#Lauretta Richards

[mdemn]

WANTING IS A FILTHY THING. BUT I LEARNED GREED BEFOFE I LEARNED SHAME.

red doc - anne carson , first love / late spring - mitski , starvation - maya angelou , let dead dogs lay - silas denver melvin (@sweatermuppet), wishbone - richard siken, a self portrait against red wallpaper - richard siken, truisms - jenny holzer, stop telling me i should’ve died too - tumblr user @tankgotstuckinthecircusgate, many hands - lingua ignota, hungry thread of nerves - fatima aamer bilal

support me on kofi <3

[diceriadelluntore]

I Miei Libri del 2024

Il libro è una cosa: lo si può mettere su un tavolo e guardarlo soltanto, ma se lo apri e leggi diventa un mondo - Leonardo Sciascia

Giulio Giudorizzi - i Miti Delle Stelle

Jamie Ford - Sulla Via Dell'Incenso

Jonas Jonasson - Tre Amici Quasi Geniali Verso La Fine Del Mondo

Oscar Wilde - Il Fantasma Di Canterville e Altri Racconti

Julian Barnes - Elizabeth Finch

Luciano Canfora - Convertire Casaubon

Will Ferguson - Felicità©

William Dalrymple / Anna Anand - Koh-I-Nur

Hervé Clerc - A Dio Per La Parete Nord

Stefano Mancuso - Fitopolis, La Città Vivente

Sam Kean - La Brigata Dei Bastardi

Henry James - La Cifra Del Tappeto

Giorgo De Santillana / Hertha Von Dechend - Il Mulino Di Amleto

Rebecca Struthers - Memorie Di Un'Orologiaia

Alexander Lernet-Holenia - Due Sicilie

Daniel Mason - La Foresta Del Nord

Peskè Marty - Qui Il Sentiero Si Perde

Alexandre Dumas Figlio - La Signora Delle Camelie

Lauretta Colonnelli - La Vita Segreta Dei Colori

Fred Vargas - Sulla Pietra

Giorgio Pestelli - Il Genio Di Beethoven

Richard Osman - L'Uomo Che Morì Due Volte

Adam Thirlwell - Il Futuro Futuro

Stefano Bizzotto - Storia Del Mondo In 12 Partite Di Calcio

Edwin A. Abbott - Flatlandia

Shirley Jackson - L'Incubo Di Hill House

Ferdia Lennon - Eroi Senza Gloria

William Gaddis - Le Perizie

Michael Young - L'Avvento Della Meritocrazia

Eric Fouassier - Le Notti Della Morte Blu

Laurent Binet - Prospettive

A.K. Blakemore - L'Insaziabile

Tommaso Giartosio - Autobiogrammatica

Alessandro Baricco - Castelli Di Rabbia

Rosa Montero - Il Pericolo Di Essere Sana Di Mente

Beatrice Del Bo - Arsenico e Altri Veleni

Jenny Erpenbeck - Kairos

Il totale è 37 come nel 2023, le pagine sono aumentate, e per il secondo anno consecutivo supero il mio obiettivo personale delle 10 mila, sono arrivato a 11 750. Ho letto anche più di un classico per trimestre, tra cui anche dei saggi, e l'anno prossimo l'obiettivo è leggere un libro di un autore dell'età classica a trimestre.

Sulla qualità dei titoli, ammetto che dopo anni di ricerca e di perfezionamento delle fonti ne sbaglio pochissimi: alcuni rimarranno nel tempo, come L'Insaziabile, l'ultimo di Erpeneck (vincitrice dell'International Booker Price del 2024, un libro drammaticamente potentissimo), Lennon, Marty, Thirlwell. Libri del tutto particolari, tra l'autobiografia, il racconto e il saggio sono quello di Montero e Giartosio. Se devo notare una differenza, ho letto meno autori e autrici italiane, e una cosa che dovrei iniziare a fare è rileggere dei volumi di qualche anno fa, tipo una decina, e scoprire l'effetto che fa.

Chiunque voglia, può rebloggare, commentare e aggiungere i suoi libri o quelli che gli sono piaciuti di più, per diffondere autori, case editrici, idee.

Il libro è una delle possibilità di felicità che abbiamo noi uomini - Jorge Luis Borges

[humblegoose]

Side Household Summary, 1343

Births 🍼

Gregor Wilsone, b. March 16th 1342 | Gen 3, born to Melba & Thomas Wilsone

Herbin Alden, b. August 1st 1343 | Gen 3, born to Richard & Cerise Alden

Anna Wilsone, b. November 19th 1343 | Gen 4, born to Denys & Maria Wilsone

Burgræd Wilsone, b. December 13th 1343 | Gen 4, born to Thorley & Margaret Wilsone

Marriages 💍

None

Age Ups ⌛

Wystan Wilsone aged into a child July 3rd 1343 | Gen 3

Margaret Wilsone aged into a young adult July 11th 1343 | Gen 3 Spouse

Lauretta Wilsone aged into an adult July 25th 1343 | Gen 2 Spouse

Edmund & Edward Wilsone aged into toddlers August 28th 1343 | Gen 3

William & Thomas Wilsone aged into adults October 2nd 1343 | Gen 2

Deaths 🪦

Burgræd Wilsone died due to spina bifida | December 13th 1343-December 30th 1343 | Gen 4

Events 🪻

None

Extras 🍃

Hamon was abducted by aliens… again 🫃

Family Tree | Discord

[opera-ghosts]

  Claire Born (17 February 1898 – 18 December 1965)  was a German operatic soprano. A long-term member of the Vienna State Opera and the Semperoper in Dresden, she appeared at leading international opera houses and festivals, in roles such as Donna Elvira in Mozart's Don Giovanni, Eva in Wagner's Die Meistersinger von Nürnberg and the title role of Ariadne auf Naxos. She performed in world premieres including Hindemith's Cardillac and Othmar Schoeck's Vom Fischer un syner Fru. She began her artistic career in 1917 at the Theater Chemnitz where she worked until 1920. From 1920 to 1929 she belonged to the Vienna State Opera. She was especially successful with roles of the lyric-dramatic soprano repertoire, such as the Countess in Mozart's Le nozze di Figaro, Pamina in his Die Zauberflöte, Agathe in Weber's Der Freischütz, and Rosalinde in Die Fledermaus by Johann Strauss. She appeared with the Vienna State Opera in Amsterdam in 1924 in the title role of Ariadne auf Naxos by Richard Strauss, In 1925, she was Donna Elvira in Mozart's Don Giovanni at the Paris Opera. She made her Bayreuth Festival debut that year, as Eva in Die Meistersinger von Nürnberg and as Gutrune in Götterdämmerung She performed at the Salzburg Festival, as the Countess in Figaro between 1922 and 1929, as Donna Elvira between 1922 and 1927, and as Ariadne in 1926 From 1926 to 1932, Born was a member of the Dresden Semperoper as one of the leading singers.  She performed in the premiere of Hindemith's Cardillac on 9 November 1926 as the Daughter, and in the premiere of Othmar Schoeck's Vom Fischer un syner Fru on 3 October 1930 as Ilsebill, a title character. In 1924 she appeared at the Deutsche Oper Berlin, and in 1935 at the Graz Opera. Her roles also included Dorabella in Mozart's Così fan tutte, Micaela in Bizet's Carmen, Alice Ford in Verdi's Falstaff, Irene in Wagner's Rienzi, Senta in his Der fliegende Holländer, Elsa in his Lohengrin and both Freia and Fricka in his Das Rheingold, Minneleide in Pfitzner's Die Rose vom Liebesgarten, the Duchess of Parma in Busoni's Doktor Faust, Nedda in Leoncavalo's Bajazzo, Maddalena in Giordano's Andrea Chénier, Lauretta in Puccini's Gianni Schicchi and Suzel in Mascagni's L'amico Fritz.

[bellephill]

Ramsey Nouah, Tana Adelana star in Emem Isong’s Psychological Thriller “Body Language” | Watch the Teaser on Bellephill

Ramsey Nouah, Tana Adelana star in Emem Isong’s Psychological Thriller “Body Language” | Watch the Teaser on Bellephill

Royal Arts Academy in conjunction with Rok Studios presents ‘Body Language’; a psychological thriller that will keep you glued to your seat from start to finish.

Synopsis:

When a mysterious stranger comes into a stripper’s life, at the same time a serial killer goes around town murdering ladies, one has to wonder if it is a mere coincidence or an ominous design of fate?

‘Body Language’ is…

[lboogie1906]

Stacey Lauretta Dash (born January 20, 1967) is an actress and former talk show host. She played Dionne Marie Davenport in Clueless and its television series of the same name. She has appeared in the films Moving, Mo' Money, Renaissance Man, and View from the Top. Other television work includes appearances in the series CSI: Crime Scene Investigation, Single Ladies, and the reality TV show Celebrity Circus. She has appeared in music videos for Carl Thomas' "Emotional", Kanye West's "All Falls Down", and Marques Houston's video for "Favorite Girl,". She made her first television appearance in Farrell: For the People. Her first notable appearance was as Michelle on The Cosby Show episode "Denise's Friend". Her first substantial television role was in TV 101. Her first major film role was in the Richard Pryor comedy Moving. She had sizable roles in Mo' Money and Renaissance Man. She starred in Illegal in Blue. received her big break with the 1995 teen comedy film Clueless. She appeared in View from the Top, Gang of Roses, and Getting Played. She has appeared in small guest roles on television shows such as Eve, CSI: Crime Scene Investigation. She posed nude in the August 2006 issue of Playboy. She launched a lingerie line called Letters of Marque. She completed filming roles in I Could Never Be Your Woman, Nora's Hair Salon II, Fashion Victim, Ghost Image, and American Primitive. She filmed Phantom Punch, Secrets of a Hollywood Nurse, and Close Quarters. She performed in Celebrity Circus. She appeared as a recurring character on The Game. She starred in the first season of Single Ladies. She starred in Dysfunctional Friends. She was featured in Funny or Die and the web series Stacey Dash Is Normal. She had been hired as a contributor for "cultural analysis and commentary." After several controversial comments, it was announced that her contract would not be renewed. #africanhistory365 #africanexcellence https://www.instagram.com/p/CY86us1r4pLI7dZBr-PX-rleHMNk84lEt3I24M0/?utm_medium=tumblr

[realchauhoang]

*Kristi Lynn Noem* [R]: *Secretary of 66A*

- from State of South Dakota

*Timothy Franz Geithner* [R]: *Deputy Secretary of 66A*

- from State of New York

*Kenneth Leonard Wainstein* [R]: *Deputy Secretary of 66A*

- from State of New York and Virginia

*Nikki Rahdhawa Haley* [R]: *Deputy Secretary of 66A*

- from State of South Carolina

*Elise Marie Stefanik* [R]: *Deputy Secretary of 66A*

- from State of New York

*Nikki Marie Brust* [R]: *Deputy Secretary of 66A*

- from State of Virginia

*Evan Maureen Ryan* [D]: *Deputy Secretary of 66A*

- from State of Virginia

*DeAnna Lorraine Tesoriero* [R]: *Deputy Secretary of 66A*

- from State of California

*Pamela Ashley Brown* [R]: *Deputy Secretary of 66A*

- from State of Virginia

*Christopher William “Chris” Wallace* [D]: *Deputy Secretary of 66A*

- from District of Columbia

*Michele Marie Bachmann* [R]: *Associate Secretary of 66A*

- from State of Minnesota

*Thomas Hawley Tuberville* [R]: *Associate Secretary of 66A*

- from State of Alabama

*Barbara Jean Comstock* [R]: *Associate Secretary of 66A*

- from State of Virginia

*Ronna Romney McDaniel* [R]: *Associate Secretary of 66A*

- from State of Michigan

*Kelly Lynn Loeffler* [R]: *Associate Secretary of 66A*

- from State of Georgia

*Sean Thomas Connaughton* [R]: *Associate Secretary of 66A*

- from State of Virginia

*Gerald Edward Connolly* [D]: *Associate Secretary of 66A*

- from State of Virginia

*Abby Haight “Abigail” Livingston* [R]: *Associate Secretary of 66A*

- from State of Connecticut

*Adam Daniel Kinzinger* [R]: *Lieutenant Secretary of 66A*

- from State of Illinois

*Erielle Roodman Reshef* [D]: *Lieutenant Secretary of 66A*

- from State of New York

*Renee Kathleen Zellweger* [R]: *Lieutenant Secretary of 66A*

- from State of New York and Virginia

*William Harrison Frist* [R]: *Lieutenant Secretary of 66A*

- from State of Tennessee

*Martha Bowes MacCallum* [R]: *Lieutenant Secretary of 66A*

- from State of New Jersey

*Stacey Lauretta Dash* [R]: *Lieutenant Secretary of 66A*

- from State of New York

*Ronald Dion DeSantis* [R]: *Lieutenant Secretary of 66A*

- from State of Florida

*Eva Martinez Guzman* [R]: *Lieutenant Secretary of 66A*

- from State of Texas

*Martha Dubina Roby* [R]: Deputy Lieutenant Secretary of 66A

- from State of Alabama

*Ryan Edward Hansan* [D]: Deputy Lieutenant Secretary of 66A

- from State of Virginia

*Michael Richard Pompeo* [R]: Deputy Lieutenant Secretary of 66A

- from State of Kansas

*Harris Kimberley Faulkner* [R]: Deputy Lieutenant Secretary of 66A

- from State of New Jersey

*Kymberly Kalil Fichtner* [R]: Deputy Lieutenant Secretary of 66A

- from State of California

*Mary Joe Matalin* [R]: Deputy Lieutenant Secretary of 66A

- from State of Virginia

*Vicky Jo Hartzler* [R]: Deputy Lieutenant Secretary of 66A

- from State of Missouri

*Kelly Marie Schulz* [R]: Deputy Lieutenant Secretary of 66A

- from State of Maryland

*Brett Michael Kavanaugh* [R]: Deputy Secretary of 66A of Mental Health

- from District of Columbia

*Rex Wayne Tillerson* [R]: Deputy Secretary of 66A of Mental Health

- from State of Texas

*Kathleen Laura Kraninger* [R]: Deputy Secretary of 66A of Mental Health

- from District of Columbia

*Betsy Sue Aidem* [R]: Deputy Secretary of 66A of Mental Health

- from State of Florida

*Stephen Edward Biegun* [R]: Deputy Secretary of 66A of Mental Health

- from State of Virginia

*Michelle Eunjoo Steel* [R]: Deputy Secretary of 66A of Mental Health

- from State of California

*Albert Arnold “Al” Gore* [D]: Deputy Secretary of 66A of Mental Health

- from State of Virginia

*Melinda Ruth “Mindy” Koeninger* [D]: Deputy Secretary of 66A of Mental Health

- from State of Virginia

Secretary of 66A: *Carole Simpson Marshall*

- from State of Massachusetts

Deputy Secretary of 66A: *Amy Coney Barrett*

- from State of Indiana

Deputy Secretary of 66A: *Jessica Norann Stump*

- from State of Virginia

Deputy Secretary of 66A: *Susan Ashton Thornton*

- from State of Maine

Deputy Secretary of 66A: *Bernadette Michelle Meehan*

- from District of Columbia

Deputy Secretary of 66A: *Barbara Anne Leaf*

- from District of Columbia

Deputy Secretary of 66A: *Sarah Hull Cleveland*

- from District of Columbia

Deputy Secretary of 66A: *Rena Elizabeth Bitter*

- from District of Columbia

Under Secretary of 66A: *Patricia Anna “Trish” Schneider*

- from State of Florida

Under Secretary of 66A: *Kimberley Marie Wyman*

- from State of Washington

Under Secretary of 66A: *Lauren Britney Sisler*

- from State of Alabama

Under Secretary of 66A: *Christine Elizabeth Stanwood*

- from State of Oklahoma

Under Secretary of 66A: *Jennifer O’Malley Dillion*

- from State of Maryland

Under Secretary of 66A: *Christy Marie Perry*

- from State of Idaho

Under Secretary of 66A: *Edward Chase “Ned” Price*

- from State of Virginia

Lieutenant Secretary of 66A: *Kristin Anne Fisher*

- from District of Columbia

Lieutenant Secretary of 66A: *Janice Kyes McGeachin*

- from State of Idaho

Lieutenant Secretary of 66A: *Elaine Goodman Luria*

- from State of Virginia

Lieutenant Secretary of 66A: *Ellie Leah Altshuler*

- from State of California

Lieutenant Secretary of 66A: *Olympia Jean Snowe*

- from State of Maine

Lieutenant Secretary of 66A: *Danielle Jenna Genet*

- from State of New York

Lieutenant Secretary of 66A: *Julia Janelle Letlow*

- from State of Louisiana

[yhwhrulz]

Today's Daily Encounter 2nd July 2021

Let Go and Let God

“The Lord will fight for you, and you must be quiet.”1

Years ago, I read a poem that has stuck with me and frequently comes to the forefront of my mind as a vivid reminder of how sometimes I just need to “Let go and Let God”:

“As children bring their broken toys with tears for us to mend,

I brought my broken dreams to God because He was my friend.

But then, instead of leaving Him in peace to work alone,

I hung around and tried to help with ways that were my own.

At last, I snatched them back and cried, “How can you be so slow?”

“My child,” He said, “What could I do?

You never did let go.”2

This analogy becomes so real when you have small children. So many times, I’ve had my children come to me with a cut or scrape for me to tend to, but as I lean in to see the hurt, they pull away afraid that I will hurt them more. As I try to apply ointment to their wound, they cover it up or flinch for fear that I will make it worse.

Often, we have spiritual hurts, brokenness, and battles in our lives that we bring to the Lord begging him to fix for us, but in the end, we are unwilling to let him work in his time and we, like children, become frustrated because things aren’t working out how we want them to. Today’s verse is so clear. The Lord will take care of our hurts and battles, but we must sit back, be quiet, and let him work! We are not so different than these small children when it comes to our pain. We are afraid that it will hurt more if it is out of our hand. God, however, is a patient and loving Father who will take His time and comfort us until we are willing to give our hurts over to Him.

Let go of those burdens today that are causing hurt and anger, threatening to steal your joy. Let God renew you and give you a life that is healed and mended by Him for His Glory — Let Go and Let God!

Suggested Prayer:

Dear God, you are the Healer above all healers, and the Father above all fathers. Help me have the strength today to trust you with the hurts in my life. I know that you will mend my heart and mold my life in a way that will bring honor to you. Today I let go of those things that are hindering my worship to you. Thank you that your timing is perfect. In Jesus' name, Amen.

1. Exodus 14:14.

2. Lauretta P. Burns.

NOTE: If you would like to accept God's forgiveness

for all your sins and His invitation for a full pardon

Click on: http://www.actsweb.org/invitation.php. Or

if you would like to re-commit your life to Jesus Christ,

please click on http://www.actsweb.org/decision.php to note this.

* * * * * * *

Daily Encounter is published at no charge by

ACTS International, a non-profit organization,

and made possible through the donations of

interested friends. Donations can be sent at:

http://www.actscom.com

ACTS International

P.O. Box 73545

San Clemente, California 92673-0119

U.S.A.

Phone: 949-940-9050

http://www.actsweb.org

Copyright (c) 2016 by ACTS International.

When copying or forwarding include the following:

"Daily Encounter by Richard (Dick) Innes (c) 2016

ACTS International.

[operamariposa]

Blogging Mariposa: Falling for Italian opera with Puccini’s 'Gianni Schicchi'

Happy September, everyone! There's been lots of exciting news for Mariposa lately, and I hardly know where to begin. We're already in a flurry of preparation for our 2019-20 season, but before I share our plans, I should probably catch you up on our most recent goings-on.

I'd like to thank you all for supporting our last Benefit + Awareness show and 2018-19 season finale. I'm happy to say that The Impossible Dream was a hit, being met with an enthusiastic audience, rave reviews and widespread media attention (including a feature interview on CBC Radio). Thanks to our generous event sponsors, we gave away nearly $3,000 in raffle prizes, and the show itself raised over $17,000 for the ME|FM Society of BC. This brings Mariposa's charitable impact to over $80,000 in seven years - funds that are already making a difference in the lives of thousands of patients and their families throughout the province.

Over the summer, we spent our time lending a hand with other operatic projects. We sponsored the newest mainstage productions for two local companies: Heroic Opera's Macbeth and East Van Opera's world premiere production of Beauty's Beast, both of which featured Mariposa costumes and props (as well as many Mariposa alumni). We also provided support for Vancouver's inaugural Indie Opera Week, which featured new operatic works by members of the Indie Opera West collective. After that, we rounded out the summer with our own operatic celebration: Mariposa's Opera Bazaar, a fun-filled afternoon that combined opera-themed shopping with a lavishly costumed concert. Reviewers praised the "prodigious talents" and "stunning garments" on display (Review Vancouver), and likened the artists' voices to "[hearing] the angels sing" (Fabulously Frugal in Vancouver). The event was a great success raising funds for our fall opera production - which brings me to what's coming next for us.

This November, we’re kicking off our 2019-20 season with Puccini's Gianni Schicchi: a one-act masterpiece widely considered to be one of the funniest operas of all time. In this farcical family drama, the passing of old Buoso Donati sets off a frantic search for his last will and testament, as his greedy relatives compete to get their hands on his fortune at any cost. Our production will be stage directed by Jeanine Fynn and music directed by John Arsenault, best known as the dynamic duo between the award-winning DragonDiva Operatic Theatre. Both John and Jeanine have tackled this opera several times in the past, so we can't wait for them to bring their oodles of experience (and their zany sense of humour) to our production. Assistant directing will be Mariposa's very own co-founder Robin Hahn, while on piano, we'll be welcoming University of Toronto faculty member Maria Hwa Yeong Jung, who will be making her Mariposa debut.

Our cast is bursting with talent as well, with acclaimed and multi-award-winning artists joining us from across North America and beyond. Baritone Richard Petroski will be making his Mariposa debut in the title role of Gianni Schicchi, while soprano Sevan Kochkarian and tenor Jonathan Gagne will both be joining us from Montreal to perform as the young lovers Lauretta and Rinuccio. The rest of the cast is full of a great mix of Mariposa regulars and fantastic new talent, so I can't wait to work with such an incredible group of people!

In addition to Schicchi, our production will also include a costumed performance of Italian songs and scenes - so you won't want to miss your chance to enjoy an evening of Italian opera at its peak. Gianni Schicchi is playing on November 15, 16, 22, and 23 at St. Faith’s Anglican Church, and tickets are available now online or at 1-800-838-3006. I can't wait to share more as we get closer - I look forward to seeing you in the audience!

Jacqueline Ko Artistic director

ABOUT | SCHEDULE | TICKETS | ARTISTS | PAST SHOWS | AUDITION | SUPPORT | COSTUMES | CONTACT

[sistemabibliotecariomilano]

La modernità di Pirandello

Certo non poteva bastare un solo blog per celebrare i 150 anni dalla nascita (28 giugno 1867) di Luigi Pirandello (premio Nobel nel 1934), e subito rimediamo.

Che sia sempre attuale (in realtà non solo era in anticipo con i tempi in narrativa, ma vero creatore di un nuovo tipo di teatro) è quasi scontato dirlo. Ma possiamo anche dimostrarlo: Andrea Camilleri, amante di Pirandello certo non solo per motivi di pura corregionalità, lo ricorda quasi in ogni suo romanzo e ha pubblicato su di lui la Biografia del figlio cambiato. Nell’ultimo giallo con protagonista il commissario Montalbano, La rete di protezione, l’autore cita un racconto di Pirandello, Lontano, come spunto per la trama della fiction in corso di produzione proprio a Vigàta.

Le novelle le consigliamo proprio di cuore. Il titolo è Novelle per un anno, ma purtroppo l’autore si è fermato a 256. Sono sempre originali, la scrittura è scorrevole, accattivante, in ognuna c’è almeno un neologismo, un aforisma, una lezione di vita, da molte sono stati tratti film (Il viaggio, di Vittorio De Sica, con Sophia Loren e Richard Burton; dei fratelli Paolo e Vittorio Taviani Kaos, con Franco Franchi e Ciccio Ingrassia in veste inedita, e Tu ridi, con Sabrina Ferilli, Antonio Albanese e Luca Zingaretti; il bellissimo La balia di Marco Bellocchio) o episodi (come La patente con Totò, e Marsina stretta con Aldo Fabrizi dal film di Luigi Zampa Questa è la vita).

Una curiosità: proprio da una novella di Pirandello, In silenzio, è stato tratto il primo film sonoro italiano, La canzone dell’amore, del 1930, famoso anche per la colonna sonora di Cesare Andrea Bixio, Solo per te Lucia.

È molto più facile fare il male che il bene, non solo perché il male si può fare a tutti e il bene solo a quelli che ne hanno bisogno; ma anche, anzi sopra tutto, perché questo bisogno d’aver fatto il bene rende spesso così acerbi e irti gli animi di coloro che si vorrebbero beneficare, che il beneficio diventa difficilissimo. (dalla novella “Bene e male”)

Per il teatro, infinite sono le produzioni e i film, citiamo solo una delle poche pièce del Nostro a lieto fine, Ma non è una cosa seria nella magnifica interpretazione di Tullio Solenghi ed Ernesto Calindri per la regia di Edmo Fenoglio, ma ricordiamo anche quella con Lauretta Masiero, quella con Alberto Lionello e il delizioso film di Mario Camerini con Vittorio de Sica. 

Freud in una famosa lettera scrisse a Schnitzler di avere per lungo tempo cercato di evitare di incontrarlo, nel timore di vedere in lui il proprio sosia. Con questo egli intendeva sottolineare la grande abilità dello scrittore nello scrutare a fondo l'animo umano. Che dire allora di Pirandello, se non che è stato, in ogni sua opera, uno dei precursori della psicanalisi? Paradossalmente però (ma il paradosso non è una delle più appuntite armi pirandelliane?), la grande carica innovativa che ne fa uno scrittore sempre attuale, si scontra con la sua personale avversione per la modernità e soprattutto per la meccanizzazione (ne Il fu Mattia Pascal critica persino l’introduzione del tram a Milano). Questo tema è evidente ne I quaderni di Serafino Gubbio operatore, in cui il protagonista, ridotto a una mano che gira una manovella, arriverà a tal punto di disumanizzazione da assistere impassibile alla morte dell’attrice continuando a girare la manovella e a riprendere la scena. Il luddismo ha trovato la sua interpretazione filosofica? E che ne è della sensibilità umana nel mondo di oggi? Uno scrittore (romanziere e saggista), un drammaturgo, un filosofo, un poeta, un pittore, uno psicologo che ha sempre qualcosa da dirci e sa spiegarci chi siamo: Luigi Pirandello.

L’uomo che prima, poeta, deificava i suoi sentimenti e li adorava, buttati via i sentimenti, ingombro non solo inutile ma anche dannoso, e divenuto saggio e industre, s’è messo a fabbricar di ferro, d’acciajo le sue nuove divinità ed è diventato servo e schiavo di esse. Viva la macchina che meccanizza la vita!

Non dubito però, che col tempo – sissignore – si arriverà a sopprimermi. La macchinetta – anche questa macchinetta, come altre macchinette, girerà da sé. Ma che cosa farà poi l’uomo quando tutte le macchinette gireranno da sé, questo, caro signore, resta ancora da vedere.

[attorneyandlawyer]

MALE ABSENCE AND SINGLE PARENTHOOD IN BLACK WRITING: A STUDY OF RICHARD WRIGHT’S BLACK BOY, TONI MORRISON’S BELOVED, AND LAURETTA NGCOBO’S CROSS OF GOLD

MALE ABSENCE AND SINGLE PARENTHOOD IN BLACK WRITING: A STUDY OF RICHARD WRIGHT’S BLACK BOY, TONI MORRISON’S BELOVED, AND LAURETTA NGCOBO’S CROSS OF GOLD

MALE ABSENCE AND SINGLE PARENTHOOD IN BLACK WRITING: A STUDY OF RICHARD WRIGHT’S BLACK BOY, TONI MORRISON’S BELOVED, AND LAURETTA NGCOBO’S CROSS OF GOLD

Abstract:

This study employs Realism as an analytical tool to assess the various dimensions of male absence and single parenthood in Richard Wright‟s Black Boy (1945), Toni Morrison‟s Beloved (1987) and Lauretta Ngcobo‟s Cross of Gold (1981).…

[londontheatre]

No Place For A Woman is certainly a provocative title for a show in which the only on-stage characters are women, and – without giving everything away – had they been in a different place it might in some respects have been more dangerous for them. This was, after all, set in Poland in 1945, just prior to the liberation of that country by Allied forces. The live music (Elliott Rennie) helps create an atmosphere conducive to the play’s narrative, though the plotline itself isn’t much to write home about. It’s predictable with a capital P and doesn’t seem to provide much in the way of food for thought, supplying the audience a series of events that happened to Annie (Ruth Gemmell) and Isabella (Emma Paetz) almost as though evidence presented drily in court.

The plot is, to be fair, credible, though I am not entirely comfortable with the setting for a love triangle story with champagne and ballet with the Second World War as a backdrop. Any other setting would serve the story (with minor modifications) just as well, and the play is in danger of trivialising the actions of the Third Reich in favour of details about Isabella being selected to dance at Annie’s party and who is making love to whom.

Of course, it is incredibly hurtful for a woman to discover that her husband is having relations with another woman, and Gemmell’s Annie puts such emotions across very well. So much is described and not enough acted out – I am reminded of a production of Educating Rita I saw recently, in which one of the characters writes a most perfunctory essay about a play with apparent inherent staging difficulties.

The ‘essay’ begins and ends with, “Do it on the radio.” I have no qualms with radio plays – on the rare occasion when I have listened to one, I have always found them hugely compelling. And this play genuinely would be great for the radio, especially with the accompanying music.

Here, there is simply not enough to look at in terms of on-stage action. This is somewhat made up for in a script that has a majestic quality. It’s well constructed and achieves that rarity of providing enough information to keep the audience interested whilst not making everything clear immediately. Layers are gradually revealed, rather like a Russian doll being uncovered. An example: I’m sure there’s a metaphor in Annie’s instruction to Isabella, “Take your dress off, take it off!” suggesting an insistence on a higher form of openness now some details about Isabella that Annie wasn’t previously aware of has come to light.

This has the potential to be a captivating ‘triumph over adversity’ story but as it is, feels a tad emotionally detached, insofar as I had trouble connecting with it and sympathising with its characters. A stronger sense of danger could have been portrayed. Nonetheless, there’s a positive message in dancing on, physically and/or figuratively, regardless of what’s going on in the world. An accessible and coherent production.

Review by Chris Omaweng

‘An officer drove me up to gates and told me to wait, that it was no place for a woman.’ The wife of a commandant is throwing a party. She asks her husband for champagne. Instead he brings home a ballet dancer from the camp. An extraordinary story that explores the strength of marital love, the redemptive power of dance, and the survival of two women who live as neighbours – but are worlds apart.

Cast Annie: Ruth Gemmell Isabella: Emma Paetz

Creatives Director: Kate Budgen Writer: Cordelia O’Neill Designer: Camilla Clark Movement Director: Lucy Cullingford Sound Designer: Ella Wahlstrom Lighting Designer: Sarah Readman Music and Cello: Elliott Rennie Dramaturg: Lauretta Barrow Production Manager: Richard Irvine Stage Manager: Rachel Darwood, Producer: Philip Scott-Wallace for Small Things Theatre Associate Producer: Audrey Thayer

Theatre503 and Small Things Theatre present No Place For A Woman by Cordelia O’Neill 3rd to 27th May, 2017 https://theatre503.com/

http://ift.tt/2pVF959 LondonTheatre1.com

[realchauhoang]

*Kristi Lynn Noem* [R]: *Secretary of 66A*

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*DeAnna Lorraine Tesoriero* [R]: *Deputy Secretary of 66A*

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*Renee Kathleen Zellweger* [R]: *Lieutenant Secretary of 66A*

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*Brett Michael Kavanaugh* [R]: Deputy Secretary of 66A of Mental Health

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*Rex Wayne Tillerson* [R]: Deputy Secretary of 66A of Mental Health

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*Betsy Sue Aidem* [R]: Deputy Secretary of 66A of Mental Health

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*Melinda Ruth “Mindy” Koeninger* [D]: Deputy Secretary of 66A of Mental Health

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Secretary of 66A: *Carole Simpson Marshall*

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Deputy Secretary of 66A: *Amy Coney Barrett*

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Deputy Secretary of 66A: *Bernadette Michelle Meehan*

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Deputy Secretary of 66A: *Barbara Anne Leaf*

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Deputy Secretary of 66A: *Sarah Hull Cleveland*

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Deputy Secretary of 66A: *Rena Elizabeth Bitter*

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[earthsfinalcountdown]

Planned Parenthood CEO Won’t Agree That Planned Parenthood is ‘Core to Abortion in America’

http://wp.me/p7IuUt-6th

by Lauretta Brown, CNSnews: Planned Parenthood CEO Cecile Richards would not directly agree with the idea that Planned Parenthood’s operations are at the “core to abortion in America.” During a Jan. 5 interview on CNN, host Erin Burnett asked,  “Do you agree,

SGTreport

[opera-ghosts]

  Florence Easton (25 October 1882 – 13 August 1955) was a popular English dramatic soprano in the early 20th century. She was one of the most versatile singers of all time.  She sang more than 100 parts, covering a wide range of styles and periods, from Mozart, Meyerbeer, Gounod, Verdi, Wagner, Puccini, Strauss, Schreker and Krenek. In Wagner she sang virtually every soprano part, large and small from Senta onwards, including the Götterdämmerung Brünnhilde. Florence was one of the first women to be made a fellow of the Royal Academy of Music on 25 March 1909. Florence was determined, and her debut operatic appearance was as the Shepherd boy in Tannhäuser at Newcastle upon Tyne in 1903 with the touring Moody-Manners Opera Company.  On the first evening of the company's season at Covent Garden she sang Stephano in Roméo et Juliette.  Her first leading role at the Covent Garden Opera House was Arline in The Bohemian Girl, and she was a success there in 1903, as the lead in Madama Butterfly. She made her American debut as Gilda in Rigoletto in Baltimore with Henry W. Savage's English Grand Opera Company in November 1905, and she sang a number of roles with this company in the US and Canada over the next 2 years. From 1907 to 1913 she and her husband Francis Maclennan were members of the Berlin Royal Opera, singing many roles of great variety.   Florence was coached by Richard Strauss for the title role in the English version of his Elektra at the London premiere at Covent Garden in 1910.  After the 1912/13 season the Maclennans joined the Hamburg Opera Stadtische Opera, and she sang with Enrico Caruso in 1913. In 1915/16 the couple toured America where Florence appeared in a single performance as Brünnhilde in Siegfried, achieving a great popular and critical success. In 1917 she joined The Metropolitan Opera in New York, her debut on 7 December 1917 being the role of Santuzza in Cavalleria Rusticana.   Giacomo Puccini wrote a trio of operas named Il trittico comprising Il tabarro, Suor Angelica and Gianni Schicchi. Florence created the role of Lauretta at the world premiere of Puccini¹s Gianni Schicchi on 14 December 1918 at the Metropolitan Opera, New York; she was the first to sing the famous aria "O mio babbino caro" ("O My Beloved Papa"). She sang many other premiere roles including Aelfrida in Deems Taylor's The King's Henchman on 17 February 1927 and Mother Tyl in Wolff's L'oiseau bleu.  She was also featured in many American premieres including La cena delle beffe, Così fan tutte and Der Rosenkavalier.   In the fortnight between 3 and 17 November 1927 she sang Maddalena in Andrea Chénier, La Gioconda, Rachel in La Juive, Madama Butterfly and the Marschallin in Der Rosenkavalier; In 1932  she reappeared and recorded the Siegfried "Brünnhilde" with Lauritz Melchior at Covent Garden.  Between 1932 and 1935 she lived in England, singing at Covent Garden, Sadler's Wells and at the Promenade Concerts under Sir Henry Wood, with the London Philharmonic under Sir Thomas Beecham and with the BBC Symphony Orchestra in the first worldwide hook-up broadcast.  Her regular accompanist was Harold Craxton.  At Covent Garden in 1932 she was Isolde in Tristan und Isolde and Brunnhilde in "Siegfried" opposite Lauritz Melchior, the only time they appeared together. She was Tosca, an unlikely Carmen, sang in Mendelssohn's Elijah and gave Lieder and song recitals.  Leaving England finally in 1935, she found that she had lost the tour to the new sensation, Kirsten Flagstad (but she remained an unstinting admirer of the great Norwegian). Easton's last appearance on the operatic stage was as Brünnhilde in Die Walküre in New York on 28 February 1936.

[opera-ghosts]

Florence Easton (25 October 1882 – 13 August 1955) was a popular English dramatic soprano in the early 20th century. She was one of the most versatile singers of all time.  She sang more than 100 parts, covering a wide range of styles and periods, from Mozart, Meyerbeer, Gounod, Verdi, Wagner, Puccini, Strauss, Schreker and Krenek. In Wagner she sang virtually every soprano part, large and small from Senta onwards, including the Götterdämmerung Brünnhilde.She described herself as "lyric dramatic soprano", which seems barely adequate in relation to the range of types of role in which she excelled. Florence was determined, and her debut operatic appearance was as the Shepherd boy in Tannhäuser at Newcastle upon Tyne in 1903 with the touring Moody-Manners Opera Company.  On the first evening of the company's season at Covent Garden she sang Stephano in Roméo et Juliette.  Her first leading role at the Covent Garden Opera House was Arline in The Bohemian Girl, and she was a success there in 1903, as the lead in Madama Butterfly.  She made her American debut as Gilda in Rigoletto in Baltimore with Henry W. Savage's English Grand Opera Company in November 1905.Her first notable success in America came in Henry Savage's 1906/7 season as Cio-Cio-San in the premiere of Madama Butterfly (in English)Florence was coached by Richard Strauss for the title role in the English version of his Elektra at the London premiere at Covent Garden in 1910. In 1917 she joined The Metropolitan Opera in New York, her debut on 7 December 1917 being the role of Santuzza in Cavalleria Rusticana.   Giacomo Puccini wrote a trio of operas named Il trittico comprising Il tabarro, Suor Angelica and Gianni Schicchi. Florence created the role of Lauretta at the world premiere of Puccini¹s Gianni Schicchi on 14 December 1918 at the Metropolitan Opera, New York; she was the first to sing the famous aria "O mio babbino caro" ("O My Beloved Papa").  Puccini could not get to New York for the premiere, so the Met's general manager Giulio Gatti-Casazza sent a telegram to Puccini after the performance.  In the fortnight between 3 and 17 November 1927 she sang Maddalena in Andrea Chénier, La Gioconda, Rachel in La Juive, Madama Butterfly and the Marschallin in Der Rosenkavalier; it was surprising that she could manage them all and in such a relatively short space of time, it was astonishing that the critical response to nearly every one was laudatory.  Though unlike her in so many ways, Easton had this much in common with Lilli Lehmann.  By dint of application, intelligence, musical facility and sheer hard work, she was able to transform a lightweight lyric soprano into a dramatic instrument capable not merely of scaling the Wagnerian heights but with the stamina to stay up there season in and season out.