Scenic Design for a Production of Sophie Treadwell's Machinal
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Session 3 - the Difference Jesus Makes
Session 3 - The difference Jesus makes Session 3 - The difference Jesus makes Aims and outcomes You will need: Take time to think about and pray over each member l Fabric and other props to create the Easter story of the group, holding them before God and praying that scene their needs are met. Think about how well the group is l Name and locations for the Good Friday story gelling, and whether people are sticking to the ground scene (see pp. 17-18) rules (Compass, p. 5). Are any gentle reminders needed? l Cross (to include in the Good Friday story scene) Is there someone needing extra attention? Perhaps a l Candle (and matches) mentor to talk to? l Three or four copies of newspapers from this week Remind people briefly of the last session, when they l Chalice and paten (plate), bread and wine looked at the life of Jesus. Invite them to think about l Words describing difference Jesus makes on the their reflections at the end of the last session on what Cross (see pp. 19-21). it means to be transformed (Compass, p. 27). What are l Scissors to cut the words and names out (If you their questions at this point? have time they could be backed and made to stand up. But laying them on the scene works just This session will help participants reflect on different as well.) ways we try to understand the meaning of Jesus’ death. l Pens We can only get so far in looking for rational reasons l Bowl for the meaning of Jesus’ death. -
Uhm Phd 9205877 R.Pdf
· INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewri~er face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikeiy event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact liMI directly to order. U-M-I University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, M148106-1346 USA 313/761-4700 800/521-0600 Order Number 9205811 Political economy of passion: Tango, exoticism, and decolonization Savigliano, Marta Elena, Ph.D. University of Hawaii, 1991 Copyright @1991 by Savigliano, Marta Elena. -
Rock Bottom Junior Script by Craig Hawes
Rock Bottom Junior Script by Craig Hawes Speaking Roles 41 Minimum Cast Size 25 Duration (minutes) 80 2/270618/28 ISBN: 978 1 84237 158 9 Published by Musicline Publications P.O. Box 15632 Tamworth Staffordshire B78 2DP 01827 281 431 www.musiclinedirect.com Licences are always required when published musicals are performed. Licences for musicals are only available from the publishers of those musicals. There is no other source. All our Performing, Copying & Video Licences are valid for one year from the date of issue. If you are recycling a previously performed musical, NEW LICENCES MUST BE PURCHASED to comply with Copyright law required by mandatory contractual obligations to the composer. Prices of Licences and Order Form can be found on our website: www.musiclinedirect.com Rock Bottom – Script 1 CONTENTS Cast List .............................................................................................................................. 5 Speaking Roles By Number Of Lines................................................................................ 6 Suggested Cast List For 28 (And 25) Actors .................................................................... 8 Characters In Each Scene ................................................................................................ 10 List Of Properties ............................................................................................................. 11 Production Notes ............................................................................................................. -
Foregrounding Womens Spaces, Stories, and Relationships in Dramatic Writing Irene Loy
University of New Mexico UNM Digital Repository Theatre & Dance ETDs Electronic Theses and Dissertations 6-24-2015 Listen, then Speak: Foregrounding Womens Spaces, Stories, and Relationships in Dramatic Writing Irene Loy Follow this and additional works at: https://digitalrepository.unm.edu/thea_etds Recommended Citation Loy, Irene. "Listen, then Speak: Foregrounding Womens Spaces, Stories, and Relationships in Dramatic Writing." (2015). https://digitalrepository.unm.edu/thea_etds/34 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Theatre & Dance ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Irene Loy Candidate Theatre and Dance Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Gregory Moss , Chairperson Caroline Prugh Matthew McDuffie Julie Shields i LISTEN, THEN SPEAK: FOREGROUNDING WOMEN'S SPACES, STORIES, AND RELATIONSHIPS IN DRAMATIC WRITING by IRENE LOY B.A., Sociolinguistics, Kenyon College, 2000 M.A., Speech and Hearing Sciences, Indiana University, 2006 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Dramatic Writing The University of New Mexico Albuquerque, New Mexico May 2015 ii LISTEN, THEN SPEAK: FOREGROUNDING WOMEN'S SPACES, STORIES, AND RELATIONSHIPS IN DRAMATIC WRITING DEDICATION This dissertation is dedicated to Juergen, Matthew, and Tamarin. iii LISTEN, THEN SPEAK: FOREGROUNDING WOMEN'S SPACES, STORIES, AND RELATIONSHIPS IN DRAMATIC WRITING ACKNOWLEDGMENTS I would like to acknowledge Gregory Moss, Caroline Prugh, Matthew McDuffie, Julie Shields, Matt Yde, and Amanda Hamp for their mentorship in practice and theory during this MFA program. -
Llprefeired Stocw 1
28 THE ST. PAUL GLOBE, SUNDAY, MAY 13, 1900. "KIDSAPPED IX XEW YORK." MISS ! FAY'S SUCCESS successful and thoroughly meritorious American plays, and will be seen at the I Melodrama the Bill at tlte Grand Lends to a Return Engagement the Grand in the very near future, with the Thin Work. author, Russ Whytal, in the principal Coming: Week. part. The attraction at the Grand this week, i METROPOLITAN j^Lg^ The management of the Metropolitan The story of the play is domestic, with commencing tonight, will be Howard theater a story background of the Civil Hall's "Kidnapped In New York," have been fortunate in securing war, but with Fay it is not a melodrama, and the comedy And Barney Gilmore, formerly of and Anna Eva for a return, commenc- is Tonight-Tomorrow Night TUESDAY Gilmore ing Tuesday so important that it is in of Leonard, as the star, and a strong sup- evening, for the balance of one those Two Performances Only. the week, and special Miss characters that Mr. Whytal appears. Tha MIGHT porting company. by request emotional ..... "wSSST work is in hands Jsh.n Brandon, the treasurer of the Fay will give two matinees this week, th>3 of such ; fl"v w-v « Matinees Wednesday and Saturday on Wednesday well-known people as Mable Knowles, j - Manhattan club, is falsely accused of and Saturday, for ladies Angeline robbing the club, and goes only. Crowded houses have greeted Miss Miss S. Pullia, Mr. C. H. Gel- ! the safe of dart, Dingeon, Melville, Ryley's 1 Jos. -
South Pacific
THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods. -
Communication Dialectics in a Musical Community: the Anti- Socialization of Newcomers
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1995 Communication dialectics in a musical community: The anti- socialization of newcomers Karen Louise Rohrbauck-Stout The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Rohrbauck-Stout, Karen Louise, "Communication dialectics in a musical community: The anti-socialization of newcomers" (1995). Graduate Student Theses, Dissertations, & Professional Papers. 5411. https://scholarworks.umt.edu/etd/5411 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike MANSFIELD LIBRARY The University of ^ M O N T A N A Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. * * Please check "Yes" or "No" and provide signature * * Yes, I grant permission No, I do not grant permission Author's Signature Date Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. COMMUNICATION DIALECTICS IN A MUSICAL COMMUNITY: THE ANTI-SOCIALIZATION OF NEWCOMERS. by Karen Louise Rohrbauck-Stout B .A. the University of Puget Sound, 1992 presented in partial fulfillment of the requirements for the degree of Master of Arts The University of Montana 1995 Approved by: Dean, Graduate School Date UMI Number: EP40875 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. -
Rjfs JOUB NIIL 11
rJf JOUB_NIIL 11 GUILDERLAND CENTRALs HIGH SCHOOL MARCH 6, 1978 Sooth Seas Flood School Star.ce on the lighting and sound by Steven Linford equipment that has just been and Liz Floyd I J installed. Where, other than at a l t I I 11 ij! I • 11111111 I I 1, Ii p I f' i •. In order to save time, there will rehearsal for the musical South be no curtain closings. This is Pacific, to be presented by the expected to save about 25 Guilderland Players March 9, IO, minutes, that would have been 11 and 12, can you hear Mr. Fred needed to change scenes behind Heitkamp exclaim, "We'll put it the curtain. in the program - Elbow by "The audience," says Mr. Rusty... ," or Paul DeAllume say, Heitkamp, "will be able to see the "... Music! ... Music? ...Hey! Where set changes if they are looking for is the music?" Nowhere, that's them. But," as he explains, "if where. they are watching the continuous What is South Pacific? "Only," action, they won't pay any according to director Fred attention to the scene changes." Heitkamp, "the most popular By darkening one stage and musical we've ever attempted." simultaneously spot lighting In its first Broadway run, another, the stage crew will be South Pacific · was performed able to change scenes with only 1,925 times. Perhaps even more the slightest detection. Mr. impressively, it won the Pulitzer Heitkamp explained that this is Prize for Drama in 1950. This "the way scenes are changed on meant beating out all the Broadway. -
Selling Or Selling Out?: an Exploration of Popular Music in Advertising
Selling or Selling Out?: An Exploration of Popular Music in Advertising Kimberly Kim Submitted to the Department of Music of Amherst College in partial fulfillment of the requirements for the degree of Bachelor of Arts with honors. Faculty Advisor: Professor Jason Robinson Faculty Readers: Professor Jenny Kallick Professor Jeffers Engelhardt Professor Klara Moricz 05 May 2011 Table of Contents Acknowledgments............................................................................................................... ii Chapter 1 – Towards an Understanding of Popular Music and Advertising .......................1 Chapter 2 – “I’d Like to Buy the World a Coke”: The Integration of Popular Music and Advertising.........................................................................................................................14 Chapter 3 – Maybe Not So Genuine Draft: Licensing as Authentication..........................33 Chapter 4 – Selling Out: Repercussions of Product Endorsements...................................46 Chapter 5 – “Hold It Against Me”: The Evolution of the Music Videos ..........................56 Chapter 6 – Cultivating a New Cultural Product: Thoughts on the Future of Popular Music and Advertising.......................................................................................................66 Works Cited .......................................................................................................................70 i Acknowledgments There are numerous people that have provided me with invaluable -
Ockefeller Grant B Or Wednesday M 4S
; r v t ',~"^ r»<-^S*; A"'^ " '","« isv%;, *-.- Ov ->*CT^ *-v*« n„-.'' Story on Page 8t3g^ ^kiti* *-_7- * r ^TK i Baruch School of Business aad Public Admin College of New -York •••'•=Si XXXI IF—No. 10 Tuesday, November 16. f954 389 By Subscription Only f/ter to Study Union: , ^ . Fee Rise Meeting Set .wS& ward Economist ^ - • • • Vcri'-iat-* b o r W7 ockefeller Grant Wednesday m 4S -ise- By Barbara Leventer A Town Meeting, open to all students, will be held tomorrow at 1 in 4S^Wie topic _I^ A Rockefeller Foundation Grant of $7500 has been f°r discussion will be the proposed $1 increase in the student activities fee. ~r ide to Professor Robert D. Leiter of the economics de- The meeting's agenda galls for one speaker for the inciTff^ *"<* nnp a^.'n.f g^ir. ' T tuJ UT LUe rute ers ncK*0*Lh the Teamster ^L^J^^^L^^As Union plays in the AmericaV ?n economy. • .^- " be» studen^ « t -an d i_facult- i_ y Jmember- <•_*s intereste• - ^ d i-inn the. activitieTs problem . A general dis- '* This assignment is unique in that the Teamsters' cusslon Wl11 follow in which »«<*««** ptrticipation will be encouraged. - „ _^ lion, headed by'Dave Beck, himself a controversial figure, Motivating the scheduling of this event is the desire on the part of Student Coun-— bed to such a study. It is—cil to have the student body become aware of the factors which prompted' it to Call for ted that the growing the fee increase, which wiO ion will occupy an impor- be presented to the students t position in the future as a referendum on Decem . -
Make It New: Reshaping Jazz in the 21St Century
Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of -
Machinal: a Sourcebook for the Actress Playing "Young Women"
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2009 Machinal: A Sourcebook For The Actress Playing "young Women" Brittney Rentschler University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Rentschler, Brittney, "Machinal: A Sourcebook For The Actress Playing "young Women"" (2009). Electronic Theses and Dissertations, 2004-2019. 4151. https://stars.library.ucf.edu/etd/4151 MACHINAL: A SOURCEBOOK FOR THE ACTRESS PLAYING “YOUNG WOMAN” By BRITTNEY RENTSCHLER B.A. University of Alabama at Birmingham, 2006 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2009 © 2009 Brittney Rentschler ! "" ABSTRACT This thesis will document four phases of my rehearsal process/performance while portraying the role of Helen in Sophie Treadwell’s Machinal. The first phase of the project will be researching and analyzing historical material on: Sophie Treadwell (the playwright) Ruth Snyder (the murderess upon whom the character of Helen is based), and the actual murder that occurred in the 1920’s. The second phase that will be documented is a character analysis.