Theatre Directing Quotes

Ultimately one has to pity these poor souls who know every secret about writing, directing, designing, producing, and acting but are stuck in those miserable day jobs writing reviews. Will somebody help them, please?

The Director's Role: You are the obstetrician. You are not the parent of this child we call the play. You are present at its birth for clinical reasons, like a doctor or midwife. Your job most of the time is simply to do no harm. When something does go wrong, however, your awareness that something is awry--and your clinical intervention to correct it--can determine whether the child will thrive or suffer, live or die.

Sorry," I said. "Don't be sorry." She sent a sneer in the direction of Colin who'd rejoined his friends on the other side of the theatre. "The fact he's still breathing isn't your fault.

Once and for all the idea of glorious victories won by the glorious army must be wiped out Neither side is glorious On either side they're just frightened men messing their pants and they all want the same thing Not to lie under the earth but to walk upon it without crutches (Roux, act 1, scene 19)

Consult the genius of the place in all; That tells the waters or to rise, or fall; Or helps th' ambitious hill the heav'ns to scale, Or scoops in circling theatres the vale; Calls in the country, catches opening glades, Joins willing woods, and varies shades from shades, Now breaks, or now directs, th' intending lines; Paints as you plant, and, as you work, designs.

Sanity is actually a pretence, a way we learn to behave. We keep this pretence up because we don't want to be rejected by other people - and being classified insane is to be shut out of the group in a very complete way. Most people I meet are secretly convinced that they're a little crazier than the average person. People understand the energy necessary to maintain their own shields, but not the energy expended by other people. They understand that their own sanity is a performance, but when confronted by other people they confuse the person with the role. Sanity has nothing directly to do with the way you think. Its a matter of presenting yourself as safe.

What is your type of Magick ¿ Do you like theatre or puppetry

In a moment when criticism shows a singular dearth of direction every man has to be a law unto himself in matters of theatre, writing, and painting. While the American Mercury and the new Ford continue to spread a thin varnish of Ritz over the whole United States there is a certain virtue in being unfashionable.

I went to the theatre with the author of a successful play. He insisted on explaining everything. He told me what to watch, the details of the direction, the errors of the property man, the foibles of the star. He anticipated all of my surprises and ruined the evening. Never again! And mark you, the greatest author of all made no such mistake.

As a member of the avant-garde who is capable of perceiving the conspiracy before it is fully obvious to an as yet unaroused public, the paranoid is a militant leader. He does not see social conflict as something to be mediated and compromised, in the manner of the working politician. Since what is at stake is always a conflict between absolute good and absolute evil, what is necessary is not compromise but the will to fight things out to a finish. Since the enemy is thought of as being totally evil and totally unappeasable, he must be totally eliminated–if not from the world, at least from the theatre of operations to which the paranoid directs his attention. This demand for total triumph leads to the formulation of hopelessly unrealistic goals, and since these goals are not even remotely attainable, failure constantly heightens the paranoid’s sense of frustration. Even partial success leaves him with the same feeling of powerlessness with which he began, and this in turn only strengthens his awareness of the vast and terrifying quality of the enemy he opposes.

The French approach to food is characteristic; they bring to their consideration of the table the same appreciation, respect, intelligence and lively interest that they have for the other arts, for painting, for literature, and for the theatre. We foreigners living in France respect and appreciate this point of view but deplore their too strict observance of a tradition which will not admit the slightest deviation in a seasoning or the suppression of a single ingredient. Restrictions aroused our American ingenuity, we found combinations and replacements which pointed in new directions and created a fresh and absorbing interest in everything pertaining to the kitchen.

Stephen writhed his neck round, directing a grim look at the young man: all his professional life ashore had been haunted by these vile messengers; innumerable concerts, theatres, operas, dinners, promised treats had been wrecked or interrupted by fools, mooncalves, who, to gain some private end, had broken a leg, had fits, or fallen into a catalepsy.

For we direct, perform and witness performances every night – theatre cannot die before the last dream has been dreamt.

I felt like a theatre-goer trapped in the middle of a long second act who hears, outside, a fire engine howling past in the direction of his own house.

I asked a girl out for a movie and asked her to meet me directly at the theatre. I, on purpose, used to be late and would call her when on the way and ask her to buy the tickets. This way, I saved money and I had a theory about paying back.

The striving fluency of the Hampstead nanny's boy is deceptive and occasionally plausible. With its cultural allusions and cross-references to other disciplines, it is the gab-gift of someone to whom English is an adoptive tongue. Intellect does terrible things to the mind.

I saw myself as a person that wanted to build their own house and was aware that I needed to have all the skills and know-how of house building. I knew I needed to learn everything from design to bricklaying to painting to electrics if I wanted to have the house that I envisioned. I am a very much a hands-on person and I learn from doing. Hopefully I can now pass on some of what I have learned on to you. 

I must admit that years ago I never thought that my passion and interest in food would come close to eclipsing how I felt about my chosen profession. Acting, directing, cinema and the theatre had always defined me. But after my diagnosis I discovered that eating, drinking, the kitchen and the table now play those roles. Food not only feeds me, it enriches me. All of me. Mind, body and soul. It is nothing more than everything.

Book critics or theatre critics can be derisively negative and gain delighted praise for the trenchant wit of their review. But in criticisms of religion even clarity ceases to be a virtue and sounds like aggressive hostility. A politician may attack an opponent scathingly across the floor of the House and earn plaudits for his robust pugnacity. But let a soberly reasoning critic of religion employ what would in other contexts sound merely direct or forthright, and it will be described as a ‘rant’.

I decided to go and see another film, just to take my mind off Star Wars, and noticed that a film called The Matrix was playing in the same theatre. Two hours later, I re-emerged into the street full of the excitement and satisfaction that The Phantom Menace had failed to inspire. The Matrix seemed fresh and cool and visually breathtaking; making wonderful, intelligent use of CGI to augment the on-screen action, striking a perfect balance of the real and the hyperreal. It was possibly the coolest film I had ever seen. Ironically, fraternal directing team the Wachowskis faltered quickly with their sequels, killing their baby in just three years. Credit to George Lucas, it took him twenty-five to murder his.

Pan, The House of Bernarda Alba, Transform Caithness: Hunter, Be Near Me, Nobody Will Ever Forgive Us, The Bacchae (also Lincoln Center), Elizabeth Gordon Quinn, Home: Glasgow, and Black Watch, which toured internationally and for which he won Olivier and Critics’ Circle awards. He was Associate Director of the Traverse Theatre from 1996 to 2001, Paines Plough from 2001 to 2005, the National Theatre of Scotland from 2005 to 2012, and was a Radcliffe Fellow at Harvard University in the 2010–2011 academic year. JACK THORNE writes for theater, film, television, and radio. His theater credits include Hope and Let the Right One In, both directed by John Tiffany, Junkyard, a Headlong, Rose Theatre Kingston, Bristol Old Vic & Theatr Clwyd co-production, The Solid Life of Sugar Water for the Graeae Theatre Company and the National Theatre,

Ever since I had ceased to see actors solely as the depositories, in their diction and acting ability, of an artistic truth, they had begun to interest me in their own right; with the feeling that I was watching the characters from some old comic novel, I was amused to see the naïve heroine of a play, her attention drawn to the new face of some young duke who had just taken his seat in the theatre, listen abstractedly to the declaration of love the juvenile lead was addressing to her, while he, through the rolling passion of this declaration, was in turn directing an enamoured eye at an old lady seated in a stage box, whose magnificent pearls had caught his interest; and in this way, largely owing to what Saint-Loup had told me about the private lives of actors, I saw another drama, silent but telling, being played out beneath the words of the play that was being performed, yet the play itself, however uninspired, was still something that interested me too; for within it I could feel germinating and blossoming for an hour in the glare of the footlights, created out of the agglutination on the face of an actor of another face of grease-paint and pasteboard, and on his individual soul the words of a part, the ephemeral and spirited personalities, captivating too, who form the cast of a play, whom one loves, admires, pities, whom one would like to meet again after the play is over, but who by that time have already disintegrated into the actors who are no longer what they were in their roles, into a script which no longer shows the actors’ faces, into a coloured powder that can be wiped off by a handkerchief, who have reverted, in a word, to elements that contain nothing of them, because their dissolution is complete as soon as the play has ended, and this, like the dissolution of a loved one, causes one to doubt the reality of the self and to meditate on the mystery of death.

The 8 Play Personalities The Collector loves to gather and organise, enjoying activities like searching for rare plants, or rummaging around in archives or garage sales. The Competitor enjoys games and sports, and takes pleasure in trying their best and winning. The Explorer likes to wander, discovering new places and things they’ve never seen, through hiking, road tripping and other adventures. The Creator finds joy in making things, and can spend hours every day drawing, painting, making music, gardening and more. The Storyteller has an active imagination and uses their imagination to entertain others. They’re drawn to activities like writing, dance, theatre and role-playing games. The Joker endeavours to make people laugh, and may play by performing stand-up, doing improv, or just pulling a lot of pranks to make you smile. The Director likes to plan, organise and lead others, and can fit into many different roles and activities, from directing stage performances to running a company, to working in political or social advocacy. The Kinesthete finds play in physical activities like acrobatics, gymnastics and free running.

If talking pictures could be said to have a father, it was Lee De Forest, a brilliant but erratic inventor of electrical devices of all types. (He had 216 patents.) In 1907, while searching for ways to boost telephone signals, De Forest invented something called the thermionic triode detector. De Forest’s patent described it as “a System for Amplifying Feeble Electric Currents” and it would play a pivotal role in the development of broadcast radio and much else involving the delivery of sound, but the real developments would come from others. De Forest, unfortunately, was forever distracted by business problems. Several companies he founded went bankrupt, twice he was swindled by his backers, and constantly he was in court fighting over money or patents. For these reasons, he didn’t follow through on his invention. Meanwhile, other hopeful inventors demonstrated various sound-and-image systems—Cinematophone, Cameraphone, Synchroscope—but in every case the only really original thing about them was their name. All produced sounds that were faint or muddy, or required impossibly perfect timing on the part of the projectionist. Getting a projector and sound system to run in perfect tandem was basically impossible. Moving pictures were filmed with hand-cranked cameras, which introduced a slight variability in speed that no sound system could adjust to. Projectionists also commonly repaired damaged film by cutting out a few frames and resplicing what remained, which clearly would throw out any recording. Even perfect film sometimes skipped or momentarily stuttered in the projector. All these things confounded synchronization. De Forest came up with the idea of imprinting the sound directly onto the film. That meant that no matter what happened with the film, sound and image would always be perfectly aligned. Failing to find backers in America, he moved to Berlin in the early 1920s and there developed a system that he called Phonofilm. De Forest made his first Phonofilm movie in 1921 and by 1923 he was back in America giving public demonstrations. He filmed Calvin Coolidge making a speech, Eddie Cantor singing, George Bernard Shaw pontificating, and DeWolf Hopper reciting “Casey at the Bat.” By any measure, these were the first talking pictures. However, no Hollywood studio would invest in them. The sound quality still wasn’t ideal, and the recording system couldn’t quite cope with multiple voices and movement of a type necessary for any meaningful dramatic presentation. One invention De Forest couldn’t make use of was his own triode detector tube, because the patents now resided with Western Electric, a subsidiary of AT&T. Western Electric had been using the triode to develop public address systems for conveying speeches to large crowds or announcements to fans at baseball stadiums and the like. But in the 1920s it occurred to some forgotten engineer at the company that the triode detector could be used to project sound in theaters as well. The upshot was that in 1925 Warner Bros. bought the system from Western Electric and dubbed it Vitaphone. By the time of The Jazz Singer, it had already featured in theatrical presentations several times. Indeed, the Roxy on its opening night in March 1927 played a Vitaphone feature of songs from Carmen sung by Giovanni Martinelli. “His voice burst from the screen with splendid synchronization with the movements of his lips,” marveled the critic Mordaunt Hall in the Times. “It rang through the great theatre as if he had himself been on the stage.

...everyone has a Mr. Hyde, another version of the self. A direction not taken, perhaps. A road we didn't know existed, or had no name for, We each of us carry our choices about, don't we...? And every choice is a rejection, when you think. But there is, too, a kind of shadowland where the Other always lives. Or at least, never dies. Just goes on. Hard to stumble into happiness if you don't leave your shadowland behind....Theatre people don't, as a rule. Goes with the job. Everything is so precarious, almost all of the time. Makes it hard to settle. One gets fidgety. And when you're someone else, every night, and twice on a Saturday, you can forget what it's like being you. I always felt, you know, two hands are needed here. One to wave farewell, the other to close the heart....[E]asier said than done. I don't know that anyone succeeds. Questionings. Dawn-thoughts. Mind ticking like a watch. Four in the morning but you're staring out a window. What if I had married that other person? Or remained unmarried? What if I had accepted that job, or emigrated or stayed, or lived my life in a different way, a way that was truer to me, perhaps, but I was afraid of what people might think or say? You see, part of you DID do those things. To imagine is to do. And there are moments when you feel a murderous envy of that part. The self that escaped. The self that chose freedom. So, out comes the rage. But already too late. It's the only thing one's learned. We're in shadowland. [Ellen Terry]

It is a painful irony that silent movies were driven out of existence just as they were reaching a kind of glorious summit of creativity and imagination, so that some of the best silent movies were also some of the last ones. Of no film was that more true than Wings, which opened on August 12 at the Criterion Theatre in New York, with a dedication to Charles Lindbergh. The film was the conception of John Monk Saunders, a bright young man from Minnesota who was also a Rhodes scholar, a gifted writer, a handsome philanderer, and a drinker, not necessarily in that order. In the early 1920s, Saunders met and became friends with the film producer Jesse Lasky and Lasky’s wife, Bessie. Saunders was an uncommonly charming fellow, and he persuaded Lasky to buy a half-finished novel he had written about aerial combat in the First World War. Fired with excitement, Lasky gave Saunders a record $39,000 for the idea and put him to work on a script. Had Lasky known that Saunders was sleeping with his wife, he might not have been quite so generous. Lasky’s choice for director was unexpected but inspired. William Wellman was thirty years old and had no experience of making big movies—and at $2 million Wings was the biggest movie Paramount had ever undertaken. At a time when top-rank directors like Ernst Lubitsch were paid $175,000 a picture, Wellman was given a salary of $250 a week. But he had one advantage over every other director in Hollywood: he was a World War I flying ace and intimately understood the beauty and enchantment of flight as well as the fearful mayhem of aerial combat. No other filmmaker has ever used technical proficiency to better advantage. Wellman had had a busy life already. Born into a well-to-do family in Brookline, Massachusetts, he had been a high school dropout, a professional ice hockey player, a volunteer in the French Foreign Legion, and a member of the celebrated Lafayette Escadrille flying squad. Both France and the United States had decorated him for gallantry. After the war he became friends with Douglas Fairbanks, who got him a job at the Goldwyn studios as an actor. Wellman hated acting and switched to directing. He became what was known as a contract director, churning out low-budget westerns and other B movies. Always temperamental, he was frequently fired from jobs, once for slapping an actress. He was a startling choice to be put in charge of such a challenging epic. To the astonishment of everyone, he now made one of the most intelligent, moving, and thrilling pictures ever made. Nothing was faked. Whatever the pilot saw in real life the audiences saw on the screen. When clouds or exploding dirigibles were seen outside airplane windows they were real objects filmed in real time. Wellman mounted cameras inside the cockpits looking out, so that the audiences had the sensation of sitting at the pilots’ shoulders, and outside the cockpit looking in, allowing close-up views of the pilots’ reactions. Richard Arlen and Buddy Rogers, the two male stars of the picture, had to be their own cameramen, activating cameras with a remote-control button.

Here is an analogy that might help you to see this mystery. Suppose you entered a motion-picture theatre just as the feature picture came to its end. All that you saw of the picture was the happy ending. Because you wanted to see the entire story you waited for it to unfold again. With the anti-climatic sequence the hero is displayed as accused, surrounded by false evidence, and all that goes to wring tears, from the audience. But you secure in the knowledge of the ending remain calm with the understanding that, regardless of the seeming direction of the picture, the end has already been defined.

The ‘outside us’ to which refer objects on the occasion of the sensation of sight, itself resides inside our heads, for there is its whole scene of action; much the same as in the theatre we see mountains, forest and sea, yet everything remains within the house. From this we can understand that we perceive things with the determination ‘outside’ and yet quite directly.

He put a fresh sheet in and, after spending a few moments wishing he were doing something quite different, typed: Gregory: But this is really qutie farcical. Like all the other lines of dialogue he had so far evolved, it struck him as not only in need of instant replacement, but as requiring a longish paragraph of negative stage direction in the faint hope of getting it said ordinarily, and not ordinarily in inverted commas, either. Experimentally, he typed: (Say this without raising your chin or opening your eyes wide or tilting your face or putting on that look of vague affront you use when you think you are "underlining the emergence of a new balance of forces in the scheme of the action" like the producer told you or letting your mind focus more than you can help on sentences like "Mr. Recktham managed to breathe some life into the wooden and conventional part of Gregory" or putting any more expression into it than as if you were reading aloud something you thought was pretty boring (and not as if you were doing an imitation of someone on a stage reading aloud something he thought was pretty boring, either) or hesitating before or after "quite" or saying "fusskle" instead of "farcical".) Breathing heavily, Bowen now x-ed out his original line of dialogue and typed: Gregory: You're just pulling my leg.

Richard!" On Hortense’s lips, the name was soft and exotic, Reeshard. She demanded of him in French, "When did you return?" Richard bowed over Mme Bonaparte’s hand before kissing her daughter’s. "I returned Monday night." "And you have not called until now! Cad! Is he not a beast, Mama, to have deprived us of his company for so long? Eugene will be disappointed to have missed you – he is off at the theatre tonight." Amy was about to back quietly away, when Hortense laid one gloved hand gently on Amy’s arm. "There is a lovely countrywoman of yours to whom I would like to introduce you!" Beaming, Hortense tilted her head in Amy’s direction, and drew Amy forward. Amy tried not to balk visibly under Lord Richard’s knowing eye. "Mlle Balcourt, I would like to you make zee acquaintance of Lord Reeshard Selweeck." "We’ve already met," said Amy hastily. "You ’ave?" Obviously intrigued, Hortense looked up inquiringly at Richard from under her eyelashes. "Don’t matchmake, Hortense; it’s a beastly habit," Richard advised in French.

Remember, democracy is directing a theatre of unwilling participants, not leading an army of loyal followers.

Director: Sripriya Producer: Rajkumar Sethupathy Screenplay: Aashiq Abu Story: Abhilash Kumar,Shyam Pushkaran Starring: Nithya Menen,Krish J. Sathaar,Naresh Music: Aravind-Shankar Cinematography: Manoj Pillai Editing: Bavan Sreekumar Studio: Rajkumar Theatres Pvt Ltd Sri Priya is back with her new venture titled ‘Malini 22 Palayamkottai’ with actor Krish, son of Malayalam actors Sathar and Jayabharathi. Actor Krish was ready for the negative shades of ‘Malini 22 Palayamkottai’, remake of malayalam film ‘22 Female Kottayam’ when none were ready to play the role with adverse shades. To make a mark in 40th year of Sripriya's venture in Tamil industry, she has come up with a theme carrying crime against women and to reveal the social issues in present scenario through ‘Malini 22 Palayamkottai’ Tamil movie. ‘Malini 22 Palayamkottai’ Tamil film is directed by Sripriya. The revenge thriller movie is produced by Rajkumar Theatres Pvt.ltd. ‘Malini 22 Palayamkottai’ movie casting Nithya Menon, Vidyulekha Raman, Krish J Sathaar and Kota Srinivasa Rao was initially set to release on 13 December, 2013 along with ‘Madha Yaanai Kootam’ and ‘Ivan Vera Mathiri’. However, due to several issues the films release was postponed. Producer Rajkumar Sethupathy’s ‘Malini 22 Palayamkottai’ film is directed and written by his wife Sripriya. ‘Malini 22 Palayamkottai’ Tamil movie has music composed by Aravind-Shankar. Confident producer Rajkumar Sethupathy who has complete faith on his wife Sripriya stated – “My wife has decades of experience in cinema and I myself have starred in several films. While I immersed myself in business, she has remained in touch with the industry taking a brief break to take care of our children. However, with the kids old enough to take care of themselves now, she has the time to get back to the other thing she loves: cinema. She’s already directed a couple of films, but this one is different because of the theme. She watched the original and she asked me to watch it too. I knew right away that if we were going to start our own home productions, this movie was the best way to begin.” Sripriya expressing her thoughts about the film said, ‘Malini 22 Palayamkottai’ was the huff that she had bounded within herself. ‘Malini 22 Palayamkottai’ portrays the exploitation against women and revenge from the gender. However, the revenge thriller flick ‘Malini 22 Palayamkottai’ is set to release on 24 January, 2014.

The Germans, out of a population of under 70 millions, mobilized during the war for military service 13¼ million persons. Of these, according to the latest German official figures for all fronts including the Russian, over 7 millions suffered death, wounds or captivity, of whom nearly 2 millions perished.15 France, with a population of 38 millions, mobilized a little over 8 million persons. This however includes a substantial proportion of African troops outside the French population basis. Of these approximately 5 millions became casualties, of whom 1½ millions lost their lives. The British Empire, out of a white population of 60 millions, mobilized nearly 9½ million persons and sustained over 3 million casualties including nearly a million deaths. The British totals are not directly comparable with those of France and Germany. The proportion of coloured troops is greater. The numbers who fell in theatres other than the western, and those employed on naval service, are both much larger. The French and German figures are however capable of very close comparison. Both the French and German armies fought with their whole strength from the beginning to the end of the war. Each nation made the utmost possible demand upon its population. In these circumstances it is not surprising that the official French and German figures tally with considerable exactness. The Germans mobilized 19 per cent. of their entire population, and the French, with their important African additions, 21 per cent. Making allowance for the African factor, it would appear that in the life-and-death struggle both countries put an equal strain upon their manhood. If this basis is sound—and it certainly appears reasonable—the proportion of French and German casualties to persons mobilized displays an even more remarkable concordance. The proportion of German casualties to total mobilized is 10 out of every 19, and that of the French 10 out of every 16. The ratios of deaths to woundings in Germany and France are almost exactly equal, viz. 2 to 5. Finally these figures yield a division of German losses between the western and all other fronts of approximately 3 to 1 both in deaths and casualties. All

democracy is directing a theatre of unwilling participants, not leading an army of loyal followers.’ ‘And

You may recall – perhaps you’ve experienced this in the theatre – the bewilderingly oblique way Shakespeare tends to begin his plays, via marginal characters whom we struggle to place as they recount or anticipate some major narrative event in a conversation that begins in the middle, leaving us flailing (beginning Shakespeare’s plays at their beginning is not always the easiest place to start). Not so in Richard III. The opening stage direction in the first printed edition is ‘Enter Richard, Duke of Gloucester, solus’ – meaning alone – making it absolutely clear that not only does he open the play, he does so, uniquely, in soliloquy. He begins, that’s to say, by addressing the audience. From the outset, we are his creatures.

Philosophy often appears to its common-sense opponents as a kind of Sigmaringen of ideas, churning out its irrelevant fictions and pretending that it offers the public insights on which the fate of humanity depends, while real life goes on somewhere else, indifferent to philosophical gigantomachias. Is philosophy really a mere theatre of shadows? A pseudo-event impotently mimicking real events? What if its power resides in its very withdrawal from direct engagement? What if, in its Sigmaringen-distance from the immediate reality of events, it can see a much more profound dimension of these same events, so that the only way to orient ourselves in the multiplicity of events is through the lens of philosophy?

Can-Do Attitude: Essential to develop because all along the way people will hit you with questions like: Is it worth it? Why is it taking so long? This is a very hard business isn’t it? Are you sure you’re doing the right thing? and other questions that might make you doubt yourself. Just keep doing what you are doing and decide that whatever you need to do you will find a way to do and that you can do it, even though at the moment, you might not know how.

I love masks for two completely contrary reasons… One is that they they’re a way of covering up an experience or a feeling. The other is that they’re a way of exposing through a liberation. A mask is a way of taking on another personality for a period of time. Now, I play it both ways, I think, in the drawings, and in the fiction as well. Clearly there are some things that we can do in masked form that we would not otherwise – this is the classic dramatic device of the masked ball. You put on the mask and you’re allowed to do all kinds of things that hitherto you wouldn’t do: you seduce the people you would fear to seduce unmasked; you say the things you most fear to say unmasked. But there’s another way, which is that masks can be something that we plaster onto our faces to cover up the possibility of this eruption. I think masks have two quite contrary forms… I think some of the masks I’ve put on characters are very bland – wilfully bland. And then others seems to want erupt in all directions. That’s the paradox.’ Barker’s love affair with the stage also plays a part in his affection for these symbols of theatre. ‘There’s a whole series of sketches of actors, basically… People with masks on killing each other with wooden swords. People with masks on seducing each other. Just very simple ideas for things. They compare, forcibly, I think, with the masks which are just simply hanging up or floating in the air, as though the person who had once occupied them has just flitted away.’ Indeed, one of the most powerful of these pictures is a simple study of a mask hanging from a tree, laid aside carefully while its owner has a moment in which he doesn’t require it. There are also those masks which allow the wearers to express themselves in a way maybe they couldn’t otherwise… expressing themselves more strongly than human physiognomy will allow.’ Seen in this light, the monsters of Nightbreed and The Skins of the Fathers are clearly just a larger than life version of humanity - just like us beneath their demon masks; seen in this light, we could all just as easily put on the tragic button eyes and zipper mouth of a homicidal maniac. Barker, both in his artwork and his words, remains sagely mute on the obvious (and moralistic) question: are we truest to ourselves when we put on our masks, or when we take them off? If anything, his drawings will admit only to unembroidered irony and acceptance. When two lovers sit in a studied yet impassioned embrace – his penis erect, her nipples swollen – they are able to reveal these most private parts of themselves freely. It is their faces, seemingly the most public part of their personae, that are, in reality, still hidden, as they proceed through life as actors in this stageplay of their own creation. By trying on masks, people experiment with who they are and with who they want to be, free in the knowledge that they can turn back at any time. After all, pretending to be a fish is still a long way from becoming one. It should come as no surprise that, when we begin with humanity and then expose its masks, we find ourselves at transformation, the heart of Barker’s fiction. It is not always an easy place to be. ‘These images of transformation are, for me, ways to draw characters that are exploding out of their condition into something else. Becoming something else. Dissolving into something else… There isn’t rage in the drawings. There’s an awful lot less anger in the drawings than there is in the fiction. When there are images of constriction they tend to be very strong images of constriction, and then there is an eruption from that constriction. There are a lot more images of peace, or at least the possibility of peace, in my drawings than there are in the fiction.

The intelligence professional’s passion to collect everything possible is nicely illustrated in an NYPD report under the rubric “Secret,” and beneath a blacked-out box that may have contained notes from an infiltrator. The censored document declares ominously in large type: “LOCAL ACTIVIST GROUP TO USE ART MURALS IN ORDER TO SPREAD PEACE MESSAGE; GROUP MAY USE DIRECT ACTION METHODS IN CONJUNCTION WITH STREET THEATRE.” It describes the organization as “a collective of artists dedicated to using artwork to spread the word of peace.” It uses “murals, banners, posters, and street theatre during its actions.

The notion, popularized by classicist and romanticist critics alike, of the Attic theatre as the perfect example of a national theatre, and of its audiences as realizing the ideal of a whole people united in support of art, is a falsification of historical truth.33 The festival theatre of Athenian democracy was certainly no ‘people’s theatre’ —the German classical and romantic theorists could only represent it as such, because they conceived the theatre to be an educational institution. The true ‘people’s theatre’ of ancient times was the mime, which received no subvention from the state, in consequence did not have to take instructions from above, and so worked out its artistic principles simply and solely from its own immediate experience with the audiences. It offered its public not artistically constructed dramas of tragi-heroic manners and noble or even sublime personages, but short, sketchy, naturalistic scenes with subjects and persons drawn from the most trivial, everyday life. Here at last we have to do with an art which has been created not merely for the people but also in a sense by the people. Mimers may have been professional actors, but they remained popular and had nothing to do with the educated élite, at least until the mime came into fashion. They came from the people, shared their taste and drew upon their common sense. They wanted neither to educate nor to instruct, but to entertain their audience. This unpretentious, naturalistic, popular theatre was the product of a much longer and more continuous development, and had to its credit a much richer and more varied output than the official classical theatre; unfortunately, this output has been almost completely lost to us. Had these plays been preserved, we should certainly take quite a different view of Greek literature and probably of the whole of Greek culture from that taken now. The mime is not merely much older than tragedy; it is probably prehistoric in origin and directly connected with the symbolic-magical dances, vegetation rites, hunting magic, and the cult of the dead. Tragedy originates in the dithyramb, an undramatic art form, and to all appearances it got its dramatic form—involving the transformation of the performers into fictitious personages and the transposition of the epic past into present —from the mime. In tragedy, the dramatic element certainly always remained subordinate to the lyrical and didactic element; the fact that the chorus was able to survive shows that tragedy was not exclusively concerned to get dramatic effect and so was intended to serve other ends than mere entertainment.

This attitude finds a late but still abundantly clear expression in the conventions of the classical court theatre, in which the actor, quite regardless of the demands of stage deception, addresses the audience directly, apostrophizes it, as it were, with every word and gesture, and not only avoids ‘turning his back’ on the audience but emphasizes by every possible means that the whole proceeding is a pure fiction, an entertainment conducted in accordance with previously agreed rules. The naturalistic theatre forms the transition to the absolute opposite of this ‘frontal’ art, namely the film, which, with its mobilization of the audience, leading them to the events instead of leading and presenting the events to them, and attempting to represent the action in such a way as to suggest that the actors have been caught red-handed, by chance and by surprise, reduces the fictions and conventions of the theatre to a minimum. With its robust illusionism, its forthright and indiscreet directness, its violent attack on the audience, it expresses a democratic conception of art, held by liberal, anti-authoritarian societies, just as clearly as the whole of the courtly and aristocratic art—by its mere emphasis of the stage, the footlights, the frame and the socle—is the unmistakable expression of a highly artificial, specially commissioned occasion, from which it is obvious that the patron is an initiated connoisseur who does not need to be deceived.

So here it is: A month of heartbreaking, gut-wrenching work that, if we do it right, leads to no definite conclusion. Eighteen-hour days and eighteen-hour nights. For you new members, this will feel like some kind of endurance race. We’ve got one month to break down this awful script, rebuild it, learn every one of its variations, and then rehearse the result until you can do it in your sleep. But even then we won’t be finished, because there’s a hostile crowd out there just dying to be the first ones to solve the mystery—which we will not let them do. Let’s get to work.

With Death Troupe, we come as close to the never-ending rehearsal as we can without going full improv. Your characters can’t become set because the culprit is different in every version of the play. Your lines can’t become rote recitation because the execution of those lines has to leave you ready to believably shift your character in any number of different directions. And even if we reach the point where every one of you could perform every variant of the play perfectly in your sleep, there’s an audience just feet away, working against you, trying to figure you out, trying to catch you in a slip JUST ONCE.

The intellectual actor For many of those who aspire to be actors or to become better actors, the biggest challenge is to stop thinking and start feeling. Our education system trains young people in thinking and the prizes are given out for analytical skills. But fundamentally this is a cerebral engagement, impassive and rational. And this kind of education – especially at degree level – is often in direct opposition to what actors need to cultivate in themselves. For much of our lives, we are served well by the ability to think logically about what’s happening and make considered, rational decisions about what to do. Indeed, for most professions it’s essential. I’m guessing we would all rather be operated on, or have our taxes done, by someone with the rigour of thinking to be able to analyse a situation and come up with a reliably intelligent plan of attack. But the foremost job of an actor is to commit to the fictional world of a drama and this is not a cerebral activity. The qualities that will really make a performance – spontaneity, impulsiveness, emotional availability, unguarded vulnerability – are neither logical nor intellectual. And these are things we can deliberately cultivate in ourselves. Nicolas Cage: ‘I invite the entire spectrum, shall we call it, of feeling. Because that is my greatest resource as a film actor. I need to be able to feel everything, which is why I refuse to go on any kind of medication. Not that I need to! But my point is, I wouldn’t even explore that, because it would get in the way of my instrument. Which is my emotional facility to be able to perform.

We become so accustomed to this state of affairs that we come to think of acting as synonymous with ‘performing’ – that is, putting on a show for the benefit of those watching. This is reinforced by some linguistic confusion around the word ‘acting’. To the general public it means pretending or lying. Professional actors, of course, know that acting is actually about telling the truth. After all, what do we mean by ‘bad acting’ other than that we don’t believe what we’re seeing? And yet, most of us probably implicitly consider engaging directly with an audience as inherent in acting. Meisner’s greatest contribution to acting was probably a philosophical one. By defining it as ‘living truthfully in imaginary circumstances’, he took performance out of the equation.

They are loud and boisterous, skylarking in the way that so many men in their twenties do – only just making the train, with the plumped-up platform guard blowing his whistle in furious disapproval. After messing about with the automatic door – open, shut, open, shut – which they inevitably find hilarious beyond the facts, they settle into the seats nearest the luggage racks. But then, apparently spotting the two girls from Cornwall, they glance knowingly at each other and head further down the carriage to the seats directly behind them. I smile to myself. See, I’m no killjoy. I was young once. I watch the girls go all quiet and shy, one widening her eyes at her friend – and yes, one of the men is especially striking, like a model or a member of a boy band. And it all reminds me of that very particular feeling in your tummy. You know. So I am not at all surprised or in the least bit disapproving when the men stand up and the good-looking one then leans over the top of the dividing seats, wondering if he might fetch the girls something from the buffet, ‘. . . seeing as I’m going?’ Next there are name swaps and quite a bit of giggling, and the dance begins. Two coffees and four lagers later, the young men have joined the girls – all seated near enough for me to follow the full conversation. I know, I know. I really shouldn’t be listening, but we’ve been over this. I’m bored, remember. They’re loud. So then. The girls repeat what I have already gleaned from their earlier gossiping. This trip to London is their first solo visit to the capital – a gift from their parents to celebrate the end of GCSEs. They are booked into a budget hotel, have tickets for Les Misérables and have never been this excited. ‘You kidding me? You really never been to London on your own before?’ Karl, the boy-band lookalike, is amazed. ‘Can be a tricky place, you know, girls. London. You need to watch yourselves. Taxi not tube when you get out of the theatre. You hear me?’ I am liking Karl now. He is recommending shops and market stalls – also a club where he says they will be safe if they fancy some decent music and dancing after the show. He is writing down the name on a piece of paper for them. Knows the bouncer. ‘Mention my name, OK?’ And then Anna, the taller of the two friends from Cornwall, is wondering about the black bags and I am secretly delighted that she has asked, for I am curious also, smiling in anticipation of the teasing. Boys. So disorganised. What are you like, eh?

COME BACK, LITTLE SHEBA was first presented by The Theatre Guild at the Booth Theatre, New York City, on February 15, 1950, with the following cast: (IN ORDER OF APPEARANCE) DOC Sidney Blackmer MARIE Joan Lorring LOLA Shirley Booth TURK Lonny Chapman POSTMAN Daniel Reed MRS. COFFMAN Olga Fabian MILKMAN ]ohn Randolph MESSENGER Arnold Schulman BRUCE Robert Cunningham ED ANDERSON Wilson Brooks ELMO HUSTON Paul Krauss DIRECTED BY Daniel Mann

The film version of Chicago is a milestone in the still-being-written history of film musicals. It resurrected the genre, winning the Oscar for Best Picture, but its long-term impact remains unclear. Rob Marshall, who achieved such success as the co-director of the 1998 stage revival of Cabaret, began his career as a choreographer, and hence was well suited to direct as well as choreograph the dance-focused Chicago film. The screen version is indeed filled with dancing (in a style reminiscent of original choreographer Bob Fosse, with plenty of modern touches) and retains much of the music and the book of the stage version. But Marshall made several bold moves. First, he cast three movie stars – Catherine Zeta-Jones (former vaudeville star turned murderess Velma Kelly), Renée Zellweger (fame-hungry Roxie Hart), and Richard Gere (celebrity lawyer Billy Flynn) – rather than Broadway veterans. Of these, only Zeta-Jones had training as a singer and dancer. Zellweger’s character did not need to be an expert singer or dancer, she simply needed to want to be, and Zellweger’s own Hollywood persona of vulnerability and stardom blended in many critics’ minds with that of Roxie.8 Since the show is about celebrity, casting three Hollywood icons seemed appropriate, even if the show’s cynical tone and violent plotlines do not shed the best light on how stars achieve fame. Marshall’s boldest move, though, was in his conception of the film itself. Virtually every song in the film – with the exception of Amos’s ‘Mr Cellophane’ and a few on-stage numbers like Velma’s ‘All That Jazz’ – takes place inside Roxie’s mind. The heroine escapes from her grim reality by envisioning entire production numbers in her head. Some film critics and theatre scholars found this to be a cheap trick, a cop-out by a director afraid to let his characters burst into song during the course of their normal lives, but other critics – and movie-goers – embraced this technique as one that made the musical palatable for modern audiences not accustomed to musicals. Marshall also chose a rapid-cut editing style, filled with close-ups that never allow the viewer to see a group of dancers from a distance, nor often even an entire dancer’s body. Arms curve, legs extend, but only a few numbers such as ‘Razzle Dazzle’ and ‘Cell Block Tango’ are treated like fully staged group numbers that one can take in as a whole.

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【V信83113305】：Manhattan School of Music stands as a beacon of artistic excellence in New York City. Nestled in the vibrant cultural tapestry of Manhattan, it has cultivated world-class musicians for over a century. Its rigorous programs span classical, jazz, and musical theatre, offering unparalleled training from a faculty of renowned artists. Students immerse themselves in a dynamic environment, performing in state-of-the-art venues and collaborating with peers globally. The school’s prime location provides direct access to the city’s rich musical life, creating endless opportunities for growth and inspiration. MSM is not just a conservatory; it is a transformative community where passion and discipline converge to shape the future of music.，【V信83113305】曼哈顿音乐学院文凭MSOM毕业证学历认证方法,原版MSOM曼哈顿音乐学院毕业证最佳办理流程,学历文凭认证MSOM毕业证-曼哈顿音乐学院毕业证如何办理,100%学历MSOM曼哈顿音乐学院毕业证成绩单制作,硕士文凭定制MSOM曼哈顿音乐学院毕业证书,100%办理MSOM曼哈顿音乐学院毕业证书,网上办理MSOM曼哈顿音乐学院毕业证书流程,网络办理MSOM曼哈顿音乐学院毕业证官方成绩单学历认证,MSOM曼哈顿音乐学院毕业证最快且放心办理渠道,MSOM曼哈顿音乐学院毕业证本科学历办理方法

【V信83113305】：Cornish College of the Arts, located in Seattle, Washington, stands as a vibrant hub for creative education since its founding in 1914. Established by Nellie Cornish, the college has built a enduring legacy dedicated to nurturing innovative artists across disciplines like dance, theatre, music, design, and visual arts. Its educational philosophy emphasizes cross-disciplinary collaboration, encouraging students to explore the intersections between different art forms and develop a unique, personal voice. The urban campus provides students with direct access to Seattle's thriving cultural scene, offering invaluable opportunities for professional development and inspiration. By combining rigorous conservatory-style training with a comprehensive liberal arts education, Cornish equips its graduates not only with technical mastery but also with the critical thinking skills necessary for a sustainable and impactful career in the arts.，【V信83113305】安全办理-考尼什艺术学院文凭CCOTA毕业证学历认证,原版考尼什艺术学院毕业证书办理流程,高端烫金工艺考尼什艺术学院毕业证成绩单制作,硕士考尼什艺术学院文凭定制CCOTA毕业证书,最爱-美国-CCOTA毕业证书样板,硕士-CCOTA毕业证考尼什艺术学院毕业证办理,高端考尼什艺术学院毕业证办理流程,原价-考尼什艺术学院毕业证官方成绩单学历认证,最新考尼什艺术学院毕业证成功案例,考尼什艺术学院毕业证成绩单-高端定制CCOTA毕业证

【V信83113305】：DePaul University, located in the vibrant city of Chicago, stands as the largest Catholic university in the United States. Renowned for its commitment to Vincentian values, it emphasizes community service, diversity, and providing access to education for all. The university offers a wide array of rigorous academic programs through its distinguished colleges, particularly noted for strengths in business, law, theatre, and computer science. Its unique urban setting across multiple campuses integrates students directly into the professional and cultural heart of Chicago, creating unparalleled opportunities for internships and real-world experience. DePaul fosters a supportive, inclusive environment where practical learning and social responsibility are paramount, preparing graduates to make meaningful contributions in their fields.，【V信83113305】没-德保罗大学毕业证书DU挂科了怎么补救,DU-diploma安全可靠购买德保罗大学毕业证,网络办理DU毕业证-德保罗大学毕业证书-学位证书,加急办德保罗大学文凭学位证书成绩单gpa修改,德保罗大学毕业证认证PDF成绩单,德保罗大学-pdf电子毕业证,最安全购买德保罗大学毕业证方法,666办理德保罗大学毕业证最佳渠道

【V信83113305】：The National Higher School of Theatre Arts and Techniques (ENSATT) in France stands as a premier institution for theatrical education. Located in Lyon, it is renowned for its rigorous, multidisciplinary training across all aspects of stagecraft. ENSATT’s unique pedagogy integrates artistic creation with technical mastery, offering specialized training in acting, directing, stage design, costume design, lighting, sound, and video. Students benefit from a collaborative, workshop-based environment that mirrors professional practice, preparing them to become versatile artists and technicians. With a rich history of contributing to the French and international performing arts scene, ENSATT is a vital incubator for the future innovators of theater, emphasizing both tradition and contemporary experimentation.，网上制作国立高等戏剧艺术与技术学院毕业证ENSATT毕业证书留信学历认证, ENSATT国立高等戏剧艺术与技术学院毕业证书办理需要多久, ENSATT国立高等戏剧艺术与技术学院学位证书快速办理, 一比一制作-ENSATT文凭证书国立高等戏剧艺术与技术学院毕业证, 原版定制ENSATT国立高等戏剧艺术与技术学院毕业证书, 最佳办理国立高等戏剧艺术与技术学院毕业证方式, 在线办理国立高等戏剧艺术与技术学院毕业证offer外壳皮, 国立高等戏剧艺术与技术学院毕业证办理流程和安全放心渠道, 加急办ENSATT国立高等戏剧艺术与技术学院文凭学位证书成绩单gpa修改

【V信83113305】：The Berlin University of the Arts (UdK Berlin), one of Europe's largest and most prestigious arts colleges, stands as a beacon of creative innovation. Its performing arts faculty is particularly renowned, offering a rigorous curriculum in acting, directing, and dance that emphasizes both classical foundations and contemporary experimental practice. Located in the heart of Germany's vibrant cultural capital, the institution provides an unparalleled environment for artistic growth. Students learn from acclaimed masters and collaborate across disciplines, fostering a unique, avant-garde approach to performance. The school's philosophy champions artistic freedom and interdisciplinary exchange, producing graduates who are not just performers, but pioneering creators shaping the future stages of global theatre and dance.，【德国篇】柏林表演艺术学院毕业证成绩单, 1分钟获取柏林表演艺术学院毕业证最佳办理渠道, 购买Ernst Busch Berlin毕业证和学位证认证步骤, 修改柏林表演艺术学院成绩单电子版gpa实现您的学业目标, 办理柏林表演艺术学院毕业证Ernst Busch Berlin毕业证书毕业证, Hochschule für Schauspielkunst "Ernst Busch"柏林表演艺术学院挂科了怎么办？, 柏林表演艺术学院毕业证Ernst Busch Berlin毕业证学校原版100%一样, 加急定制-Ernst Busch Berlin学位证柏林表演艺术学院毕业证书, Ernst Busch Berlin学位证书办理打开职业机遇之门

【V信83113305】：Founded in 1850, Illinois Wesleyan University (IWU) is a prestigious private liberal arts university located in Bloomington, Illinois. Renowned for its rigorous academic programs and personalized education, IWU fosters a close-knit intellectual community with a low student-to-faculty ratio. The university offers degrees in over 80 majors and programs through its College of Liberal Arts and renowned Schools of Art, Music, and Theatre Arts. Its distinctive curriculum emphasizes critical thinking, collaborative learning, and undergraduate research, often providing students with opportunities to work directly with faculty mentors. Beyond academics, IWU boasts a vibrant campus life with numerous student organizations and a strong tradition in NCAA Division III athletics. The university consistently prepares graduates for successful careers and advanced studies, embodying its commitment to the liberal arts ideal.，【V信83113305】伊利诺伊卫斯理大学文凭IWU毕业证学历认证方法,原版IWU毕业证最佳办理流程,学历文凭认证IWU毕业证-伊利诺伊卫斯理大学毕业证如何办理,100%学历IWU毕业证成绩单制作,硕士文凭定制IWU毕业证书,100%办理IWU毕业证书,网上办理IWU毕业证书流程,网络办理IWU毕业证官方成绩单学历认证,IWU毕业证最快且放心办理渠道,IWU毕业证本科学历办理方法

【V信83113305】：The École Nationale Supérieure des Arts et Techniques du Théâtre, commonly known as ENSATT, is a prestigious French institution dedicated to the higher education of theatre arts and technology. Located in Lyon, it stands as a unique *grande école* entirely focused on the theatrical ecosystem. ENSATT's curriculum is highly specialized, training students in a wide range of disciplines from acting, directing, and playwriting to stage management, set design, costume creation, lighting, and sound engineering. Its pedagogy emphasizes a hands-on, collaborative approach, mirroring professional theatre production environments. By fostering close interaction between future artists and technicians, ENSATT ensures a profound understanding of the entire creative process. This integrated method has solidified its reputation for producing versatile, highly skilled graduates who become leading practitioners in the national and international performing arts scene.，ESAT毕业证怎么办理-加钱加急, 高等艺术与技术学院毕业证书, 最爱-法国-ESAT毕业证书样板, 高端烫金工艺ESAT毕业证成绩单制作, ESAT毕业证成绩单专业服务学历认证, 网上补办ESAT毕业证成绩单多少钱, 修改高等艺术与技术学院成绩单电子版gpa让学历更出色, Ecole Supérieure des Arts et Techniques毕业证成绩单专业服务, 没-高等艺术与技术学院毕业证书ESAT挂科了怎么补救

【V信83113305】：The National School of Theatre Arts and Techniques (ENSATT), also known as École de la Rue Blanche, is a prestigious French institution dedicated to training theatre professionals. Located in Lyon, it offers a highly selective curriculum encompassing acting, directing, dramaturgy, and crucial technical disciplines like stage design, lighting, sound, and costume design. ENSATT’s pedagogy emphasizes a collaborative, hands-on approach, fostering a deep integration between artistic creation and technical execution. Students from various specializations work together on productions, mirroring the professional world. This unique model produces versatile artists and technicians who are renowned for their excellence and capacity for innovation, solidifying the school's reputation as a leading force in contemporary performing arts.，办法国国立高等戏剧艺术与技术学院文凭学历证书, 正版法国ENSATT毕业证文凭学历证书, 出售Ecole Nationale Supérieure des Arts et Techniques du Théâtre国立高等戏剧艺术与技术学院研究生学历文凭, 100%学历ENSATT毕业证成绩单制作, 原版定制国立高等戏剧艺术与技术学院毕业证ENSATT毕业证书一比一制作, 办国立高等戏剧艺术与技术学院毕业证ENSATTuniversity, 最佳办理ENSATT毕业证方式, 100%定制ENSATT毕业证成绩单, ENSATT毕业证办理多少钱又安全

【V信83113305】：DePaul University, located in the vibrant city of Chicago, stands as the largest Catholic university in the United States. Founded by the Vincentians in 1898, its mission is deeply rooted in providing a high-quality education accessible to a diverse student body, with a special emphasis on first-generation students. The university is renowned for its strong academic programs, particularly in business, law, theatre, and computer science. DePaul's unique quarter system allows for an intensive and fast-paced learning environment. With two primary campuses in the Lincoln Park and Loop neighborhoods, students enjoy the perfect blend of a traditional collegiate experience and direct access to the professional opportunities of a major metropolitan center. True to its Vincentian values, DePaul places a significant focus on community service and experiential learning, preparing graduates to be engaged and ethical citizens.，【V信83113305】德保罗大学毕业证成绩单制作,一比一定制-DU毕业证德保罗大学学位证书,一比一办理-DU毕业证德保罗大学毕业证,最便宜办理德保罗大学毕业证书,德保罗大学毕业证和学位证办理流程,DU毕业证在线制作德保罗大学文凭证书,德保罗大学毕业证成绩单原版定制,网络在线办理德保罗大学毕业证文凭学历证书,德保罗大学毕业证最安全办理办法,购买德保罗大学毕业证和学位证认证步骤

【V信83113305】：Emerson College, located in Boston, Massachusetts, is a premier institution renowned for its focus on communication and the arts. Founded in 1880, it has cultivated a unique identity dedicated to creativity, innovation, and expression. The college offers specialized programs in fields like film, theatre, journalism, marketing, and writing, providing students with hands-on experience and direct access to industry professionals. Its urban campus places students at the heart of a dynamic cultural hub, fostering both academic and practical growth. Emerson’s emphasis on civic engagement and global awareness prepares graduates to become influential leaders and storytellers in a rapidly evolving media landscape, making it a pivotal environment for aspiring artists and communicators.，安全办理-爱默生学院文凭EC毕业证学历认证, 100%定制EC毕业证成绩单, 高质Emerson College爱默生学院成绩单办理安全可靠的文凭服务, 定制爱默生学院成绩单, 快速办理EC毕业证-爱默生学院毕业证书-百分百放心, 爱默生学院毕业证书-一比一制作, 1分钟获取爱默生学院毕业证最佳办理渠道, 办理美国EC爱默生学院毕业证EC文凭版本, 美国办爱默生学院毕业证办成绩单购买

【V信83113305】：Point Park University, located in the heart of downtown Pittsburgh, Pennsylvania, is a dynamic institution renowned for its career-focused education. It seamlessly integrates academic rigor with real-world experience, capitalizing on its vibrant urban setting. The university is particularly distinguished for its exceptional programs in the arts, including a nationally recognized conservatory for dance, theatre, and cinema. Beyond the arts, it offers robust degrees in business, communications, and criminal justice, among others. Its small class sizes foster a personalized learning environment where students receive direct mentorship from industry-experienced faculty. Emphasizing experiential learning through internships and co-ops, Point Park equips graduates with the practical skills and professional network necessary to excel in their chosen fields, making it a launchpad for ambitious futures.，【V信83113305】原版定制PPU毕业证书,博恩特帕克大学毕业证书-一比一制作,快速办理PPU毕业证-博恩特帕克大学毕业证书-百分百放心,极速办理PPU毕业证书,网络快速办理PPU毕业证成绩单,本地美国硕士文凭证书原版定制PPU本科毕业证书,100%定制PPU毕业证成绩单,加急多少钱办理PPU毕业证-博恩特帕克大学毕业证书,PPU毕业证怎么办理-加钱加急,PPU毕业证成绩单办理博恩特帕克大学毕业证书官方正版

【V信83113305】：The National Higher School of Theatre Arts and Techniques (ENSATT) in France stands as a premier institution for theatrical education. Located in Lyon, it is renowned for its rigorous, multidisciplinary training across all aspects of stagecraft. ENSATT’s unique pedagogy integrates artistic creation with technical mastery, offering specialized training in disciplines from acting and directing to set design, costume creation, lighting, sound, and video engineering. The school fosters a collaborative environment where future theatre professionals learn to work as a cohesive company. With a strong emphasis on innovation and contemporary performance, ENSATT equips its graduates with the skills to become influential artists and technicians, shaping the future of live theatre in France and on the international stage.，百分百放心原版复刻国立高等戏剧艺术与技术学院ENSATT毕业证书, Offer(Ecole Nationale Supérieure des Arts et Techniques du Théâtre成绩单)国立高等戏剧艺术与技术学院如何办理?, 666办理国立高等戏剧艺术与技术学院毕业证最佳渠道, 在线办理ENSATT毕业证offer外壳皮, ENSATT国立高等戏剧艺术与技术学院毕业证最安全办理办法, 定制-国立高等戏剧艺术与技术学院毕业证ENSATT毕业证书, 网上制作国立高等戏剧艺术与技术学院毕业证ENSATT毕业证书留信学历认证, ENSATT毕业证最稳最快办理方式, Ecole Nationale Supérieure des Arts et Techniques du Théâtrediploma安全可靠购买Ecole Nationale Supérieure des Arts et Techniques du Théâtre毕业证

【V信83113305】：The National Higher School of Theatre Arts and Techniques (ENSATT) in France is a prestigious institution dedicated to training future professionals in theater and performing arts. Founded in 1941 and located in Lyon, ENSATT offers rigorous programs in acting, directing, stage design, costume design, lighting, and sound engineering. The school emphasizes both artistic creativity and technical mastery, fostering collaboration among students from diverse disciplines. With a strong focus on practical experience, students engage in numerous productions, working alongside renowned artists and industry experts. ENSATT’s alumni include influential figures in French and international theater, reflecting its reputation for excellence. The school’s dynamic curriculum and commitment to innovation make it a vital hub for theatrical education, shaping the next generation of theater practitioners.，修改国立高等戏剧艺术与技术学院成绩单电子版gpa实现您的学业目标, 1:1原版国立高等戏剧艺术与技术学院毕业证+Ecole Nationale Supérieure des Arts et Techniques du Théâtre成绩单, ENSATT文凭制作流程学术背后的努力, 法国学历购买, Offer(Ecole Nationale Supérieure des Arts et Techniques du Théâtre成绩单)国立高等戏剧艺术与技术学院如何办理?, 办理法国国立高等戏剧艺术与技术学院毕业证ENSATT文凭版本, 国立高等戏剧艺术与技术学院本科毕业证

【V信83113305】：The Hamburg University of Music and Theatre (HfMT Hamburg) is one of Germany's most prestigious institutions for artistic education, renowned for its excellence in music, theatre, and related disciplines. Founded in 1950, it has cultivated generations of world-class performers, composers, and educators. The university offers a diverse range of programs, from classical and jazz music to acting, directing, and music therapy, fostering creativity and innovation. Located in Hamburg’s vibrant cultural scene, HfMT provides students with access to state-of-the-art facilities, including concert halls, studios, and theatres. Its faculty comprises acclaimed artists and scholars who mentor students in both traditional and contemporary practices. The university also emphasizes interdisciplinary collaboration, preparing graduates for dynamic careers in the global arts landscape. With a strong international reputation, HfMT Hamburg attracts talented students worldwide, contributing to its rich, multicultural environment. Its alumni include notable figures in music and theatre, underscoring its role as a hub for artistic excellence.，HMT Hamburg毕业证认证, 【德国篇】汉堡音乐与戏剧学院毕业证成绩单, HMT Hamburg文凭制作服务您学历的展现, Hochschule für Musik und Theater Hamburg文凭毕业证丢失怎么购买, 办理HMT Hamburg毕业证, 汉堡音乐与戏剧学院本科毕业证, 1:1原版HMT Hamburg汉堡音乐与戏剧学院毕业证+HMT Hamburg成绩单, 德国毕业证办理

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Stripped to our shirts and drawers, we sprang to the white-ash, and after several hours’ pulling were almost disposed to renounce the chase, when a general pausing commotion among the whales gave animating token that they were now at last under the influence of that strange perplexity of inert irresolution, which, when the fishermen perceive it in the whale, they say he is gallied. The compact martial columns in which they had been hitherto rapidly and steadily swimming, were now broken up in one measureless rout; and like King Porus’ elephants in the Indian battle with Alexander, they seemed going mad with consternation. In all directions expanding in vast irregular circles, and aimlessly swimming hither and thither, by their short thick spoutings, they plainly betrayed their distraction of panic. This was still more strangely evinced by those of their number, who, completely paralysed as it were, helplessly floated like water-logged dismantled ships on the sea. Had these Leviathans been but a flock of simple sheep, pursued over the pasture by three fierce wolves, they could not possibly have evinced such excessive dismay. But this occasional timidity is characteristic of almost all herding creatures. Though banding together in tens of thousands, the lion-maned buffaloes of the West have fled before a solitary horseman. Witness, too, all human beings, how when herded together in the sheepfold of a theatre’s pit, they will, at the slightest alarm of fire, rush helter-skelter for the outlets, crowding, trampling, jamming, and remorselessly dashing each other to death. Best, therefore, withhold any amazement at the strangely gallied whales before us, for there is no folly of the beasts of the earth which is not infinitely outdone by the madness of men.

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