Arts and Humanities Commons^™

The Grizzly, December 9, 2004, Lauren A. Perotti, Lindsey Fund, Jonathan Gagas, Megan Helzner, Ali Wagner, Heather Turnbach, Jasmyn Blueford, Jade Garcia, Emily Diiolia, Joseph Davido, Matt Flyntz

Ursinus College Grizzly Newspaper, 1978 to Present

Wendell Berry Visits Ursinus • In Memory of Mrs.Margot Richter • UC Theater Production Goes on the Road • DSAC Updates • New Honor Code at UC? • Ursinus Students Bring the Holidays to Campus • Civil Rights Movement Class Opens Minds • History Behind the Holidays • Reading Day • SAAC Clothing Drive • Opinions: Should Procrastination be Diagnosed as a Psychological Disease?; Out with Final Exams! Students Prefer Writing Papers; Letter to the Editor • Stanton's Jersey Officially Retired

Proof, December 9-11, 2004, Theatre Arts Discipline

Theatre Programs

University of Minnesota, Morris production of Proof by David Auburn and directed by Tiffany Roufs.

Synopsis Catherine has inherited her late father’s mathematical brilliance, but she is haunted by the fear that she might also share his debilitating mental illness. She has spent years caring for her now-deceased father, and upon his death, she feels left alone to pick up the pieces of her life without him. Caught between a new-found connection with Hal, one of her father’s former students, and the reappearance of her sister, Claire, Catherine finds both her world and her mind growing increasingly unstable. Then Hal …

The Grizzly, November 18, 2004, Lindsey Fund, Lauren A. Perotti, Dan Devlin, Erin Hoban, Shannon Burke, Ali Wagner, Cecily Macconchie, Eden Swick, Jared Good, Eddie Murray, John Strassburger, Caitlin Mchugh

Ursinus College Grizzly Newspaper, 1978 to Present

Student Reactions to Sigma Pi • President Strassburger's Letter to the Collegeville Community • Poe on Poe Recommended for Theater Festival Nomination • Ursinus College Dance Company Concert Debuts this Week • Men and Women for Feminism: Review of From the Belly • Review: What did the Moon See? • Major Highlight: Business and Economics • Opinions: Welcome to Dubya's Fun World; The Wismer Incident: Issues of Food and Money; What's Real About Reality TV • Success Does not Equal Playoff Contention for the Men's Rugby Team • Wrestling Team Puts Yet Another Beating on its Opposition

The Grizzly, October 14, 2004, Lauren A. Perotti, Lindsey Fund, Megan Helzner, Jonathan Gagas, Cecily Macconchie, Jasmyn Blueford, Shannon Burke, Matt Krolikowski, Ali Wagner, Tommy Herrmann, Chris Curley, Ashley Higgins, Eddie Murray, Jennifer Cohen

Ursinus College Grizzly Newspaper, 1978 to Present

Walk for AIDS Awareness • Tenure: How to Make Your Vote Count • Powderpuff Football Raises Money for Cancer Research • Ex Voto Artist Speaks on Campus • Princeton Review Wants Your Opinion • Ursinus Faith • Learning Versus Earning in the College Years • From Humor to Horror: Poe on Poe Preview • Opinions: Who is to Blame for the Vioxx Withdrawal?; Segregation in Wismer; Phone Phollies; Blurring the Lines in American Media • Women's Soccer Team Fools the Oddsmakers • Conduct in Pro Sports Becoming an Issue

Plot Lines, Fall 2004, Columbia College Chicago

Plot Lines

Columbia College Chicago Theater Department Student Newsletter. 6 pages.

Blithe Spirit, October 28-30, 2004, Theatre Arts Discipline

Theatre Programs

University of Minnesota, Morris production of Blithe Spirit by Noel Coward and directed by Siobhan Bremer.

Synopsis: Cantankerous novelist Charles Condomine, re-married but haunted (literally) by the ghost of his late first wife, the clever and insistent Elvira who is called up by a visiting “happy medium,” one Madame Arcati. As the (worldly and un-) personalities clash, Charles’ current wife, Ruth, is accidentally killed, “passes over,” joins Elvira, and the two “blithe spirits” haunt the hapless Charles into perpetuity.

The Grizzly, April 22, 2004, Lauren A. Perotti, Lindsey Fund, Kyle Kauffman, Brandie Salenetri, Whitney Roper, Michael Castiglione, Kelly Gray, Johanna Nash, Brian Grzymkowski, Bart Brooks, Monica Delaney, Marie Difeliciantonio, Bill Stiles, Eden Swick

Ursinus College Grizzly Newspaper, 1978 to Present

A Booming Economy Gives Way to a Promising Job Outlook • Spotlights on 2004 Salutatorians: Jacqueline Carrick and Quinn Dinsmore • Politics in Action: Photo Essay • Opinions: Business Degree = Job?; "Cool" Defined; Condoleeza Rice: Truth or Cover-up? • Student Spotlight: Nicole Borocci Making Headlines • New Play to Open this Week • Spring Fling 2004 • Skinner Dominating Centennial Conference • Herrmann, Bown Rack up CC Baseball Honors

The Hobbit, April 16-17, 2004, Theatre Arts Discipline

Theatre Programs

University of Minnesota, Morris production of The Hobbit by J.R.R. Tolkien, adapted by Markland Taylor and directed by Siobhan Bremer.

Synopsis: The classic fantasy about Bilbo, a young and extremely reluctant Hobbit, who leaves home and sets off with a band of adventurers to slay Smaug the dragon and recover an enormous treasure, discovering the ring in the process. Told with wit and humor, this entirely new play based on the Tolkien classic is especially designed for a small cast and suitable for touring.

The Shadow Box, February 5-7, 2004, Theatre Arts Discipline

Theatre Programs

University of Minnesota, Morris production of The Shadow Box by Michael Cristofer and directed by Christopher Anderson.

Synopsis: n this compelling dramatic triptych, three terminal cancer patients dwell in separate cottages on a hospital's grounds. The three are attended and visited by family and close friends: Agnes and her mother Felicity, estranged further by the latter's dementia; Brian and Beverly, whose marital complications are exacerbated by Brian's new lover, Mark; and Joe and Maggie, unready for the strain of Joe's impending death and its effect on their teenage son.

The Grizzly, January 29, 2004, Lauren A. Perotti, Lindsey Fund, Monica Delaney, Bart Brooks, Marie Difeliciantonio, Rebecca Cohen, Liz Donze, Bill Stiles, Kevin Murphy, Tommy Hermann, Nicole Beck, Joseph Davido, Carolyn Weigel

Ursinus College Grizzly Newspaper, 1978 to Present

Myrin Library is Hit with Catastrophe • Myrin Library Water Damage: Photo Essay • Kerry Led in Iowa Caucuses • Opinions: Ursinus Greeks vs. Pop Culture; Farewell to E-Follett; Winter Weathered Out • Iowa Caucus Results • New Theater Production Sure to be a Hit! • Ursinus College Leadership Studies Program • Students Meet with Wynton Marsalis • A Prime Example of a Team Leader • UC Wrestling Recognized

Corneille's Absent Characters, Nina Ekstein

Modern Languages and Literatures Faculty Research

The relationship between presence and absence in theater is intertwined and complex. For Kibédi Varga, a work of art invariably signifies absence in that it proposes an image, a representation, rather than the thing itself (341-42). This is obviously true of theater. At the same time, theater is essentially about presence. The empty stage is a space that derives its potential for force and meaning from the expectation of live bodies engaged in concrete actions there. Perhaps more to the point, theater is about the dialectical relationship between absence and presence. According to Fuchs, "theatre is ever the presence of …

The Merry Wives Of Windsor: A University Actress's Approach To The Role Of Mistress Ford, Brook Akya Hanemann

Electronic Theses and Dissertations

Art is too ethereal a thing to judge by tangible measure. There is no scale to weigh a performance on, no level to gauge a character’s balance, no plumb line to measure its depth. No critic can appoint an allotment of stars to represent the worth of a production, and the audience, though a vital participant within the performance experience, cannot act as Jury and deliberate together to reach an absolute verdict of approval or disapproval. How then can an actor go about working towards giving a successful performance? The Merry Wives of Windsor was written at a time when …

When The Carnival Is Over : Peter Barnes' Red Noses And The Theories Of Mikhail Bakhtin, Duncan A. Sharp

Theses: Doctorates and Masters

Peter Barnes, acknowledged as one of Britain's most important contemporary playwrights, writes plays that are of an enormous scale, both physically and intellectually. Red Noses is one such play. Like Barnes' other works, Red Noses makes great technical demands on directors, designers, actors and audiences. As with all of Barnes' plays, Red Noses is, moreover, informed by a wide variety of theatrical styles. As Bernard Dukore (1990, p. 65) states, actors may be required to quickly "switch from intellectual discourse, to period argot, to poetry, to modern slang, to rhetoric, to musical comedy, to ritual, to dance, to opera, to …