumberland Shakespeare's play "Richard III", but gave the role to Andrew Faulds ... Westmoreland Ralph Richardson, his oldest friend, because Richardson Patrick Bedford ... Bardolph (as Paddy Bedford) wanted it. In his autobiography, Olivier says he wishes he Beatrice Welles .. -
A Tempest Or, on the flood of Interest In: Sentiment Analysis, Opinion Mining, and the Computational Treatment of Subjective Language
A Tempest Or, on the flood of interest in: sentiment analysis, opinion mining, and the computational treatment of subjective language Lillian Lee Cornell University http://www.cs.cornell.edu/home/llee “Romance should never begin with sentiment. It should begin with science and end with a settlement.” — Oscar Wilde, An Ideal Husband , that has such people in’t According to a Comscore ’07 report and an ’08 Pew survey: 60% of US residents have done online product research. 15% do so on a typical day. 73%-87% of US readers of online reviews of services say the reviews were significant influences. (more on economics later) But 58% of US internet users report that online information was missing, impossible to find, confusing, and/or overwhelming. Creating technologies that find and analyze reviews would answer a tremendous information need. O brave new world People search for and are affected by online opinions. TripAdvisor, Rotten Tomatoes, Yelp, ... Amazon, eBay, YouTube... blogs, Q&A and discussion sites, ... But 58% of US internet users report that online information was missing, impossible to find, confusing, and/or overwhelming. Creating technologies that find and analyze reviews would answer a tremendous information need. O brave new world, that has such people in’t People search for and are affected by online opinions. TripAdvisor, Rotten Tomatoes, Yelp, ... Amazon, eBay, YouTube... blogs, Q&A and discussion sites, ... According to a Comscore ’07 report and an ’08 Pew survey: 60% of US residents have done online product research. 15% do so on a typical day. 73%-87% of US readers of online reviews of services say the reviews were significant influences. -
You Can't Take It With
Insights A Study Guide to the Utah Shakespeare Festival You Can’t Take It with You The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Michael Thomas Holmes (left) and Laurie Birmingham in You Can’t Take It with You, 1995. Contents You Can’tInformation Take on theIt Play with You Synopsis 4 Characters 5 About the Playwright 6 Scholarly Articles on the Play Happy Lunacies 7 Still Speaking to Audiences 9 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: You Can’t Take It with You The Vanderhof family at the center of You Can’t Take It with You is a collection of cheerful and erratic (yet lovable) incompetents. -
The Role of Stanislavsky and the Moscow Art Theatre's 1923 And
CULTURAL EXCHANGE: THE ROLE OF STANISLAVSKY AND THE MOSCOW ART THEATRE’S 1923 AND1924 AMERICAN TOURS Cassandra M. Brooks, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Olga Velikanova, Major Professor Richard Golden, Committee Member Guy Chet, Committee Member Richard B. McCaslin, Chair of the Department of History Mark Wardell, Dean of the Toulouse Graduate School Brooks, Cassandra M. Cultural Exchange: The Role of Stanislavsky and the Moscow Art Theatre’s 1923 and 1924 American Tours. Master of Arts (History), August 2014, 105 pp., bibliography, 43 titles. The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge. -
The Transnational Sound of Harpo Marx
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 22 | 2021 Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Electronic version URL: http://journals.openedition.org/miranda/36228 DOI: 10.4000/miranda.36228 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Marie Ventura, “Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx”, Miranda [Online], 22 | 2021, Online since 02 March 2021, connection on 27 April 2021. URL: http:// journals.openedition.org/miranda/36228 ; DOI: https://doi.org/10.4000/miranda.36228 This text was automatically generated on 27 April 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx 1 Honks, Whistles, and Harp: The Transnational Sound of Harpo Marx Marie Ventura Introduction: a Transnational Trickster 1 In early autumn, 1933, New York critic Alexander Woollcott telephoned his friend Harpo Marx with a singular proposal. Having just learned that President Franklin Roosevelt was about to carry out his campaign promise to have the United States recognize the Soviet Union, Woollcott—a great friend and supporter of the Roosevelts, and Eleanor Roosevelt in particular—had decided “that Harpo Marx should be the first American artist to perform in Moscow after the US and the USSR become friendly nations” (Marx and Barber 297). “They’ll adore you,” Woollcott told him. “With a name like yours, how can you miss? Can’t you see the three-sheets? ‘Presenting Marx—In person’!” (Marx and Barber 297) 2 Harpo’s response, quite naturally, was a rather vehement: you’re crazy! The forty-four- year-old performer had no intention of going to Russia.1 In 1933, he was working in Hollywood as one of a family comedy team of four Marx Brothers: Chico, Harpo, Groucho, and Zeppo. -
The Inventory of the Alexander Woollcott Collection #344
The Inventory of the Alexander Woollcott Collection #344 Howard Gotlieb Archival Research Center WOOLLCOTT, Alexander Purchase: 1971. #l2G Box 1 Folder 1921-1940. Letters from Alexander Woollcott ( #1) 1921 ALS, to Dr. Saunders. October 28. "About 1921 11 marked in pencil on the first page. 2 pp. 1932 TLS, New York, to Mrs. A. P. Saunders, Clinton, N. '/· March 19. 2 pp. Typescript envelope postmarked the same date. TLS, New York, to Mrs. Saunders. October 21. 2 pp. 1936 ALS, Bomciseen,~Vt., to "Louise" October 6, no year marked on letter. 3 pp. Holograph note about Eleanora (van?) Mendelsohn, Viennese actress, who is mentioned in the letter, enclosed. Holograph envelope postmarked October 7. 11 1939 TLS, Beverley Hills, Calif., to "Louise • April 1. 2 pp. Typescript envelope postmarked the same date. 1940 TLS, Bomoseen, Vt., to Mr. Plumley. September 22. 2 pp. Note: Louise is Mrs. Saunders. Dr. Saunders is Arthur Percy Saunders, 1869-1953.~ a ahemist and dean at Hamilton College. WOOLLCOTT, ALEXANDER Purchase: Addenda January 1972 Box 1 Letters from Alexander Woollcott (#1) 1930 TLS. No place, To Miss Schneider, October 3, 1930. 1930 TLS. New York, To Miss Schneider, October 15, 1930. 1934 TLS. New York, to Mr. Scaife t: Roger Livingston Scaife 1875-19513, December 12, 1934. 2 PP• 1936 TLS. New York, to the Rev. Charles Russell Peck, Concord, Mass., no date with typescript envelope postmarked December 7, 1936. 1940 TLS. Fairmont Hotel, San Francisco, to Pierre Monteux (1875-1964), San Francisco, March 27,1940 with envelope postmarked March 26. WOOLLCOTT, Alexander Purchase: November 1977 :Jox 1 Letters from Alexander Woollcott (#1) ALS Carlton Hotel, London to Negley Farson, April 9, 1936, 2 p. -
She's a Playwright! P.M
Rhode Island College Digital Commons @ RIC What's News? Newspapers 4-22-1985 What's News @ Rhode Island College Rhode Island College Follow this and additional works at: https://digitalcommons.ric.edu/whats_news Recommended Citation Rhode Island College, "What's News @ Rhode Island College" (1985). What's News?. 295. https://digitalcommons.ric.edu/whats_news/295 This Book is brought to you for free and open access by the Newspapers at Digital Commons @ RIC. It has been accepted for inclusion in What's News? by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. History club brings Robert Clary: Holocaust survivor• and TV star here Robert Clary, known internationally to 16 children, Clary began performing quit e Clar y and the rest of his famil.y were television viewers for his role as LeBeau in early in life. He was singing profes sionally placed in a cattle car with I 00 other French the comedy series about prisoners of war, throughout Paris at age 12. Jews and traveled for three days and two Hogan's Heroes, is a survivor of a much When the Nazis invaded France in 1940 nights before reaching the first of four grimmer sort of German prison camp . cha nges that were to alter his life forever camps in which he was held prisoner dur Clary spent the years from 1942 when he began . ing the war. was 16 until 1945 in German concentration In 1942 the Germans came for him and Because he was young and . strong he was camps. -
La Ronde by Arthur Schnitzler Translated by Carl Mueller Directed by Cameron Watson Scene Dock Theatre Nov 19–22, 2015 PRESENTS
La Ronde By Arthur Schnitzler Translated by Carl Mueller Directed by Cameron Watson Scene Dock Theatre Nov 19–22, 2015 PRESENTS Cast of Characters La Ronde (in order of appearance) The Prostitute The Husband By Arthur Schnitzler Selina Scott-Bennin Ryan Holmes Translated by Carl Mueller The Soldier The Sweet Young Thing Jim French Mehrnaz Mohammadi WITH (in alphabetical order) The Parlor Maid The Poet Jim French Kristina Hanna Ryan Holmes Philippa Knyphausen Julián Juaquín The Young Gentleman The Actress Julián Juaquín Philippa Knyphausen Courtney Lloyd Charley Stern Courtney Lloyd Mehrnaz Mohammadi Selina Scott-Bennin Charley Stern The Young Wife The Count Kristina Hanna Jim French SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN Katrina Coulourides Erica Park Nicole Eng TIME: The late 1890s. SOUND DESIGN VOCAL COACH STAGE MANAGER PLACE: Vienna. Briana Billups Lauren Murphy Savannah Harrow The story is told in ten dialogues with no intermission. DIRECTED BY Cameron Watson WARNING Please be advised that this production contains e-cigarettes, e-cigars, nudity, as well as mature language and themes. PRODUCTION STAFF Scene Dock Theatre | November 19-22, 2015 Scenic Artist Erin O’Donnell Crew Alison Applebaum, Caroline Berns, Haley Brown, Justin Chien, Anna Courvette, “La Ronde” is produced in special arrangement with Smith & Kraus Publishers. Sabrina Sonner, John Tavcar, Patrick Wallace INTERIM DEAN Associate Professor of Theatre Practice David Bridel (Director of MFA in Acting) ASSOCIATE DEANS Professor Sharon Marie Carnicke Professor Velina Hasu Houston (Director of Dramatic Writing) ASSOCIATE PROFESSORS Meiling Cheng (Director of Critical Studies) Oliver Mayer ASSISTANT PROFESSORS Luis Alfaro Carla Della Gatta Takeshi Kata DIRECTOR'S NOTE Tom Ontiveros La Ronde Sibyl Wickersheimer Everything that can go wrong between lovers, will. -
South Pacific
THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods.