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ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology. -
A Level Drama and Theatre Studies
A LEVEL DRAMA AND THEATRE STUDIES A LEVEL DRAMA AND THEATRE STUDIES SUMMARY OF ASSESSMENT Component 1: Theatre Workshop Non-exam assessment: Internally assessed, externally moderated - 20% of qualification Learners will be assessed on either acting or design. Learners participate in the creation, development and performance of a piece of theatre based on a reinterpretation of an extract from a text chosen from a list supplied by WJEC. The piece must be developed using the techniques and working methods of either an influential theatre practitioner or a recognised theatre company. Learners must produce: • a realisation of the performance or design • a creative log Component 2: Text in Action Non-exam assessment: externally assessed by a visiting examiner - 40% of qualification Learners will be assessed on either acting or design. Learners participate in the creation, development and performance of two pieces of theatre based on a stimulus supplied by WJEC: 1. a devised piece using the techniques and working methods of either an influential theatre practitioner or a recognised theatre company (a different practitioner or company to that chosen for Component 1) 2. an extract from a text in a different style chosen by the learner. Learners must realise their performance live for the visiting examiner. Learners choosing design must also give a 5-10 minute presentation of their design to the examiner. Learners produce a process and evaluation report within one week of completion of the practical work. Component 3: Text in Performance Written examination: 2 hours 30 minutes 40% of qualification Sections A and B Open book: Clean copies (no annotation) of the two complete texts chosen must be taken into the examination. -
Newsletter 09/13 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 09/13 DIGITAL EDITION Nr. 332 - August 2013 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 11 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 09/13 (Nr. 332) August 2013 editorial Neues Video auf unserem Youtube-Kanal! http://www.youtube.com/user/laserhotline WOCHENENDKRIEGER DIE FILMMUSIK Wir haben Uwe Schenk, den Komponisten der Musik zu dem Film „Wochenendkrieger“, in seinem Studio besucht. Anhand von Beispielen demonstriert er seine Arbeitsweise und erzählt über den sinfonischen Score zu Andreas Geigers Dokumentarfilm. Viel Spaß bei Anschauen wünscht Ihr LASER HOTLINE Team! LASER HOTLINE Seite 2 Newsletter 09/13 (Nr. 332) August 2013 Batfleck and Wonder-Where-She-Is-Woman Vereinzelte Sonnenstrahlen scheinen durch die Wol- Joker gecastet wurde. Dass er sich in Batman verlie- kendecke durch und kitzeln mir das Gesicht. Schlaf- ben würde, wurde gehöhnt, und dass er die Persön- trunken greife ich nach meinem iPhone, reibe mir die lichkeit und schauspielerischen Fähigkeiten eines Augen und rufe mein Twitter auf. Das Internet ist in Blattes Salat habe. Und nun ist Ledgers Joker eine Rage, nur ein Thema beherrscht meine Timeline: Ben Legende und wird verehrt. Nicht nur, weil es seine Affleck ist offiziell der neue Batman! Missmut, Auf- letzte Performance war und er alles dafür gegeben ruhr, Revolution! Alle sind sich einig, dass Affleck der hat. Ben Affleck ist heutzutage ein weit besserer totale Fehlgriff für den Dunklen Ritter ist. Ich lege das Schauspieler als er es zu Zeiten von Jack Ryan und iPhone beiseite und stöhne. -
Transatlantica, 1 | 2011, « Senses of the South / Référendums Populaires » [En Ligne], Mis En Ligne Le 20 Décembre 2011, Consulté Le 29 Avril 2021
Transatlantica Revue d’études américaines. American Studies Journal 1 | 2011 Senses of the South / Référendums populaires Édition électronique URL : http://journals.openedition.org/transatlantica/5221 DOI : 10.4000/transatlantica.5221 ISSN : 1765-2766 Éditeur AFEA Référence électronique Transatlantica, 1 | 2011, « Senses of the South / Référendums populaires » [En ligne], mis en ligne le 20 décembre 2011, consulté le 29 avril 2021. URL : http://journals.openedition.org/transatlantica/5221 ; DOI : https://doi.org/10.4000/transatlantica.5221 Ce document a été généré automatiquement le 29 avril 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. 1 SOMMAIRE Senses of the South Dossier dirigé par Géraldine Chouard et Jacques Pothier Senses of the South Géraldine Chouard et Jacques Pothier The Gastrodynamics of Edna Pontellier’s liberation. Urszula Niewiadomska-Flis “Key to the highway”: blues records and the great migration Louis Mazzari Eudora Welty: Sensing the Particular, Revealing the Universal in Her Southern World Pearl McHaney Tennessee Williams’s post-pastoral Southern gardens in text and on the movie screen Taïna Tuhkunen “Magic Portraits Drawn by the Sun”: New Orleans, Yellow Fever, and the sense(s) of death in Josh Russell’s Yellow Jack Owen Robinson Imagining Jefferson and Hemings in Paris Suzanne W. Jones Référendums populaires Dossier dirigé par Donna Kesselman Direct Democracy -
Actors' Equity Association
SEPTEMBER “The greater the artist, 2012 the greater the doubt. Perfect confidence is granted Volume 97 to the less talented as a Number 7 consolation prize.” EQUITYNEWS —Robert Hughes A Publication of Actors’ Equity Association • NEWS FOR THE THEATRE PROFESSIONAL • www.actorsequity.org • Periodicals Postage Paid at New York, NY and Additional Mailing Offices First Membership Meeting of the Tom Carpenter is New 2012-2013 Season will be held on Eastern Regional Director/ Monday, October 8, 2012 – Central Region (6 pm) Monday, October 8, 2012 – Western Region (6:30 pm) Assistant Executive Director Friday, October 12, 2012 – Eastern Region (2 pm) homas Carpenter has Tom also has a strong The Central Regional Meeting will convene on been hired as Eastern background in copyright law, Monday, October 8, 2012 at 6 pm in the Regional and as live performance Member Center at the Equity Building, T Director/Assistant Executive increasingly intersects with 557 West Randolph, Chicago, IL Director and General Counsel. recorded media, his expertise The agenda will include: Tom joined the Equity staff in will be instrumental as Equity ● Report of the Central Regional Director. late August, quickly immersing develops new strategies to ● Report of the Central Regional Vice President. himself in the day-to-day protect the intellectual property ● Membership Discussion Period in accordance with the By-Laws. operations of the Eastern rights of its members. His years The Western Regional Meeting will convene on Region. of experience in the government Monday, October 8, 2012 at 6:30 pm at “I have tremendous respect affairs arena will be valuable as Theatre West, 3333 Cahuenga Blvd. -
Informer-October-2018-Web.Pdf
Montreal West Viewspaper September-October 2018, Vol. 46, No. 7 Former Olympian joins CRA’s judo program! Marie-Hélène Chisholm, former other than Nicolas Gill, a two-time Olympian and current manager of high Canadian Olympic medallist in judo. performance judo athletes at Judo “Marie-Hélène is a great addition to Canada will be co-coaching our judo our program”, says Steve. “Not only program this fall. She joins black belt will our judokas benefit from her years coach Steve Morissette, who initiated of elite experience, but with two of us, the popular program four years ago. we’ll be able to help students – includ- Marie-Hélène and Steve met in 1993 ing older ones – progress more quickly when they competed at the Quebec while still learning in an environment Judo games together! that focuses on enjoying the sport. We Marie-Hélène was born in Port- will also now offer interested students Cartier, but moved to Montreal at 15 to the opportunity to compete in the re- pursue her Olympic dream. That dream gion.” came true in 2004 when she went to Registration for the CRA judo pro- Athens and finished an impressive gram is now open at: amilia.com. The fourth. After injuring her knee in 2008, classes will be held at Elizabeth Bal- she began coaching the national lantyne School on Wednesdays, Sep- women’s team at the 2012 Olympics. tember 26-April 10. Marie-Hélène now lives in NDG and Ages 5-7: 6-6:45 pm has two children. Her spouse is none Ages 8-16: 7-8 pm Raffaelle Di Stasio: The Town’s Director General by Maurice Krystal She kept apologizing for her poor English language skills, but Raffaelle Di Stasio is much more fluent than she thinks. -
Cat on a Hot Tin Roof (1958)
Cat on a Hot Tin Roof Movie Info This dynamic and commanding adaptation of (1958) Tennessee Williams' Pulitzer Prize-winning play focuses on a troubled Southern family and the TOMATOMETER discord over their dying father's millions. Wealthy All Critics plantation owner Big Daddy Pollitt (Burl Ives), celebrating his 65th birthday, is visited by his sons, Brick (Paul Newman) and Gooper (Jack Carson). He 97 has cancer, but a doctor has deliberately and falsely Average Rating: 7.7/10 Reviews Counted: declared it in remission. Seemingly perfect son 32 Fresh: 31 | Rotten: 1 Gooper and his wife, Mae (Madeleine Sherwood), have several children and are anxiously expecting to Top Critics inherit Daddy's millions. By contrast, Big Daddy's "favorite," Brick, is a has-been football star who's taken to drinking his days away since the suicide of 100 his "best friend" a year earlier. He resents his wife, Average Rating: 7.6/10 Critic Reviews: Maggie (Elizabeth Taylor), because he believes that 5 Fresh: 5 | Rotten: 0 she had an affair with his deceased friend. As a result, he refuses to sleep with her, although she No consensus yet. remains devoted to him. Since Brick and Maggie have failed to produce any grandchildren, Big Daddy AUDIENCE is inclined to leave his estate to Gooper, but Maggie attempts to prevent that by telling him that she is pregnant. Big Daddy knows better, yet he recognizes 90 that Maggie loves Brick so much that she would be liked it Average Rating: 4/5 User Ratings: willing to do anything for him. -
MARTIN BECK THEATER, 302-314 West 45Th Street, Manhattan
Landmarks Preservation Commission November 4, 1987; Designation List 194 LP-1315 MARTIN BECK THEATER, 302-314 West 45th Street, Manhattan. Built 1923-24; architect, G. Albert Lansburgh. Landmark Site: Borough of Manhattan Tax Map Block 1035, Lot 37. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Martin Beck Theater and the proposed designation of the related Landmark Site (Item No. 11). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-one witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Martin Beck Theater survives today as one of the historic theaters that symbo 1 ize American theater for both New York and the nation. It was bui 1 t in 1923-24 by Martin Beck, a West Coast producer who had formerly been president of the Orpheum Circuit. After building the Palace, the legendary New York vaudeville showcase, and being forced out of its management, Beck determined to build another New York theater for himself, and spent the rest of his life running it. Wanting to build as extraordinary a theater as possible, Beck brought archi teet G. Albert Lansburgh to New York from his native San Franc is co, where Lansburgh had been the Orpheum Circuit's chief architect. -
Bleasco Theater
Landmarks Preservation Commission November 4, 1987; Designation List 194 LP-1317 BELASCO THEATER, 111-121 West 44th Street, Manhattan. Built 1906-1907; architect George Keister. Landmark Site: Borough of Manhattan Tax Map Block 997, Lot 23. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Belasco Theater and the proposed designation of the related Landmark Site (Item No. 13). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-one witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indica ted that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Belasco Theater (originally Belasco's Stuyvesant) was built in 1906-07 as the ideal playhouse of David Belasco. Actor, dramatist, manager and director , he was one of the most important personalities in the history of American stage. Belasco was a pioneer in the development of the American 1 itt le theater movement where dramatic experience depended on close contact between actors and audience. He conceived of his house as a "living room" and consciously attempted its domestication with a facade in the neo-Georgian style. Home of all Belasco's theatrical operations (and after 1909 his personal home as well), it was executed by some of the finest talents of the day. -
Patrick Brafford
PATRICK BRAFFORD 10735 57th St. North, Pinellas Park, FL 33782 727-483-8884 / [email protected] SUMMARY Graduated Missouri State University; Southern Illinois University High School teacher – 4 years – Theatre/English – Highland, IL New York City Production Stage Manager for Rip Torn and Geraldine Page at Sanctuary Theatre. Production Stage Manager - Ensemble Theatre Collaborated with Charles Busch – 4 shows; 2 at Charles Ludlum’s Ridiculous Theatre and the others at cabarets in Greenwich Village. Business Partner - Madeleine Sherwood – created 3L Theatre (Long Live Live). Taught acting classes and developed and directed plays. Madeleine performed in a number of them. We performed workshops in New York, Montreal, Washington, D.C., New Orleans and Los Angeles. Private Coach - Universal Pictures. Member of the Playwright’s/Director’s Unit – Elia Kazan Professional Observer – Actor’s Studio – Ellen Burstyn. Directed a number of plays at the studio and had readings of his plays done there. The Real Stage – John Strasburg –Folded 3L Theatre into The Real Stage. Associate Director and instructor. The Mirror Theatre – John Strasburg, Sabre Jones (his wife) and Geraldine Page created. He was asked to be the Administrator and Program Director for the Frontier Program (new plays). He was also the Casting Director for two productions and directed two plays at The Mirror Theatre. Directed, worked and/or taught a number of successful actors including: Kim Hunter, Madeleine Sherwood, Geraldine Page, Rip Torn, Grayson Hall, James Spader, Charles Busch, Carlin Glynn, Betty Buckley, Shelley Winters, Jack Betts, Genie Francis, Robert Fitch, Sheila MacRay, Christopher Hewett, Tony Weaver, Robert Aberdeen, Stephen Hamilton, Anne Miyamoto, Vincent Irizarry, Paloma Lorena, Adolph Caesar, Sam McMurray, Gina Belafonte, Saundra Santiago, Julian Reyes. -
Muriel Gold : Huit Ans De Passion Au Saidye Pierre Audet
Document generated on 09/28/2021 12:38 p.m. Jeu Revue de théâtre Muriel Gold : huit ans de passion au Saidye Pierre Audet Le théâtre et les adolescents Number 128 (3), 2008 URI: https://id.erudit.org/iderudit/23776ac See table of contents Publisher(s) Cahiers de théâtre Jeu inc. ISSN 0382-0335 (print) 1923-2578 (digital) Explore this journal Cite this article Audet, P. (2008). Muriel Gold : huit ans de passion au Saidye. Jeu, (128), 171–176. Tous droits réservés © Cahiers de théâtre Jeu inc., 2008 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ tt Muriel Gold. Photo: coll. Muriel Gold. PIERRE AUDET Muriel Gold : huit ans de passion au Saidye D'après des témoignages recueillis auprès de Muriel Gold, Oanièle Suissa, André Brassard et Michel Garneau. nee you get a hang of it, you'll be cracker jack at it1. » Cet encouragement de la «o doyenne du théâtre yidddish Dora Wasserman résonnait encore dans la tête de la toute nouvelle directrice artistique Muriel Gold lorsqu'elle entra, incrédule, dans ses bureaux du Saidye Bronfman Center Theatre. C'était un matin de septembre 1972. Les téléphones étaient hors d'usage. -
Cat on a Hot Tin Roof: 60 Years of American Dialogue on Sex, Gender, and the Nuclear Family
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses March 2016 Cat on a Hot Tin Roof: 60 Years of American Dialogue on Sex, Gender, and the Nuclear Family Amy Brooks University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Dramatic Literature, Criticism and Theory Commons, Fine Arts Commons, History of Gender Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, Modern Literature Commons, Other Feminist, Gender, and Sexuality Studies Commons, Theatre History Commons, United States History Commons, Women's History Commons, and the Women's Studies Commons Recommended Citation Brooks, Amy, "Cat on a Hot Tin Roof: 60 Years of American Dialogue on Sex, Gender, and the Nuclear Family" (2016). Masters Theses. 316. https://doi.org/10.7275/7942130 https://scholarworks.umass.edu/masters_theses_2/316 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. CAT ON A HOT TIN ROOF: 60 YEARS OF AMERICAN DIALOGUE ON SEX, GENDER, AND THE NUCLEAR FAMILY A Thesis Presented By AMY BROOKS Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS February 2016 Department