He didn't write piano music but I had to do a slideshow on the Waltz King and his Beautiful Blue Danube Waltz.
Tenth of ten presentations on the piano and classical musicians. And more to come!
Immigrants’ Theatre Project will present Staged Readings in English of 6 new plays written by women playwrights who are the leading voices writing for the stage today in Central and Eastern Europe. ITP’s artistic director Marcy Arlin and director Gwynn MacDonald will curate these plays from Bulgaria, Czech Republic, Hungary, Romania, Serbia and Slovak Republic.
He didn't write piano music but I had to do a slideshow on the Waltz King and his Beautiful Blue Danube Waltz.
Tenth of ten presentations on the piano and classical musicians. And more to come!
Immigrants’ Theatre Project will present Staged Readings in English of 6 new plays written by women playwrights who are the leading voices writing for the stage today in Central and Eastern Europe. ITP’s artistic director Marcy Arlin and director Gwynn MacDonald will curate these plays from Bulgaria, Czech Republic, Hungary, Romania, Serbia and Slovak Republic.
Generally there are four basic theatrical forms: Tragedy, Comedy, Melodrama and Drama. It started with Tragedy that led to Comedy and together these two theatrical genres became the foundation upon where the modern theater genres are formed.
Course Reader Reading #3 What is Design .docxmarilucorr
Course Reader: Reading #3
What is Design?
Excerpts from:
Adolph Appia, Lee Simon (from: “The Ideas of Adolphe Appia”),
Robert Edmund Jones, Leonard Pronko,
and Gaston Bachelard
Intro to Theater: What is Design? Page #1
Intro to Theater: What is Design? Page #1
r;;e: The American
s: 145-155.
Harry N. Abrams
~
Chapter 3
Adolph Appia
ACTOR, SPACE, LIGHT,
PAINTING
T HE ART OF STAGE PRODUCTION is the art of projecting into Space what the original author was only able to project in
Time. The temporal element is implicit within any text, with or
without music . . . The first factor in staging is the interpreter: the
actor himself. The actor carries the action. Without him there can
be no action and hence no drama ... The body is alive, mobile and
plastic; it exists in three dimensions. Space and the objects used
by the body must most carefully take this fact into account. The
overall arrangement of the setting comes just after the actor in
importance; it is through it that the actor makes contact with and
assumes reality within the scenic space.
Thus we already have two essential elements: the actor and
the spatial arrangement of the setting, which must conform to his
plastic form and his three-dimensionality.
What else is there?
Light!
Light, just like the actor, must become active; and in order to
grant to it the status of a medium of dramatic expression it must
be placed in the service of ... the actor who is above it in the
production hierarchy, and in the service of the dramatic and plastic
expression of the actor.
... Light has an almost miraculous flexibility . . . it can cre
ate shadows, make them living, and spread the harmony of their
vibrations in space just as music does. In light we possess a most
powerful means of expression through space, if this space is placed
in the service of the actor.
29
Intro to Theater: What is Design? Page #2
Intro to Theater: What is Design? Page #2
ACTOR, SPACE, LIGHT, PAINTING
So here we have our nonnal established hierarchy: ,
the actor presenting the drama;
space in three dimensions, in the service of the actor's plastic fonn;
liBht giving life to each.
But as you have inferred, there is a but what about painting? What do we
understand about painting in terms of scenic art?
A collection of painted backcloths and flats arranged vertically on the stage,
more or less parallel to one another, and extending upstage. These are covered
with painted light, painted shadow, painted fonns, objects and architecture; all of
it, of course, on a flat surface since that is the nature of painting ...
Our staging practice has reversed the hierarchical order: on the pretext of
providing us with elements which are difficult or impossible to realize in solid
form, it has developed painted decor to an absurd degree, and disgracefully
subordinated the living body of the actor to it. Thus light illuminates the b.
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A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
MATATAG CURRICULUM: ASSESSING THE READINESS OF ELEM. PUBLIC SCHOOL TEACHERS I...NelTorrente
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June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
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Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
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Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
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at Integral University, Lucknow, 06.06.2024
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This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
2. In common with other European countries, the
most frequent and most popular form of theatre in
Poland is dramatic theatre, based on the
existence of relatively stable artistic companies. It
is above all a theatre of directors, who decide on
the form of its productions and the appearance of
individual scenes.
3. At present, the Polish theatre actor possibly best-
known outside the country is Andrzej Seweryn,
who in the years 1984–1988 was a member of the
international group formed by Peter Brook to work
on the staging of the Mahabharata, and since
1993 has been linked with the Comédie
Française.
Andrzej Seweryn
4. During the second half of the nineties, there appeared in Polish dramatic
theatre a new generation of young directors, who have attempted to create
productions relevant to the experience and problems of a thirty-something
generation brought up surrounded by mass culture, habituated to a fast-
moving lifestyle, but at the same time ever more lost in the world of consumer
capitalism. The leading theatre in this movement is Warsaw's TR, known as
"the fastest theatre in town".
Among its collaborating directors, Krzysztof Warlikowski and Grzegorz Jarzyna
stand out. Warlikowski has gained international recognition with a series of
innovative productions of Shakespeare, performed both at Polish theatres
(The Taming of the Shrew, Hamlet) and abroad (Pericles at the Piccolo Teatro
in Milan, Twelfth Night and The Tempest at the Stadt-Theater in Stuttgart).
Looking for a way to present the complex existential situation of contemporary
humanity, Jarzyna reaches both for contemporary drama (Witkiewicz's
Tropical Madness, Gombrowicz's Princess Ivona, or Frazer's Unidentified
Human Remains...) and classic European novels (Dostoyevsky's The Idiot,
Mann's Doktor Faustus, directed at the Hebbel Theater in Berlin). Recently,
both directors have taken an interest in the work of Sarah Kane, mounting
startling productions: Cleansed (Warlikowski) and 4.48 Psychosis (Jarzyna).
6. The true rebirth, following the collapse of the Soviet empire,
was experienced by the
Ludowy Theatre in Nowa Huta district of Kraków taken over
by an actor, director, and politician
Jerzy Fedorowicz (1989–2005). Under his management, the
theatre won considerable recognition, and numerous
awards. It was twice invited to the Edinburgh International
Festival: in 1996 with Macbeth directed by Jerzy Stuhr, and
in 1997 with Antigona directed by Włodzimierz Nurkowski.
Current director is Jacek Strama, an award winning theatre
and film producer.
8. Jan Englert
(born 11 May 1943) is a
Polish film actor. He has
appeared in more than 60
films since 1957. Since
2003 he has served as
Artistic Director of
the National Theatre in
Warsaw.
9. Daniel Olbrychski
(Polish pronunciation; born 27
February 1945) is a
Polish actor best known for
leading roles in
several Andrzej Wajda movies
and also known for playing the
Russian defector and
spymaster Vassily Orlov,
alongside Hollywood
actress Angelina Jolie in the
movie Salt.
11. Krzysztof Kowalewski
(born 20 March 1937) is
a Polish actor and comedian
Kowalewski has been awarded
the Knight's Cross of the Order
of Polonia Restituta (2002), Gold
Medal of Medal for Merit to
Culture, "Gloria Artis" (2009) and
Grand Prize Splendor (Wielki
Splendor) (1992)
12. Marian Opania
(born 1 February 1943) is a
Polish film actor and singer.
He has appeared in over 50
films since 1965.
13. Ewa Wiśniewska
(born 25 April 1942) is
a Polish actress. Her
sister,Małgorzata Niemirska, is
also an actress.
Wiśniewska was awarded
the Order of Polonia Restituta,
one of Poland's highest Orders,
and many other Orders,
including Gold Cross of Merit.
14. National Theatre, Warsaw
The National Theatre (Teatr Narodowy)
in Warsaw, Poland, was founded in 1765, during
the Polish Enlightenment, by that country's
last monarch, Stanisław August Poniatowski. The
theatre shares the Grand Theatre complex at the
Theatre Square in Warsaw with another national
venue, the Poland's National Opera.
15.
16. Juliusz Słowacki Theatre in Kraków, Poland,
erected in 1893, was modeled after some of the best
European Baroque theatres such as the Paris Opera
designed by Charles Garnier, and named after Polish
poet Juliusz Słowacki in 1909.
17. The Gdańsk Shakespeare Theatre
is a Shakespearean theatre in Gdańsk, Poland. It is built on the
site of a 17th-century theatre, known as the Fencing School,
where English travelling players performed works of English
Renaissance theatre. The leading figure in the project to
construct the new theatre is Jerzy Limon, a founder of
the Gdańsk Shakespeare Festival.It has been built by architect
Renato Rizzi in the light of Limon's research which suggests that
the Fencing School was modelled on the Fortune Playhouse in
London. Though not an attempt at an exact reproduction, the
new theatre combines elements from the design of these earlier
theatres with modern technology. It opened in September 2014.
18.
19. Silesian Theatre
(Polish: Teatr Śląski ) dedicated to Stanisław
Wyspiański is the largest theatre in Silesia. It is
located on the market square in Katowice.
It was built as "German Theatre" in the years 1905-
1907, from plans by German theatre architect Carl
Moritz. Its Golden Age was in the late-1940s and
the 1950s.