Newton Grisham Library Play Script List
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Corpus Christi College the Pelican Record
CORPUS CHRISTI COLLEGE THE PELICAN RECORD Vol. LI December 2015 CORPUS CHRISTI COLLEGE THE PELICAN RECORD Vol. LI December 2015 i The Pelican Record Editor: Mark Whittow Design and Printing: Lynx DPM Limited Published by Corpus Christi College, Oxford 2015 Website: http://www.ccc.ox.ac.uk Email: [email protected] The editor would like to thank Rachel Pearson, Julian Reid, Sara Watson and David Wilson. Front cover: The Library, by former artist-in-residence Ceri Allen. By kind permission of Nick Thorn Back cover: Stone pelican in Durham Castle, carved during Richard Fox’s tenure as Bishop of Durham. Photograph by Peter Rhodes ii The Pelican Record CONTENTS President’s Report ................................................................................... 3 President’s Seminar: Casting the Audience Peter Nichols ............................................................................................ 11 Bishop Foxe’s Humanistic Library and the Alchemical Pelican Alexandra Marraccini ................................................................................ 17 Remembrance Day Sermon A sermon delivered by the President on 9 November 2014 ....................... 22 Corpuscle Casualties from the Second World War Harriet Fisher ............................................................................................. 27 A Postgraduate at Corpus Michael Baker ............................................................................................. 34 Law at Corpus Lucia Zedner and Liz Fisher .................................................................... -
THE MODERATE SOPRANO Glyndebourne’S Original Love Story by David Hare Directed by Jeremy Herrin
PRESS RELEASE IMAGES CAN BE DOWNLOADED HERE Twitter | @ModerateSoprano Facebook | @TheModerateSoprano Website | www.themoderatesoprano.com Playful Productions presents Hampstead Theatre’s THE MODERATE SOPRANO Glyndebourne’s Original Love Story By David Hare Directed by Jeremy Herrin LAST CHANCE TO SEE DAVID HARE’S THE MODERATE SOPRANO AS CRITICALLY ACCLAIMED WEST END PRODUCTION ENTERS ITS FINAL FIVE WEEKS AT THE DUKE OF YORK’S THEATRE. STARRING OLIVIER AWARD WINNING ROGER ALLAM AND NANCY CARROLL AS GLYNDEBOURNE FOUNDER JOHN CHRISTIE AND HIS WIFE AUDREY MILDMAY. STRICTLY LIMITED RUN MUST END SATURDAY 30 JUNE. Audiences have just five weeks left to see David Hare’s critically acclaimed new play The Moderate Soprano, about the love story at the heart of the foundation of Glyndebourne, directed by Jeremy Herrin and starring Olivier Award winners Roger Allam and Nancy Carroll. The production enters its final weeks at the Duke of York’s Theatre where it must end a strictly limited season on Saturday 30 June. The previously untold story of an English eccentric, a young soprano and three refugees from Germany who together established Glyndebourne, one of England’s best loved cultural institutions, has garnered public and critical acclaim alike. The production has been embraced by the Christie family who continue to be involved with the running of Glyndebourne, 84 years after its launch. Executive Director Gus Christie attended the West End opening with his family and praised the portrayal of his grandfather John Christie who founded one of the most successful opera houses in the world. First seen in a sold out run at Hampstead Theatre in 2015, the new production opened in the West End this spring, with Roger Allam and Nancy Carroll reprising their original roles as Glyndebourne founder John Christie and soprano Audrey Mildmay. -
Study Guide for DE Madameby Yukio Mishima SADE Translated from the Japanese by Donald Keene
Study Guide for DE MADAMEBy Yukio Mishima SADE Translated from the Japanese by Donald Keene Written by Sophie Watkiss Edited by Rosie Dalling Rehearsal photography by Marc Brenner Production photography by Johan Persson Supported by The Bay Foundation, Noel Coward Foundation, 1 John Lyon’s Charity and Universal Consolidated Group Contents Section 1: Cast and Creative Team Section 2: An introduction to Yukio Mishima and Japanese theatre The work and life of Yukio Mishima Mishima and Shingeki theatre A chronology of Yukio Mishima’s key stage plays Section 3: MADAME DE SADE – history inspiring art The influence for Mishima’s play The historical figures of Madame de Sade and Madame de Montreuil. Renée’s marriage to the Marquis de Sade Renee’s life as Madame de Sade Easter day, 1768 The path to the destruction of the aristocracy and the French Revolution La Coste Women, power and sexuality in 18th Century France Section 4: MADAME DE SADE in production De Sade through women’s eyes The historical context of the play in performance Renée’s ‘volte-face’ The presence of the Marquis de Sade The duality of human nature Elements of design An interview with Fiona Button (Anne) Section 5: Primary sources, bibliography and endnotes 2 section 1 Cast and Creative Team Cast Frances Barber: Comtesse de Saint-Fond For the Donmar: Insignificance. Theatre includes: King Lear & The Seagull (RSC), Anthony and Cleopatra (Shakespeare’s Globe), Aladdin (Old Vic), One Flew Over the Cuckoo’s Nest (Edinburgh Festival & Gielgud). Film includes: Goal, Photographing Fairies, Prick Up Your Ears. Television includes: Hotel Babylon, Beautiful People, Hustle, The I.T. -
Symphony and Symphonic Thinking in Polish Music After 1956 Beata
Symphony and symphonic thinking in Polish music after 1956 Beata Boleslawska-Lewandowska UMI Number: U584419 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584419 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Declaration This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signedf.............................................................................. (candidate) fa u e 2 o o f Date: Statement 1 This thesis is the result of my own investigations, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed:.*............................................................................. (candidate) 23> Date: Statement 2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed: ............................................................................. (candidate) J S liiwc Date:................................................................................. ABSTRACT This thesis aims to contribute to the exploration and understanding of the development of the symphony and symphonic thinking in Polish music in the second half of the twentieth century. -
THE MODERATE SOPRANO Glyndebourne’S Original Love Story by David Hare Directed by Jeremy Herrin
PRESS RELEASE IMAGES CAN BE DOWNLOADED HERE Twitter | @ModerateSoprano Facebook | @TheModerateSoprano Website | www.themoderatesoprano.com Playful Productions presents Hampstead Theatre’s THE MODERATE SOPRANO Glyndebourne’s Original Love Story By David Hare Directed by Jeremy Herrin LAST CHANCE TO SEE DAVID HARE’S THE MODERATE SOPRANO AS CRITICALLY ACCLAIMED WEST END PRODUCTION ENTERS ITS FINAL FIVE WEEKS AT THE DUKE OF YORK’S THEATRE. STARRING OLIVIER AWARD WINNING ROGER ALLAM AND NANCY CARROLL AS GLYNDEBOURNE FOUNDER JOHN CHRISTIE AND HIS WIFE AUDREY MILDMAY. STRICTLY LIMITED RUN MUST END SATURDAY 30 JUNE. Audiences have just five weeks left to see David Hare’s critically acclaimed new play The Moderate Soprano, about the love story at the heart of the foundation of Glyndebourne, directed by Jeremy Herrin and starring Olivier Award winners Roger Allam and Nancy Carroll. The production enters its final weeks at the Duke of York’s Theatre where it must end a strictly limited season on Saturday 30 June. The previously untold story of an English eccentric, a young soprano and three refugees from Germany who together established Glyndebourne, one of England’s best loved cultural institutions, has garnered public and critical acclaim alike. The production has been embraced by the Christie family who continue to be involved with the running of Glyndebourne, 84 years after its launch. Executive Director Gus Christie attended the West End opening with his family and praised the portrayal of his grandfather John Christie who founded one of the most successful opera houses in the world. First seen in a sold out run at Hampstead Theatre in 2015, the new production opened in the West End this spring, with Roger Allam and Nancy Carroll reprising their original roles as Glyndebourne founder John Christie and soprano Audrey Mildmay. -
Kajetan Czubacki
Krzy ztof PEND SCENA OPEROWA Dyrektor Naczelny JERZY NOWOROL Dyrektor Artystyczny RUBEN SILVA Zastępca Dyrektora dis Administracyjno-Technicznych KAJETAN CZUBACKI Zastępca Dyrektora dis Ekonomiczno-Organizacyjnych BARBARA SUMEK-BRANDYS KRZYSZTOF PENDERECKI, ur. 23 listopada 1933 w Dębicy, studio SPIS UTWORÓW KRZYSZTOFA PENDERECKIEGO wał kompozycję u Franciszka Skołyszewskiego , a następnie w Państ wowej Wyższej Szkole Muzycznej w Krakowie u Artura Malawskiego Muzyka sceniczna i Stanisława Wiechowicza. Jest laureatem wielu nagród artystycznych Diabły z Loudun. Opera w 3 aktach, libretto kompozytora według J. Whitinga i A. Huxleya (1969) Raj utracony - sacra rappresentazione w dwóch aktach, libretto Ch. Frey według krajowych i zagranicznych, w tym Nagrody Państwowej I stopnia (1968, J. Miltona (1978) Czarna Maska. Opera w I akcie, libretto kompozytora i H. Kupfera 1983), Nagrody Związku Kompozytorów Polskich (1970), Nagrody im. wedlug G. Hauptmanna (1968) Ubu Rex. Opera buffo według A. Jarry (1991) Herdera (1977), Nagrody im. Honeggera (1978), Nagrody im. Sibeliusa (1983). Premio Lorenzo Magnifico (1985), nagrody izraelskiej Fundacji Muzyka orkiestrowa im. Karla Wolfa (1987), Grammy Award (1988), Grawemeyer Award Epitaphium Artur Malawski in memorian na orkiestrę smyczkową i kotły (1958) Emanacje na dwie orkiestry smyczkowe ( 1958) (1992); doktorem honoris causa uniwersytetów w Rochester, Bordeaux, Anaklasis na orkiestrę s myczkową i perkusję (1960) Leuven, Belgradzie, Waszyngtonie, Madrycie, Poznaniu; członkiem ho Ofiarom Hiroszimy - tren na 52 instrumenty smyczkowe (1960) norowym Royal Academy of Music w Londynie, Accademia Nazionale Polymorphia na 48 instrumentów smyczkowych (1961) di Santa Cecilia w Rzymie, Kungl. Musikaliska Akademien w Sztokhol Kanon na orkiestrę smyczkową i ta ś mę magnetofonową (1962) Fluorescencje na orkiestrę symfoniczną (1962) mie, Akademie der Kiinste w Berlinie, Academia Nacionals de Bellas De Natura sonoris No. -
COLLECTORS' IGEST VOL.51 No.611 VEMBER 1997
STORY PAPE it COLLECTORS' IGEST VOL.51 No.611 VEMBER 1997 ,. PLEASE TO REMEMBER THE F ' OF NOVEMBER GUNPOWDER, TREASON AND PLOT! COLIN CREWE COLLECTORS BOOKS STWOOD ROAD. CANVEY ISLAND, ESSEX, SS8 OED TELEPHONE: 01268-693735EVENINGS BEST JLD BOYS AND GIRLS BOOKS SOW, BOUGHT AND EXCHANGED WITH ENTHUSIASM YOUR W tNTS UST WELCOME. SUITABLE COUECTlONS WANTED A CELEBRATION OF THE MODERN BOY 1'E RMS: PAYMENT ON SATl5iFACTORY RF,C'EIPI' OF GOODS Pl.US POSTAGE AT COST. FOUR BOOK ROOMS Of' STOCK. VISITORS MOST WELCOME pv APPOL'ITMENT. COME AND SEE ME SOON, H,\ PPY READING, COLIN. MODERN BOY. THE THRILL/NG B<)YS' STORY PAPER Of' 258, "PERIL OVER THE LINE" (Bl<JGLl!.S) PRE-WAR YEARS Wmi CAflrAIN W.E. JOlfNS, CHARLES 259. "AGHTING MAO'' !111v01£S) INCLUDINGW.E. JOHNS HAMILTON AND GEO. E. P•OCHESTER CONlRIBUTIOISS. tLLUSTRA110N TIIRILL TO ADVF.NTIJRES 0, LAND SE AND AIR WITH 260. "THE DUNEVlLL.ESAUSAGE" (BIGGI..ES) CAPTAIN JUSTICE. BIGGLES1 KEN KING OF TIIE ISLANDS 261.1lll!BL UEDEMON" (BIGGLES) AND MANY OTHER FAVOURll ~. GOOD COPIES@ £J EACH 262. "THE MYSTERY OUN" (BIGCU!S) INCLUDINGW/E . WITH IO'lf• DISCOUNT ON ORDIERSOF 10 OR MORE ISSUES. JOHNSILLUSTRATION 3. 32. 36, 37, 40. SO, 55.S6. 58. !, 62. 63, 64, 65. 66. 67, 69. 71. 72. 263. "MANHUNT IN TIIE AIR" (BIGGLES) INCLUDINGW.E. 73. 76. 77.78 82. 86, 90, 91, 92. ·13.94. %. IOI. 103, 106, 107. 108. JOHNS 1.LLUSTRATION 113.116, i22.123, 124.129., 130 [132, l38, 139.140.187 , 191. 1~3. 264,1HEFLYINGClRCIJS"(BIGGLES)(NCLUDINGW.£ . -
1998 Acquisitions
1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in. -
Hamlet West End Announcement
FOLLOWING A CRITICALLY ACCLAIMED & SELL-OUT RUN AT THE ALMEIDA THEATRE HAMLET STARRING THE BAFTA & OLIVIER AWARD-WINNING ANDREW SCOTT AND DIRECTED BY THE MULTI AWARD-WINNING DIRECTOR ROBERT ICKE WILL TRANSFER TO THE HAROLD PINTER THEATRE FOR A STRICTLY LIMITED SEASON FROM 9 JUNE – 2 SEPTEMBER 2017 ‘ANDREW SCOTT DELIVERS A CAREER-DEFINING PERFORMANCE… HE MAKES THE MOST FAMOUS SPEECHES FEEL FRESH AND UNPREDICTABLE’ EVENING STANDARD ‘IT IS LIVEWIRE, EDGE-OF-THE-SEAT STUFF’ TIME OUT Olivier Award-winning director, Robert Icke’s (Mary Stuart, The Red Barn, Uncle Vanya, Oresteia, Mr Burns and 1984), ground-breaking and electrifying production of William Shakespeare’s Hamlet, starring BAFTA award-winner Andrew Scott (Moriarty in BBC’s Sherlock, Denial, Spectre, Design For Living and Cock) in the title role, will transfer to the Harold Pinter Theatre, following a critically acclaimed and sell out run at the Almeida Theatre. Hamlet will run for a limited season only from 9 June to 2 September 2017 with press night on Thursday 15 June. Hamlet is produced by Ambassador Theatre Group (Sunday In The Park With George, Buried Child, Oresteia), Sonia Friedman Productions and the Almeida Theatre (Chimerica, Ghosts, King Charles III, 1984, Oresteia), who are renowned for introducing groundbreaking, critically acclaimed transfers to the West End. Rupert Goold, Artistic Director, Almeida Theatre said "We’re delighted that with this transfer more people will be able to experience our production of Hamlet. Robert, Andrew, and the entire Hamlet company have created an unforgettable Shakespeare which we’re looking forward to sharing even more widely over the summer in partnership with Sonia Friedman Productions and ATG.” Robert Icke, Director (and Almeida Theatre Associate Director) said “It has been such a thrill to work with Andrew and the extraordinary company of Hamlet on this play so far, and I'm delighted we're going to continue our work on this play in the West End this summer. -
Das Musikalische Zitat Bei Krzysztof Penderecki – Verwendung Und Wirkung
Bettina Dissinger (Leipzig) Das musikalische Zitat bei Krzysztof Penderecki { Verwendung und Wirkung Die Verwendung musikalischer Zitate ist sicherlich keine Erscheinung, die sich ausschließlich auf die zeitgen¨ossische Musik beschr¨ankt; viel- mehr haben Komponisten auch in den vergangenen Jahrhunderten Zitate aus eigenen und aus fremden Werken in ihre Kompositionen integriert. So verwendet Mozart in der Tafelszene seines Don Gio- vanni drei Zitate aus damals h¨aufig gespielten Opern, zuletzt ein Zitat aus Le Nozze di Figaro, das von Leporello auf der Buhne¨ mit den Worten kommentiert wird: Die Musik kommt mir ¨außerst be- 1 " kannt vor!\ Dies ist mehr als ein kleiner musikalischer Scherz; erstens hat das Zitat von Figaros Arie Non piu` andrai in der gegebenen Si- tuation symbolischen, auf das folgende Geschehen vorausdeutenden Charakter, es erscheint als eine Warnung an den Leichtsinnigen\,2 " zweitens ist das Moment des Erkennens oder zumindest des Bekannt- Erscheinens wesentlich: Auch das Opernpublikum aus Mozarts Zeit wird die Melodie erkannt und sich durch Leporellos Kommentar nur best¨atigt gefuhlt¨ haben in dem Gedanken: Diese Melodie ist mir " nicht neu. Das habe ich doch schon einmal irgendwo geh¨ort!\ Eine gewisse Kenntnis des Repertoires ist also Voraussetzung fur¨ das Ver- st¨andnis des Zitats { ohne sie kann das Erkennen nicht stattfinden, und das Zitat wurde¨ ohne sie seine Wirkung der Erinnerung an etwas aus anderem Kontext Bekanntes verfehlen. Im Schaffen von Krzysztof Penderecki kommt der Verwendung mu- sikalischer Zitate ein besonderer Stellenwert zu. Musikalische Zitate werden hier nicht nur h¨aufig, sondern vor allem auch in ausgespro- chen vielf¨altiger Weise und mit den unterschiedlichsten Intentionen 1Im italienischen Original: Questa poi la conosco pur troppo\ ( Diese [Musik] " " nun kenne ich leider.\). -
Piano Concerto ‘Resurrection’ Flute Concerto Barry Douglas, Piano • Łukasz Długosz, Flute Warsaw Philharmonic Orchestra • Antoni Wit Krzysztof Penderecki (B
PENDERECKI Piano Concerto ‘Resurrection’ Flute Concerto Barry Douglas, Piano • Łukasz Długosz, Flute Warsaw Philharmonic Orchestra • Antoni Wit Krzysztof Penderecki (b. 1933) momentum rapidly tails off and a plaintive idea for cor conducting the Lausanne Chamber Orchestra (a Piano Concerto ‘Resurrection’ • Concerto for Flute and Chamber Orchestra anglais emerges against wistful arabesques from the transcription for clarinet was made two years later). As soloist and soulful harmonies for orchestra. At length the with those other concertos involving wind rather than Kryzsztof Penderecki was born in Dubica on 23rd Written for Isaac Stern (who once declared that it ranked earlier impetus is regained and another forcef3ul climax is string instruments, the present work is relatively modest in November 1933, studying at the Kraków Academy of among the most important such concertos from the later arrived at before being suddenly curtailed to leave length and instrumentation, though the chamber Music then the Jagiellonian University, before twentieth century), it has remained among the most brusque gestures between the soloist and an array of orchestra is deployed with considerable resource while establishing himself at the Warsaw Autumn Festivals of frequently performed of all Penderecki’s pieces, and was percussion, with sardonic woodwind also m4aking its the emotional range is wider than that often associated 1959 and 1960. He soon became part of the European presently followed by the hardly less emotionally intense presence felt. A further climax is denied by the with the flute. There are five movements, again played avant-garde , achieving a notable success with Threnody Second Cello Concerto written for Mstislav Rostropovich, implacable intervention of brass and lower strings, the without pause and often with notable deviations from the [Naxos 8.554491] in which he imparted an intensely the smaller-scale Viola Concerto [both 8.572211] and the soloist continuing in uncertainty against an atmospheric tempo heading. -
Judgment at Nuremberg Written By: Abby Mann
The American Century Theater presents JUDGMENT AT NUREMBERG WRITTEN BY: ABBY MANN YOUR HONOR, THE CASE IS UNUSUAL IN THAT THE DEFENDANTS ARE CHARGED WITH CRIMES COMMITTED IN THE NAME OF THE LAW. THESE MEN, TOGETHER WITH THEIR DECEASED OR FUGITIVE COLLEAGUES, ARE THE EMBODIMENT OF WHAT PASSED FOR JUDGMENT IN THE THIRD REICH. AS JUDGES ON THE BENCH YOU WILL BE SITTING IN JUDGMENT OF JUDGES IN THE DOCK. THIS IS AS IT SHOULD BE. FOR ONLY A JUDGE KNOWS HOW MUCH MORE A COURT IS THAN A COURTROOM. IT IS A PROCESS AND A SPIRIT. IT IS THE HOUSE OF LAW. THE DE FENDANTS KNEW THIS TOO. THEY KNEW COURTROOMS WELL. THEY SAT IN THEIR BLACK ROBES. AND THEY DISTORTED AND THEY PERVERTED AND THEY DESTROYED JUSTICE AND LAW IN GERMANY. THEY ARE, PERHAPS MORE THAN OTHERS, GUILT Y OF COMPLICITY IN MURDERS, TORTURES, ATROCITIES – THE MOST CRUEL AND DEVASTATING THIS WORLD HAS EVER SEEN. THEIR MINDS WERE NOT WARPED AT AN EARLY AGE. THEY HAD ATTAINED MATURITY LONG BEFORE HITLER’S RISE TO POWER. THEY EMBRACED THE IDEOLOGIES OF THE THIRD REICH AS EDUCATED ADULTS. THEY, MOST OF ALL, SHOULD HAVE VALUED JUSTICE. HERE THEY WILL RECEIVE THE JUSTICE TH EY DENIED OTHERS. THEY WILL BE JUDGED ACCORDING TO THE EVIDENCE PRESENTED IN THIS COURTROOM. THE PROSECUTION ASKS NOTHING MORE. MAY IT PLEASE THE TRIBUNAL. IT IS NOT ONLY A GREAT HONOR BUT ALSO A GREAT CHALLENGE FOR AND ADVOCATE TO AID THIS TRIBUNAL IN ITS TASK. THE AVOWED PURPOSE OF THIS TRIBUNAL IS TO FIND A CODE OF JUSTICE THE WHOLE WORLD WILL BE RESPONSIBLE TO.