77,222 research outputs found

    Chapter 6b. Chungkai Showcase : Chungkai Hospital Camp | Part Two: Mid-May 1944 to July 1945

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    During the latter half of 1944 and the early part of 1945, entertainment continued to flourish in Chungkai even though the theatre was flooded out by monsoon rains and the number of audience members was severely depleted by away Parties. Challenging the thinking of what entertainment directed toward audiences recovering from trauma should contain, Leo Britt produced a series of straight plays that had them clamoring for more. But ever-tightening restrictions on what could be presented on stage, and a new policy assigning performers to maintenance parties, began to diminish what those who remained in camp could accomplish.https://digitalcommons.macalester.edu/thdabooks/1009/thumbnail.jp

    Chapter 5. The Tamarkan Players Present : Tamarkan Convalescent Camp

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    Tamarkan, Thailand, became a convalescent camp for the POWs who had worked on the Burma side of the railway. It was here that Aussie showman Norman Carter inspired a team of designers and stage technicians to mount a series of popular musical revues that were noteworthy for their elaborate sets, props, and costumes.https://digitalcommons.macalester.edu/thdabooks/1007/thumbnail.jp

    Boston University Chamber Orchestra, October 21, 2008

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    This is the concert program of the Boston University Chamber Orchestra performance on Tuesday, October 21, 2008 at 7:30 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Letter from Home, Music for the Theater, Variations on a Shaker Melody, Quiet City, Old American Songs, and Three Latin American Sketches by Aaron Copland. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

    Inspecting post-16 construction: with guidance on self-evaluation

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    Spartan Daily, February 15, 1946

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    Volume 34, Issue 55https://scholarworks.sjsu.edu/spartandaily/3711/thumbnail.jp

    Beryl Reid Says... Good Evening: Performing Queer Identity on British Television

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    Beryl Reid Says… Good Evening was a comedy revue series broadcast on BBC television in the late 1960s which showcased the talents of a renowned British character comedy performer. Beryl Reid’s career spanned music hall, variety theatre, dramatic acting, radio comedy, film and television. She was a celebrity figure from the 1950s to her death in the 1990s but never became a ‘star’ as such. Reid’s work is addressed as a form of queer performance, both in roles which reference lesbian sexuality and roles which depict eccentric femininities. This television series was one of the few attempts to showcase her talents, and it is discussed here as an example of how character comedy queers heteronormativity through its camp attention to the everyday

    The Art of Costuming: Interpreting the Character Through the Costume Designer\u27s Eyes

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    Creating a believable illusion through costume design is a very important aspect in a theatrical production. Every production in theater is the culmination of a collaboration of creative individuals who each have a very explicit role to play. Part of the success of a production depends on set designers, lighting coordinators, directors, producers, props masters, actors, etc. The idea is to create a believable new world that relates to the audience. The costume designer’s job is to use all of the tools that are within their grasp to both research the best option for costuming and to actually construct the costumes. In order to do this, they must conduct research while working with the needs of the production team and the constraints that their products place on the costumes. The relationship between research, construction tools, and the abilities of creative peers gives the costume designer all that is needed to help define the characters in a production. All of these tools are used by the costume designer to polish off the character which helps to ensure the audience’s correct interpretation of a production

    Culturally responsive classrooms through art integration

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    Integrating arts into teaching and learning can result in more engaging classrooms for students of all backgrounds. Addressing content through drawing, painting, music, drama, sculpture, and manipulatives results in motivating lessons that reach diverse learners by means of multiple pathways. Benefits of incorporating the arts include not only academic achievement (Ruppert, 2006; Rabkin & Redmond, 2006), but also increased cultural understandings, better self-esteem, and a healthier cultural identity (Purnell, et al., 2007; Graham, 2009). Sample lessons with detailed explanations from an elementary classroom are highlighted to demonstrate how forms of linguistic and nonlinguistic artistic expression benefit all children in their development

    Spartan Daily, February 24, 1949

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    Volume 37, Issue 88https://scholarworks.sjsu.edu/spartandaily/11202/thumbnail.jp
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