THE DEVELOPMENT of a GRADUATE ACHIEVEMENT TEST in THEATRE DISSERTATION Presented in Partial Fulfillment of the Requirements
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George Frideric Handel German Baroque Era Composer (1685-1759)
Hey Kids, Meet George Frideric Handel German Baroque Era Composer (1685-1759) George Frideric Handel was born on February 23, 1685 in the North German province of Saxony, in the same year as Baroque composer Johann Sebastian Bach. George's father wanted him to be a lawyer, though music had captivated his attention. His mother, in contrast, supported his interest in music, and he was allowed to take keyboard and music composition lessons. His aunt gave him a harpsichord for his seventh birthday which Handel played whenever he had the chance. In 1702 Handel followed his father's wishes and began his study of law at the University of Halle. After his father's death in the following year, he returned to music and accepted a position as the organist at the Protestant Cathedral. In the next year he moved to Hamburg and accepted a position as a violinist and harpsichordist at the opera house. It was there that Handel's first operas were written and produced. In 1710, Handel accepted the position of Kapellmeister to George, Elector of Hanover, who was soon to be King George I of Great Britain. In 1712 he settled in England where Queen Anne gave him a yearly income. In the summer of 1717, Handel premiered one of his greatest works, Water Music, in a concert on the River Thames. The concert was performed by 50 musicians playing from a barge positioned closely to the royal barge from which the King listened. It was said that King George I enjoyed it so much that he requested the musicians to play the suite three times during the trip! By 1740, Handel completed his most memorable work - the Messiah. -
York Guilds and the Corpus Christi Plays: Unwilling Participants?
Early Theatre 9.2 Clifford Davidson York Guilds and the Corpus Christi Plays: Unwilling Participants? Almost a century ago Maud Sellers commented regarding the Corpus Christi pageants of York that the ‘sorely burdened craftsmen’ who staged them ‘found the upkeep of the plays an intolerable and vexatious burden’.1 Miss Sellers’ remark deserves to be explored, for some scholars continue to suggest or imply that the York plays were found onerous, an unwelcome financial burden placed upon unwilling citizens of the city by the mayor and corporation that control- led their guilds.2 Heather Swanson, for example, exposes a lack of perspective in her remark that the ‘[c]raft guilds took a rather more jaundiced view of the pageants, because of the expense they entailed’.3 There is, of course, sufficient evidence of guild resistance if we look at the ways in which the plays were funded, in part through a system of fines divided between support of the pageants and of the corporation. Then, craft guilds ordered to contribute to others’ pageants were often unenthusiastic, as shown by the heavy fines with which they were threatened if they did not pay their allotted shares. Refusal to pay the required subsidies and pageant money, or even ‘grudgyng or gevyng any evill woordes’, was treated as rebellion against authority.4 There were also individual cases of complaint about the cost of the plays to which a company had been assigned, for how could it be otherwise in the declining economy of a town in which severe shifts in social structure and a shrinking -
'Dream Job: Next Exit?'
Understanding Bach, 9, 9–24 © Bach Network UK 2014 ‘Dream Job: Next Exit?’: A Comparative Examination of Selected Career Choices by J. S. Bach and J. F. Fasch BARBARA M. REUL Much has been written about J. S. Bach’s climb up the career ladder from church musician and Kapellmeister in Thuringia to securing the prestigious Thomaskantorat in Leipzig.1 Why was the latter position so attractive to Bach and ‘with him the highest-ranking German Kapellmeister of his generation (Telemann and Graupner)’? After all, had their application been successful ‘these directors of famous court orchestras [would have been required to] end their working relationships with professional musicians [take up employment] at a civic school for boys and [wear] “a dusty Cantor frock”’, as Michael Maul noted recently.2 There was another important German-born contemporary of J. S. Bach, who had made the town’s shortlist in July 1722—Johann Friedrich Fasch (1688–1758). Like Georg Philipp Telemann (1681–1767), civic music director of Hamburg, and Christoph Graupner (1683–1760), Kapellmeister at the court of Hessen-Darmstadt, Fasch eventually withdrew his application, in favour of continuing as the newly- appointed Kapellmeister of Anhalt-Zerbst. In contrast, Bach, who was based in nearby Anhalt-Köthen, had apparently shown no interest in this particular vacancy across the river Elbe. In this article I will assess the two composers’ positions at three points in their professional careers: in 1710, when Fasch left Leipzig and went in search of a career, while Bach settled down in Weimar; in 1722, when the position of Thomaskantor became vacant, and both Fasch and Bach were potential candidates to replace Johann Kuhnau; and in 1730, when they were forced to re-evaluate their respective long-term career choices. -
George Frideric Handel German Baroque Era Composer (1685-1759)
Hey Kids, Meet George Frideric Handel German Baroque Era Composer (1685-1759) George Frideric Handel was born on February 23, 1685 in the North German province of Saxony, in the same year as Baroque composer Johann Sebastian Bach. George's father wanted him to be a lawyer, though music had captivated his attention. His mother, in contrast, supported his interest in music, and he was allowed to take keyboard and music composition lessons. His aunt gave him a harpsichord for his seventh birthday which Handel played whenever he had the chance. In 1702 Handel followed his father's wishes and began his study of law at the University of Halle. After his father's death in the following year, he returned to music and accepted a position as the organist at the Protestant Cathedral. In the next year he moved to Hamburg and accepted a position as a violinist and harpsichordist at the opera house. It was there that Handel's first operas were written and produced. In 1710, Handel accepted the position of Kapellmeister to George, Elector of Hanover, who was soon to be King George I of Great Britain. In 1712 he settled in England where Queen Anne gave him a yearly income. In the summer of 1717, Handel premiered one of his greatest works, Water Music, in a concert on the River Thames. The concert was performed by 50 musicians playing from a barge positioned closely to the royal barge from which the King listened. It was said that King George I enjoyed it so much that he requested the musicians to play the suite three times during the trip! By 1740, Handel completed his most memorable work - the Messiah. -
Presentazione Di Powerpoint
COMMEDIA DELL’ARTE Pietro Bertelli - "Zanne Maschere" (1642) Gabriele Bella, Ciarlatani nella piazzetta San Marco a Venezia, XVIII secolo, Venezia, Galleria Querini Stampalia Giacomo Franco: "Ciarlatani in Piazza San Marco" - (1610) A troupe of Comici dell'Arte (detail.), K. Dujardins, 1657 Paul Scarron's Roman Comique (1676) Lorenzo Vaccaro, 1560- 1580. Raccolta Fossard Francatrippa, Stoccolma, Recueil Fossard Lorenzo Vaccaro, 1560- 1580. Stoccolma, Recueil Fossard Lorenzo Vaccaro,Raccolta Fossard Recueil Fossard Arlecchino Recueil Fossard Arlecchino Alessandro Scalzi/ Alessandro Padovano, scala dei buffoni (Narrentreppe) Castello di Trausnitz,Landshut,1578 circa Alessandro Scalzi/ Alessandro Padovano, scala dei buffoni (Narrentreppe) Castello di Trausnitz,Landshut,1578 circa Alessandro Scalzi/ Alessandro Padovano, scala dei buffoni (Narrentreppe) Castello di Trausnitz,Landshut,1578 circa Antonio Ponzano Decorazione in fregio al soffitto Castello di Trausnitz (Baviera),1591 Molière, Jodelet, Poisson, Turlupin, Le Capitan Matamore, Arlequin, Guillot Gorju, Gros Guillaume, Le Dottor Grazian Balourd, Gaultier Garguille, Polichinelle, Pantalone, Phillipa (on the balcony), Scaramouche, Briguelle, Trivelin. Une représentation de la commedia dell'arte par la troupe des Gelosi (1571-1604) : peinture flamande de la fin du XVIe siècle conservée au musée Carnavalet à Paris. Pittore fiammingo, Commedia dell’arte a la cour de Charles IX, Bayeux (Francia), Museo Baron Gerard La serenata di Pantalone, sec.XVI Anonimo fiammingo, Commedia dell’Arte, Sarasota, Ringling Museum Dionisio Minaggio, Libro delle piume, tavola 26 Agostino Carracci, Ritratto di Giovanni Gabrielli detto il Sivello, Roma, Biblioteca del Burcardo, XVI secolo, incisione. Scapino, incisione di Jacques Callot, XVII secolo, Milano, Civica Raccolta delle stampe "Bertarelli. Buffetto (Carlo Cantù) 18th-Century Engraving of Commedia Dell’arte Actors on Stage. -
Women's Clothing in the 18Th Century
National Park Service Park News U.S. Department of the Interior Pickled Fish and Salted Provisions A Peek Inside Mrs. Derby’s Clothes Press: Women’s Clothing in the 18th Century In the parlor of the Derby House is a por- trait of Elizabeth Crowninshield Derby, wearing her finest apparel. But what exactly is she wearing? And what else would she wear? This edition of Pickled Fish focuses on women’s clothing in the years between 1760 and 1780, when the Derby Family were living in the “little brick house” on Derby Street. Like today, women in the 18th century dressed up or down depending on their social status or the work they were doing. Like today, women dressed up or down depending on the situation, and also like today, the shape of most garments was common to upper and lower classes, but differentiated by expense of fabric, quality of workmanship, and how well the garment fit. Number of garments was also determined by a woman’s class and income level; and as we shall see, recent scholarship has caused us to revise the number of garments owned by women of the upper classes in Essex County. Unfortunately, the portrait and two items of clothing are all that remain of Elizabeth’s wardrobe. Few family receipts have survived, and even the de- tailed inventory of Elias Hasket Derby’s estate in 1799 does not include any cloth- ing, male or female. However, because Pastel portrait of Elizabeth Crowninshield Derby, c. 1780, by Benjamin Blythe. She seems to be many other articles (continued on page 8) wearing a loose robe over her gown in imitation of fashionable portraits. -
Fashion,Costume,And Culture
FCC_TP_V4_930 3/5/04 3:59 PM Page 1 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages FCC_TP_V4_930 3/5/04 3:59 PM Page 3 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages Volume 4: Modern World Part I: 19004 – 1945 SARA PENDERGAST AND TOM PENDERGAST SARAH HERMSEN, Project Editor Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages Sara Pendergast and Tom Pendergast Project Editor Imaging and Multimedia Composition Sarah Hermsen Dean Dauphinais, Dave Oblender Evi Seoud Editorial Product Design Manufacturing Lawrence W. Baker Kate Scheible Rita Wimberley Permissions Shalice Shah-Caldwell, Ann Taylor ©2004 by U•X•L. U•X•L is an imprint of For permission to use material from Picture Archive/CORBIS, the Library of The Gale Group, Inc., a division of this product, submit your request via Congress, AP/Wide World Photos; large Thomson Learning, Inc. the Web at http://www.gale-edit.com/ photo, Public Domain. Volume 4, from permissions, or you may download our top to bottom, © Austrian Archives/ U•X•L® is a registered trademark used Permissions Request form and submit CORBIS, AP/Wide World Photos, © Kelly herein under license. Thomson your request by fax or mail to: A. Quin; large photo, AP/Wide World Learning™ is a trademark used herein Permissions Department Photos. Volume 5, from top to bottom, under license. The Gale Group, Inc. Susan D. Rock, AP/Wide World Photos, 27500 Drake Rd. © Ken Settle; large photo, AP/Wide For more information, contact: Farmington Hills, MI 48331-3535 World Photos. -
Magical Clothing Fo R Discerning Adventurers
Magical Clothing fo r Discerning Adventurers Anja Svare Sample file Introduction Table of Contents I really like making magic items. General Clothing 3 Now, there’s nothing wrong with how 5e presents the majority of magic items. But the tend to get a little stale. Potions are all essentially the same, scrolls don’t really have much interest Outerwear 6 other than what spell they contain, you’ve got a few interesting things that aren’t weapons or armor, but that’s about it. Most of those will either break a game because of their power, or Headwear 12 they should require a massive quest of campaign-level, world- spanning heroics to obtain. There just aren’t a lot of items that everyday adventurers want, Footwear 14 that won’t break the bank so to speak, and are things that are actually useful. Everybody wears clothes (I don’t want to think about nude D&D), and everybody loves magic items for their Accessories 16 character.. Combining the two seemed like a good idea, but I didn’t want Special Orders 20 to go with just pants, shirts, etc. I scoured the internet for medieval period clothing, and narrowed down a list of items that were common across a wide range of times and places throughout Europe during the Middle Ages. Now, I did come Glossary 22 across some interesting clothing items that fell outside that range or geography, and a few are included here. None of the items presented here are gender specific. I intentionally left any mention of that out of each item. -
Autumn 2017 Cover
Volume 1, Issue 2, Autumn 2017 Front cover image: John June, 1749, print, 188 x 137mm, British Museum, London, England, 1850,1109.36. The Journal of Dress History Volume 1, Issue 2, Autumn 2017 Managing Editor Jennifer Daley Editor Alison Fairhurst Published by The Association of Dress Historians [email protected] www.dresshistorians.org i The Journal of Dress History Volume 1, Issue 2, Autumn 2017 ISSN 2515–0995 [email protected] www.dresshistorians.org Copyright © 2017 The Association of Dress Historians Online Computer Library Centre (OCLC) accession number: 988749854 The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer–reviewed environment. The journal is published biannually, every spring and autumn. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is distributed completely free of charge, solely for academic purposes, and not for sale or profit. The Journal of Dress History is published on an Open Access platform distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. The editors of the journal encourage the cultivation of ideas for proposals. -
Free Download
Maud, Emma, Evangeline America’s Love Affairs With the 3 Booth Women R.G. Moyles 2014 Frontier Press All rights reserved. Except for fair dealing permitted under the Copyright Act, no part of this book may be reproduced by any means without written permission from the publisher. Moyles, R.G. Maud, Emma, Evangeline America’s Love Affairs With the 3 Booth Women July 2014 Copyright © The Salvation Army USA Western Territory ISBN 978-0-9768465-9-8 Printed in the United States Table of Contents Foreword 1 Introduction 3 Maud Ballington Booth 7 Emma Booth-Tucker 42 Evangeline Cory Booth 67 Afterword 117 Booth Women / 1 FOREWORD By Major Kevin E. Jackson The history of The Salvation Army is incredibly rich. Those who spend time researching and writing it are keenly aware of this truth. Those who choose to read books, articles and thoughtful studies on The Salvation Army’s past come to understand the depth and importance of the subject. The history of this organization maintains a uniqueness that separates this movement from oth- er religious organizations, churches and nonprofits. We are similar in some respects, but our uniqueness is what tells the story that most readers of our past want to know and profit from. Just prior to the release of Maud, Emma, Evangeline: America’s Love Affair with the 3 Booth Women, I spent several hours interviewing Dr. R. Gordon Moyles for a promotional video about the book. I was taken by Moyles’ pas- sion for the subject of his latest work, and his lifelong study of The Salvation Army. -
Leitfaden Der Griechischen Und Römischen Altertümer Für Den
LEITFADEN DER GRIECHISCHEN UND RÖMISCHEN ALTERTÜMER FÜR DEN... Emst Wagner Iii Digitized by Google librarics Digitized by Google \ Digitizeo google pMIm liiiifilirD lltrrtiioitr fßr htn lltaf. Dr. ®rn|l ^agncr, Dr. ©torg U0n gobilinehi, 2>brcltgr bei ItSxiflI. ü^tlDelm»flQmiu{lum» vom. Xirettot bct Röiiigl.^uoa*1llti(d]U(t)ulr |u MnigMna L an ttafiMibint i OMfr* Dritte verbesserte Auflage, befolgt boii 49llt 14 (ßrmtörtrHetdjnungrn Im tJCcrt linb einem 5;onlierl]cft, cnüiolUiU» 24 iSlUxrtafeln unIt iDläne von iAttjen unl» Horn. 'SßettUu lDei6maiinf c^e Sud) anMun^. 1907. Digitizeo google kjui^L j Ly Google 10C1513 2^Mt^cm lind) boji ":l-^oftiinimui.qen bcr neuen ^'ef)rpläiu' bic iacl}licl)e (£t= flnvniu] bcr 3d)viftU)eife bci^ 'JUtertitmC' in bcn iHirbev^vunb i]ctieten nnb ^ bie (5iiifübvuiui in biis? Weiftec^; nnb .^iiiitmlcbeu bcv ©ricdicn nnb ^)iiinier ak-> bav eii]iiitlid)o Vefiv^^icl bo^s Untcvnd)tc^ in ben nlten 2piad)cn t)nige[tcüt '\]t, l)at fid) biivi ^i-icbüifniy i^eeignetev ^v\'f)iinittel iininev leblioftcv i^eltenb geiHiidit. bcv veid)en ?^-üIle tvcfrlidicv ^Hrboiten aber, bic bcionbcvC' bnvd) 3d)iUeifLnnnicntave ,yi ben .sHnffifcvn nnb bilblidic raincUunqen bni^ fnrf}(id)c ilHn-ftänbnii> bc^^ 'Hltertninc^ beleben nnb förbern, fcl)lte ct^ an einen! i'el)ibud)c, bae bie und]tic|ücn (vrfdicinnnqen (ims beni Sehen ber iUlten 511; fiininienfolV- Xie Unentbcbv(id)tcit einest fcild)en Seitfoben^ nnb bie lln= 5ulänfllicf)teit aller anbercn .soilftMiiittcl unrb am füf)lbarftcn, menn bie in , ber Crbniiuii ber "Heifepritnuii^cn fi? U) uerlangte iBefanntid)aft ber Sdiülev mit bcn viiuptuiiuftcn ber '.Hntiquitäten eiTeid)t uierben foU. -
2.2 Final.Indd
Wickedly Devotional Comedy in the York Temptation of Christ1 Christopher Crane United States Naval Academy Make rome belyve, and late me gang! [let me pass!] Who makes here al þis þrang? High you hense, high myght ou hang Right with a roppe. I drede me þat I dwelle to lang [I’m delayed too long] To do a jape. [mischief, joke] (York Plays 22.1-6) Satan opens the York Temptation of Christ2 pageant with these words, employing a complex and subtle rhetorical comedy aimed at moving fi fteenth-century spectators toward lives of greater devotion. With “late me gang!” Satan (“Diabolus” in the text) achieves more in these lines than just making a scene; he draws his audience members into the action. Medieval staging in York likely had Satan approach the pageant wagon stage through the audience, addressing them as he enters. As spectators respond, perhaps stepping aside, smiling, or even egging him on, they both submit to and celebrate him. However, the central action of this pageant is Christ’s successful resistance to the devil’s efforts to entice him to sin.3 Theologically and thematically, this victory parallels the pageant of Adam and Eve’s temptation earlier in the cycle4 and establishes Christ’s qualifi cation to redeem the fall of mankind with his death, which follows in the series of passion pageants that follow this scene. If the purpose of this pageant is to illustrate Christ’s victory, why does it open with this entertaining portrayal of Satan? Why not portray Jesus in prayer or meditating on the Scriptures he will use to resist Satan’s tactics? Can the pageant provide an orthodox message about the devil after endowing him with such charisma? The exemplary and biblical nature of the mystery plays in general (whether humorous or not) gives them a homiletic quality that frequently invites the audience to 29 30 Christopher Crane participate vicariously in the enacted stories and to appropriate the lessons of Scripture.