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U U Tun JOE TRAMMELL, MANAGER Mm Mm
THE DALLAS EXPBESS. PALLAS. TEXAS, AUGUST 80, 1M PACE REVEH " W KM "(0 TF" HI ' TH1 EE ATlni S if Wednesday, Sept. 3rd - Saturday August 30th . the orama of x brajd jtew 12 episode series . r SPECIAL BETTBJf ENGAGEMENTS OF R0Y STEWART IS ' PI "The Perils of Our "The LaWs OUtlai"?' Girl MATINEE SATURDAY 2 Reporters,r His greatest Western Thriller, a wonderful Western story of the Catte Country PM. Also a big Western thriller'THE MOUNTAINEER'S REVENGE" Matinee Wednesday 2 P. M. Sunday August 31, mm Thursday, Sept. 4th, Special Western Attraction "HARRY CAREY" SPECIAL emeus If.. t :",.,:.. V. v; ' - - - 1 FEATURED IN fix- - c''1' K mm Ace of the Saddle" k " Ann ill Featuri&g This is the best WESTERN PH0- - TOPLAY Harry ever made. Billie Rhodes UmK A BANG UP SUNDAY In (in i ni) & - PICTURE nnn til HUUf mm Jam full of shooting and 'pep' W';-r,i-f- ' e , )f.l WE OPEN SUNDAY A picture for the little ones as well as the grewn 1:00 pV m. - iips. v Love plays some queer pranks. , One of the strangest of its capers was taking away the er of Cheyen- Billie Rhodes teaches Gimp, her trick pup, to ting "Hoop-La,- Thursday 2 P, M. ne Harry Henderson right at' the time he needed it most of anything in the world. How a gunless man defeated in " her latest release. Mate every attempt on his life and property until desperation caused him to "bust loose from peace" Is shown In "The mm. WHAT TOCTX SEE 15 "H00P-LA- " :.t Ace of the Saddle," Harry Carey's latest Universal western picture, which will begin a showing at the MAX MOT II THEATRE, Sunday. -
'50S Adventure Suzanne Jagel O'brien
Originals in University of Rochester Rare Books & Special Collections. Not to be reproduced without permission. Suzanne Jagel O'Brien '59 Papers A Very '50s Adventure Suzanne Jagel O'Brien '59 NOTICE: This material is protected by copyright law (Title 17 US Code) Originals in University of Rochester Rare Books & Special Collections. Not to be reproduced without permission. Suzanne Jagel O'Brien '59 Papers On board the Flandre: 25 septembre 1957 Dear Mom and Dad, Rolling back and forth here, I cannot guarantee the looks of this letter. Yesterday was beautiful. We went in to eat shortly after the last goodbye to the city of N.Y. Now I see why they say the French Line is known for its food. There is a menu, but this just tells you the names of all you eat. Starting with hors d'oeuvres, you go on down through soup, fish, main dish, salad (eggs back a bit), cheese, pastry, coffee, and fruit (to eat between meals). I'm determined to get to like the coffee, but as of now, it bears a strange resemblance (the ship rolled more than usual) to turpentine. We spent most of the afternoon sunning ourselves on the deck chairs. Got myself a burn. We don't eat dinner till 8:30-- and finish about 10:15! Considering that we must put our watches ahead every night, this is rather late. Spent a while on deck after dinner. Perfectly beautiful star filled sky. Hooded coat great! Slept well. Felt like the ship was a big cradle, rocking me to sleep. -
Adaptations of Notre-Dame De Paris
ADAPTATIONS OF NOTRE-DAME DE PARIS The immense and continuing popularity of Victor Hugo’s novel has inspired adaptations across many media for nearly two centuries. Below is a sampling to assist in your production research. Opera and Musical Theater La Esmeralda (1836) – opera by Louise Bertin, libretto by Victor Hugo Esmeralda (1847) – opera by Alexander Dargomyzhsky Esmeralda (1883) – opera by Arthur Goring Thomas Notre Dame (1902-1904) – opera in two acts by Franz Schmidt, text by Schmidt and Leopold Wilk The Hunchback of Notre Dame (1993) – an Off-Broadway musical with music by Byron Janis, lyrics by Hal Hackady, and book by Anthony Scully The Hunchback of Notre Dame (1993) – a sung-through musical with book and lyrics by Gary Sullivan and music by John Trent Wallace. In 2010, it was re-written as a conventional musical, with the new title Notre Dame. Notre-Dame de Paris (1998) – an operetta with music by Riccardo Cocciante and libretto by Luc Plamondon. The show has been successful with productions in France, Las Vegas, Canada, U.K., Spain, Italy, Russia, South Korea, and Belgium. Der Glöckner von Notre Dame (1999-2002) – music by Alan Menken, lyrics by Stephen Schwartz, book and direction by James Lapine, and translated by Michael Kunze; based on the 1996 Disney film Hunchback (1998) – a rock musical by C. Rainey Lewis; presented in Seattle, Washington Les Enfants de Paris (2011) – music and lyrics by David Levinson and book by Stacey Weingarten. It re-sets the action to 1954 at the beginning of the French-Algerian conflict. The Hunchback of Notre Dame (2014) – music by Alan Menken, lyrics by Stephen Schwartz, book by Peter Parnell, direction by Scott Schwartz. -
A Linguistic Study of the Magic in Disney Lyrics
View metadata, citation and similar papers at core.ac.uk brought to youCORE by provided by Diposit Digital de la Universitat de Barcelona A LINGUISTIC STUDY OF THE MAGIC IN DISNEY LYRICS Ana Mª Rierola Puigderajols Barcelona, 2001 ____________________________________________________________ _ A LINGUISTIC STUDY OF THE MAGIC IN DISNEY LYRICS By Ana Mª Rierola Puigderajols research student from the Doctorate programme in English Linguistics during the two-year period 1996-1998, for the degree of Doctor of Philology. A Thesis submitted to the Faculty of English and German Philology of Barcelona University. Under the supervision of Dr. Ramon Ribé i Queralt, director of the thesis. 2001 ____________________________________________________________ _ iii Acknowledgements I would like to thank Dr. Ramon Ribé, tutor of my research course and director of this thesis, for his kind support, solid supervision and accurate advice to make the writing of this dissertation possible. My gratitude is extended to Dra. Isabel Marsà, with whom I had the opportunity to discuss a first draft of the core material presented in this paper, and who, at the very beginning, guided me to undertake it. In particular, my appreciation to Dra. Anna Poch for her friendly assistance and words of enlightenment which have had a deep effect on my work since I wrote the project of this thesis, as well as the professors I had during my doctorate course, to whom I am deeply grateful for their professional teaching and creative ideas, which influenced on my dissertation somehow. Next, I warmly thank architect Josep Sánchez i Ferré and his wife, Dra. Mª Angels Rovira, for their help and friendship, and for their generous Internet services that facilitated and expedited useful information on this research. -
March. for Solo Piano. New York: Shapiro, Bernstein & Von Tilzer, 1900
Box 514 Schwartz, Jean. Across the continent: march. For solo piano. New York: Shapiro, Bernstein & Von Tilzer, 1900. Cover design by Bert Cobb. Lerman, J. W. Across the hot sands: intermezzo and two step. For solo piano. Beaux Arts edition. Philadelphia: Eclipse Publishing Co., 1903. Cover design by Starmer. Wenrich, Percy. Across the ocean: descriptive march two-step. For solo piano. Chicago: McKinley Music Co., 1909. Lampe, J. Bodewalt, arr. Adele: selection. From the opera “Adele” by Jean Briquet. For solo piano. New York: Jerome H. Remick & Co., 1913. Rosey, George. Adoration: waltzes. For solo piano. New York: Jos. W. Stern & Co., 1900. Brooks, Ellis. The adlake two-step. For solo piano. [Chicago]: S. Brainard’s Sons Co., 1896. Missing front cover. Bernhard, Harry. Adventures of cupid waltzes. For solo piano. Boston: M—Jo—K—Music Co., 1912. Cover design by E. S. Fisher. Harris, Chas. K. After the ball: waltz. For solo piano. Arranged by Jos. Clauder. Milwaukee, WI: Chas. K. Harris, 1893. Teschner, Arthur. After dark on Broadway: march and two step. For solo piano. New York: Armstrong Music Publishing Co., 1903. Cover design by Starmer. Moret, Neil. After vespers (A twilight meditation). For solo piano. New York: Jerome H. Remick & Co., 1912. Missing front cover. Keiser, Robert. An afternoon tea (A Kaffe Klatsch/Matin thé). For solo piano. New York: Leo Feist, 1902. Appel, Harry. Air king (March and two-step). For solo piano. New York: Seminary Music Co., 1911. Murray, James Alex. Alexander’s harmony blues. For solo piano. Boston: James A. Murray Music Co., 1920. -
Women in Music: a Contribution to a New History P
COMMISSION OF THE EUROPEAN COMMUNITIES SUPPLEMENT No. 22 to Dlrectorat•General Information Information for Women's organisations and press Women of Europe * ·,. '1. * * ·.·. ·.·: .. * * * * * WOMEN AND MUSIC ~~ Rue de Ia Loi 200 0 1049 Brussels 0 Tel. 2351111 X/336/85-EN Study by YVES BESSIERES et PATRICIA NIEDZWIECKI X/336/85-E October 1985 - 2 - W 0 M E N A N D M U S I C INDEX Foreword p. 3 Women in music: a contribution to a new history p. 4 of music, from ancient to modern times Biographical Index p. 20 General Bibliography p. 77 Discography p. 88 / - 3 - F 0 R E W 0 R D Can women 1 s place and role in music be defined in terms of their active involvement in the creation and performance of music rather than their sub jective role as muses? History books and encyclopaedias offer hardly any information on women 1 s role in music and it is no easy task to ascertain the sex of musicians when an initial or forename is given and the text is written in the masculine. Encylope'die Fasquelle contains this revealing "misprint" (or proofreader 1 s oversight) : "Brasseur, Elisabeth, French choir leader. He founded the Elisabeth Brasseur choral school." This is nothing new: in 1696, the music critic Bayle mentioned Sappho in a paragraph on the island of Lesbos and listed her as one of its eminent men: "Lesbos was famous for its eminent men: Pittacus, Alcaeus, Sappho and Theophanes, etc." Following in the footsteps of Otto Ebel who published a bibliographical dictionary of women composers in 1910, however, modern authors have counted no fewer than 3,000 women musicians in some 66 countries. -
The Hunchback of Notre Dame Production Handbook Is Here To
TABLE OF CONTENTS he Hunchback of Notre Dame Production Handbook is here to guide you through all aspects of production: from casting to design to rehearsal exercises and beyond. We at Disney Theatrical TProductions took what we learned from the world premiere productions, as well as various high school pilots, to craft a guidebook for creating your own vision of the show. To help you organize your approach to this material and your staging and rehearsal processes, we have divided this handbook into three sections: • Before You Begin includes information you’ll want to start thinking about before you jump into rehearsals. • In Rehearsal consists of material that will assist you in working with your actors and singers. • Beyond the Stage contains information that will help to craft an engaging and rewarding production for actors and audiences alike (consider referencing this section both before and during your rehearsal process). Incorporate the material in these pages as you see fit, and above all: Enjoy! BEFORE YOU BEGIN Introduction ............................................................................... 1 Page to Stage ............................................................................ 3 Casting ...................................................................................... 9 Design ..................................................................................... 14 IN REHEARSAL Music Direction ........................................................................ 23 Approaches to Character .......................................................