Social Justice Practices for Educational Theatre
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Rotunda Library, Special Collections, and Archives
Longwood University Digital Commons @ Longwood University Rotunda Library, Special Collections, and Archives 10-29-2018 Rotunda - Vol 97, no. 9 - Oct 29, 2018 Longwood University Follow this and additional works at: https://digitalcommons.longwood.edu/rotunda Recommended Citation Longwood University, "Rotunda - Vol 97, no. 9 - Oct 29, 2018" (2018). Rotunda. 2213. https://digitalcommons.longwood.edu/rotunda/2213 This Article is brought to you for free and open access by the Library, Special Collections, and Archives at Digital Commons @ Longwood University. It has been accepted for inclusion in Rotunda by an authorized administrator of Digital Commons @ Longwood University. For more information, please contact [email protected], [email protected]. FRONT TheROTUNDA Telling students’ stories since 1920 PAGE 3 NEWS: SGA addresses FACING INCREASED FAB concerns PAGE 6 A&E: Video game developers face workplace accusations HATE PAGE 7 UNIVERSITY OFFICIALS RESPOND TO SPORTS: MBB starting STUDENT CONCERNS from scratch OCTOBER 29, 2018 VOL 97. ISSUE 9 ERIN EATON | THE ROTUNDA heRotundaOnline.com 02 > A&E T EDITORIAL BOARD 2018 CHRISTINE RINDFLEISCH editor-in-chief ERIN EATON managing editor JEFF HALLIDAY, MIKE MERGEN AND CLINT WRIGHT faculty advisers NEWS ROTUNDA COURTESY OF GAFOLLOWERS.COM JESSE PLICHTA-KELLAR STUDIOS Young Thug (left) on the cover of his 2016 mixtape "Jeffery" and Jaden Smith (right) at a editor NICOLE DEL ROSARIO photo shoot for Vogue Korea. A&E executive producer ALAINA JACQUES JACOB DILANDRO staff editor Young Thug tackles ELLIE STUCK TAIYA JARRETT staff staff TJ WENGERT taboo customs LEDANIEL JACKSON by Taiya Jarrett | A&E Staff | @ohsoootay staff staff AUTUMN HIGH n the words of Miss Erykah to toe on his 2016 album cover, OPINIONS staff Badu, Atlanta, Ga. -
Albion Full Cast Announced
Press release: Thursday 2 January The Almeida Theatre announces the full cast for its revival of Mike Bartlett’s Albion, directed by Rupert Goold, following the play’s acclaimed run in 2017. ALBION by Mike Bartlett Direction: Rupert Goold; Design: Miriam Buether; Light: Neil Austin Sound: Gregory Clarke; Movement Director: Rebecca Frecknall Monday 3 February – Saturday 29 February 2020 Press night: Wednesday 5 February 7pm ★★★★★ “The play that Britain needs right now” The Telegraph This is our little piece of the world, and we’re allowed to do with it, exactly as we like. Yes? In the ruins of a garden in rural England. In a house which was once a home. A woman searches for seeds of hope. Following a sell-out run in 2017, Albion returns to the Almeida for four weeks only. Joining the previously announced Victoria Hamilton (awarded Best Actress at 2018 Critics’ Circle Awards for this role) and reprising their roles are Nigel Betts, Edyta Budnik, Wil Coban, Margot Leicester, Nicholas Rowe and Helen Schlesinger. They will be joined by Angel Coulby, Daisy Edgar-Jones, Dónal Finn and Geoffrey Freshwater. Mike Bartlett’s plays for the Almeida include his adaptation of Maxim Gorky’s Vassa, Game and the multi-award winning King Charles III (Olivier Award for Best New Play) which premiered at the Almeida before West End and Broadway transfers, a UK and international tour. His television adaptation of the play was broadcast on BBC Two in 2017. Other plays include Snowflake (Old Fire Station and Kiln Theatre); Wild; An Intervention; Bull (won the Olivier Award for Outstanding Achievement in an Affiliate Theatre); an adaptation of Medea; Chariots of Fire; 13; Decade (co-writer); Earthquakes in London; Love, Love, Love; Cock (Olivier Award for Outstanding Achievement in an Affiliate Theatre); Contractions and My Child Artefacts. -
Sundowning by Nessah Muthy
Sundowning by Nessah Muthy Betty . .Hazel Maycock Intrepid plays by fearless women since 1991 Teresa . Nadia Nadif Alyssa . Aasiya Shah Kali Theatre develops and tours ground breaking, Director . .Helena Bell thought provoking, contemporary theatre by women Writer . Nessah Muthy writers of South Asian descent. Designer . .Rajha Shakiry Lighting Designer . Pablo Fernandez Baz We seek out and nurture talented writers, bringing their experience and stories to audiences from all backgrounds to transform the theatre Sound Designer . .Dinah Mullen landscape and better reflect modern Britain. Video Designer . .Daniel Denton Sundowning Choreographer . Yarit Dor We have been championing women writers from a South Asian background for over twenty five years. We actively encourage our Production Manager . .Kate Jones by Nessah Muthy writers to reinvent the theatrical agenda and have gained a reputation Company Stage Manager . Charlotte R L Cooper for staging inspiring and provocative new theatre. Wardrobe Support . Alex Horner Our new Discovery and Festival Writer Development Programmes Kali Theatre encourage and support the creation of new work through writing Artistic Director . Helena Bell workshops, dramaturgical support and public readings. Executive Director . .Christopher Corner Administrator. Samia Djilli Publicist . Nancy Poole Find our more and join our mailing list at kalitheatre.co.uk Marketing . Reshmi Mayer Email us [email protected] Thanks to the staff of Plymouth Theatre Royal for all their support in creating this Like us facebook.com/kalitheatureUK production of Sundowning. Follow us @KaliTheatreUK Thanks to Pursued by a Bear who first commissioned Sundowning when under previous AD Helena Bell and in particular Julia Tymukas, Thomas Kell, Katharine Ives and Cathy Westbrooke who helped support early sharings. -
Race and Colonialism in Africa (21:510:396) Fall 2016 Class Time/Location: T/R 11:30 Am-12:50 Pm, Hill 106
RUTGERS UNIVERSITY Honors Program in Non-American History: Race and Colonialism in Africa (21:510:396) Fall 2016 Class Time/Location: T/R 11:30 am-12:50 pm, Hill 106 Professor: Dr. Habtamu Tegegne Office: Conklin Hall, 329 Office Hours: By Appointment Email: [email protected] Course Description “Race and Colonialism” is a history of South Africa from the seventeenth through twentieth centuries emphasizing social, politicl, and economic change. It pays particular attention to colonial encounter, white political hegemony, land alienation, African nationalism, and democratization. Two major themes and concerns inform History 396—race and colonialism and the relations between the two. The course sees South African history as dominated by European colonial powers, by the capitalist economy, which originated in the West, and by racial ideology, which has its origin in Western cultural and intellectual traditions. It traces the impact of European colonial domination through the era of the formal racial regime of apartheid to the post-apartheid era, in which dominance is primarily economic and cultural. The course will explore how colonialism and the idea of race created institutions, which, in turn, affect the relationships between colonists and indigenous peoples, between classes and other social groups within south Africa, and between individuals. It treats colonialism and race, by and large, as economic and political phenomena with consequent social and cultural effects. The course views both colonialism and race as inherently dynamic and therefore emphasizes both change and development. History 396 equally sees South African history as characterized by African resistance to colonial and racial domination and by the interaction between African and European cultures. -
Nine Night at the Trafalgar Studios
7 September 2018 FULL CASTING ANNOUNCED FOR THE NATIONAL THEATRE’S PRODUCTION OF NINE NIGHT AT THE TRAFALGAR STUDIOS NINE NIGHT by Natasha Gordon Trafalgar Studios 1 December 2018 – 9 February 2019, Press night 6 December The National Theatre have today announced the full cast for Nine Night, Natasha Gordon’s critically acclaimed play which will transfer from the National Theatre to the Trafalgar Studios on 1 December 2018 (press night 6 December) in a co-production with Trafalgar Theatre Productions. Natasha Gordon will take the role of Lorraine in her debut play, for which she has recently been nominated for the Best Writer Award in The Stage newspaper’s ‘Debut Awards’. She is joined by Oliver Alvin-Wilson (Robert), Michelle Greenidge (Trudy), also nominated in the Stage Awards for Best West End Debut, Hattie Ladbury (Sophie), Rebekah Murrell (Anita) and Cecilia Noble (Aunt Maggie) who return to their celebrated NT roles, and Karl Collins (Uncle Vince) who completes the West End cast. Directed by Roy Alexander Weise (The Mountaintop), Nine Night is a touching and exuberantly funny exploration of the rituals of family. Gloria is gravely sick. When her time comes, the celebration begins; the traditional Jamaican Nine Night Wake. But for Gloria’s children and grandchildren, marking her death with a party that lasts over a week is a test. Nine rum-fuelled nights of music, food, storytelling and laughter – and an endless parade of mourners. The production is designed by Rajha Shakiry, with lighting design by Paule Constable, sound design by George Dennis, movement direction by Shelley Maxwell, company voice work and dialect coaching by Hazel Holder, and the Resident Director is Jade Lewis. -
A PSILLAS Biog Audiocraft
Sound Designer: Mr Avgoustos Psillas Avgoustos established AudioCarft Scandinavia in 2020 after 12 years at Autograph Sound in London, where he worked as a sound designer. Autograph Sound is a leading British sound design and equipment hire company, responsible for numerous theatre productions in the UK and abroad, including: Hamilton, Les Misérables, Wicked!, Mamma Mia!, Book of Mormon, Marry Poppins, Matilda, Harry Potter and the cursed child and many others. Avgoustos’ designer credits for musical theatre and theatre: The Sound of Music Stockholm Stadsteater Circus Days and Night Malmö Opera & Circus Cirkör Matilda The Musical Royal Danish Theatre Funny Girl Malmö Opera Sweeney Todd Royal Danish Opera BIG The Musical Dominion Theatre, London Blues in the Night The Kiln Theatre Matilda The Musical Malmö Opera The Ferryman St James Theatre, on Broadway, NY Kiss Me Kate Opera North, London Coliseum Pippin Malmö Opera Elf The Musical The Lowry, Manchester BIG The Musical Theatre Royal Plymouth & Bord Gais, Dublin Oliver! The Curve, Leicester AGES The Old Vic, London Pygmalion Garrick Theatre, London Strangers on a Train Gielgud Theatre, London Spamalot The Harold Pinter Theatre, London Spamalot (Remount) London Playhouse EPIDEMIC The Musical The Old Vic, London Henry V Open Air Theatre Regent’s Park Hobson’s Choice Open Air Theatre Regent’s Park Winter’s Tale Open Air Theatre Regent’s Park AudioCraft Scandinavia AB | Svanvägen 59, 611 62, Nyköping, Sweden e: [email protected] | t: +44 79 50292095 | Organisation no: 559281-2035 | VAT -
The Debate on the Mfecane That Erupted Following the Publication In
A TEMPEST IN A TEAPOT? NINETEENTH-CENTURY CONTESTS FOR LAND IN SOUTH AFRICA‘S CALEDON VALLEY AND THE INVENTION OF THE MFECANE ABSTRACT: The unresolved debate on the mfecane in Southern African history has been marked by general acceptance of the proposition that large scale loss of life and disruption of settled society was experienced across the whole region. Attempts to quantify either the violence or mortality have been stymied by a lack of evidence. What apparently reliable evidence does exist describes small districts, most notably the Caledon Valley. In contrast to Julian Cobbing, who called the mfecane an alibi for colonial-sponsored violence, this article argues that much documentation of conflict in the Caledon region consisted of various ‗alibis‘ for African land seizures and claims in the 1840s and ‗50s. KEY WORDS: pre-colonial, mfecane, Lesotho, South Africa, nineteenth- century, warfare, land A hotly contested issue in the debate on South Africa‘s mfecane which enlivened the pages of this journal a decade ago was the charge that colonial historians invented the concept as part of a continuing campaign to absolve settler capitalism from responsibility for violent convulsions in South- 1 Eastern Africa in the first half of the nineteenth century.i This article takes a different tack by arguing that African struggles for land and power in the period 1833-54 played a decisive role in developing the mfecane concept. The self-serving narratives devised by African rivals and their missionary clients in and around the emerging kingdom of Lesotho set the pattern for future accounts and were responsible for introducing the word lifaqane into historical discourse long before the word mfecane first appeared in print. -
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Race and Colonialism (21:510:431) Spring 2018 Class Time/Location: T 2:30 PM-5:20 Pm, Hill 204
RUTGERS UNIVERSITY Topics in African History: Race and Colonialism (21:510:431) Spring 2018 Class Time/Location: T 2:30 PM-5:20 pm, Hill 204 Professor: Dr. Habtamu Tegegne Office: Conklin Hall, 329 Office Hours: T/TR: 11: 30 AM-1:00 PM Email: [email protected] Office Hours I am present, during office hours which are scheduled for you, to talk about any questions, or concerns regarding the course. Take advantage of these opportunities. Course Description “Race and Colonialism” is a history of South Africa from the seventeenth through twentieth centuries emphasizing social, politicl, and economic change. It pays particular attention to colonial encounter, white political and economic hegemony, land alienation, African nationalism, and democratization. Two major themes and concerns inform the course—race and colonialism and the relations between the two. The course sees South African history as dominated by European colonial powers, by the capitalist economy, which originated in the West, and by racial ideology, which has its origin in Western cultural and intellectual traditions. It traces the impact of European colonial domination through the era of the formal racial regime of apartheid to the post-apartheid era, in which dominance is primarily economic and cultural. The course will explore how colonialism and the idea of race created institutions, which, in turn, affect the relationships between colonists and indigenous peoples, between classes and other social groups within south Africa, and between individuals. It treats colonialism and race, by and large, as economic and political phenomena with consequent social and cultural effects. The course views both colonialism and race as inherently dynamic and therefore emphasizes both change and development. -
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A Study of the Royal Court Young Peoples’ Theatre and Its Development Into the Young Writers’ Programme
Building the Engine Room: A Study of the Royal Court Young Peoples’ Theatre and its Development into the Young Writers’ Programme N O Holden Doctor of Philosophy 2018 Building the Engine Room: A Study of the Royal Court’s Young Peoples’ Theatre and its Development into the Young Writers’ Programme Nicholas Oliver Holden, MA, AKC A thesis submitted in partial fulfilment of the requirements of the University of Lincoln for the degree of Doctor of Philosophy School of Fine and Performing Arts College of Arts March 2018 2 DECLARATION I declare that this thesis is my own work and has not been submitted in substantially the same form for a higher degree elsewhere. 3 Acknowledgements First and foremost, I would like to thank my supervisors: Dr Jacqueline Bolton and Dr James Hudson, who have been there with advice even before this PhD began. I am forever grateful for your support, feedback, knowledge and guidance not just as my PhD supervisors, but as colleagues and, now, friends. Heartfelt thanks to my Director of Studies, Professor Mark O’Thomas, who has been a constant source of support and encouragement from my years as an undergraduate student to now as an early career academic. To Professor Dominic Symonds, who took on the role of my Director of Studies in the final year; thank you for being so generous with your thoughts and extensive knowledge, and for helping to bring new perspectives to my work. My gratitude also to the University of Lincoln and the School of Fine and Performing Arts for their generous studentship, without which this PhD would not have been possible. -
English Song Booklet
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