Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1930–1939: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1930 through December 1939. The volume chronicles more than 4,250 productions at 61 major central London theatres during this period. For each production the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were The Barretts of Wimpole Street, French without Tears, George and Margaret, The Greeks Had a Word for It, Laburnum Grove, Lady Precious Stream, The Late Christopher Bean, Love on the Dole, Me and My Girl, Private Lives, and 1066 and All That, as well as numerous musical comedies (British and American), foreign works, operas, ballets, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1930-1939 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of relevant newspapers and periodicals. This second edition of The London Stage 1910–1919: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1910 through December 1919. The volume chronicles more than 3,000 productions at 35 major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and closing dates Number of performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as a plot description, first-night audience reception, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Chu Chin Chow, The Gaol Gate, Hindle Wakes, Justice, Kismet, Pygmalion, and Rebecca of Sunnybrook Farm, as well as numerous musical comedies (British and American), foreign works, operas, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information on adaptations and translations, plot sources, and comments—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1910–1919 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
For centuries, London theatre has celebrated a rich and influential history, and in 1976, the first volume of J. P. Wearing’s reference series provided scholars and other researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The London Stage 1900-1909 A Calendar of Productions, Performers, and Personnel, Second Edition provides a chronological calendar of London shows from January 1900 through December 1909. The volume chronicles more than 3,000 productions at 35 selected, major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and references to reviews. A comment section includes other interesting information, such as a plot description, the first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Candida, His House in Order, The Only Way, The Playboy of the Western World, Raffles (The Amateur Cracksman), and The Scarlet Pimpernel, as well as numerous musical comedies (British and American), foreign works, operas, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original, well-received calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are indexed fully by title, genre, and theatre. A general index also includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, ticket prices, or other relevant subjects. An authoritative reference providing essential details, this work will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1950–1959: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from the first of January, 1950, through the 31st of December, 1959. The volume chronicles more than 3,100 productions at 52 major central London theatres during this period. For each production the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Look Back in Anger, One Way Pendulum, The Birthday Party, A Taste of Honey, Chicken Soup with Barley, Five Finger Exercise, The Hostage, and Waiting for Godot, as well as numerous musical comedies (British and American), foreign works, operas, ballets, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1950-1959 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1920–1929: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from January 1920 through December 1929. The volume chronicles more than 4,000 productions at 51 major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Bulldog Drummond, The Emperor Jones, The Enchanted Cottage, Gentlemen Prefer Blondes, Hay Fever, Saint Joan, and Six Characters in Search of an Author, as well as numerous musical comedies (British and American), foreign works, operas, and ballets, revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1920-1929 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. The second edition of The London Stage 1890–1899: A Calendar of Productions, Performers, and Personnel provides a chronological calendar of London shows from the first of January, 1890, through the 31st of December, 1899. The volume chronicles more than 3,000 productions at 31 major central London theatres during this period. For each entry the following information is provided: Title Author Theatre Performers Personnel Opening and Closing Dates Number of Performances Other details include genre of the production, number of acts, and a list of reviews. A comment section includes other interesting information, such as plot description, first-night reception by the audience, noteworthy performances, staging elements, and details of performances in New York either prior to or after the London production. Among the plays staged in London during this decade were Alice in Wonderland, Arms and the Man, Cyrano de Bergerac, An Ideal Husband, The Prisoner of Zenda, and The Second Mrs. Tanqueray, as well as numerous musical comedies (British and American), foreign works, operas, and revivals of English classics. A definitive resource, this edition revises, corrects, and expands the original calendar. In addition, approximately 20 percent of the material—in particular, information of adaptations and translations, plot sources, and comment information—is new. Arranged chronologically, the shows are fully indexed by title, genre, and theatre. A general index includes numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. The London Stage 1890–1899 will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
Theatre in London has celebrated a rich and influential history, and in 1976 the first volume of J. P. Wearing’s reference series provided researchers with an indispensable resource of these productions. In the decades since the original calendars were produced, several research aids have become available, notably various reference works and the digitization of important newspapers and relevant periodicals. Spanning 1890 through the 1950s, all seven volumes of The London Stage series have been revised, corrected, and expanded. In addition, approximately 20 percent of the material—in particular, information about adaptations and translations, plot sources, and comment information—is new. Although each volume contains indexes specific to that decade, The London Stage 1890–1959: Accumulated Indexes combines all of the indexes into one comprehensive resource for more efficient research. For example, those wishing to locate all the references to a particular actor, play, or theatre whose history spanned more than one decade will find all of the entries listed in this set. This set includes four key indexes: general, genre, theatre, and title. The general index consists of numerous subject entries on such topics as acting, audiences, censorship, costumes, managers, performers, prompters, staging, and ticket prices. With approximately 40,000 people listed, this is the largest single source of theatrical personnel on the London stage during this period. The genre index comprises all entries for production types, including comedies, dramas, farces, and tragedies, as well as ballets, operas, adaptations, foreign works, pantomimes, and translations. The theatre index features every building to stage a production, from the Adelphi to Wyndham’s. The title index cites 14,000 productions, identifying every work produced on stage from Domestic Economy in January 1890 to When in Rome in December 1959. As a supplement to the individual volumes, The London Stage 1890–1959: Accumulated Indexes will be of value to scholars, theatrical personnel, librarians, writers, journalists, and historians.
A straightforward description providing readers with a guide to contract law as it relates to construction contracting. Thoroughly explains when a lawyer may or may not be needed and offers guidance for working with one. Prior notice provisions, no damage for delay clauses and conditional payment provisions are among the topics covered. Includes hundreds of actual construction cases.
Optical Fibers covers numerous research works on the significant advances in optical fibers, with particular emphasis on their application. This text is composed of three parts encompassing 15 chapters. The first part deals with the manufacture of optical fibers and the materials used in their production. The second part describes optical-fiber connectors, terminals and branches. The third part is concerned with the major optoelectronic components encountered in optical-communication systems. This book will be of value to research scientists, engineers, and patent workers.
The eighties were a totally rad time when denim was acceptable on both top and bottom. Hair gel wasn’t for neatness, but gravity defying style. Neon pink and blue were coupled together like vanilla ice cream and Ice Magic. The beige station wagon was the only vehicle for road trips and dingy motels were well rated. Eight-bit video games were new and thrilling, while movies were big and brave. McDonald's was part of the weekly diet and Pizza Hut reigned supreme. We loved it all, especially on Saturdays when chocolate crackles fuelled every Nintendo session and BMX adventure. Join JP Pelosi as he fires up the DeLorean to whiz us back to the nexus of contemporary pop culture - the 1980s. Madonna, Pac-Man, Knight Rider, Chicken McNuggets, the video store and the Sony Walkman. It's all here, brought back to life in this nostalgic memoir about childhood joys, family life and the thrill of a perfect Saturday afternoon riding skateboards and trading football cards. So, slip on your shutter shades, gang, pull up a Garfield-themed beanbag and let's relive the greatest decade ever!
Science fiction films celebrate and critique the impact of a burgeoning technology on the world's cultural, political, and social milieu. The Machine Age, roughly delineated by the two decades between World Wars, was a watershed period during which modern society entered into an ambiguous embrace with technology that continues today. J. P. Telotte carefully blends film, technology, cultural, and genre studies to illuminate this nearly forgotten era in our cinematic history and to show, through analysis of classics like The Invisible Ray, Metropolis, and Things to Come, how technology played a major role as motif, "actor," and producer. What he also discovers as he ranges among the American, British, Russian, French, and German science fiction cinema — as well as mainstream films, figures, and cultural products such as the New York World's Fair — is a fundamental ambivalence, embedded in the films themselves, about the very machine-age ethos they promoted. Even as advances in the technical apparatus of filmmaking elevated it from mere entertainment to a medium of general communication and genuine artistic expression, Machine Age science fiction films remained curiously distant from and often skeptical of the very machines on which their narratives focus. The resulting tensions, Telotte writes, "thus seem to intersect with those implicit in a Western world that was struggling with its own transition into the modern," rendering the films' task inevitably paradoxical and difficult
Since the dawn of humanity, men have attempted to divine the nature of the heavens. The first astronomers mapped the movement of the seasons and used the positions of the constellations for augurs and astrology. Today, the search goes ever deeper into the nature of reality and life itself. In this accessible overview, astrophysicist J.P. McEvoy tells the story of how our knowledge of the cosmos has developed. He puts in context many of the greatest discoveries of all time and many of the dominant personalities: Aristotle, Copernicus, and Isaac Newton, and as we approach the modern era, Einstein, Eddington, and Hawking.
The ruins of Philadelphia's grandest structures show the city's dramatic evolution. Smoke no longer spews from the Philadelphia Electric Company's hulking riverside power plants. Nature long ago reclaimed the rusted steel bones of the Frankford Arsenal. Graffiti artists tag the Beury Building, while Philadelphia's Gilded Age elite rest beneath the weeds of the forgotten Mount Moriah Cemetery. Such sites mark three centuries of progress and destruction in William Penn's "Holy Experiment." Through deep research and his stunning photography, J.P. Webster documents the slow decay caused by neglect and the passage of time in Philadelphia's factories, military sites, schools, cemeteries and more. Discover a bygone American era through Philadelphia's vanishing cityscape.
This book offers the first specific application in film studies of what is generally known as ecology theory, shifting attention from history to the (in this case media) environment. It takes the robot as its subject because it has attained a status that resonates not only with some of the key concerns of contemporary culture over the last century, but also with the very nature of film. While the robot has given us a vehicle for exploring issues of gender, race, and a variety of forms of otherness, and increasingly for asking questions about the very nature and meaning of life, this image of an artificial being, typically anthropomorphic, also invariably implicates the cinema’s own and quite fundamental artificing of the human. Looking across genres, across specific media forms, and across closely linked conceptualizations, Telotte sketches a context of interwoven influences and meanings. The result is that this study of the cinematic robot, while mainly focused on science fiction film, also incorporates its appearance in, for example, musicals, cartoons, television, advertising, toys, and literature.
Long before flying saucers, robot monsters, and alien menaces invaded our movie screens in the 1950s, there was already a significant but overlooked body of cinematic science fiction. Through analyses of early twentieth-century animations, comic strips, and advertising, Animating the Science Fiction Imagination unearths a significant body of cartoon science fiction from the pre-World War II era that appeared at approximately the same time the genre was itself struggling to find an identity, an audience, and even a name. In this book, author J.P. Telotte argues that these films helped sediment the genre's attitudes and motifs into a popular culture that found many of those ideas unsettling, even threatening. By binding those ideas into funny and entertaining narratives, these cartoons also made them both familiar and non-threatening, clearing a space for visions of the future, of other worlds, and of change that could be readily embraced in the post-war period.
Life’s experiences often take the form of music, poetry, novels, or prose. J. P. Polidoro—a New Hampshire novelist, songwriter, and poet—has compiled within, decades of verses that were intended to be inspiration for or lyrics for songs—reflections of life—and verses that by themselves stand alone. In Words Without Music, Polidoro takes the reader on a visionary lyrical ride of love, love lost, often with personal elegies/odes using nature’s beauty as metaphors of life’s experiences both euphoric and tragic. The thoughts penned within are poems and prose that are often autobiographical but universal in nature. His lyrical creations over decades paint a picture in one’s mind, without need of the artist’s brush or support from a melody. Polidoro purposely offers no table of contents so that the reader may open the book to any page and enjoy the compositions individually, or in total, at one’s leisure, much akin to an individual song. Readers may identify with his past and present emotions and his critical thinking of the day—especially in a world that is ever changing.
Animators work within a strictly defined, limited space that requires difficult artistic decisions. The blank frame presents a dilemma for all animators, and the decision of what to include and leave out raises important questions about artistry, authorship, and cultural influence. In Animating Space: From Mickey to WALL-E, renowned scholar J. P. Telotte explores how animation has confronted the blank template, and how responses to that confrontation have changed. Focusing on American animation, Telotte tracks the development of animation in line with changing cultural attitudes toward space and examines innovations that elevated the medium from a novelty to a fully realized art form. From Winsor McCay and the Fleischer brothers to the Walt Disney Company, Warner Bros., and Pixar Studios, Animating Space explores the contributions of those who invented animation, those who refined it, and those who, in the current digital age, are using it to redefine the very possibilities of cinema.
As a result of an atmospheric disaster, the human visual color spectrum on Earth becomes distorted. Green becomes blue- blue becomes green- and the color Red becomes invisible to everyone on the planet! The skies are green- the trees and grass are bluePeoples ?esh appears a translucent gray, covered with blue blood veins. This happens to everyone- the young, the old, the rich and powerfulall over the world! Can you imagine not being able to see red anymore? Could you live in a World Without Red?
Become a photographer with this guide to photography for kids ages 8 to 12 A good photo can tell a story, express your creativity, and document moments from your life in a way that only you can capture. Learn how to create incredible images that are uniquely yours with this guide to photography for kids. All you need is the most basic digital camera or smartphone camera—no fancy equipment required. You'll learn all about framing, composition, lighting, depth, dimension, and lines. Then, put your new knowledge into practice with engaging exercises that include step-by-step instructions. This book about photography for kids includes: Photography fundamentals—Discover how a camera works, a brief history of photography, what makes a photo good, and a checklist for getting started. Example photos—Explore high-quality photographs that illustrate the concepts you're learning and inspire you to get creative. Tips and how-tos—Find pointers that explain the technical details of great photos and show you ways to make adjustments in a variety of real-life situations. Discover the joy of photography with this beginner-friendly book about photography for kids.
He scored off the chart on every objective measurement tested. As Charlie Brown and the ""Peanuts"" gang told us, happiness could be a warm puppy, pizza with sausage, five different crayons - or anyone, or anything, that's loved by you. And, although it's true that many special moments are inspired by such happenstance, scientific research contends that people actually can condition themselves for genuine happiness, much as occasional joggers condition themselves for marathons. Truly happy people are able to, for example, recall special moments and use them as psychological tools to deal with adversity. And that's just one of many skills they tap into to ensure a high level of satisfaction in their lives. So why is this important? Because it's clear that happiness is a key contributor to our overall personal health - it's even been linked to longevity, scientific studies show. With that in mind, USA WEEKEND Magazine hatched what they called the Ultimate Happiness Challenge: Why not pair the world's leading authority on happiness with America's happiest person and see if their expert can make him even happier? Or, on a more scientific level: How can the leading expert apply his core principles to boost the happiness quotient for someone who's already as happy as a person gets? Explore the happiest man in America's state of contentedness and, as a result, discover ways we all can better cultivate happiness in our lives. As for the happiest man in America, J.P. ""Gus"" Godsey, he's a story in himself.
The small book with the biggest collection of loving ideas ever gathered in one place, now in a tenth anniversary edition This is the ultimate practical, giftable resource for couples, filled with 10,000 ideas for expressing affection. From the author of the phenomenally successful 1001 Ways to Be Romantic, "America's Romance Coach" Gregory J.P. Godek, 10,000 Ways to Say I Love You overflows with surprise ideas, back-to-basics classics that always work, and inspired twists on creative expression. Readers can express true affection with secret love notes, perpetual bouquets, secluded picnics, outrageous gifts...and 9,996 more ways to say "I love you." At one idea per day, this book will last couples 27.4 years! This tenth anniversary edition offers fresh tips for today's world of texting and social networking, giving readers more reasons than ever to pick up this best-loved romantic collection.
An ideal introduction [to Stephen Hawking]' - Independent 'Astonishingly comprehensive - clearer than Hawking himself' - Focus Stephen Hawking was a world-famous physicist with a cameo in The Simpsons on his CV, but outside of his academic field his work was little understood. To the public he was a tragic figure - a brilliant scientist and author of the 9 million-copy-selling A Brief History of Time, and yet spent the majority of his life confined to a wheelchair and almost completely paralysed. Hawking's major contribution to science was to integrate the two great theories of 20th-century physics: Einstein's General Theory of Relativity and Quantum Mechanics. J.P. McEvoy and Oscar Zarate's brilliant graphic guide explores Hawking's life, the evolution of his work from his days as a student, and his breathtaking discoveries about where these fundamental laws break down or overlap, such as on the edge of a Black Hole or at the origin of the Universe itself.
“My tale starts with a ‘once upon a time’ — A long time ago, beings lived who could control the elements, immortality, and time. We called them gods and gave them our worship. They played with us like toys, took our lives and sabotaged our love. Now, the gods are myths. Stories in books—not to be confused with our modern world. I believed this until I found myself tumbling into a dream. This dream takes me to another life. To a forgotten time in a bloody age. I dream of Hades’s son and a lustful goddess. I dream of limitless power and revolving time. I dream a death and love that was mine... My name is Cara Wynter— and this is my story.” Cara Wynter is a literature student living with her twin sister, Lily, in Fairhaven Washington. A daughter of witches, touch brings Cara only pain, and dark visions of pasts and futures she can rarely change. Already fighting to exist in her strange reality, she begins to crumble when the reoccurring dreams of her own death begin. In a desperate attempt to unlock the secrets in the violent images, she finds herself lost in a contest between love—and the will of the ancient gods. With only forgotten memories and the pages of a book to guide her, she struggles to understand her past and break a deadly curse. Cara must face her worst fears—to save the soul of a god she has treasured for centuries, and a love she cannot live without.
Explore the history of the Fortuna Rodeo from its origins in 1921 up to the present day with this intriguing history packed with photographs and lore of Humboldt County, California. The rodeo continues as a mainstay of Fortuna, with the 2020 event being the first to be canceled since the end of World War II. In addition to the rodeo itself, this book paints a portrait of the history and growth of a small California town over the past century. Hundreds of photographs from the collections of community members, local museums, universities, and the National Cowboy and Western Heritage Museum illustrate the text. Among the many never-before-published images is a photograph from the collection of the Rodoni family showing the 1961 Fortuna Rodeo’s salute to “old cowboys” who had ridden in the rodeos of the 1920s. The book also features images created by Fortuna photographer Rudy Gillard, a rodeo board member and official photographer of the Fortuna Rodeo, between 1955 and 1981. Dedicated to the Fortuna Rodeo board and to all who have participated in the Fortuna Rodeo, you’ll find In and Around the Arena a fascinating read.
Unlike dry introductions to philosophy that readers may have encountered previously, Unraveling Philosophy by Adam Groza and J. P. Moreland, provides a simple overview of the importance and ongoing relevance of philosophy from a Christian perspective. Readers will be exposed to major figures, eras, and questions raised in the history of philosophy. Additionally, this project functions as a textbook and workbook all in one, including illustrations, quotes, interactive exercises, and reflection questions throughout. Professors, students, and armchair learners will find it to be quite simply the readiest introduction to philosophy available.
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