DOCSLIB.ORG

The Scarlet Letter Resource Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Scarlet Letter Resource Guide TheThe ScarletScarlet LetterLetter Written by Carol Gilligan and John Gilligan Based on the novel by Nathaniel Hawthorne Directed by Katie Mueller November 4-13, 2011 New Hazlett Theater Generously funded by and supporters like you! FOR TEACHERS & STUDENTS POST-SHOW CHAT SESSIONS Stay after the school matinees to ask questions of both the actors and the characters! During the 20-minute post-show chat sessions, delve into the minds and reasoning of the characters and then ask questions of the actors about the rehearsal process, theatre performance, and their experiences working on that particular production. No registration required. ADOPT-A-SCHOOL PROGRAM Prime Stage Theatre’s flagship education program strives to increase adolescent literacy through theatre in underserved and underperforming school districts in the Western Pennsylvania area. In this FREE program, schools receive tickets and books for each Prime Stage production, 10 in-school workshops, and professional development opportunities for teachers. If you would like your school to become involved, please download an application at our website, http://primestage.com/files/pdf/application_aas.pdf. 2011-12 PROFESSIONAL DEVELOPMENT WORKSHOPS — “CREATIVE INQUIRY FOR LITERACY LEARNING” Bring WONDER into your classroom by introducing creative inquiry into your lessons. Learn how theatre art- ists use questions and critical thinking in their work, and discover how to use these techniques to inspire your students’ love of learning. This season there are three opportunities to expand your creative teaching skills and invigorate your practice: “Introduction to Creative Inquiry,” September 10, 2011 at the Allegheny Intermediate Unit #3. “Engaging Disengaged Adolescents,” November 7, 2011 at the New Hazlett Theater. “Scientific Inquiry Is Not Just For Science,” April 23, 2012 at the Carnegie Science Center. For more informa- tion and registration form, visit http://primestage.com/educators_students/workshops.html or contact Christina Farrell, Education Director at [email protected]. OPPORTUNITIES FOR TEENS, FAMILIES AND ADULTS Prime Stage Theatre offers opportunities for people of all ages to get involved with the theater. Check out our website to learn about mentorships, volunteering, book readings and many other exciting events. There is something for everyone at Prime Stage! http://primestage.com/ The Scarlet Letter Resource Guide Welcome to Prime Stage Theatre: Bringing Literature to Life! Volume 3, Issue 1 09.01.2011 Dear Educator, Resource Guide created by Welcome to the 2011-12 season at Prime Christina Farrell for Prime Stage Stage Theatre! We had a very successful sea- Theatre. Please do not reproduce son last year with acclaimed productions of any part of the study guide for publication without permission. The Legend of Sleepy Hollow, The Glass Me- nagerie and Antigone. We are thrilled to wel- Did you know… come you this year to three productions that will inspire you to imagine and discover: The Prime Stage Theatre Antigone, PST2011 Scarlet Letter, The Elephant Man and A Wrin- has been in existence for kle in Time. over 13 years. This Resource Guide is designed to provide Prime Stage Theatre’s very first production was historical background and context, class- A Woman Called Truth room activities, and other curricular content about Sojourner Truth. to help you enliven your students’ experi- ence with the literature. We hope it will in- Prime Stage Theatre first performed at the spire you to use theatrical skills and creative Station Square Playhouse thinking in your classroom in order to spark (now Hard Rock Café). The Glass Menagerie, PST 2011 personal connections with the themes and characters in the stories. If you have any questions about the information or activities in this guide, please Check out what’s inside! don’t hesitate to contact me. I’m happy to help and welcome your suggestions! The Scarlet Letter in 30 4 seconds…or Less! ~Christina Farrell Education Director Nathaniel Hawthorne 4 The Scarlet Letter by Carol 5 [email protected] Gilligan and John Gilligan Carol Gilligan 5 Curriculum Connections Corner Putting it in Context 6 The Scarlet Letter in Art 8 Prime Stage Theatre is Arts and Humanities: Glossary 9 committed to directly 9.1-9.4 correlating our programs Pre-Reading and Pre-Show 10 Activities to the PDE Academic Reading, Writing, Speak- Reading Activities 11 Standards. The Scarlet ing, & Listening: 1.1-1.8 Letter and this resource Post-Reading and Post- 13 guide may be used to History: 8.1-8.4 Show Activities address the following Attending the 14 curriculum content stan- Performance dards: Resources and Discussion 15 Questions Page 4 The Scarlet Letter Summary—The Scarlet Letter Hester sees Dimmesdale’s deepening an- The Scarlet Letter in 30 seconds… swears vengeance against her lover, vow- guish and vows to help. They decide to run ing to discover his identity. Hawthorne’s story begins in a Puritan away to Europe together after he delivers village near Boston, Massachusetts in the his final sermon. Just as he steps off the Several years pass and although Hester is summer of 1642. A young and beautiful pulpit, however, he reveals the “A” on his forced to live on the outskirts of the com- woman named Hester Prynne has just chest and dies. been led from the prison, carrying her munity, she supports herself through her baby daughter, Pearl. A red letter “A” has seamstress work. She has even added Chillingworth dies a year later, frustrated been sewn onto her dress as a badge of golden embroidery to her red letter “A.” that he was not able to carry out his re- her shame. An old, hunched stranger Pearl has grown into a willful and trouble- venge. Hester and Pearl leave the village appears in the crowd to ask about the some girl. The elders wish to take Pearl for a while, but Hester returns several woman’s crime. He is told that Hester’s away from Hester, but the eloquent years later with the “A” on her chest. She husband had stayed behind in Europe, but preacher Dimmesdale convinces them exchanges letters with Pearl, now married was assumed lost at sea. However, Hester that Pearl’s rightful place is with her and raising her own family. Hester is bur- became pregnant from an affair and, de- mother. ied next to Dimmesdale, a single letter “A” spite the urgent pleas from the church marking their shared tombstone. elders, will not reveal the name of the Although he is a respected leader in the baby’s father. community, Dimmesdale appears to be wasting away. Chillingworth moves in with ...or less! It is soon revealed that the old stranger is him to take care of his health and soon A young Puritan woman is marked with a Hester’s husband, a medicine man now discovers a red letter “A” burned into letter “A” for an adulterous affair leading going by the name Roger Chillingworth. He Dimmesdale’s chest. Chillingworth realizes to the birth of a daughter. Her older hus- introduces himself to Hester and says that the connection between Hester and the band vows to discover the identity of her he can not blame her for being unhappy preacher. lover and seek revenge. Her lover, the married to an old, intellectual man. But he preacher, suffers from his secret anguish and eventually dies from heartache. Nathaniel Hawthorne Nathaniel Hawthorne (July 4, 1804-May body and moved to “The Old Manse,” a 16, 1864) was born in Salem, Massachu- home in Concord, NH where Ralph Waldo setts to a family that descended from the Emerson once lived. earliest settlers of the Massachusetts Bay Colony. His ancestors included John During this time he began writing more Hathorne, a harsh Puritan judge at the seriously. His collection of stories and 1692 Salem witch trials. This fact was both essays about early America entitled intriguing and disturbing to Hawthorne, Masses from an Old Manse caught the who later added a “w” to his name, per- attention of the American literary commu- haps to distance himself from his infamous nity. They were looking for a fresh relatives. “American” voice to represent the newly independent country and Hawthorne’s Hawthorne’s father, a sea captain, died of stories, which were mainly about Amer- yellow fever in 1808, so he and his two ica’s Puritan roots, portrayed a unique Nathaniel Hawthorne, 1860’s sisters were raised by his mother and her vision of the country and its people. http://en.wikipedia.org/ relatives. He attended Bowdoin College in Maine where he became good friends with Hawthorne published The Scarlet Letter in Transcendentalism was a religious the soon-to-be-famous poet Henry 1850. The novel was praised by critics, but and philosophical movement of the early nineteenth century dedicated Wadsworth Longfellow and future U.S. didn’t earn widespread fame. His other to the belief that divinity manifests president Franklin Pierce. major novels include The House of the itself everywhere, particularly in the Seven Gables (1851), The Blithedale Ro- natural world. It also advocated a He began writing after college, without mance (1852), and The Marble Faun personalized, direct relationship with much initial success. He took a job as a (1860). the divine in place of formalized, customs surveyor, but soon left the post structured religion. This second tran- to live in commune called Brook Farm Franklin Pierce appointed Hawthorne a scendental idea is privileged in The which was designed to promote economic U.S. Consul in 1853. He traveled in Scarlet Letter. self-sufficiency and transcendentalist prin- Europe for six years and passed away in http://www.sparknotes.com/lit/ ciples. In 1842 he married Sophia Pea- 1864 shortly after returning home. scarlet/themes.html Volume 3, Issue 1 Page 5 The Scarlet Letter by Carol Gilligan and John Gilligan The Scarlet Letter has remained a beloved she made.
Load more

Recommended publications
  • The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
    THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice.
    [Show full text]
  • Alumni Revue! This Issue Was Created Since It Was Decided to Publish a New Edition Every Other Year Beginning with SP 2017
    AAlluummnnii RReevvuuee Ph.D. Program in Theatre The Graduate Center City University of New York Volume XIII (Updated) SP 2016 Welcome to the updated version of the thirteenth edition of our Alumni Revue! This issue was created since it was decided to publish a new edition every other year beginning with SP 2017. It once again expands our numbers and updates existing entries. Thanks to all of you who returned the forms that provided us with this information; please continue to urge your fellow alums to do the same so that the following editions will be even larger and more complete. For copies of the form, Alumni Information Questionnaire, please contact the editor of this revue, Lynette Gibson, Assistant Program Officer/Academic Program Coordinator, Ph.D. Program in Theatre, The Graduate Center, City University of New York, 365 Fifth Avenue, New York, NY 10016-4309. You may also email her at [email protected]. Thank you again for staying in touch with us. We’re always delighted to hear from you! Jean Graham-Jones Executive Officer Hello Everyone: his is the updated version of the thirteenth edition of Alumni Revue. As always, I would like to thank our alumni for taking the time to send me T their updated information. I am, as always, very grateful to the Administrative Assistants, who are responsible for ensuring the entries are correctly edited. The Cover Page was done once again by James Armstrong, maybe he should be named honorary “cover-in-chief”. The photograph shows the exterior of Shakespeare’s Globe in London, England and was taken in August 2012.
    [Show full text]
  • Hawthorne's Conception of History: a Study of the Author's Response to Alienation from God and Man
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1979 Hawthorne's Conception of History: a Study of the Author's Response to Alienation From God and Man. Lloyd Moore Daigrepont Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Daigrepont, Lloyd Moore, "Hawthorne's Conception of History: a Study of the Author's Response to Alienation From God and Man." (1979). LSU Historical Dissertations and Theses. 3389. https://digitalcommons.lsu.edu/gradschool_disstheses/3389 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy.
    [Show full text]
  • A Tentative Defense for the Villain Roger Chillingworth in the Scarlet Letter
    Journal of Literature and Art Studies, July 2020, Vol. 10, No. 7, 575-583 doi: 10.17265/2159-5836/2020.07.008 D DAVID PUBLISHING A Tentative Defense for the Villain Roger Chillingworth in The Scarlet Letter ZHANG Bao-cang Beijinng Foreign Studies University;Henan Agricultural University, Henan, China The paper makes a tentative defense for the villain Roger Chillingworth in The Scarlet Letter, regarding that the characterization with a devil’s image, cruel and cold-blooded is related to religious and artistic purposes. Actually, with the truth shifted from religious to psychological one, textual evidence shows that Chillingworth is far from that bad, and as one of the protagonists, she also deserves the pity and sympathy from the reader. Keywords: Nathaniel Hawthorne, Roger Chillingworth, defense 1. Introduction As a man of letters, Nathaniel Hawthorne had struggled in literary circle for more than two decades in obscurity, before the publication of his masterpiece The Scarlet Letter (1850), which finally brought him both good reputation and profit with a soaring sale. With this work, it seems overnight Hawthorne was known to the public, as within ten days the work had a sale of 2500 copies, and in the next 14 years this book brought Hawthorne the profit as much as $1500. The Scarlet Letter, set in the 1640s New England, narrates the story of adultery and redemption of a young lady Hester Prynne. From the masterpiece, the reader will always generate an endless number of meanings from different perspectives. So far, scholars have conducted their researches from different perspectives, such as redemption of religion, feminism, Freud’s psychoanalysis, prototype theory and character analysis.
    [Show full text]
  • The Wild Child: Children Are Freaks in Antebellum Novels
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2013 The Wild Child: Children are Freaks in Antebellum Novels Heathe Bernadette Heim Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1711 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Wild Child: Children are Freaks in Antebellum Novels by Heather Bernadette Heim A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2013 Heim ii Heim © 2013 HEATHER BERNADETTE HEIM All Rights Reserved iii Heim This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy Hildegard Hoeller_______________________ __________ ______________________________________ Date Chair of Examining Committee Mario DiGangi__________________________ ___________ ______________________________________ Date Executive Officer Hildegard Hoeller______________________________ William P. Kelly_______________________________ Marc Dolan___________________________________ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Heim Abstract The Wild Child: Children are Freaks in Antebellum Novels by Heather Bernadette Heim Advisor: Professor Hildegard Hoeller This dissertation investigates the spectacle of antebellum freak shows and focuses on how Phineas Taylor Barnum’s influence permeates five antebellum novels. The study concerns itself with wild children staged as freaks in Margaret by Sylvester Judd, City Crimes by George Thompson, The Scarlet Letter by Nathaniel Hawthorne, Uncle Tom’s Cabin by Harriet Beecher Stowe and Our Nig by Harriet Wilson.
    [Show full text]
  • The Scarlet Letter
    ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 5, No. 10, pp. 2164-2168, October 2015 DOI: http://dx.doi.org/10.17507/tpls.0510.26 A Brief Study on the Symbolic Meaning of the Main Characters’ Name in The Scarlet Letter Nan Lei Yangtze University, China Abstract—As a great romantic novelist in American literature in the 19th century and a central figure in the American Renaissance, Nathaniel Hawthorne is outstanding for his skillful employment of symbolism and powerful psychological insight. The Scarlet Letter, which is considered to be the greatest accomplishment of American short story and is often viewed as the first American symbolic and psychological novel, makes Nathaniel Hawthorne win incomparable position in American literature. With a brief introduction into The Scarlet Letter and a brief study on the two literary terms, i.e. symbol and symbolism, the paper attempts to expound Hawthorne’s skillful employment of symbolism in his masterpiece through the analysis of the symbolic meaning of the main characters’ name in this great novel. Index Terms—The Scarlet Letter, symbol, symbolism, character, name I. A BRIEF INTRODUCTION TO THE SCARLET LETTER The Scarlet Letter is the masterpiece of Nathaniel Hawthorne, one of the most significant and influential writers in American literature in the 19th century. It is also regarded as the first symbolic novel in American literature for Hawthorne’s skillful use of symbolism and allegory. In the novel, the settings (the scarlet letter A, the prison, the scaffold, the rosebush, the forest, the sunshine and the brook) and the characters’ images, words and names are all endowed with profound symbolic meaning by Hawthorne.
    [Show full text]
  • Gender, Tragedy, and the American Dream
    37? /VQti N@* 37 & THE AMERICAN EVE: GENDER, TRAGEDY, AND THE AMERICAN DREAM DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Kim Martin Long, B.A., M.A. Denton, Texas May, 1993 37? /VQti N@* 37 & THE AMERICAN EVE: GENDER, TRAGEDY, AND THE AMERICAN DREAM DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Kim Martin Long, B.A., M.A. Denton, Texas May, 1993 Long, Kim Martin. The American Eve; Gender. Tragedy, and the American Dream. Doctor of Philosophy (English), May, 1993, 236 pp., works cited, 176 titles. America has adopted as its own the Eden myth, which has provided the mythology of the American dream. This New Garden of America, consequently, has been a masculine garden because of its dependence on the myth of the Fall. Implied in the American dream is the idea of a garden without Eve, or at least without Eve's sin, traditionally associated with sexuality. Our canonical literature has reflected these attitudes of devaluing feminine power or making it a negative force: The Scarlet Letter. Mobv-Dick. Adventures of Huckleberry Finn. The Great Gatsbv. and The Sound and the Fury. To recreate the Garden myth, Americans have had to reimagine Eve as the idealized virgin, earth mother and life-giver, or as Adam's loyal helpmeet, the silent figurehead. But Eve resists her new roles: Hester Prynne embellishes her scarlet letter and does not leave Boston; the feminine forces in Mobv-Dick defeat the monomanaical masculinity of Ahab; Miss Watson, the Widow Douglas, and Aunt Sally's threat of civilization chase Huck off to the territory despite the beckoning of the feminine river; Daisy retreats unscathed into her "white palace" after Gatsby's death; and Caddy tours Europe on the arm of a Nazi officer long after Quentin's suicide, Benjy's betrayal, and Jason's condemnation.
    [Show full text]
  • Cabinet Member Report William Somerset Maugham PDF 182 KB
    Cabinet Member Report Decision Maker: Cabinet Member for the Built Environment Date: 8 June 2016 Classification: For General Release Title: Commemorative Green Plaque for William Somerset Maugham at 2 Wyndham Place, W1 Wards Affected: Bryanston and Dorset Square Key Decision: An entry has been included in the Forward Plan of Key Decisions Financial Summary: The Green Plaque Scheme depends on sponsorship. Sponsorship has been secured for this plaque Report of: Director of Policy, Performance & Communications 1. Executive Summary William Somerset Maugham was a British playwright, novelist and short story writer. He was among the most popular writers of his era and reputedly the highest paid author during the 1930’s. 2. Recommendations That the nomination for a Westminster Commemorative Green Plaque for William Somerset Maugham at his London home at 2 Wyndham Place, be approved, subject to Listed Building Consent being granted for the Plaque and for sponsorship in full . 3. Reasons for decision William Somerset Maugham was a complex and interesting character and master of the short, concise novel. The last years of the British Empire offered him magnificent canvasses on which to write his stories and plays, evoking the feelings and emotions that allow the reader to understand and identify with the characters. 4. Policy Context The commemorative Green Plaques scheme complements a number of Council strategies: to improve the legibility and understanding of Westminster’s heritage and social history; to provide information for Westminster’s visitors; to provide imaginative and accessible educational tools to raise awareness and understanding of local areas, particularly for young people; to celebrate the richness and diversity of Westminster’s former residents.
    [Show full text]
  • Of Nathaniel Hawthorne
    N9 se, ?69 THE FUNCTION OF THE PIVOT IN THE FICTION OF NATHANIEL HAWTHORNE THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Paula Traynham Ricco, B. A. Denton, Texas May, 1980 Ricco, Paula Traynham, The Function of the Pivot in the Fiction of Nathaniel Hawthorne. Master of Arts (Eng- lish), May, 1980, 144 pp., bibliography, 66 titles. In traditional romance, the hero takes a mythical journey into the underworLd where he meets and overcomes evil antagonists. Hawthorne has transferred much of that hero's role to a pivotal character whose paradoxical func- tion is to cause the central conflict in the tale or novel while remaining almost entirely passive himself. The movement of the tale or novel depends on the pivot's humanization, that is, his return to and integration within society. Works treated are "Alice Doane's Appeal," "Peter Goldthwaite's Treasure," "Roger Malvin's Burial," "Rap- paccini' s Daughter," "Lady Eleanore's Mantle," "The Minister's Black Veil," "The Antique Ring," "The Gentle Boy," Fanshawe, The Scarlet Letter, The House of the Seven Gables, The Blithedale Romance, and The Marble Faun. TABLE OF CONTENTS Page Chapter I. INTRODUCTION ... ...... ...... 1 II. THE SHORTER WORKS.. ...... ... 11 III. FANSHAWE... ........ ......... 36 IV. THE SCARLET LETTER ..... ......... 48 V. THE HOUSE OF THE SEVEN GABLES. ...... 65 VI. THE BLITHEDALE ROMANCE. ..... ..... 85 VII. THE MARBLE FAUN: OR, THE ROMANCE OF MONTE BENI ............... ....... 105 VIII. CONCLUSION.... ... ........ 127 BIBLIOGRAPHY . .......... ......... 139 Some of these mountains, that looked at no such mighty distance, were at least forty or fifty miles off, and appeared as if they were near neighbors and friends of other mountains, from which they were still farther removed.
    [Show full text]
  • TOCC0329DIGIBKLT.Pdf
    SOME THOUGHTS ON MY ORCHESTRAL SONGS by Michael Csányi-Wills I was lucky enough to have had an opera-loving grandmother, who took me with her as often as she could. When I was three, she took me to see Donizetti’s Don Pasquale and I am told that I stared at Sir Geraint Evans in awe, without moving or saying a word. It seems that feeling has followed me ever since. I began piano soon after, immersing myself in repertoire from Bach to Widmann, studying with Hilary Coates at Wells Cathedral School and then with Christopher Elton and Frank Wibaut at the Royal Academy of Music. It was there that I met Nigel Clarke, with whom I began to study composition properly. Even though the piano is still a very important part of my life, it’s composition that drives me, and I have Nigel to thank for that. We then went on to collaborate on several feature- film scores, which was as much of an education for me as it was to study at the Academy. Since that time, I’ve been juggling playing the piano, writing film-scores and concert music and have been lucky enough to have encountered some wonderful musicians along the way. I met Mark Eager, conductor of the Welsh Sinfonia, in 2012 and became their composer-in-residence in 2013, which has resulted in several pieces for chamber orchestra, as well as some projects in music education, which is something I’m passionate about. I’ve since been made Head of Composition at the World Heart Beat Academy in Wandsworth, which supports young musicians of all backgrounds and cultures, and awards scholarships to those who would otherwise not have access to music.
    [Show full text]
  • A Letter by the Composer About "Giovanni D'arco" and Some Remarks on the Division of Musical Direction in Verdi's Day Martin Chusid
    Performance Practice Review Volume 3 Article 10 Number 1 Spring A Letter by the Composer about "Giovanni d'Arco" and Some Remarks on the Division of Musical Direction in Verdi's Day Martin Chusid Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Chusid, Martin (1990) "A Letter by the Composer about "Giovanni d'Arco" and Some Remarks on the Division of Musical Direction in Verdi's Day," Performance Practice Review: Vol. 3: No. 1, Article 10. DOI: 10.5642/perfpr.199003.01.10 Available at: http://scholarship.claremont.edu/ppr/vol3/iss1/10 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Tempo and Conducting in 19th-century Opera A Letter by the Composer about Giovanna d'Arco and Some Remarks on the Division of Musical Direction in Verdi's Day Martin Chusid Vcnezia 28 Marzo 1845 Venice 28 March 1845 Carissimo Romani My very dear Romani Ti ringrazio dei saluti mandalimi dalla Thank you for conveying Mme Bortolotti.1 Tu vuoi che t'accenni aleune Bortolotti's greetings. You want me cose sul la Giovanna? Tu non ne to point out some things about abbisogni, e sai bene inlerpretare da te; Giovanna? You don't need them, and ma se ti fa piacere che te ne dica are well able to interpret by yourself; qualcosa; cccomi a saziarti [?].
    [Show full text]
  • Guide to Copyright and Permissions
    GUIDANCE ON COPYRIGHT AND PERMISSIONS This guide offers basic advice on when permission is needed to use extracts from the works of others. It does not explore how far indirect copying, paraphrasing or the use of copyright works in other ways may amount to infringement. Members are welcome to contact the office for more detailed guidance. Every reasonable effort has been made to ensure that the information provided in this Guide is reasonably comprehensive, accurate and clear and up to date as at the date stated in the Guide. However, the information provided is necessarily general and should not be relied on as specific legal or professional advice. If you have any specific queries, contact our advisers or a suitably qualified lawyer or professional. If you think you may have noticed any error or omission, please let us know. CONTENTS 1(a) Is the work in copyright? General rule 1(b) Variations in how long copyright lasts i) works not available to the public during the author’s lifetime ii) translations iii) letters iv) the publisher’s copyright v) works by non-European authors vi) US copyright vii) anonymous and pseudonymous works viii) crown and parliamentary copyright vix) the ‘publication right’ 2(a) How much may be quoted from a copyright work without permission? 2(b) Exceptions i) fair dealing in quotations ii) fair dealing for purposes of parody, pastiche or caricature iii) fair dealing for educational purposes 2(c) What is ‘fair dealing’? 3 The logistics of obtaining copyright permissions 3(a) Who can grant, and whose job is it to obtain, copyright permissions? 3(b) Who and what to ask 3(c) How much will the fee be? 4 What if the rights holder will not reply to permission requests? 5 What if I cannot trace/identify the rights holder? 5(a) What constitutes ‘diligent search’? 6 Model permission licence from rights holder to prospective user.
    [Show full text]