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The Sleepy Hollow Experience
Contact: Ryan Oliveti, Artistic Associate 770-463-1110 | [email protected] FOR IMMEDIATE RELEASE: Serenbe Playhouse Presents THE SLEEPY HOLLOW EXPERIENCE Now In Its 5th SOLD OUT Year A New Adaptation by Brian Clowdus With Dialogue Assistance by Rachel Teagle Direction by Ryan Oliveti September 28th – November 5th Atlanta (September 2017) – Serenbe Playhouse, recipient of the prestigious American Theatre Wing grant, and recently honored with the most Suzi Bass Awards for a musical in Atlanta (Miss Saigon), is pleased to present THE SLEEPY HOLLOW EXPEREINCE. Directed by Ryan Oliveti, the show opens on September 28th and runs to November 5th. THE SLEEPY HOLLOW EXPERIENCE will be produced at The Horseman’s Meadow in Serenbe. ABOUT THE SLEEPY HOLLOW EXPERIENCE As autumn cools the steaming earth and leaves begin to turn, we’re bringing back our favorite fall fright fest: The Sleepy Hollow Experience. Following four sold out seasons and recognition as one of the ‘Top Five Halloween Plays in the Country’ by American Theatre Magazine, patrons will enjoy a fresh adaptation by Serenbe Playhouse’s Brian Clowdus. This immersive Halloween experience is sure to have heads rolling. “It is hard to believe that we are entering our fifth year of The Sleepy Hollow Experience,” says Oliveti. “It feels like just yesterday that Brian Clowdus was on my phone asking me to Assistant Direct the very first production of this show. I never would have guessed that 5 years later I’d be standing in a field ready to remount this tale. I could not be more excited for its return and its lasting legacy as an Atlanta Halloween tradition.” BRAND NEW THIS YEAR, The Sleepy Hollow Experience is going family friendly each Sunday in October at 2pm! Join us starting at 1pm for fall activities including: a pumpkin patch, pumpkin decorating, s’more making, fall games, food & drink. -
The Legend of Sleepy Hollow
University of South Carolina Scholar Commons Faculty Publications English Language and Literatures, Department of 2004 Troubling Our Heads about Ichabod: "The Legend of Sleepy Hollow," Classic American Literature, and the Sexual Politics of Homosocial Brotherhood David Greven University of South Carolina - Columbia, [email protected] Follow this and additional works at: https://scholarcommons.sc.edu/engl_facpub Part of the English Language and Literature Commons Publication Info Published in American Quarterly, Volume 56, Issue 1, 2004, pages 83-110. © American Quarterly 2004, John Hopkins University Press Greven, D. (2004). Troubling our heads about Ichabod: “The Legend of Sleepy Hollow,” classic American literature, and the sexual politics of homosocial brotherhood. American Quarterly, 56(1), 83-110. http://dx.doi.org/10.1353/aq.2004.0006 This Article is brought to you by the English Language and Literatures, Department of at Scholar Commons. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. 7URXEOLQJ2XU+HDGVDERXW,FKDERG7KH/HJHQGRI 6OHHS\+ROORZ&ODVVLF$PHULFDQ/LWHUDWXUHDQGWKH 6H[XDO3ROLWLFVRI+RPRVRFLDO%URWKHUKRRG 'DYLG*UHYHQ American Quarterly, Volume 56, Number 1, March 2004, pp. 83-110 (Article) 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV DOI: 10.1353/aq.2004.0006 For additional information about this article http://muse.jhu.edu/journals/aq/summary/v056/56.1greven.html Access provided by Lou __ACCESS_STATEMENT__ Beth Holtz Library Endowment (16 Jul 2015 15:23 GMT) TROUBLING OUR HEADS 83 Troubling Our Heads about Ichabod: “The Legend of Sleepy Hollow,” Classic American Literature, and the Sexual Politics of Homosocial Brotherhood DAVID GREVEN Boston University ANTEBELLUM AMERICAN MEN WERE SCOPOPHILIC SPECTACLES, PROJECTED ONTO vast social screens where they were perpetually scrutinized by innu- merable punitive eyes. -
The Legend of Sleepy Hollow Adapted by Catherine Bush from the Short Story by Washington Irving *Especially for Grades 4-11
Study Guide prepared by Catherine Bush Barter Playwright-in-Residence The Legend of Sleepy Hollow Adapted by Catherine Bush from the short story by Washington Irving *Especially for Grades 4-11 By the Barter Players, Barter’s Smith Theatre Fall, 2019 On tour January thru March, 2020 (NOTE: standards are included for reading the story The Legend of Sleepy Hollow, seeing a performance of the play, and completing the study guide.) Virginia SOLs English – 4.1, 4.2, 4.4, 4.5, 4.7, 4.9, 5.1, 5.2, 5.4, 5.5, 5.7, 5.9, 6.1, 6.2, 6.4, 6.5, 6.7, 6.9, 7.1, 7,2, 7.4, 7.5, 7.7, 7.9, 8.1, 8.2, 8.4, 8.5, 8.7, 8.9, 9.1, 9.3, 9.4, 9.6, 9.8, 10.1, 10.3, 10.4, 10.6, 10.8, 11.1, 11.3, 11.4, 11.6, 11.8 Theatre Arts – 6.5, 6.7, 6.18, 6.21, 7.6, 7.18, 7.20, 8.5, 8.12, 8.18, 8.22, TI.10, TI.11, TI.13, TI.17, TII.9, TII.12, TII.15, TII.17, TIII.12 Tennessee/North Carolina Common Core State Standards English Language Arts – Reading Literature: 4.3, 4.4, 4.5, 4.7, 5.4, 5.9, 6.4, 6.7, 6.10, 7.4, 7.7, 7.10, 8.4, 8.7, 8.10, 9-10.4, 9-10.10, 11-12.4, 11-12.7, 11-12.10 English Language Arts – Writing: 4.3, 4.7, 5.3, 5.9, 6.1, 6.4, 6.6, 6.7, 7.1, 7.3, 7.7, 8.1, 8.3, 8.7, 9-10.1, 9-10.3, 9-10.7, 11-12.2, 11-12.1, 11-12.3, 11-12.7 Tennessee Fine Arts Curriculum Standards Theatre –4.T.P3, 4.T.Cr2, 4.T.Cr3, 4.T.R1, 4.T.Cn1, 5.T.P3, 5.T.Cr2, 5.T.R1 Theatre 6-8 – 6.T.Cr2, 6.T.R1, 6.T.R3, 7.T.P3, 7.T.Cr2, 7.T.R3, 8.T.P3, 8.T.R1, 8.T.R3 Theatre 9-12 – HS3.T.Cr3, HS1.T.R1, HS2.T.R1, HS1.T.R1, HS1.T.R2, HS1.T.R3 North Carolina Essential Standards Theatre Arts – 4.C.1, 4.A.1, 5.A.1, 6.A.1, 6.C.2, 6.CU.2, 7.C.2, 7.A.1. -
The Legend of Sleepy Hollow Study Guide.Pdf
Classroom The Legend of Sleepy Hollow Connections For teachers and students grades K - 5 Script, lyrics & music © 1996 & 2006 by Paul Deiss; based on the story by Washington Irving Teacher Resources In the Classroom Theatre IV’s The Legend of Sleepy Hollow and the Classroom Connections Study Guide are produced in support of the teaching of states’ standards, as well as national standards set forth by the National Council of Teachers of English (NCTE). Activities provided support curriculum in grades K-5 www.hudsonvalley.org/education/ Background/abt_irving/abt_irving.html At the Library Chorpenning, Charlotte B. Rip Van Winkle; A Play for Young People from the Story by Washington Irving. Chicago, IL: Coach House Press, 1954. Irving, Washington. The Legend of Sleepy Hollow and Rip Van Winkle. New York: Dover Publications, Inc., 1995. (in easy-to-read type) On the Web The following web sites have activities and information related to Washington Irving and The Legend of Sleepy Hollow. Audio recording of the story: www.scifi.com/set/playhouse/sleepy/ Upper Elementary Lesson Plan tied to National Standards www.hudsonvalley.org/education/ LessonPlans/Storytelling/storytelling.html Smithsonian American Art Museum http://americanart.si.edu/art_ info/1001/2000/10/103100.htmlWe Set the Stage for Learning™ Theatre IV, Richmond, VA Background on Washington Irving John Quidor, 1801–81, Perhaps Brom had something to do with his disappearance. Perhaps he was the The Headless victim of a cruel prank. Or perhaps a headless ghost spirited him away, as Horseman Pursuing legend has it. Ichabod Crane, 1858, oil, Smithsonian American Art Museum Play Synopsis: Based on the original story by Washington Irving, The Legend of Sleepy Hol- low tells the story of Tarry Town, a place where strange things happen and the townsfolk seem entranced by spirits. -
6 Stops in Washington Irving's Sleepy Hollow
Built in 1913, Kykuit was the home of oil tycoon 6 STOPS IN WASHINGTON John D. Rockefeller. Depending on which Kykuit tour you choose, you’ll want to set aside 1.5 to 3 hours IRVING’S SLEEPY HOLLOW (includes a shuttle bus to the location). Book on the Historic Hudson Valley website. • Philipsburg Manor • Sculpture of the Headless Horseman Sculpture of the Headless Horseman • The Headless Horseman Bridge 362 Broadway, Sleepy Hollow, New York • The Old Dutch Church and Burying Ground After purchasing the guidebook Tales of The Old • Sleepy Hollow Cemetery Dutch Burying Ground from Philipsburg Manor, walk • Sunnyside towards the Old Dutch Burying Ground. There are _______________________ several photo opportunities along the way. Approximately 300 feet (100 metres) up the road Notes you’ll find the sculpture of the Headless Horseman. Double-check opening times before you travel to Sleepy Hollow. At the time of writing, locations like Sunnyside and This sculpture was created for those visiting Sleepy Philipsburg Manor are open Wednesday to Sunday, May to Hollow to help us explore and relive the town’s rich early November. heritage, keeping the legend alive. Looking for public restrooms along the way? Plan for stops at Philipsburg Manor,Tarrytown station and Sunnyside. The Headless Horseman Bridge _______________________ “Over a deep black part of the stream, not far from the church, was formerly thrown a wooden bridge; the road Take the CROTON-HARMON STATION bound Metro- that led to it, and the bridge itself, were thickly shaded by North Train from Grand Central Terminal and get off overhanging trees, which cast a gloom about it, even in the daytime; but occasioned a fearful darkness at night. -
Headless Horseman’ As a Radio-On-Stage Show--Featuring Casting Monologues, and Technical Information
TRUNCATED SAMPLE SCRIPT This is a series of excerpted scenes from the full script, which runs to 57 pages--about 60 minutes in performance. Also included in this truncated script is a sampling of the appendix How to Produce ‘Headless Horseman’ as a Radio-On-Stage Show--featuring casting monologues, and technical information. If you purchase the rights to the play, I will send you a full script—as a PDF—from which you can make as many copies as are needed by your cast & crew. There is no per-script-fee. If you wish to secure the performance rights to this script, pre-recorded music tracks and pre-recorded sound effects or sheet music to the score, contact [email protected] The Headless Horseman of Sleepy Hollow Adapted for radio from Washington Irving’s short story Anthony E. Palermo RuyaSonic TRUNCATED SAMPLE SCRIPT 940 S. Windsor Blvd. October 17, 2010 Los Angeles, CA 90019 © 2010 Anthony Edward Palermo (323) 938-0415 [email protected] All rights reserved. www.RuyaSonic.com TRUNCATED SAMPLE SCRIPT © 2010 Anthony E. Palermo - [email protected] 78zxtq-r BILLING AND CREDIT REQUIREMENTS Producers of The Headless Horseman of Sleepy Hollow must give credit to Anthony E. Palermo in all programs distributed in connection with performances of the play, and all instances in which the title of the play appears in advertising or publicizing the production, including programs and playbills. The name of the Author must also appear on a separate line, immediately following the title of the play, and must be in type size not less than 30% of the size of type used in the title of the play. -
“I Should Not Have Come to This Place”: Complicating Ichabod‟S Faith
“I SHOULD NOT HAVE COME TO THIS PLACE”: COMPLICATING ICHABOD‟S FAITH IN REASON IN TIM BURTON‟S SLEEPY HOLLOW A Project Paper Submitted to the College of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Master of Arts In the Department of English University of Saskatchewan Saskatoon By JOEL KENDRICK FONSTAD Keywords: film, adaptation, rationality, reason, belief, myth, folktale, horror, Sir Gawain and the Green Knight, The Pit and the Pendulum, La Maschera del Demonio Copyright Joel Kendrick Fonstad, November 2010. All rights reserved. PERMISSION TO USE In presenting this project in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this project in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my project work or, in their absence, by the Head of the Department or the Dean of the College in which my project work was done. It is understood that any copying or publication or use of this project or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my project. Requests for permission to copy or to make other uses of materials in this project paper in whole or part should be addressed to: Head of the Department of English University of Saskatchewan Saskatoon, Saskatchewan S7N 5A5 Canada OR Dean College of Graduate Studies and Research University of Saskatchewan 107 Administration Place Saskatoon, Saskatchewan S7N 5A2 Canada i ABSTRACT Tim Burton‟s films are largely thought to be exercises in style over content, and film adaptations in general are largely thought to be lesser than their source works. -
The Legend of Sleepy Hollow
the same time; had been admitted to the bar; turned politician; electioneered; THE LEGEND OF written for the newspapers; and fi nally had been made a justice of the Court. VOCABULARY Brom Bones, too, who, shortly after his rival’s disappearance conducted the blooming Katrina in triumph to the altar, was observed to look exceedingly 1. mysterious SLEEPY HOLLOW knowing whenever the story of Ichabod was related, and always burst into a By Washington Irving hearty laugh at the mention of the pumpkin; which led some to suspect that he 2. bachelor knew more about the matter than he chose to tell. The old country wives, however, who are the best judges of these matters, 3. mortifi cation maintain to this day that Ichabod was spirited away by supernatural means; and it is a favorite story often told about the neighborhood round the winter 4. politician evening fi re. The bridge became more than ever an object of superstitious awe; and that may be the reason why the road has been altered in recent years, so as 5. triumph to approach the church by the border of the millpond. The schoolhouse being deserted soon fell to decay and was reported to be haunted by the ghost of the 6. decay unfortunate schoolmaster, Ichabod. On still summer evenings, it is said that his voice can be heard chanting a melancholy psalm tune among the tranquil 7. tranquil solitudes of Sleepy Hollow. 8. approbation POSTSCRIPT. FOUND IN THE HANDWRITTEN NOTE. 9. mirth The preceding tale is given almost in the precise words in which I heard it related at a Corporation meeting at the ancient city of Manhattoes, at which 10. -
Horizons School Matinee Series
2009-2010 Educator’s Resource Guide Horizons School Matinee Series Sleepy Hollow Monday, October 19, 2009 10:00 a.m./ 12:30 p.m. Celebrating 25 Years of Professional Performing Arts for K-12 Students Horizons School Matinee Series Thank you for joining us as we celebrate the 25th anniversary season of the Horizons School Matinee Series. We are proud to announce that over half a million students have experienced a professional performing arts event with us since the inception of this program. This season continues the tradition of providing great performances to enhance learning, fi re imaginations, and reinforce school curriculum in meaningful ways. Thank you for expanding children’s minds and sharing with them the joy of the performing arts! This resource guide has been designed to help you prepare your students with before activities that help them engage in the performance and after activities that encourage them to evaluate the performance and make relevant personal and academic connec- tions. Within the guide you will fi nd a variety of activities that can be used to enhance the core subject areas as well as the creative arts. Wisconsin Academic Standards are listed at the end of the guide to help you link the activities to your lesson plans. The materials in this guide refl ect the grade range recommended by the performing arts group. As teachers, you know best what the needs and abilities of your students are; therefore, please select and/or adapt any of the material to best meet the needs of your particular group of students. -
Headless Horseman ,” by W
“Headless Horseman ,” by W. Adam neighboring cemetery, and don’t wish Rinehart. Dresden Files RPG/FATE 3.0: their ancestor’s remains to be disturbed. Feet in the Water level introductory Another potential party draw would be game (6 Refresh, 20 Skill points, Skill for the members to be rare book cap Great +4); 6 PCs. collectors or fortune hunters, seeking the unpublished manuscript and/or treasure. The Dutch Reformed Church in The last potential idea would be for the Sleepy Hollow NY is a Dutch Colonial- party to be composed of members from era fieldstone and wooden church and the different groups listed above, and churchyard. The Sleepy Hollow have different, potentially opposing Cemetery is next to the churchyard. The goals. church is no longer regularly used for services, but might be on special What’s really going on: occasions. The cemetery has been Yes, the manuscript is real and around for centuries and is still in use. others are interested in it. There is a rather disreputable group of treasure The Dutch Reformed Church (c. 1685): seekers that are convinced there are Aspects: directions to a fortune in lost British Consecrated Ground silver. Whether this is the case is up to Little-used Historic Church the GM. More importantly though, Old Bones Washington Irving recorded the True Threshold: 3 Name of a fear-causing Wyldfae known to the locals as “The Headless Recently a rumor has started that Horseman.” The fetch whose True a lost manuscript written by Washington Name is revealed is also after the Irving and never published has manuscript. -
WASP Burial Locations
Compiled by Texas Woman's University Women Airforce Service Pilots (WASP) Burial Locations Page 1 Class WASP Roster Name Full Name Date of Birth Birth Place Hometown Date of Death Place of Death Place of Burial State of Burial Additional Resources WAFS Mitchell, Martha A. Wilkins 1/2/1921 Only, TN 01/15/2006 Paradise Valley, AZ Saint Francis Cemetery, Phoenix, AZ AZ WAFS Gunderson, Eleanor M. 6/10/1922 9/27/2013 no additional information WAFS Abell, Helen T. Abell, Helen T. 06/21/1986 WAFS Acher, F. Virginia Williams, F. Virginia Acher 7/16/1912 Valley City, ND 06/06/2003 Billerica, MA Cliff Hill Cemetery, Versailles, IN IN WAFS Adams, Ruth Adams, Ruth 6/12/1917 12/16/2005 WAFS Ahlstrom, Mary Belle Smith, Mary Belle Ahlstrom 1/23/1921 La Crosse, Wisconsin 6/15/2012 Austin, Texas Austin Memorial Park Austin, Texas TX WAFS Alexander, Eleanor Rust, Eleanor Alexander 08/28/1983 Riverside National Cemetery Riverside, CA CA WAFS Alleman, Virginia A. Disney, Virginia Alleman 12/17/1917 Big Prairie, Oklahoma 01/19/1993 Memorial Park Cemetery Tulsa, Oklahoma OK WAFS Allen, Dorothy J. Allen, Dorothy J. 11/5/1918 10/1/2006 WAFS Allen, Myrtle R. Carter, Myrtle R. Allen nd WAFS Allshouse, Sarah J. Gleeson, Sarah J. Allshouse 5/21/1923 Wilmerding, PA 07/03/2007 East McKeesport, PA Grandview Cemetery, Vorth Versailles, PA PA WAFS Alspach, Kay Alspach, Kay nd WAFS Anderson, Doris J. Daniel, Doris J. Anderson 8/13/1918 04/25/1992 WAFS Anderson, Ruth E. Boyea, Ruth A. Anderson 10/1/1908 08/07/2000 no information WAFS Archibald, Betty Fernandes, Betty Archibald 11/1/1920 Chicago, IL 6/18/2014 Memphis, Tennessee cremated WAFS Ashcraft, Yvonne C. -
Transformative Works and Cultures, No. 26, Special Issue, Social TV Fandom and the Media Industries (March 15, 2018)
Transformative Works and Cultures, No. 26, special issue, Social TV fandom and the media industries (March 15, 2018) Editorial Myles McNutt, Social TV fandom and the media industries Praxis Jacquelyn Arcy & Zhana Johnson, Intersectional critique and social media activism in "Sleepy Hollow" fandom Eleanor Patterson, Must tweet TV: ABC's #TGIT and the cultural work of programming social television Stephanie Anne Brown, Millennial fandom and the failures of "Switched at Birth"'s sexual assault education campaign Jacinta Yanders, Interactions, emotions, and Earpers: "Wynonna Earp," the best fandom ever Symposium Myles McNutt, "The 100" and the social contract of social TV Eloy Santos Vieira & Lilian Cristina Monteiro França, How Brazilian Whovians influenced BBC's strategies through Twitter: Fifty years of "Doctor Who" and fan engagement Melanie E. S. Kohnen, "Please Like Me" and global TV flows Cory Barker, Facebook, Twitter, and the pivot to original content: From social TV to TV on social Jake Pitre, Fan reactions to "The Leftovers" and "Twin Peaks: The Return" Interview TWC Editor, Interview with Flourish Klink Review Francesca Coppa, Be him/have him: Brooker/Bowie Anne Kustritz, "Controversies in digital ethics," edited by Amber Davisson and Paul Booth Rhiannon Bury, "Public relations and participatory culture," edited by A. L. Hutchins and N. T. J. Tindall Mel Stanfill, "The culture industry and participatory audiences," by Emma Keltie Transformative Works and Cultures (TWC), ISSN 1941-2258, is an online-only Gold Open Access publication of the nonprofit Organization for Transformative Works. TWC is licensed under the Creative Commons Attribution 4.0 International License. Download date: March 15, 2018.