Theater Encouragement Quotes

How hard is it, when everything encourages us to sleep, though we may look about us with conscious, clinging eyes, to wake and yet look about us as in a dream, with eyes that no longer know their function and whose gaze is turned inward.

Agatha, who was spending time in their room as her own was lonely, perked up. "I preferred the garrote myself." The others looked at her, startled. Aside from the theater, and sleeping, Agatha rarely expressed an interest in anything. Let alone something espionage related. "You do?" Dimity encouraged. Agatha nodded. "You can wear it as jewelry, it hides away easily, and it's a nice clean death.

Deep practice is slow, demanding and uncomfortable. To practice deeply is to live deliberately in a space that is uncomfortable but with the encouraging sense that progress can happen.

You don’t want to be a pauper’s wife, though it is all right to be a pauper’s girlfriend, especially when you are able, with the pauper’s encouragement, to fuck everybody else on the side.

After all, one of Aristophanes’ chief aims was to make humor of important dimensions of human life and society, while at the same time encouraging his audience to think about them in ways discouraged, or even forbidden, outside the comic theater. The issue of freedom of speech and thought (especially religious and moral thought) is especially relevant to Aristophanes’ plays, and it is important to bear in mind that one of the hallmarks of Aristophanic comedy is to encourage us to question the status quo.

So how was your first date?” Peter asks me, stretching back in his chair. “Tell it to me like it wasn’t me that took you.” “I liked it when you knew what kinds of movie theater snacks I like.” He nods encouragingly. “And…I liked the movie.” “Yeah, I got that. You kept shushing me and pointing at the screen.” “That man in front of us was getting mad.

It’s terrible to confirm that a system born to rescue human dignity has resorted to rewards, glorification, the encouragement of denunciations, and feeds on everything that is humanly vile. I feel the nausea rise in my throat when I hear people say: they’ve shot M., they’ve shot P., shot, shot, shot. The words, after hearing them so much, lose their meaning. The people say them with greater calm, as if they were saying: we’re going to the theater. I, who lived these years in fear and felt the compulsion to denounce (I confess so with terror, but without any feeling of guilt), have lost in my mind the brutal semantics of the verb ‘to shoot’ … I feel that we’ve reached the end of justice on earth, the limits of human dignity.

Terrorism is theater. Its real targets are not the innocent victims but the spectators. Those on the political side of the dead are to be frightened, intimidated, cowed, perhaps drawn into ugly retaliation that will spoil their image among the disinterested, who in turn are to be impressed with the desperate vitality and significance of the movement behind the terrorism. Those on the side of the gunmen, the bombers, the hijackers, are to be encouraged that the cause is alive. The goal of terrorism is not to deplete the ranks of an army, to destroy an enemy’s weapons, or to capture a military objective. It seeks an impact on attitudes, and so it must be spectacular. It relies on drama, it thrives on attention, it carries within it the seeds of contagion.

Perhaps we would have more sublime plays if we had more tolerance for and interest in imperfect plays. Because perfect plays are not sublime plays. Shakespeare's plays are weird and wonky and oddly shaped and wonderfully imperfect but sublime. They are as untidy men lime as nature is. Contemporary playwrights are often encouraged to make tidy plays rather than plays with cliffs and torrents

What a misfortune, although you are made for fine and great works this unjust fate of yours always denies you encouragement and success; that base customs should block you; and pettiness and indifference. And how terrible the day when you yield (the day when you give up and yield), and you leave on foot for Susa, and you go to the monarch Artaxerxes who favorably places you in his court, and offers you satrapies and the like. And you accept them with despair these things that you do not want. Your soul seeks other things, weeps for other things; the praise of the public and the Sophists, the hard-won and inestimable Well Done; the Agora, the Theater, and the Laurels. How can Artaxerxes give you these, where will you find these in a satrapy; and what life can you live without these.

What I know now is that I would be a different person, or at the least a better version of myself, more rounded, more fulfilled, more in touch with myself and everyone around me. In so many ways, theater teaches the opposite of what I learned in sports, in which the model is that there is no self, no emotional landscape or core. Team sport is all about grit and team, about submerging self. To look within, to feel or imagine, is not encouraged. At the time, I couldn’t conceive of myself being up onstage.

Once, a few years earlier, Jules had gone to see a play at Ash’s theater, and afterward, during the “talkback,” when the audience asked questions of the playwright and of Ash, who’d directed the production, a woman stood up and said, “This one is for Ms. Wolf. My daughter wants to be a director too. She’s applying to graduate school in directing, but I know very well that there are no jobs, and that she’s probably only going to have her dreams dashed. Shouldn’t I encourage her to do something else, to find some other field she can get into before too much time goes by?” And Ash had said to that mother, “Well, if she’s thinking about going into directing, she has to really, really want it. That’s the first thing. Because if she doesn’t, then there’s no point in putting herself through all of this, because it’s incredibly hard and dispiriting. But if she does really, really want it, and if she seems to have a talent for it, then I think you should tell her, ‘That’s wonderful.’ Because the truth is, the world will probably whittle your daughter down. But a mother never should.

This is why people are so disappointed with the present. We talk so much about how wonderful tomorrow's going to be that even if it's great, it can't help but be a letdown. Tomorrow is like a summer blockbuster for which the studio starts showing trailers the previous November. By the time it comes to your complex, you feel like you've already seen it. All the best lines and biggest explosions. The most provocative coming-out-of-the-water bikini shot. You will already have seen the making-of-the-feature and heard the actors on the press junket talking about what a privilege it was to work with so-and-so and how they all did their own stunts. So because you feel like you've already seen it, by the time it comes, you have no desire to fork over $15 and actually sit through it in a theater. What's happened is that you've already experienced something which hasn't happened yet. In fact, when you think of it, the only reason to go to the movies isn't to see the feature but to get a taste of the future, to see the trailer for the NEXT big blockbuster and to experience THAT before it happens. And this phenomenon isn't limited to the movies, it is the we live today. And it is why I encourage you to ignore the hype of what's to come, and to get some popcorn and gummy bears during the previews, and to thoroughly enjoy the feature. In real time. Not in the black hole of expectation.

It was a gorgeous evening, with a breeze shimmering through the trees, people strolling hand in hand through the quaint streets and the plaza. The shops, bistros and restaurants were abuzz with patrons. She showed him where the farmer's market took place every Saturday, and pointed out her favorite spots- the town library, a tasting room co-op run by the area vintners, the Brew Ha-Ha and the Rose, a vintage community theater. On a night like this, she took a special pride in Archangel, with its cheerful spirit and colorful sights. She refused to let the Calvin sighting drag her down. He had ruined many things for her, but he was not going to ruin the way she felt about her hometown. After some deliberation, she chose Andaluz, her favorite spot for Spanish-style wines and tapas. The bar spilled out onto the sidewalk, brightened by twinkling lights strung under the big canvas umbrellas. The tables were small, encouraging quiet intimacy and insuring that their knees would bump as they scooted their chairs close. She ordered a carafe of local Mataro, a deep, strong red from some of the oldest vines in the county, and a plancha of tapas- deviled dates, warm, marinated olives, a spicy seared tuna with smoked paprika. Across the way in the plaza garden, the musician strummed a few chords on his guitar. The food was delicious, the wine even better, as elemental and earthy as the wild hills where the grapes grew. They finished with sips of chocolate-infused port and cinnamon churros. The guitar player was singing "The Keeper," his gentle voice seeming to float with the breeze.

A Tale of Two Parking Requirements The impact of parking requirements becomes clearer when we compare the parking requirements of San Francisco and Los Angeles. San Francisco limits off-street parking, while LA requires it. Take, for example, the different parking requirements for concert halls. For a downtown concert hall, Los Angeles requires, as a minimum, fifty times more parking than San Francisco allows as its maximum. Thus the San Francisco Symphony built its home, Louise Davies Hall, without a parking garage, while Disney Hall, the new home of the Los Angeles Philharmonic, did not open until seven years after its parking garage was built. Disney Hall's six-level, 2,188-space underground garage cost $110 million to build (about $50,000 per space). Financially troubled Los Angeles County, which built the garage, went into debt to finance it, expecting that parking revenues would repay the borrowed money. But the garage was completed in 1996, and Disney Hall—which suffered from a budget less grand than its vision—became knotted in delays and didn't open until late 2003. During the seven years in between, parking revenue fell far short of debt payments (few people park in an underground structure if there is nothing above it) and the county, by that point nearly bankrupt, had to subsidize the garage even as it laid employees off. The money spent on parking shifted Disney Hall's design toward drivers and away from pedestrians. The presence of a six-story subterranean garage means most concert patrons arrive from underneath the hall, rather than from the sidewalk. The hall's designers clearly understood this, and so while the hall has a fairly impressive street entrance, its more magisterial gateway is an "escalator cascade" that flows up from the parking structure and ends in the foyer. This has profound implications for street life. A concertgoer can now drive to Disney Hall, park beneath it, ride up into it, see a show, and then reverse the whole process—and never set foot on a sidewalk in downtown LA. The full experience of an iconic Los Angeles building begins and ends in its parking garage, not in the city itself. Visitors to downtown San Francisco have a different experience. When a concert or theater performance lets out in San Francisco, people stream onto the sidewalks, strolling past the restaurants, bars, bookstores, and flower shops that are open and well-lit. For those who have driven, it is a long walk to the car, which is probably in a public facility unattached to any specific restaurant or shop. The presence of open shops and people on the street encourages other people to be out as well. People want to be on streets with other people on them, and they avoid streets that are empty, because empty streets are eerie and menacing at night. Although the absence of parking requirements does not guarantee a vibrant area, their presence certainly inhibits it. "The more downtown is broken up and interspersed with parking lots and garages," Jane Jacobs argued in 1961, "the duller and deader it becomes ... and there is nothing more repellent than a dead downtown.

The rise of the theater of the absurd, it has been argued, "seems to mirror the change in the predominant form of mental disorders which has been observed and described since World War II by an ever-increasing number of psychiatrists. " Whereas the "classical" drama of Sophocles, Shakespeare, and Ibsen turned on conflicts associated with classical neuroses, the absurdist theater of Albee, Beckett, loncsco, and Genet centers on the emptiness, isolation, loneliness, and despair experienced by the borderline personality. The affinity between the theater of the absurd and the borderline's "fear of close relationships, " "attendant feelings of helplessness, loss, and rage," "fear of destructive impulses, " and "fixation to early omnipotence" inheres not only in the content of these plays but-more to the point of the present discussion-in their form. The contemporary playwright abandons the effort to portray coherent and generally recognized truths and presents the poet's personal intuition of truth. The characteristic devaluation of language, vagueness as to time and place, sparse scenery, and lack of plot development evoke the barren world of the borderline, his lack of faith in the growth or development of object relations, his "often stated remark that words do not matter, only action is important," and above all his belief that the world consists of illusions. "Instead of the neurotic character with well-structured conflicts centering around forbidden sex, authority, or dependence and independence within a family setting, we see characters filled with uncertainty about what is real." This uncertainty now invades every form of art and crystallizes in an imagery of the absurd that reenters daily life and encourages a theatrical approach to existence, a kind of absurdist theater of the self.

Let’s revisit my conversation with Theater Director, Teacher, and Actor Terry Martin and the Meisner Technique. According to Terry, he encourages his students to seek a pivotal place when they are truly present in the moment and access their emotional impulses. He does this by describing emotions as E-motion. Energy in motion. Because they are constantly changing, emotions are powerful but momentary. By accessing these emotions, his actors find a way to tell a story in their unique way. He cautions that emotions only create a block if they are restrained. For example, my attempts to silence my emotions prevented me from accessing my mind and held me in a painful state. He teaches his students to understand the emotional journey by accepting their emotions.

But I’m also a weird person. I’ve gotten picked on for most of my life. I know that people say I talk too much, and that I talk too loud, and that I say the wrong things. And I’m actually an introvert, so one of my coping strategies is just to be my weirdest self as soon as I meet you—that way, you can decide right away whether or not you like me. I was a theater kid, and my parents really encouraged me to feel my feelings. I think, in a way, that people in high school were jealous that I felt so free to be myself. Because you’re not supposed to do that. You’re supposed to worry about people looking at you and judging you.

Here are a few of the defenses that many people carry inside, sometimes for the rest of their lives: AVOIDANCE. Avoidance is usually about fear. Emotions and relationships have hurt me, so I will minimize emotions and relationships. People who are avoidant feel most comfortable when the conversation stays superficial. They often overintellectualize life. They retreat to work. They try to be self-sufficient and pretend they don’t have needs. Often, they have not had close relationships as kids and have lowered their expectations about future relationships. A person who fears intimacy in this way may be always on the move, preferring not to be rooted or pinned down; they are sometimes relentlessly positive so as not to display vulnerability; they engineer things so they are the strong one others turn to but never the one who turns to others. DEPRIVATION. Some children are raised around people so self-centered that the needs of the child are ignored. The child naturally learns the lesson “My needs won’t be met.” It is a short step from that to “I’m not worthy.” A person haunted by a deprivation schema can experience feelings of worthlessness throughout life no matter how many amazing successes they achieve. They often carry the idea that there is some flaw deep within themselves, that if other people knew it, it would cause them to run away. When they are treated badly, they are likely to blame themselves. (Of course he had an affair; I’m a pathetic wife.) They sometimes grapple with a fierce inner critic. OVERREACTIVITY. Children who are abused and threatened grow up in a dangerous world. The person afflicted in this way often has, deep in their nervous system, a hyperactive threat-detection system. Such people interpret ambivalent situations as menacing situations, neutral faces as angry faces. They are trapped in a hyperactive mind theater in which the world is dangerous. They overreact to things and fail to understand why they did so. PASSIVE AGGRESSION. Passive aggression is the indirect expression of anger. It is a way to sidestep direct communication by a person who fears conflict, who has trouble dealing with negative emotions. It’s possible such a person grew up in a home where anger was terrifying, where emotions were not addressed, or where love was conditional and the lesson was that direct communication would lead to the withdrawal of affection. Passive aggression is thus a form of emotional manipulation, a subtle power play to extract guilt and affection. A husband with passive-aggressive tendencies may encourage his wife to go on a weekend outing with her friends, feeling himself to be a selfless martyr, but then get angry with her in the days before the outing and through the weekend. He’ll let her know by various acts of withdrawal and self-pity that she’s a selfish person and he’s an innocent victim. —

Rent answers the question of how people come together this way: through shared hardship, a message of the story that was readily adopted by the show’s most dedicated audiences. All theater brings people together in a room, but musical theater regularly brings people together to contemplate the spectacle of people coming together, in book, song, and dance. Musical theater also encourages and relies on the audience’s desire to perform the songs that they have heard performed, and to form communities based on that desire. In its examination and staging of the problems and pleasures of community on stage to a group of people offstage, live musical theater offers an experience unlike anything else.

I immediately got six ideas on how to approach it. Once I’d eliminated the ones that would require me to leave the theater, I was left with zero. That was only one fewer than I needed, so that was encouraging.

Benefits of Improv To the Editor: Re “Inmate Improv,” by Anna Clark (Op-Ed, Dec. 31): It was not surprising to me that an improvisational theater workshop would help a prison inmate adjust to life after his release. Pretend play has been shown to improve the executive-function skills in preschool and school-age children. These skills include the ability to control emotions and behavior, resist impulses, and exercise self-control and discipline. As poor executive-function skills are associated with high dropout rates, drug use and crime, it would behoove all adults involved in child-rearing to encourage role-playing or “improv.” STEVEN ROSENBERG Fairfield, Conn., Dec. 31, 2014 The writer is director of the Elementary Reading Program at the University of Bridgeport School of Education.

The first stacked dolls better known as Russian Nesting Dolls, matryoshka dolls or Babushka Dolls, were first made in 1890 by Vasily Zvyozdochkin. Much of the artistry is in the painting of the usual 5 dolls, although the world record is 51 dolls. Each doll, which when opened reveals a smaller doll of the same type inside ending with the smallest innermost doll, which is considered the baby doll and is carved from a single piece of wood. Frequently these dolls are of a woman, dressed in a full length traditional Russian peasant dress called a sarafan. When I served with the Military Intelligence Corps of the U.S.Army, the concept of onion skins was a similar metaphor used to denote that we were always encouraged to look beyond the obvious. That it was essential to delve deeper into a subject, so as to arrive at the essence of the situation or matter. This is the same principle I employed in writing my award winning book, The Exciting Story of Cuba. Although it can be considered a history book, it is actually a book comprised of many stories or vignettes that when woven together give the reader a view into the inner workings of the Island Nation, just 90 miles south of Key West. The early 1950’s are an example of this. At that time President Batista was hailed a champion of business interests and considered this a direct endorsement of his régime. Sugar prices remained high during this period and Cuba enjoyed some of its best years agriculturally. For those at the top of the ladder, the Cuban economy flourished! However, it was during this same period that the people lower on the economic ladder struggled. A populist movement was started, resulting in a number of rebel bands to challenge the entrenched regime, including the followers of autocrats such as Fidel and Raul Castro. Castro’s M 26 7 militia had a reputation of indiscriminately placing bombs, one of which blew a young woman to pieces in the once-grand theater, “Teatro America.” A farmer, who failed to cooperate with Batista’s army, was locked into his home with his wife and his daughter, which was then set on fire killing them all. What had been a corrupt but peaceful government, quickly turned into a war zone. Despite of Batista’s constitutional abuses and his alliance with the Mafia, the years under his régime were still the most prosperous ones in Cuba’s history. Of course most of the money went to those at the top of the economic ladder and on the lower end of the scale a house maid was lucky to make $25 to $30 a month.

All socioeconomic activity in cities involves the interaction between people. Employment, wealth creation, innovation and ideas, the spread of infectious diseases, health care, crime, policing, education, entertainment, and indeed, all of the pursuits that characterize modern Homo sapiens and are emblematic of urban life are sustained and generated by the continual exchange of information, goods, and money between people. The job of the city is to facilitate and enhance this process by providing the appropriate infrastructure such as parks, restaurants, cafés, sports stadiums, cinemas, theaters, public squares, plazas, office buildings, and meeting halls to encourage and increase social connectivity.

Nigel doesn’t speak of your father, dear. I learned about your father, as well as a good deal about your entire family, from a tracker I hired to look into your past. I thought he was well worth his exorbitant fee, what with the discovery of Nigel. But then . . . after I won you fair and square in that card game, you did the unthinkable and fled.” “You and I both know that you didn’t win anything fair and square.” When Silas sent her a wink, she almost choked on the small bite of bread she’d put in her mouth. “Come now, dear, surely you’ve figured out that all of this”—he gestured around the room, and at the meal—“as well as the money it took to track you down, was my way of proving to you once and for all that you and I are meant to be together.” Lucetta narrowed her eyes. “Rumor has it around town that you’ve been short of funds ever since you and Oliver Addleshaw parted ways.” Silas narrowed his eyes back at her until he, curiously enough, laughed. “Is that why you’ve given me such a difficult time, my girl? You think I’ll be unable to keep you in style?” Blinking, Lucetta found she had no response to that piece of ridiculousness, but she was spared the need to respond when Silas continued. “You’ll be relieved to learn that my wife, harridan that she is, has a great deal of money—although she can be tightfisted with it at times, which means I have to encourage her to send money my way when I’m short on funds.” His smile widened. “But she’s learned over the years it’s easier to simply hand me money rather than have me encourage her to hand it over. That means I’ll have no problem keeping you knee-deep in lovely gowns and whatever other frivolous items you may want.” His words had Lucetta setting down the rest of the bread, unable to eat another bite. For a man to speak so casually about encouraging his wife, which could only mean abusing her, made Lucetta physically ill. “And while I’m sure that you’ll miss the theater, dear, do know that after you’ve accustomed yourself to me and my . . . needs, I may return you to the theater—if only to allow all of those gentlemen who salivate over you, and have done so for years, to see you performing for me, and only for me as I sit in a private box and watch your every move, and . . .” Whatever else Silas intended to say was lost when there was another knock on the door. “Go

You need to be careful to stay out of Charlie’s line of sight,” Steve said to me. “I want Charlie focusing only on me. If he changes focus and starts attacking you, it’s going to be too difficult for me to control the situation.” Right. Steve got no argument from me. Getting anywhere near those bone-crushing jaws was the furthest thing from my mind. I wasn’t keen on being down on the water with a huge saltwater crocodile trying to get me. I would have to totally rely on Steve to keep me safe. We stepped into the dinghy, which was moored in Charlie’s enclosure, secured front and back with ropes. Charlie came over immediately to investigate. It didn’t take much to encourage him to have a go at Steve. Steve grabbed a top-jaw rope. He worked on roping Charlie while the cameras rolled. Time and time again, Charlie hurled himself straight at Steve, a half ton of reptile flesh exploding up out of the water a few feet away from me. I tried to hang on precariously and keep the boat counterbalanced. I didn’t want Steve to lose his footing and topple in. Charlie was one angry crocodile. He would have loved nothing more than to get his teeth into Steve. As Charlie used his powerful tail to propel himself out of the water, he arched his neck and opened his jaws wide, whipping his head back and forth, snapping and gnashing. Steve carefully threw the top-jaw rope, but he didn’t actually want to snag Charlie. Then he would have had to get the rope off without stressing the croc, and that would have been tricky. The cameras rolled. Charlie lunged. I cowered. Steve continued to deftly toss the rope. Then, all of a sudden, Charlie swung at the rope instead of Steve, and the rope went right over Charlie’s top jaw. A perfect toss, provided that had been what Steve was trying to do. But it wasn’t. We had a roped croc on our hands that we really didn’t want. Steve immediately let the rope go slack. Charlie had it snagged in his teeth. Because of Steve’s quick thinking and prompt maneuvering, the rope came clear. We breathed a collective sigh of relief. Steve looked up at the cameras. “I think you’ve got it.” John agreed. “I think we do, mate.” The crew cheered. The shoot lasted several minutes, but in the boat, I wasn’t sure if it had been seconds or hours. Watching Steve work Charlie up close had been amazing--a huge, unpredictable animal with a complicated thought process, able to outwit its prey, an animal that had been on the planet for millions of years, yet Steve knew how to manipulate him and got some fantastic footage. To the applause of the crew, Steve got us both out of the boat. He gave me a big hug. He was happy. This was what he loved best, being able to interact and work with wildlife. Never before had anything like it been filmed in any format, much less on thirty-five-millimeter film for a movie theater. We accomplished the shot with the insurance underwriters none the wiser. Steve wanted to portray crocs as the powerful apex predators that they were, keeping everyone safe while he did it. Never once did he want it to appear as though he were dominating the crocodile, or showing off by being in close proximity to it. He wished for the crocodile to be the star of the show, not himself. I was proud of him that day. The shoot represented Steve Irwin at his best, his true colors, and his desire to make people understand how amazing these animals are, to be witnessed by audiences in movie theaters all over the world. We filmed many more sequences with crocs, and each time Steve performed professionally and perfected the shots. He was definitely in his element. With the live-croc footage behind us, the insurance people came on board, and we were finally able to sign a contract with MGM. We were to start filming in earnest. First stop: the Simpson Desert, with perentie lizards and fierce snakes.

all Protestant architecture produces the same sterile effects that were present in the Constantinian basilicas. They continue to maintain the unbiblical division between clergy and laity. And they encourage the congregation to assume a spectator role. The arrangement and mood of the building conditions the congregation toward passivity. The pulpit platform acts like a stage, and the congregation occupies the theater.[196] In short, Christian architecture has stalemated the functioning of God’s people since it was born in the fourth century.

Under certain circumstances parental pride is understandable but it has no place in the theater, where it tends to encourage a child to believe in a talent that, more often than not, simply fails to exist.

Brian Chesky sends to all Airbnb employees is a powerful one. “You have to continue to repeat things” Brian told our class at Stanford. “Culture is about repeating, over and over again, the things that really matter for your company.” Airbnb reinforces these verbal messages with visual impact as well. Brian hired an artist from Pixar to create a storyboard of the entire experience of an Airbnb guest, from start to finish, emphasizing the customer-centered design thinking that is a hallmark of its culture. Even Airbnb conference rooms tell a story; each one is a replica of a room that’s available for rent on the service. Every time Airbnb team members hold a meeting in one of those rooms, they are reminded of how guests feel when they stay there. At Amazon, Jeff Bezos famously bans PowerPoint decks and insists on written memos, which are read in silence at the beginning of each meeting. This memo policy is one of the ways that Amazon encourages a culture of truth telling. Memos have to be specific and comprehensive, and those who read the memos have to respond in kind rather than simply sit through some broad bullet points on a PowerPoint deck and nod vague agreement. Bezos believes that memos encourage smarter questions and deeper thinking. Plus, because they’re self-contained (rather than requiring a person to present a deck), they are more easily distributed and consumed by a wider population within Amazon. The late Steve Jobs used architecture as a core part of his deliberate communications strategy at Pixar. He designed Pixar headquarters so that the front doors, main stairs, main theater, and screening rooms all led to the atrium, which contained the café and mailboxes, ensuring that employees from all departments and specialties would see people from other groups on a regular basis, thus reinforcing Pixar’s collaborative, inclusive culture.

When we break the mirrors with which we surround ourselves—mirrors we use for constant self-analysis and criticism—we can start to see that we live in a world filled with other people, people trapped in the same theater, people who, like us, need encouragement, friendship, love. And here we find freedom, here we find our purpose, for we are here, after all, to love.

What could I possibly have to tell a Lyorn to give him any interest in seeing me? I immediately got six ideas on how to approach it. Once I’d eliminated the ones that would require me to leave the theater, I was left with zero. That was only one fewer than I needed, so that was encouraging.

We tend to think that people’s true nature comes out at decisive moments, when the going gets tough, when they’re pushed to the limit. The moment for heroes and saints. And yet, strange though it may seem, at such moments, human behavior is usually neither exemplary nor encouraging. The group who elbow their way to the head of the line where the concert tickets are being handed out; the spectators who flee the burning theater, trampling over the weaker members of the audience . . .

It was then and there that Priscilla made up her mind to go to bed with Ricki. But while her mind was convinced, her body needed encouragement, so they went to the Virginia Inn at First and Virginia and drank a gang of discount champagne. Still, Priscilla's endocrine system was lagging a few laps behind her resolve. “My pilot light has gone out and needs to be relit,” she said. Ricki suggested a porno movie. She hoped that a double bill of Starship Eros and Garage Girls would turn up the thermostat. Priscilla hoped so, too. Once in the theater, however, the Chianti and champagne began to get to Ricki. They were sitting up close, in the third row, and all of those colossal in-and-outs and up-and-downs made her queasy. It was a classic case of motion sickness. She held her tummy and moaned. Priscilla turned to the row of baldheaded men behind them. “Would you mind not smoking,” she said. “This woman is having a religious experience.” “If they jiggle one more time, I'm gonna spew,” said Ricki.

When I walked out of the movie theater I started thinking about my second-grade teacher, Miss Bernard, who used to put up paintings from almost all of the other boys and girls in my class on the classroom walls—paintings that she considered worthy—but she never put up one of mine. She never told me why or gave me an encouraging word, but I got the message: “You’re no good at art, Jerry.

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The pragmatic consumerism that has infected the church leads us to value the elements of our faith and practice that are most “relevant” to us today. For example, many contemporary churches play worship music that echoes secular pop songs, and we’ve designed our church buildings to look like Walmarts or movie theaters, neglecting theologically informed architectural designs that were once popular in church buildings and sanctuaries. Young adults sense intuitively that today’s churches have lost a vision for aesthetic beauty that encourages us to experience the mystery and transcendence of God. And they have grown tired of shallow, alternative approaches to the historic liturgical practices of past centuries. Young adults want more. They want depth and mystery, and they aren’t afraid to say it. They are harboring a longing for a church that transcends any single culture, not an approach that simply accommodates the surrounding culture.

Teller explained that most buildings in the city were communal, with residents assigned to ensure a diverse mix. Sophos citizens were expected to embrace a love of curiosity not just in their research, but also in their private time. To encourage this, each quarter within the city held nightly events featuring music, theater, and food where neighbors could mingle and learn something new.

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This is in fact the kind of story we expect to hear about our elected officials. We not only expect them to use other nations as changeable scrims in the theater of domestic politics but encourage them to do so.

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【V信83113305】：The Folkwang University of the Arts, located in Germany's vibrant Ruhr region, stands as a beacon of interdisciplinary artistic education. Founded in 1927 on the visionary "Folkwang Idea," it champions the unity of all arts—from music, theater, and dance to design and academic studies. Its renowned programs, particularly in performing arts and design, attract a diverse international student body. The university's unique philosophy fosters innovative collaboration across disciplines, encouraging artists to explore beyond traditional boundaries. With campuses in Essen, Duisburg, Bochum, and Dortmund, Folkwang provides a dynamic, real-world environment where creativity flourishes, solidifying its esteemed reputation as a cradle for pioneering artists and thinkers.，百分百放心原版复刻富克旺根艺术大学Folkwang Universität毕业证书, 富克旺根艺术大学毕业证书-一比一制作, 网络办理Folkwang Universität毕业证-富克旺根艺术大学毕业证书-学位证书, 快速办理Folkwang Universität毕业证如何放心, Folkwang Universität-diploma安全可靠购买富克旺根艺术大学毕业证, 富克旺根艺术大学毕业证书办理需要多久, 如何办理富克旺根艺术大学学历学位证, Folkwang Universität毕业证认证PDF成绩单, 富克旺根艺术大学毕业证成绩单-高端定制Folkwang Universität毕业证

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【V信83113305】：Founded in the heart of Toulouse, France, the École Supérieure des Beaux-Arts et des Arts du Spectacle is a distinguished institution dedicated to nurturing creative talent across visual and performing arts. It offers a dynamic environment where students explore diverse disciplines, from painting and sculpture to theater and dance, under the guidance of accomplished artists and educators. The school emphasizes both technical mastery and conceptual innovation, encouraging students to develop a unique artistic voice. Its vibrant connection to Toulouse's rich cultural scene provides ample opportunities for exhibitions and performances, making it a pivotal center for artistic development in southern France.，办图卢兹高等美术与表演学院学历证书学位证书成绩单, 毕业证文凭图卢兹高等美术与表演学院毕业证, 图卢兹高等美术与表演学院毕业证ESBA Toulouse毕业证书, ESBA Toulouse学位证书办理打开职业机遇之门, 最爱-法国-ESBA Toulouse毕业证书样板, ESBA Toulouse硕士毕业证, 定制图卢兹高等美术与表演学院成绩单, 修改图卢兹高等美术与表演学院成绩单电子版gpa实现您的学业目标, 挂科办理Ecole d'Enseignement Supérieur des Beaux-Arts et du Spectacle Vivant de Toulouse图卢兹高等美术与表演学院毕业证本科学位证书

【V信83113305】：Seoul Institute of the Arts stands as a beacon of creativity and innovation in South Korea’s educational landscape. Established in 1962, it has cultivated generations of artists across disciplines including film, theater, design, and digital media. Known for its forward-thinking curriculum and emphasis on practical experience, the university encourages students to push boundaries and develop their unique artistic voices. Its faculty includes renowned practitioners, providing mentorship that bridges traditional techniques and contemporary trends. Located near Seoul, students are immersed in a dynamic cultural environment, further inspiring their work. As a leading institution, it continues to shape the future of the arts, both in Korea and on the global stage.，挂科办理서울예술대학교首尔艺术大学毕业证本科学位证书, 서울예술대학교首尔艺术大学毕业证成绩单学历认证最快多久, 最爱-韩国-서울예술대학교毕业证书样板, 快速办理서울예술대학교毕业证-首尔艺术大学毕业证书-百分百放心, 高端烫金工艺서울예술대학교首尔艺术大学毕业证成绩单制作, 想要真实感受首尔艺术大学版毕业证图片的品质点击查看详解, 定制-首尔艺术大学毕业证서울예술대학교毕业证书, 原装正版首尔艺术大学毕业证真实水印成绩单制作, 서울예술대학교毕业证办理周期和加急方法

【V信83113305】：California Institute of the Arts (CalArts) is a renowned beacon of experimental and interdisciplinary arts education. Founded in 1961 through the merger of professional schools, it was championed by Walt Disney with a visionary ethos. Located in Valencia, it offers rigorous BFA and MFA programs across six schools: Art, Critical Studies, Dance, Film/Video, Music, and Theater. CalArts is celebrated for its radical approach that encourages boundary-pushing creativity and collaboration between diverse artistic disciplines. Its unique educational model fosters a critical, conceptual, and highly individualistic practice, producing generations of influential artists who redefine their fields. The institute’s influence is profoundly felt in animation, visual arts, and contemporary performance globally.，【V信83113305】最佳办理加利福尼亚艺术学院毕业证方式,优质渠道办理加利福尼亚艺术学院毕业证成绩单学历认证,原版定制加利福尼亚艺术学院毕业证书案例,原版加利福尼亚艺术学院毕业证办理流程和价钱,加利福尼亚艺术学院毕业证书,加利福尼亚艺术学院毕业证办理周期和加急方法,加利福尼亚艺术学院毕业证办理流程和安全放心渠道,加利福尼亚艺术学院毕业证成绩单学历认证最快多久,加利福尼亚艺术学院毕业证最稳最快办理方式,网上购买假学历加利福尼亚艺术学院毕业证书

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【V信83113305】：California Institute of the Arts, or CalArts, is a renowned beacon of experimental art education. Founded in 1961 through the merger of professional schools, it achieved its modern form with the visionary support of Walt Disney. Located in Valencia, it champions an interdisciplinary philosophy, encouraging collaboration between its six schools: Art, Critical Studies, Dance, Film/Video, Music, and Theater. This unique environment breaks down traditional barriers, allowing animators to work with musicians and dancers to collaborate with visual artists. As the first U.S. higher education institution to integrate visual and performing arts under one roof, CalArts has cultivated generations of groundbreaking artists. Its legendary animation program, in particular, has profoundly influenced the creative industry, making it a globally recognized incubator for innovation and creative risk-taking.，CCOTA假学历, 硕士-CCOTA毕业证加利福尼亚艺术学院毕业证办理, 加利福尼亚艺术学院毕业证书, 定做加利福尼亚艺术学院毕业证CCOTA毕业证书毕业证, 硕士文凭定制CCOTA毕业证书, CCOTA毕业证书, 1分钟获取加利福尼亚艺术学院毕业证最佳办理渠道, 原版定制CCOTA毕业证书, California College of the Arts文凭制作服务您学历的展现

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【V信83113305】：Founded in 1932, Cornish College of the Arts stands as a beacon of creativity in the heart of Seattle, Washington. This private institution has built a distinguished reputation for its rigorous, interdisciplinary approach to arts education. Offering Bachelor of Fine Arts degrees across disciplines like dance, theater, performance production, design, fine art, and film, Cornish emphasizes the deep interconnection between artistic disciplines. Its core philosophy is rooted in the "Total Artist" concept, encouraging students to think beyond the boundaries of a single medium. Housed in a vibrant urban campus at the historic Seattle Center, the college provides students with unparalleled access to a thriving arts scene. By fostering technical mastery, critical thinking, and innovative experimentation, Cornish College of the Arts continues to empower generations of artists to shape the future of contemporary culture.，CCOTA毕业证最新版本推荐最快办理考尼什艺术学院文凭成绩单, CCOTA毕业证成绩单学历认证最快多久, 加急多少钱办理CCOTA毕业证-考尼什艺术学院毕业证书, 考尼什艺术学院毕业证书加急制作, Cornish College of the Arts考尼什艺术学院电子版毕业证与美国Cornish College of the Arts学位证书纸质版价格, 办理考尼什艺术学院成绩单高质量保密的个性化服务, 办理大学毕业证考尼什艺术学院, 出售CCOTA证书哪里能购买CCOTA毕业证, Cornish College of the Arts考尼什艺术学院学位证书快速办理

【V信83113305】：California Institute of the Arts (CalArts) is a globally renowned hub for experimental and interdisciplinary arts education. Founded in 1961 through the merger of professional schools, it was championed by Walt Disney to revolutionize creative training. Located in Valencia, it offers rigorous BFA and MFA programs across six schools: Art, Critical Studies, Dance, Film/Video, Music, and Theater. CalArts is celebrated for its avant-garde ethos, encouraging students to push boundaries and redefine artistic conventions. Its unique educational model fosters collaboration across diverse disciplines, cultivating a vibrant community of innovators. With influential alumni in animation, film, music, and contemporary art, CalArts remains a pivotal force in shaping the future of the arts worldwide.，挂科办理加利福尼亚艺术学院毕业证本科学位证书, 一比一定制-CCOTA毕业证加利福尼亚艺术学院学位证书, 办加利福尼亚艺术学院学历证书学位证书成绩单, CCOTA-pdf电子毕业证, 办理California College of the Arts加利福尼亚艺术学院毕业证文凭, 美国大学文凭购买, 没-加利福尼亚艺术学院毕业证书CCOTA挂科了怎么补救, 加利福尼亚艺术学院毕业证成绩单原版定制, 加急多少钱办理CCOTA毕业证-加利福尼亚艺术学院毕业证书

【V信83113305】：California Institute of the Arts (CalArts), located in Valencia, is a renowned beacon of experimental art education. Founded in 1961 through the merger of professional schools, it was revolutionized by Walt Disney's vision to create a multidisciplinary "community of the arts." CalArts is celebrated for its progressive curriculum that encourages boundary-crossing collaboration among its six schools: Art, Critical Studies, Dance, Film/Video, Music, and Theater. This unique environment fosters immense creative freedom, pushing students to innovate and redefine artistic conventions. Its legendary animation program, in particular, has shaped generations of pioneers, cementing the institute's global influence. CalArts remains a vital incubator for avant-garde artists, thinkers, and performers who challenge and transform the cultural landscape.，网络快速办理CIOTA毕业证成绩单, 最佳办理CIOTA毕业证方式, CIOTA毕业证定制, CIOTA毕业证成绩单办理加利福尼亚艺术学院毕业证书官方正版, 最新CIOTA毕业证成功案例, CIOTA加利福尼亚艺术学院毕业证书加急制作, 留学生买文凭CIOTA毕业证加利福尼亚艺术学院, 极速办理加利福尼亚艺术学院毕业证书, 美国California Institute of the Arts毕业证仪式感|购买加利福尼亚艺术学院学位证

【V信83113305】：Cornish College of the Arts, located in Seattle, Washington, stands as a vibrant hub for creativity and innovation in the Pacific Northwest. Founded in 1914 by Nellie Cornish, the institution has built a enduring legacy of educating visionary artists across disciplines including dance, theater, music, design, and the visual arts. Its educational philosophy emphasizes a rigorous, interdisciplinary approach, encouraging students to explore and integrate various art forms. The college's urban campus places students at the heart of Seattle's dynamic cultural scene, providing unparalleled access to professional venues, galleries, and a thriving creative community. Cornish is dedicated to nurturing not only technical skill but also the conceptual and critical thinking essential for a sustainable and impactful career in the arts.，Cornish College of the Arts考尼什艺术学院挂科了怎么办？, 极速办理考尼什艺术学院毕业证书, 考尼什艺术学院留学本科毕业证, CCOTA考尼什艺术学院毕业证成绩单原版定制, 加急定制-CCOTA学位证考尼什艺术学院毕业证书, 学历文凭认证CCOTA毕业证-考尼什艺术学院毕业证如何办理, 考尼什艺术学院本科毕业证, 正版美国CCOTA毕业证文凭学历证书, CCOTA留学成绩单毕业证

【V信83113305】：The California Institute of the Arts, commonly known as CalArts, stands as a beacon of innovation in American arts education. Founded in 1961 through the merger of professional schools, it was radically reimagined by Walt Disney to foster a collaborative, interdisciplinary environment. Located in Valencia, California, its world-renowned programs in film, animation, art, theater, dance, and music encourage students to transcend traditional boundaries. CalArts champions the philosophy of "critical engagement," where artistic practice is fused with theoretical inquiry. This ethos has produced generations of visionary artists and pioneers, most notably revolutionizing the field of animation. It remains a unique incubator for creative risk-taking, empowering students to shape the future of contemporary art and culture.，办理创意研究学院毕业证, 硕士文凭定制CFCS创意研究学院毕业证书, College for Creative Studiesdiploma创意研究学院挂科处理解决方案, 创意研究学院毕业证成绩单在哪里能办理, 网上购买假学历CFCS毕业证书, College for Creative Studies创意研究学院多少钱, 原版CFCS毕业证办理流程和价钱, CFCS-diploma安全可靠购买创意研究学院毕业证, 100%办理CFCS毕业证书

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【V信83113305】：California Institute of the Arts (CalArts) is a renowned beacon of experimental art education, located in Valencia, California. Founded in 1961 through the merger of professional schools, it was radically shaped by Walt Disney's vision to create a multidisciplinary "community of the arts." CalArts is celebrated for its progressive curriculum that encourages boundary-crossing collaboration among its six schools: Art, Critical Studies, Dance, Film/Video, Music, and Theater. The institute champions an immersive, "learning by doing" philosophy, providing students with unparalleled creative freedom. This environment has cultivated generations of pioneering artists, animators, and performers, solidifying its iconic status as a catalyst for innovation and a powerful force in shaping contemporary global arts culture.，【V信83113305】最佳办理CIOTA毕业证方式,优质渠道办理CIOTA毕业证成绩单学历认证,原版定制CIOTA毕业证书案例,原版CIOTA毕业证办理流程和价钱,CIOTA毕业证书,CIOTA毕业证办理周期和加急方法,CIOTA毕业证办理流程和安全放心渠道,CIOTA毕业证成绩单学历认证最快多久,CIOTA毕业证最稳最快办理方式,网上购买假学历CIOTA毕业证书

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【V信83113305】：Columbia College Chicago is a dynamic institution nestled in the heart of one of America's most vibrant cities. Renowned for its focus on arts, media, and communications, it provides a unique, hands-on education that directly connects students to the creative industries. Unlike traditional liberal arts colleges, its curriculum is deeply practical, encouraging students to learn by doing in a real-world context. The urban campus is integrated into the cultural fabric of Chicago, offering unparalleled access to internships, galleries, theaters, and professional networks. This environment fosters artistic innovation and critical thinking, empowering a diverse student body to become influential storytellers and creators. It is a place where passion and profession seamlessly converge.，CCC芝加哥哥伦比亚学院颁发典礼学术荣誉颁奖感受博士生的光荣时刻, 一比一制作-CCC文凭证书芝加哥哥伦比亚学院毕业证, 做今年新版CCC芝加哥哥伦比亚学院毕业证, 办理真实Columbia College Chicago毕业证成绩单留信网认证, 原版CCC毕业证书办理流程, Columbia College Chicagodiploma芝加哥哥伦比亚学院挂科处理解决方案, 硕士芝加哥哥伦比亚学院文凭定制CCC毕业证书, 芝加哥哥伦比亚学院毕业证书-一比一制作, CCC文凭制作

【V信83113305】：The California Institute of the Arts, commonly known as CalArts, stands as a beacon of innovation in American arts education. Founded in 1961 through the merger of professional schools, its establishment was championed by Walt Disney, reflecting a visionary commitment to cross-disciplinary collaboration. Located in Valencia, California, CalArts is renowned for its unique pedagogical approach that dismantles traditional boundaries between artistic disciplines. It offers comprehensive BFA and MFA programs across six schools: Art, Critical Studies, Dance, Film/Video, Music, and Theater. The institute fosters an environment where experimental and avant-garde work thrives, encouraging students to critically engage with their craft and the contemporary world. This has cemented its reputation as a premier incubator for influential artists, animators, filmmakers, and performers who shape global creative culture.，申请学校!成绩单创意研究学院成绩单改成绩, 办理CFCS创意研究学院毕业证成绩单学历认证, College for Creative StudiesdiplomaCollege for Creative Studies创意研究学院挂科处理解决方案, 高仿创意研究学院文凭, 如何获取创意研究学院毕业证本科学位证书, CFCS毕业证成绩单专业服务, 最新创意研究学院毕业证成功案例, 高端CFCS创意研究学院毕业证办理流程, 出售College for Creative Studies创意研究学院研究生学历文凭

【V信83113305】：California Institute of the Arts, commonly known as CalArts, is a renowned hub for creativity and innovation in higher education. Located in Valencia, California, it was founded in 1961 through the merger of several professional art schools. CalArts is celebrated for its pioneering role in arts education, offering rigorous programs in visual arts, film, dance, music, theater, and creative writing. Its unique interdisciplinary approach encourages collaboration across different artistic disciplines, fostering a dynamic environment where students can push boundaries and redefine conventions. With a distinguished faculty and state-of-the-art facilities, the institute has produced countless influential artists and animators, particularly through its legendary Experimental Animation program. CalArts remains a vital force in shaping the future of contemporary art and culture.，【V信83113305】1分钟获取加利福尼亚艺术学院毕业证最佳办理渠道,加急加利福尼亚艺术学院毕业证CCOTA毕业证书办理多少钱,网上补办加利福尼亚艺术学院毕业证成绩单多少钱,百分百放心原版复刻加利福尼亚艺术学院CCOTA毕业证书,网上制作CCOTA毕业证-加利福尼亚艺术学院毕业证书-留信学历认证放心渠道,CCOTA毕业证书加利福尼亚艺术学院毕业证诚信办理,CCOTA毕业证办理多少钱又安全,加利福尼亚艺术学院毕业证最简单办理流程,加利福尼亚艺术学院毕业证最放心办理渠道,CCOTA成绩单加利福尼亚艺术学院毕业证快速办理方式

【V信83113305】：Seoul Institute of the Arts stands as a cornerstone of creativity and innovation in South Korea’s cultural landscape. Renowned for its forward-thinking approach, the university offers specialized programs in performance, visual arts, design, and digital media. It has cultivated a dynamic environment where artistic experimentation is encouraged, blending traditional techniques with contemporary practices. Many of its alumni have achieved significant recognition in film, theater, music, and fine arts, contributing prominently to both national and global arts scenes. With state-of-the-art facilities and a faculty composed of leading practitioners, the institution continues to inspire new generations of artists, emphasizing both technical mastery and conceptual depth in artistic education.，最佳办理首尔艺术大学毕业证方式, 서울예술대학교首尔艺术大学多少钱, 高仿原版首尔艺术大学毕业证서울예술대학교毕业证书外壳offer制作, 首尔艺术大学学位定制, 办理韩国서울예술대학교本科学历, 韩国硕士毕业证, 留学生买毕业证서울예술대학교毕业证文凭成绩单办理, 서울예술대학교文凭办理, 办首尔艺术大学毕业证university

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【V信83113305】：Cornish College of the Arts, nestled in the vibrant cultural heart of Seattle, stands as a distinguished institution dedicated to nurturing the next generation of innovative artists. Founded in 1914 by Nellie Cornish, the college has built a enduring legacy on the principle of "learning by doing," emphasizing hands-on, interdisciplinary education. Its programs span a diverse spectrum including visual arts, design, theater, music, and dance, all designed to foster both technical mastery and creative exploration. By encouraging collaboration across disciplines, Cornish creates a dynamic environment where students can develop a unique artistic voice and a professional practice. The college’s urban campus and deep connections to Seattle's thriving arts scene provide students with invaluable opportunities for real-world engagement, preparing them to become impactful contributors to the global cultural landscape.，【V信83113305】100%安全办理考尼什艺术学院毕业证,办理考尼什艺术学院毕业证成绩单学历认证,原版定制考尼什艺术学院毕业证,原版考尼什艺术学院毕业证办理流程,终于找到哪里办考尼什艺术学院毕业证书,考尼什艺术学院毕业证书,考尼什艺术学院毕业证书办理需要多久,考尼什艺术学院毕业证办理流程,考尼什艺术学院毕业证成绩单学历认证最安全办理方式,CCOTA毕业证最新版本推荐最快办理考尼什艺术学院文凭成绩单

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【V信83113305】：Nestled in the picturesque Finger Lakes region of New York, Ithaca College stands as a distinguished private institution renowned for its strong emphasis on experiential learning. With a beautiful campus overlooking Cayuga Lake, the college offers a dynamic and intimate educational environment, particularly celebrated for its outstanding programs in communications, music, theater arts, and health sciences. Ithaca fosters a vibrant, close-knit community where students are encouraged to engage deeply with their studies through hands-on projects, internships, and collaborative research. This commitment to blending rigorous academic theory with practical application prepares graduates to excel as innovative leaders and engaged citizens in a rapidly evolving global landscape. The college's spirit is encapsulated in its dedication to intellectual curiosity, creativity, and making a meaningful impact beyond the classroom.，办伊萨卡学院毕业证-Diploma, 伊萨卡学院留学本科毕业证, 正版美国毕业证文凭学历证书, 挂科办理Ithaca College伊萨卡学院学历学位证, 专业办理Ithaca College伊萨卡学院成绩单高质学位证书服务, IC本科毕业证, 如何办理伊萨卡学院毕业证一比一定制, 高端原版IC伊萨卡学院毕业证办理流程, Ithaca College伊萨卡学院电子版毕业证与美国Ithaca College学位证书纸质版价格

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