text:
Extreme Storms » August 2015
Floods natural disasters Rain Storm wind
Tropical Storm Erika strikes Hispaniola Island August 28 2015
August 29, 2015 Published by: Harley Pearman
The MODIS Worldview image acquired from NASA and dated 28/8/2015 with urban overlays is showing the islands of Puerto Rico (Small island to the east) and Hispaniola (Larger island to the west) comprising the Dominican Republic and Haiti.
A small but deadly tropical storm named Tropical Storm Erika has struck the Dominican Republic and Haiti over the past day with heavy rain which has created mudslides and flooding.
The satellite photo is showing the cloud mass forming Tropical Storm Erika with strong convection and cumulonimbus clouds being highly visible as the storm approached the island from the east.
Torrential rainfall and winds to 85 km/h has been a feature leaving up to 200,000 residents on Puerto Rico without power. According to news sources:-
There are currently 31 missing in the Dominican Republic.
Up to 20 fatalities.
Up to 80% of the population without power.
Heavy rainfall in excess of 350 mm.
The storm is being tracked by CIMSS but it is not clear if the storm will survive the mountains and while a forecast track to the north west is generated on the CIMSS model (Acquired 29/8/15), its movement is not clear. Should the storm survive intact, it may track north west towards Florida or the west coast of the state following landfall across Cuba. If not, the storm could break apart and no longer be a threat.
Latest radar images is showing the storm breaking apart although some convection is still identified to the south of the island. It is too early to calculate what the storm will do next.
Notwithstanding this and despite not being a hurricane, the storm has inflicted a significant loss across the Dominican Republic over recent hours.
Rain Storm Tropical Cyclones wind
Three hurricanes near Hawaii and Mexico August 29 2015
With the demise of Typhoons Atsani and Goni across the north west Pacific Ocean over recent days, attention now focuses on three named storms in waters within the vicinity of Hawaii and Mexico, one of which appears to be a threat to Hawaii.
All three storms are new hurricanes and all three are within favourable environments that will support such storms. From east to west, the named storms or hurricanes are:-
1 - Hurricane Jimena.
2 - Hurricane Ignacio.
3 - Hurricane Kilo.
The spectacular MODIS Worldview showing the waters surrounding Hawaii and Mexico shows all three storms aligned (Image acquired from NASA 29/8/15 with overlays). A brief discussion of each hurricane is provided.
1 - Hurricane Jimena
The easternmost hurricane is a powerful Category 3 storm sustaining winds of 105 knots (Approximately 194 km/h) but is expected to intensify to a Category 4 storm and possibly approach a Category 5 storm given its current environment. The storm is expected to sustain winds of 135 knots (Approximately 250 km/h) in coming days partly due to its passage over waters of 30C and low shear.
The storm has a well defined eye and is expected to be the fourth major storm of the season in this part of the Pacific Ocean. Forecast models indicate slow decay after 48 hours. The storm should not threaten any land or population centre and hence its entire life span should be over open ocean.
At the time of writing, the storm is located 12.4 degrees north and 123.7 degrees west and should track west before turning more north west.
2 - Hurricane Ignacio
The hurricane centre to the MODIS Worldview image currently sustains winds at the core of approximately 80 knots (Approximately 148 km/h). The storm has been slow to develop and it is unclear why.
The storm is forecast to sustain winds of 90 knots (Approximately 167 km/h) within 24 hours and should reach a Category 2 storm in coming hours.
A research plane will be flying into the storm in coming hours to verify the strength of the storm and to ascertain what is occurring. The storm is expected to start to weaken after 48 hours.
At the time of writing, the storm is located 15 degrees north and 144.9 degrees west and should track north west which would take it close to Hawaii. This storm is the storm to watch given its proximity to the Hawaiian Islands.
3 - Hurricane Kilo
The storm has been slow to develop and is well to the west south west of Hawaii and currently not a threat to any population centre.
Winds at the centre are calculated at 60 to 65 knots (Approximately 111 to 120 km/h) which is effectively a hurricane. Given that an eye has just formed it is determined that this is a newly born hurricane. The storm will be passing over waters of 30 degrees and is expected to strengthen to a Category 2 storm within three days sustaining winds in excess of 90 knots (Approximately 167 km/h).
Forecast models suggest further strengthening out to 120 hours with winds of 100 knots (Approximately 185 km/h).
The various CIMSS models for each storm is attached all of which are acquired on the 29 August 2015 from CIMSS.
This is now a very busy time for the National Weather Service regarding the formation of new hurricanes at the same time. It will be interesting to see what occurs with Hurricane Ignacio over coming days. Given that a research plane will be flying into the storm, this does suggest some level of concern is being raised given its proximity to Hawaii and expected movement close to the islands.
Floods natural disasters Rain Storm Tropical Cyclones wind
Typhoon Goni makes landfall Kyushu Japan August 26 2015
Typhoon Goni ended its life after crossing the west coast of Kyushu (Japan). The storm made landfall over Arao City which is part of a complex of cities which includes Nagasaki.
The storm ended its life after impacting three countries across South East Asia and causing various disruption to many centres. The storm made landfall as a Category Three storm and broke apart although it did continue as a rain depression north into the Sea of Japan.
Its impact across Kumamoto Prefecture was considerable which included the loss of power to at least 425,000 homes.
When reviewed, its impact according to media reports is considerable as follows:-
1 - Destruction of 1,000 homes.
2 - Evacuation of 12,000 residents.
3 - Heavy rain.
1 - Heavy rain with the highest totals being 266 mm (Accumulated totals) at TAI PING SHAN 1 (Datong Township) in Yilan County with the second highest total being 223.5 mm at Xiulin Township in Hualien County and third highest total of 218 mm in the Pingxi District (New Taipei City).
2 - Disruption to the clean up effort following Typhoon Soudelor.
1 - Numerous injuries.
2 - Disruption to train and air services.
3 - Flooding and swollen rivers.
4 - Loss of power on Okinawa Island.
5 - Peak wind gusts reaching 180 km/h.
In conclusion, this was a very significant storm given its unusual path, erratic behaviour and impact across three countries.
The Worldview Satellite Image acquired from NASA on the 24 August is showing the storm to the south of Japan but impacting the southern outer islands of the country called Okinawa. The storm is over the Okinawa Shoto and Amami Shoto Islands (From north east to south west - O Shima, Tukuno Shima, Okinoerabu Jima, Okinawa Jima and Kumi Jima). A number of urban centres are affected with the urban centres overlayed across the image.


text:
Q: How to prevent NetCore Web API to expose internals when Json is malformed? When a malformed Json is sent to a NetCore Web Api method the default serializer Text.Json exposes the internal information in the error response.
DTO:
public record CreateGroupDTO(
            Guid AccountId,
            DateTime Start
           );

Method in GroupsController (since the error is handled in the framework the code of the controller is off the point):
[HttpPost]
[Route("")]
public ActionResult<GroupDTO> CreateGroup(CreateGroupDTO createGroupDTO) {...}

Post with malformed Guid:
{
  "accountId": "4-5717-4562-b3fc-2c963f66afa6",
  "start": "2022-02-14T12:39:59.244Z"
}

Response Body:
    "errors": {
        "createGroupDTO": [
          "The createGroupDTO field is required."
        ],
        "$.accountId": [
          "The JSON value could not be converted to Elwis.Orders.Application.CreateGroupDTO.
          Path: $.accountId | LineNumber: 1 | BytePositionInLine: 52."
        ]
      }

Post with malformed DateTime:
{
  "accountId": "3fa85f64-5717-4562-b3fc-2c963f66afa6",
  "start": "2022-02-30"
}

Response Body:
{
  "type": "https://tools.ietf.org/html/rfc7231#section-6.5.1",
  "title": "One or more validation errors occurred.",
  "status": 400,
  "traceId": "00-8f49393621db7dea28f797f4ee69f203-2612b8bd5fe0aa0d-00",
  "errors": {
    "createGroupDTO": [
      "The createGroupDTO field is required."
    ],
    "$.start": [
      "The JSON value could not be converted to Elwis.Orders.Application.CreateGroupDTO. Path: $.start | LineNumber: 2 | BytePositionInLine: 23."
    ]
  }
}

For security reasons the response should not expose the FullName of the dto type. How can I make Web API prevent exposing the FullName?
I also don't understand why the error for accountId is stating the dto. It should state that the JSON value could not be converted to Guid. How can I make Web API state a more correct error message?
UPDATE:
.Net 6 has a new option AllowInputFormatterExceptionMessages, that solves the main part of the problem (ASP.NET 6.0 Docs). You can add to StartUp.cs
services.AddControllers()
   .AddJsonOptions(o => o.AllowInputFormatterExceptionMessages = false);

Response for malformed Guid:
{
  "type": "https://tools.ietf.org/html/rfc7231#section-6.5.1",
  "title": "One or more validation errors occurred.",
  "status": 400,
  "traceId": "00-a5036b75970685554b4cf7c87c452939-ca3293d1faef0d84-00",
  "errors": {
    "createGroupDTO": [
      "The createGroupDTO field is required."
    ],
    "$.accountId": [
      "The input was not valid."
    ]
  }
}

It still exposes the variable name of the body parameter It still states that "The createGroupDTO field is required."! This response makes no sense since it is not a field in the Json structure and just an internal name. Is there a way to prevent this?
Update 2:
I filed an issue at GitHub. Microsoft moved "this issue to the .NET 7 Planning milestone for future evaluation / consideration. Because it's not immediately obvious that this is a bug in our framework, we would like to keep this around to collect more feedback, which can later help us determine the impact of it. We will re-evaluate this issue, during our next planning meeting(s)."

A: In general it does not return the fullname, you need to provide the model. Or there is simple way, You can try to custom error message, I write a simple demo here.
custom error message
public class ReformatValidationProblemAttribute : ActionFilterAttribute
    {
        public override void OnResultExecuting(ResultExecutingContext context)
        {
            if (context.Result is BadRequestObjectResult badRequestObjectResult)
                if (badRequestObjectResult.Value is ValidationProblemDetails)
                {
                    context.Result = new BadRequestObjectResult("Json is malformed");
                }

            base.OnResultExecuting(context);
        }
    }

controller
[ReformatValidationProblem]
    [Route("api/[controller]")]
    [ApiController]
    public class HomeController : ControllerBase
    {
       //........
    }

register it in startup.cs
services.AddMvc(options =>
{
    options.Filters.Add(typeof(ReformatValidationProblemAttribute));
});

Then you can see when Json is malformed, It just return the custom error message instead of the fullName.

redpajama_set_name: RedPajamaStackExchange


text:
Audrey Caines Has Been Hired to Recall Ted Wheeler. She'd Like Your Signature.
We asked her: Didn't we just have an election?
Recall Wheeler (WW Staff)
By Sophie Peel
Audrey Caines just scored the cushiest sales job in Portland. Her pitch: She wants voters to kick Mayor Ted Wheeler out of office.
Fine, it's a little more complicated than that. Caines is the newly hired campaign manager of Total Recall PDX. That's a political action committee that was launched to remove Wheeler from office just days after voters elected him to a second term.
Or at least some of them did. Alan Kessler, a Portland lawyer who previously worked on the the campaign of Wheeler's runoff opponent Sarah Iannarone, founded the PAC with this rationale: Only 46% of voters wanted Wheeler in office. The rest voted for somebody else. So even if Wheeler got the most votes, the majority of voters don't want him running Portland.
This month, Total Recall PDX announced it had hired Caines, 32, whose previous political experience was with Rising Tide PDX, an environmental justice group that has blocked rail lines for oil trains.
Its aim? Collect 47,788 signatures in 90 days starting July 1 by knocking doors across the city, roaming around gatherings and events, and setting up plastic information tables all over town. If it succeeds, and Wheeler doesn't choose to resign, the question of recalling him would go to voters in a special election 35 days later. The mayor would face no opponent. It would be Wheeler against himself.
Still, questions remain. Caines agreed to answer some. The interview has been lightly edited for brevity and clarity.
Audrey Caines
WW: Why recall Ted Wheeler? Didn't we just have an election? How has his legacy changed in the past five months since he won?
Audrey Caines: He demonstrated that he doesn't have the support of the majority of the city. And he's done nothing since the election to show that he is more responsive to people's needs and values. So it's sort of a continuation of what he did prior, which was to be ineffective and unresponsive.
What's been Wheeler's biggest failure in the past five months?
His failure to fund the Portland Street Response was a major failure on his part. [Wheeler and two other city commissioners voted against expanding the unarmed crisis response team citywide.] There was a huge amount of public support for that, and his decision to not fund led a lot of people to donate to us. We did see an uptick in people, both donating and joining our efforts as volunteers.
At this point, what do your efforts look like?
We have over 200 volunteers from a variety of backgrounds who are a part of the effort.We have a field team, and a lot of their focus is being available in public spaces and public events. So folks go out in the community, they go to an event, they set up a table. And then there's also postering that goes on. We have volunteers running all of our social media. So basically everything you see coming out of this campaign is coming from volunteers.
Where's the funding for this campaign coming from?
At this point, all of our funding is just coming from people. The average donation right now is around $46, which compared to most campaigns is just absolutely insane. We have a goal of raising $150,000 by July 15. The last time I looked at it, we were around $36,000. My salary is included in that number.
Who's interim mayor if the recall is successful?
Nobody's mayor. All the powers of the mayor are distributed to other City Council members. [Editor's note: The City Elections Office says a special election for Wheeler's replacement would be held within 90 days of the vacancy." It did not say who, if anyone, would become interim mayor.] And because Portland has a pretty unique structure where the mayor already doesn't have quite as much power as they do in other cities, it seems like it would be a fairly reasonable intermediate step to allow for other people to step into those spaces.
There's something fundamentally destabilizing about recalling a mayor immediately after he was elected. Do you have any concerns about setting off a cycle of recalls?
I cannot speculate on what people will do in the future. But I do know that the majority of Portlanders are united in their belief that Wheeler should be removed from office as soon as possible. Again, he only received 46% of the vote—and people maybe didn't agree about what they wanted at that time, but they did agree that he was not worthwhile enough to show up in force. And so we refuse to accept this. The failures impact the city and impact people who live here. We don't have another three and a half years to waste on him.

redpajama_set_name: RedPajamaCommonCrawl


text:
Talking about yourself all the time doesn't necessarily mean you're a narcissist — here's what could actually be going on
Lindsay Dodgson
Mar. 8, 2018, 6:50 AM
joyce huis / Unsplash
It's a common belief that narcissists talk about themselves a lot.
While this may be true, frequent use of the words"me" and "I" in conversation may indicate something else.
This "I-talk" could be a sign someone is emotionally distressed, according to new research.
There are several ways to spot a narcissist. They are usually the people who have a highly inflated sense of themselves, a lack of empathy, and a need for admiration.
Sometimes, people consider someone who constantly talks about themselves to be a narcissist. But this might not actually be true.
While one type of narcissist, the grandiose type, will be very self-obsessed and self-important, not all of them act this way. Also, as new research suggests, being all "me, me, me" could be an indication of something completely different.
The study, published in the Journal of Personality and Social Psychology, examined a large dataset from 4,700 individuals from six labs in the US and Germany. It showed how much people used "I-talk" — "I," "me," and "my" — in written and spoken tasks, as well as how they scored on measures of depression and negative emotions.
The researchers, from the University of Arizona, considered upwards of 2,000 uses of I-talk frequent use, as people speak about 16,000 words a day on average, and use personal pronouns about 1,400 times.
They found there was a connection between high levels of the I-talk words "me" and "I" and feeling negative emotions. In fact, the results suggested that someone who uses more of these words may be prone to emotional distress.
In other words, people who seem self-obsessed on the outside may have a tendency to easily experience negative emotions, such as anxiety, depression, worry, or anger.
"Previous research had found the one link — between I-talk and depression — but it hadn't examined moderators in great detail in a large sample. That was the next step," said Allison Tackman, a psychologist at US, and lead author of the study.
"Our results suggest that I-talk may not be very good at assessing depression in particular. It may be better at assessing a proneness not just to depression but to negative emotionality more broadly."
However, they also found that context was important. For example, if someone was talking about a recent break-up, then the relationship between I-talk and negative emotion emerged. But if they were describing something impersonal, such as a picture, the negative feelings weren't present.
As for why I-talk may be associated with distress, the researchers suggest it could be because we centre ourselves in the story when recounting experiences that made us anxious or sad.
"When you think back to being in those places, when you're just so focused on yourself, you may say things like 'Why can't I get better?'" Tackman said. "You're so focused on yourself that not only in your head are you using these first-person singular pronouns but when you're talking to other people or writing, it spills into your language — the self-focus that negative affectivity brings about."
SEE ALSO: How to know if you're dating a narcissist
More: narcissism personality traits behaviour Psychology


HQ is the Girls Who Code (GWC) learning platform where we provide all resources and free activities, so it is important to register when you join your Club.
As a student, you will sign up for Girls Who Code HQ using an email address and your Club's unique 2018-19 Club Code. You will receive your Club Code from your Facilitator at the first Club meeting. If you are a student under 13, you will also need to provide a parent's email address to sign up.
If you are missing your Club Code, please talk to your Facilitator.
If you are having issues with registering, please reach out to us at clubs@girlswhocode.com.
If you are not yet a member of Girls Who Code, you can either find a Club near you, or learn how to start your own!


Tapoll is a Web 2.0 Poll site that lets you predict polls as you vote. It might be fun to explore various concepts of Nodism that are being worked out. Below are a few polls - have fun! And please, take five minutes out of your day to discuss and see if these concepts excite you.
Type your first and last name on the page beneath the other names using the camel format - CapitalLetters at the start of the words and bump the words together with no spaces.
You can write a little hello note and then save the page.
When you do, you will see that there is a ? after your name. Click this to create a page for yourself and write a little about yourself.
Then you can sign in at the bottom using your CamelCase name and set your preferences using the preferences link at the top.
Any links with ? is ready for someone - someone like you to create the page!
Here is a link to more information on how to use a Wiki.
Wikis are amazing to use - over the course of a couple weeks holiday I made a couple hundred pages with great ease. I welcome you to write in the Wiki - start with your own thoughts on Nodism - almost like a review and see how it goes. Hopefully you will gain enough courage and confidence to make changes and additions! Please do.
Nodism is a philosophy that lets us explore aspects of meta with hierarchical thinking or generational thought.
For years now, very logical people have built up systems to emulate life. These systems have converged to Object Oriented Programming (OOP). We are at the height of the information age - and the standard of sharing of information has become XML.
Both Object Oriented Programming and XML are based on hierarchy. Indeed so is grouping, categorizing, organizing, indenting, nesting, etc. Nodism lets us explore and hopefully go beyond earlier hierarchical philosophies from food chains to set theory.
This blog and associated sites approach the philosophy in a relatively grass roots, first principle, and welcoming manner.
Nodism is a philosophy that lets us explore current views of meta. Discussion is certainly welcome here and in the Nodism Wiki.


Take exit 3 off I-295 (formerly 44 off I-95). Turn left on Business Route 1 South.
At second light turn right on 413 North.
Make first right after railroad tracks on Manor Avenue. The University entrance is on the left past the stop sign.
Take exit 3 off I-295 (formerly 44 off I-95). Bear right on Business Route 1 South.
At the first light turn right onto 413 North.
Note: I-95 between Philadelphia and New York City is fragmented. If you are following signs for I-95 South from New York City, you will actually end up traveling on the NJ Turnpike. From the Southbound NJ Turnpike, take exit 6 (PA Turnpike) and follow the directions below.
Take exit 351 (formerly exit 28) off of the PA Turnpike. Stay to the left.
Follow Route 1 North for approximately 2.5 miles (avoid Business Route 1).
Follow signs to Route 413/Bellevue Avenue and take the service road parallel to US 1.
Turn right onto Bellevue Avenue. Go straight at blinking light.
Turn left onto Manor Avenue. The University entrance is on the left past the stop sign.
Follow Route 1 into PA. Exit onto I-295 West (formerly I-95 South).
Follow I-295 West to exit 5 (formerly exit 44 off I-95). Turn right off exit ramp.
Drive approximately 1 mile. Turn right on Durham Road at first light.
Cross railroad tracks and make first right onto Manor Avenue. The University entrance is on the left past the stop sign.
Take exit 44 and turn left at the end of the exit ramp.
Travel approximately 1 mile. Turn right on Durham Road at first light.
From Philadelphia International Airport, take the R1 line to 30th Street Station.
Change to the R3 line to West Trenton.
Exit train at Langhorne Station. Turn left and walk up Bellevue Avenue.
Make first right onto Manor Avenue. The University entrance is on the left past the stop sign.


The Department of Theatre and Dance offers undergraduate and graduate degrees in both theatre and dance, a Master of Fine Arts in experience design and a graduate certificate in applied Shakespeare. These programs combine traditional studies with practical training. Ambitious seasons of theatre productions and dance concerts feature student performers, designers, directors, choreographers and guest artists of national and international fame whom often participate in curricular and extracurricular activities.
Recent guests have included Claudia La Vista, Sidra Bell, Faye Driscoll, Lux Boreal, Jonathan Becker, Diane J. Rayor, Ralph Lemon, Ana Prada, Asia One, Teena Marie Custer, Nina Flagg, Nina Martin, Millicent Johnnie, Ananya Chatterjea, Maria Bauman, Jane Hawley, Tim O'Donnel, Ms. Prissy, April Rose, Chris Aiken and Angie Hauser, Art Bridgman/Myrna Packer, Rennie Harris, Heidi Henderson, Kathleen Hermesdorf, Deborah Jowitt, Darrell Jones, Susan Marshall & Co., Bebe Miller, David Dorfman, Joe Goode, Kevin Wynn, John Scott and Shelley Senter in dance; Lisa Wolpe, Jennifer Hubbard, Geoffry Kent, Eric Van Baars, Silvia Gregory, Gary John LaRosa and Ami Dayan.
Students interested in theatre and dance are urged to consult with an advisor in the appropriate field to obtain both advice and the most current information concerning program opportunities and expectations.
Course codes for this department are THTR, DNCE, TDXD and THDN.
Introduces students to the dynamic capabilities of the body as an articulate means of expression. Presents basic concepts and skills from contemporary dance forms that may include Afro-modern, floor work, inversion, classical modern and improvisation. Classwork develops efficient alignment, strength, flexibility, coordination, rhythm, dynamics and spatial awareness. No experience necessary.
Repeatable: Repeatable for up to 4.00 total credit hours.
Provides the dancer with an introduction to the types of performance venues available today, and their technical systems and equipment. It will also establish an awareness of how technical theatre design arts may be utilized by a choreographer.
Requisites: Restricted to Dance (DNCE or DBFA, excludes DNCE-MIN) majors only.
An opportunity for students to develop skills of dance improvisation through the exploration of structured movement problems. Students study selected contemporary dance artists whose work stresses improvisation in performance and/or as a training vehicle. Department consent required for dance minors.
Explores and contextualizes contemporary popular culture and dance. Introduces methods of critical analysis that reveal the rich heritage hidden within and around the dances students commonly encounter at the club, on the street, on television, on the big screen and elsewhere in everyday life. Through watching, reading, and discussion, students discover new meaning in their lived cultural experience.
Invites students to deepen their somatic awareness, efficient athleticism, and creative voice through the medium of contemporary dance. Continues the investigation of contemporary dance forms that may include Afro-modern, floor work, inversions, classical modern, and improvisation. Classwork will deepen students' alignment, strength, flexibility, coordination, rhythm, dynamics and spatial awareness.
Recommended: Prerequisite DNCE 1000 or previous dance experience.
Explores how the practice of dance can reflect, disrupt, subvert, support, and reinforce cultural expectations, norms and practices. Introduces international and domestic dance traditions and provides context for an interdisciplinary examination. Comparative readings from sociology, anthropology, gender studies, history, post-colonial studies, and political science provide a foundation to understand how cultural identities are negotiated and represented through movement.
Introduces basic skills of modern dance. In-class technique work increases muscle strength, flexibility, and coordination. Offered summers only at Perry-Mansfield Performing Arts Camp.
Introduces beginning students to fundamental aspects of classical ballet technique; no previous experience required. Basic principles of alignment, rotation, and movement quality are introduced as the building blocks for success in advanced material. Foundational movements and ballet vocabulary are learned and refined. Students work toward mastery of simple combinations and rhythmic patterns.
Relies on a demonstrated comprehension of kinesthetic and conceptual principles mastered at the beginning level. New movements from the classical ballet vocabulary are introduced with continued emphasis on alignment, rotation, and movement quality. Ballet sequences are longer and more complex.
Recommended: Prerequisite DNCE 1100 or previous ballet experience.
Beginning ballet covering the basic vocabulary of classical ballet technique. Offered summers only at Perry-Mansfield Performing Arts Camp.
Introduces various styles of movement unique to jazz dance including improvisation, isolations, and African-influenced polyrhythms. Working within a range of dynamic performance styles, students will learn fundamental dance skills and jazz vocabulary, from which more advanced skills can be developed. Designed for students will little or no dance experience.
Digs deeper into syncopated movement style of the jazz vernacular by continuing the embodied investigation of the Africanist influence on the form. Demands a rigorous awareness of efficient alignment while engaging with complex movement and challenging rhythmic structures.
Recommended: Prerequisite DNCE 1200 or previous dance experience.
Introduces jazz dance, consisting of a technique warm-up, locomotion across the floor, and a series of dance phrases developed into a short dance combination. Offered summers only at Perry-Mansfield Performing Arts Camp.
Introduces students to Hip-Hop dance as a culturally significant form. Students learn history, the social and political forces at work, and the fundamental techniques (Campbell Locking, Popping, Breaking etiquette/movements, Hip-Hop Party Dance and House). Intellectual challenge is offered through the lens of critical race theory and historical context. Training addresses flexibility, sequencing, coordination, and performance skills.
Introduces a fusion form popularized in 2000: secular dance traditions of the Middle East/North African (MENA) communities in dialog with popular dances of the hip-hop and underground electronic dance music communities. Stretching, hip work, spinal undulations and poly-rhythmic orientations are covered. Educational highlights include discourse regarding cultural appropriation and gender coding in human movement.
Study of basic technique skills in aerial dance on single point, low-flying trapeze. Additional skills include choreographic techniques, improvisation, and a historical overview of aerial dance. Through theoretical readings and discussions, this course defines the place of aerial dance in the lineage of modern dance and addresses aesthetics, philosophical approaches to teaching, and safety issues.
Introduces students to the basic steps and timing of tap technique to develop rhythm, style and clear tap sounds. Exercises focus on building flexibility of the knee and ankles, coordination and speed of movement. A variety of tap styles from Broadway to Rhythm tap will be taught.
Involves creative or scholarly investigation of an area of interest to the student not addressed in the curriculum. Work must be arranged with and advised by a faculty member. Freshman level course.
Broadens students' exposure to a range of diverse movement material. Topical course in dance technique, see subtopic for specific form.
Designed for new dance majors as an introduction to the place of dance within academia and the professional/public spheres. Through the practice of descriptive dance writing, theoretical and physical exploration of discrete pedagogical and choreographic procedures, and interactions with in-class guest artists of different disciplines, students will engage in independent research and physical experimentation, culminating in a final personal presentation and group performance.
Designed for Dance majors. Enrollment by audition only.
Repeatable: Repeatable for up to 16.00 total credit hours.
Continuation of Modern 1. a developmental sequence of modern dance technique designed to refine the technical/expressive skills required of the professional dancer. Offered summers only at Perry-Mansfield Performing Arts Camp.
Students learn and perform dances from the repertory of guest artists. Offered summers only.
Builds on an existing understanding of alignment, rotation, and movement quality to introduce more mentally and physically difficult movements and enchainements of the classical ballet vocabulary. Students must be able to demonstrate an embodied familiarity with all traditional barre exercises on the first day of class.
Recommended: Prerequisite DNCE 1120 or previous ballet experience.
Intermediate ballet, covering the complete vocabulary of classical ballet technique. Enchainements are of complex structure. Offered summers only at Perry-Mansfield Performing Arts Camp.
Continuation of Jazz 1. Studies coordination, rhythm,style, and advanced body part isolation in depth. Offered summers only at Perry-Mansfield Performing Arts Camp.
Explores the technique, styles, and rhythms of regional and national cultures of Africa. Areas of concentration may vary each semester (e.g. Ghana, Mali, Guinea, etc.). Introduces signature attributes common to different countries' dance traditions and features discussions of the musical traditions, histories, cosmologies, philosophies and aesthetics to contextualize and increase familiarity.
Investigates movement vocabulary and kinesthetic understanding through physical contact and weight-sharing between two or more dancers. Fundamental skills of contact will be introduced and employed in duets and larger group improvisations: rolling, falling, giving and receiving weight, and the use of momentum and gravity.
Involves creative or scholarly investigation of an area of interest to the student not addressed in the curriculum. Work must be arranged with and advised by a faculty member. Sophomore level course.
Topical course (second level) in dance technique, see subtopic for specific form. May require an audition.
Explores topics and research in relation to areas such as technology, environment, teaching methods, performance, world dance, arts in society, and/or criticism that the normal sequence of offerings may not allow.
Challenges intermediate and advanced students to refine their understanding and personal approach to the study of international contemporary dance. Demands a deep sense of somatic awareness, efficient athleticism, and creative voice. Floor work, inversions, and improvisation may be included. No audition required.
Recommended: Prerequisite DNCE 1000 or DNCE 1020 or any major technique course ending in "1" or previous dance experience.
Advances safe and effective dance practices supporting longevity and wellness. Areas explored include experiential anatomy, conditioning, alignment, nutrition, injury prevention, care of common dance injuries, and experience with various somatic practices. Instructor approval required to enroll if outside dance major or minor. Formerly DNCE 2005.
Requisites: Restricted to Dance (DNCE or DBFA) majors or minors only.
Enhances rhythmic acuity through intensive rhythmic drills, analytical listening, drumming, notating and creating rhythm-based performance work. Course material explores non-Western rhythmic paradigms, irregular meters, mixed meters, polyrhythms, etc., and how to communicate clearly with a live accompanist in technique class.
Examines how musical choices can profoundly affect audiences, dancers and the creative process. Surveys historic and contemporary music styles and influential artists through guided listening and experimentation. Deepens understanding of music, including vocabulary, technology, collaboration skills, ethics, and copyright issues.
Explores movement invention and strategies of choreographic manipulation of body, space and time. Students add to their toolbox of compositional resources through solo and duet studies. Class interrogates and supports the students' developing language for addressing, critiquing and comprehending compositional choices and structures through verbal and written feedback practice. Can be taken out of sequence with DNCE 3043. Formerly DNCE 2033.
Requisites: Requires a prerequisite course of DNCE 1013 and DNCE 2021 or DNCE 3041 or DNCE 4061 (minimum grade C-). Restricted to Dance (DNCE or DBFA, excludes DNCE-MIN) majors only.
Practical production activities and projects within a designated area of dance design, stage technology, or stage management, normally related to the department's season. Instructor consent required.
Examines physical and spatial relationships via group and site specific work. New methods of creative problem solving unearth and mine one's imagination and inspiration, cultivating the individual's unique process of dance-making. Class interrogates and supports students' developing language for addressing, critiquing and comprehending compositional choices and structures through verbal and written feedback practice. Can be taken out of sequence with DNCE 3033.
Requisites: Requires prerequisite courses of DNCE 1013 and DNCE 2021 or DNCE 3041 or DNCE 4061 (all minimum grade C-). Restricted to Dance (DNCE or DBFA, excludes DNCE-MIN) majors only.
Practical studio training in ballet at the advanced/professional level with a professional company. Designed for dance majors. Enrollment by audition only.
Repeatable: Repeatable for up to 4.00 total credit hours. Allows multiple enrollment in term.
Requisites: Requires a prerequisite course of DNCE 2141 or DNCE 3161 or DNCE 4181 (minimum grade C-).
Surveys a wide range of the intermediate-level classical ballet vocabulary, focusing on an anatomically sound approach to the material. Students must work efficiently to execute the technique with rhythmic accuracy, clarity of line, propriety of style, and fluency in translating names of steps. Enrollment by audition only.
Expands student's performance of the syncopated movement style of the jazz vernacular. Designed for the experienced jazz dancer. Includes dance techniques that further improves alignment, strength, flexibility, and coordination within the jazz idiom through an emphasis on style, rhythm, and more challenging dance combinations.
Recommended: Prerequisite DNCE 1220 or previous dance experience.
Builds on fundamentals established in Hip-Hop Dance Technique 1. Students deepen their understanding of Hip-Hop history through fundamental movement techniques, specifically, House, and study the social/political forces at work. The course focuses on increasing dancers' capacity for variation, sequencing, musicality and free-styling in Hip-Hop dance. Enrollment by audition only. Meets with DNCE 5331.
Studies how human reaction, coordination, and movement play a role in all activities. Through in-depth class discussions, movement, exploration, and individualized hands-on lessons, actors and dancers gain an understanding of the technique and its benefits to performance. Meets with DNCE 5601.
Requisites: Restricted to Dance (DNCE or DBFA, excludes DNCE-MIN) or Theatre (THTR or TBFA, excludes THTR-MIN) majors only.
Involves creative or scholarly investigation of an area of interest to the student not addressed in the curriculum. Work must be arranged with and advised by a faculty member. Junior level course.
Topical course (intermediate level) in dance technique. See subtopic for specific form. May require an audition.
Provides practical experience in producing formal and informal dance concerts. Introduces basic familiarity with production and promotional responsibilities, backstage and front-of-house duties and procedures. Meets with DNCE 5012.
Requisites: Requires a prerequisite course of DNCE 1012 (minimum grade C-). Restricted to Dance (DNCE or DBFA, excludes DNCE-MIN) majors only.
Introduces Rudolf Laban's theories of movement and exposes several body therapies to heighten students' awareness of movement as a multifaceted (neuromuscular/spatial/dynamic) event. Emphasizes refinement of movement, observation skills, and improvement of performance. Meets with DNCE 5015.
Methods course for prospective teachers of creative dance for children. Lectures, readings and laboratory experiences are followed by observation and teaching in primary grades.
Requisites: Requires a prerequisite course of DNCE 2033 (minimum grade C-). Restricted to Dance (DNCE or DBFA, excludes DNCE-MIN) majors only.
Traces the evolution of American concert dance through roots in select dance forms, including dances of the African Diaspora, Ballet, Social Dance, Jazz, Modern, and Folklorico. Studies specific dance artists against the backdrop of social, political, economic, and environmental issues.
Recommended: Prerequisite or corequisite a Human Diversity core requirement course.
Explores movement and vocal improvisational techniques to enhance creative, interdisciplinary, collaborative and performance skills. Helps individuals expand their definition of performance, discover and access the diversity of the human instrument and employ improvisation to create personal and social commentary.
Examines legal, practical, pedagogical and philosophical issues in current dance education. Goals and content of professional and recreational dance training are considered and strategies for effective teaching practice are discussed. All genres of dance may be utilized depending on the specialities of participants.
Focuses on the development of perceptual, descriptive, and analytical skills as well as the ability to apply cultural and critical theory to 20th and 21st century concert dance. Specific pieces of choreography are looked at from a broad range of perspectives.
Learning and performing dances from the repertory of current faculty members, artists-in-residence and upon occasion from the repertory of historic modern dancers. Dance majors may repeat up to 9 total credit hours with different instructors. Enrollment by audition only.
Designed to give students supervised practical teaching skills through practice teaching, discussion, observation (in-person and video), reflection and feedback. Students will develop age appropriate lesson plans, define and refine principles of classroom management and understand the needs of diverse groups of students in a community, academic (K-12) and/or studio setting. All genres of dance are topic relevant.
Requisites: Requires a prerequisite course of DNCE 4036 (minimum grade C-). Restricted to Dance (DNCE or DBFA, excludes DNCE-MIN) majors only.
Addresses the origin and evolution of American Hip-Hop dance rooted in a theoretical structure that springs from the elemental nature of the African Diaspora. Emphasis placed on the social, political, and economic environment in which it was fashioned. Pioneers, innovators, terminology, and styles will be identified. Course includes lectures, readings, audio/video analysis and discussion. Meets with DNCE 5047.
Focuses on deepening the artistic voice and engaging with other art forms. Students explore the integration of technology and collaboration in creative projects and continue to engage in an objective critical process of their own work and the work of others. Meets with DNCE 5053.
Requisites: Requires a prerequisite course of DNCE 3043 (minimum grade C-). Restricted to Dance (DNCE or DBFA, excludes DNCE-MIN) majors only.
Repeatable: Repeatable for up to 16.00 total credit hours. Allows multiple enrollment in term.
Develops understanding of the ballet canon through practice of major solos from Romantic, Classical, and New-Classical ballets. For the advanced classical ballet student. Enrollment by audition only. Meets with DNCE 5128.
Investigates the full range of the advanced-level classical ballet vocabulary, focusing on an anatomically sound approach to the material. Exercises require strength and a deeply subtle understanding of principles of alignment, rotation, epaulement, and movement quality. Class moves quickly through enchainements of complex structure. Enrollment by audition only.
Refines advanced students' approach to the nuances and virtuosity of jazz idiom. Emphasis is placed on efficient use of alignment, complex polyrhythmic explorations and improvisations, and dynamic performance style. Class moves quickly through material and demands a high level of proficiency. Enrollment by audition only. Meets with DNCE 5261.
Builds upon skills introduced in DNCE 2701 and moves into more rigorous exploration of weight sharing principles. Emphasis will be placed on ease and efficiency in partnering, and integrating this work into choreography and performance. Meets with DNCE 5701.
Requisites: Requires a prerequisite course of DNCE 2701 (minimum grade C-).
Involves creative or scholarly investigation of an area of interest to the student not addressed in the curriculum. Work must be arranged with and advised by a faculty member. Senior level course.
Project in dance under supervision of senior faculty.
Provides an opportunity for upper-division dance majors to serve apprenticeships in the community in work areas related to their major interests and career goals. Internships are available in areas such as arts administration, dance therapy, and technical production. Instructor consent rquired.
Introductory course designed to explore creativity, collaboration and communication in the craft of acting. Focuses on basic terms and concepts of psychological realism fundamental to the actors' process through solo work and ensemble exercises. Open to majors and non-majors.
Explores the importance of telling (and listening) to stories from the stages of the world; in theatre we learn what people value in their time and place. Investigates the range of genres of theatre in today's society and how theatrical artwork is devised and presented. Ideal for non-majors.
Introduces fundamental methods of text analysis for performance. Equips theatre makers with common vocabulary and concepts to more effectively communicate when collaborating with other artists. Provides tools for analyzing any narrative art form.
Requisites: Restricted to students with 0-56 credits (Freshmen or Sophomore) Theatre (THTR or TBFA) majors only (excluding minors).
Introduces technical production elements and procedures, including materials, organizations, methods and equipment to realize theatrical scenery, properties, lighting and sound.
Requisites: Restricted to Theatre (THTR) majors or minors only (BA and BFA).
Introduces technical production elements and procedures including materials, organizations, methods and equipment to realize theatrical costuming and make-up.
Explores the dramatic literature, performance traditions and cultural contexts in world theatre from 1600s to the present, through discussion, writing and theatre practice, with an emphasis on the impacts of modernity and colonialism.
Introduces principles and techniques relevant to the expression of dramatic mood and idea through visual elements of the theatre, giving practice in conceptdevelopment, style selection, and rendering techniques in scenery and costume design.
Natural resources of the human voice and body are studied as artistic resources for the performing artist. Designed to examine both the process and products of vocal and physical craft work.
Requisites: Restricted to Theatre (THTR, TBFA) or Dance (DNCE or DBFA) majors only (excluding minors).
Covers topics not otherwise listed in the curriculum. Topics for each semester are specified in the online schedule planner.
Introduces the creative/collaborative process of design for theatre and dance, including scenery, costume, lighting, and sound. Students create design projects and evaluate them with regard to artistic and practical concerns. Much of the course work is hands-on, experiential, and team-oriented.
Study and application of the principles of design as applied to stage costume, emphasizing texts in analysis and interpretation. Presented in a studio format and project driven. Explores concept development, style selection, and extensive practice in a variety of media and techniques for costume rendering.
Requisites: Requires prerequisite course of THTR 1115 (minimum grade C-).
Studies the creation, evolution and influence of American musical theatre and its importance to American society. Students analyze landmark productions, artists and the creative process.
Recommended: Prerequisite 3 credits in THTR, DNCE or MUSC.
Students learn to deepen and develop their proficiency with specific acting techniques. Explores the craft elements of acting, as well as text analysis.
Requisites: Requires prerequisite course of THTR 1003 (minimum grad C-). Restricted to Theatre (TBFA) majors only.
Examines the process of theatrical scene design from early conception to realization. Course work is project-based. Students are introduced to the crafts of script analysis, conceptualization, design expression, drafting, and 3-D model building.
Continued development of acting technique and tools for play analysis, with particular emphasis on scene study. Special attention will be given to the Master Teachers of Acting and their pedagogies.
Requisites: Requires prerequisite course of THTR 3013 (minimum grade C-). Restricted to Theatre (TBFA) majors only.
Introduces 20th century international drama. Discusses selected plays by major African, Asian, and European authors and explores different dramatic traditions and their increasing interactions throughout the 20th century.
Allows students to undertake an acting project, either within the major season or approved departmental production. Requires detailed preparational research, rehearsal commitments, and public presentation of theories and concepts in practice. Following the performance, students present written reports and evaluations.
Practical production projects within a designated area of technical theatre, design, stage management, normally related to the department's season.
Requisites: Requires prerequisite courses of THTR 1105 and THTR 1115 (all minimum grade C-).
Students are assigned to work with production artisans of the Colorado Shakespeare Festival. While there are many possible areas, production designs for each season determine the number of available positions. May substitute for two credits of THTR 3035.
Continues the work begun in THTR 2043. Studies advanced vocal techniques with the goal of integrating these skills into the working process of the performing artist.
Requisites: Requires prerequisite course of THTR 2043 (minimum grade C-). Restricted to Theatre (THTR or TBFA) majors only.
Covers stage management from the inception of a production concept through the process of mounting aproduction, focusing on the interrelationships of the various artists involved, management and scheduling of time, and the psychology of handling a wide range of personalities.
Requisites: Requires prerequisite course of THTR 1105 (minimum grade C-).
Continuation of the techniques introduced in Acting 1 (THTR 1003). Emphasis is placed on monologues and scene study of contemporary plays. Basic technique in developing a character are explored.
Requisites: Requires prerequisite course of THTR 1003 (minimum grade C-).
Introduces the craft of stage lighting design through lecture/demos, hands-on production experiences, theoretical projects and applied lighting labs. Subject matter includes the functions of stage lighting, aesthetics of light, color theory, lighting for performance, design graphics and basic lighting technology.
Study and application of the principles of sound technology and design, emphasizing concepts of electricity, acoustics, equipment, and their application to the stage.
Surveys topics in western dress and the decorative arts from civilizations of antiquity to contemporary time: the garments, objects, materials and technologies in the context of philosophical, political, social and technological change.
Explores and identifies a wide range of professional opportunities connected to personal strengths and interests in theatre and dance by studying current professional practices, trends and cross-disciplinary connections. Instructor will: provide information/learning needed from representative professionals; open avenues to find/create employment opportunities towards internship consideration/post-graduation; and mentor structured self-assessment/professional development.
Requisites: Restricted to students with 57-180 credits (Junior or Senior) Theatre (THTR or TBFA) or Dance (DNCE or DBFA) majors (excluding minors).
Provides students with an introduction to several forms of improvisation, including short form, long-form, playback theatre and clown. A useful course for anyone interested in improving confidence with public speaking, communication and/or performance. Attendance and participation are mandatory.
Advanced studio course building on experiences and techniques studied in THTR 3005, with additional emphases on portfolio quality rendering technique and costume production technology as it affects and is affected by the designer.
Requisites: Requires prerequisite course of THTR 3005 (minimum grade C-).
In-depth study of Shakespearean texts from the perspective of their demands on the actor, including the conventions and performance styles of Elizabethan theatre.
Requisites: Requires prerequisite courses of THTR 3013 and THTR 3023 (all minimum grade C-). Restricted to Theater BFA (TBFA) majors only.
Advanced projects in theatrical scene design. Provides intensive practice in sketching, rendering, drafting and model-building. Emphasizes portfolio development and preparing the student designer for graduate training or professional work.
Requisites: Requires prerequisite course of THTR 3015 (minimum grade C-).
Explores American theatre and drama in the 18th centuries to the present. Examines productions, their creators and performers. Contains lecture, discussion, writing and theatre practice.
Requisites: Restricted to students with 57-180 credits (Junior or Senior) Theatre (THTR or TBFA) majors and minors.
Recommended: Requisite at least 12 hours of THTR course work.
Studies selected styles of theatre performance such as Greek Drama, Comedy of Manners, Commedia dell'arte, Modern Realism, Theatre of the Absurd, and Non-Western Theatre, including vocal and physical style elements.
Requisites: Requires prerequisite courses of THTR 3013, THTR 3023 and THTR 4013 (all minimum grade C-). Restricted to THTR BFA (TBFA) majors only.
Engages students in the power of performance for effecting positive social change. Students research collaboratively to create performances and workshop experiences to intentionally author the future they want. Readings provide theoretical foundations that serve as the basis for creative work. Students engage in creative explorations. Open to all forms of performance.
Continues the work begun in THTR 2043 and explores a wide range of physical actor training methods and practices that support the fundamentals of mask training and mask performance for the actor. Students will experience each mask by gaining an understanding of its historical and performative relevance and directly bring into play the authentic life required of the specific mask. Department consent required.
Requisites: Requires prerequisite course of THTR 2043 (minimum grade C-).
Introduces the craft of scene painting through practical projects. Sessions are in a studio format. Students are trained in traditional methods of scenic art, including layout, representational painting, trompe l'oeil, faux finishing, and related skills. Students are taught about proper tool use and care, paint products, and the profession.
Developed around the learning of complete scenes, songs and dances that are representative of the major periods and styles within musical comedy from the 1920s to the present. Emphasizes in-class performance. Admission by audition.
Requisites: Restricted to Theatre (THTR, TBFA) or Dance (DNCE or DBFA) or Music (MUSA-BAMUS, MUSC-BMUS or MUSE-BMUE) majors only (excluding minors).
Detailed study of script analysis, directing concepts, staging and criticism of the plays being produced by the Colorado Shakespeare Festival.
Opportunity for students to explore, upon consultation with the instructor, areas in theatre that the normal sequence of offerings may not allow.
Introductory course in craft of playwriting; primary focus on technique of developing short plays.
Explores the depths and nuances of stage lighting design through the execution of weekly laboratory projects and critiques. Work singly and in groups in a hands-on environment of experimentation and exploration using industry standard lighting fixtures and control consoles. Students develop the ability to examine the aesthetics of light, to communicate their intentions to collaborators, to determine the efficacy of their approaches, and to adjust to achieve their goals.
Requisites: Requires prerequisite course of THTR 3055 (minimum grade C-).
Theory and practice of directing for the stage.
Requisites: Requires prerequisite courses of THTR 1003 or THTR 2003 and THTR 1105 and THTR 1115 (all minimum grade C-). Restricted to students with 57-180 credits (Junior or Senior) Theatre (THTR or TBFA) majors and minors.
Recommended: Prerequisites two semesters of THTR 3035.
Prepares students for the demands of the acting profession. Trains students in various audition techniques including general auditions, prepared auditions, cold readings, on-camera auditions, andcommercial auditions. Shows how to prepare and perfect audition material in a professional and exemplary way. Discusses agents, casting directors, and the process of becoming a professional actor.
Requisites: Requires prerequisite course of THTR 1003 (minimum grade D-). Restricted to students with 27-180 credits (Sophomore, Junior or Senior) Theatre (THTR or TBFA) majors only.
Explores theories underlying the "feminine voice," varied perspectives in prose and poetry, ways of embodying these voices and perspectives in performance forms and ultimately the students' own voices through creation of autobiographical performance pieces (some to be presented for student audiences). Open to both men and women.
Intellectual and conceptual capstone course for departmental majors with separate sections for theatre and dance students. Course promotes integration of ideas regarding history, criticism, and theory in performance and production. All inquiry throughout the semester relates to the theme of creative process.
Concentrates on theory and practice of management aspects of the performing arts, emphasizing theatre and dance. Includes marketing, budgeting, house and stage management, audience development, grant writing, unions and season development. Includes practical experience.
Intensive study of specialized topics in theatre technology and design. Topics and credits specified in the online Schedule Planner.
Offers an intensive production workshop to prepare actors and directors to work collaboratively and effectively for the medium of the camera. Directing vocabulary, script interpretation, film terminology and acting techniques are applied. Explores situations in which actors and directors interact, from auditions to rehearsals to filming. Requires attendance, textbook readings, research and production responsibilities on both sides of the camera.
Explores theatrical make-up styles and techniques from initial research through paper design to final make-up. Ranging from period styles to Byzantine mosaic, to clowns, to special effects (old age, wounds, stages of healing, zombies, etc.) Techniques include ombre blending, removing eyebrows, shrinking and enlarging features, creating 3D appliances and applying silicone and foam prosthetics.
Examines the role of comedy in performance within various cultures through readings, viewings and a participatory exploration. We will analyze comedy within various societies to understand the underlying ideals and values. Throughout this investigation we will seek to understand what makes something comedic, why, for whom, for what purpose, when and under what circumstances.
Gain fluency in established techniques and styles of master illustrators and painters. Famous illustrations are technically analyzed and copied in this exploration of intent, process, technique and style. Other mediums incorporated include pastels, color pencils, pen and ink and gouache. Painting supplies must be supplied by the student.
Examines the process of and technology for producing theatrical scenery on a limited production timeline.
Surveys a growing field of arts practitioners who are intersecting Applied Theatre, Shakespeare and community in meaningful ways, including Shakespeare in Prisons, Shakespeare with Veterans and Shakespeare for Inclusive Audiences. Students will explore a variety of methodologies for teaching and practicing Shakespeare and create original work using Shakespeare as a lens for examining a particular theme, topic or social issue.
Provides opportunities for theatre majors to explore career opportunities in theatre fields other than, or in addition to, those with performance emphasis. Students apply knowledge and skills developed in their major studies to a practical work experience.
Recommended: Requisite 30 credit hours in THTR.
We generate multimodal compositions on the subject of climate change and engage with various dimensions of issues associated with sustainability. We work to deepen our understanding of how issues associated with climate change are or can be communicated, by analyzing previously created expressions from a variety of media (interactive theatre, film, fine art, television programming, blogs, performance art, for example) and then be creating our own work.
Fosters the student's creative and collaborative skills by introducing a variety of strategies and scenarios for conceiving live, theatrical productions, events and experiences. A project based curriculum offers several individual and team exercises in visualizing, documenting and communicating ideas for live performances, including their overall scope, aesthetic, style, audience relationship and mode of presentation.
Students engage in a project or projects of their own undertaking that takes a broader experience to apply the craft utilizing self-initiative, collaborative approaches and public exhibition. Instructor consent required for non-BFA THTR performance majors.
Requisites: Requires prerequisite course of THTR 3013 and THTR 3023 and THTR 4013 and THTR 4023 (all minimum grade C-).
Continues the student's study of improvisation as a collaborative art form. Whereas Improvisation I introduces students to a variety of techniques, forms and applications of improvisation, this course focuses specifically on long-form improvisation in performance. Previous experience with long-form improvisation is necessary to enroll in this course.
Requisites: Requires prerequisite course of THTR 3213 (minimum grade C-).
Requires participation in a Theatre Department production assignment in the areas of design, technology, or management, as well as participation in a semester portfolio review. May be repeated upto 6 total credit hours.
Requisites: Restricted to Theatre (TBFA) majors only.


text:
import pytest

from selenium.webdriver import Firefox

@pytest.fixture
def capabilities():
    capabilities = {'marionette': False}
    return capabilities

@pytest.fixture
def driver(capabilities):
    driver = Firefox(capabilities=capabilities)
    yield driver
    driver.quit()

redpajama_set_name: RedPajamaGithub


Immaculate Home with an Open Floorplan & a Spacious 3 Car Garage!
Home boasts great curb appeal with an attractive drive up. Interior features include extensive hardwood floors & moldings, soaring ceilings & oil rubbed bronze hardware. Recently updated Kitchen is adorned with granite counters, stainless steel appliances, a gas cooktop & a farm sink. Spacious Family Room includes a wall of windows overlooking the Backyard. Downstairs Master Suite is graced with a gas fireplace & two walk-in closets. Private Study includes built-ins. The Game Room includes a privacy curtain, tray ceiling & surround sound wiring. Enjoy the large sized secondary Bedrooms.
Great Backyard features an extended Patio & an 8ft cedar fence with XL gates.
This home is zoned to the Lewisville Independent School District – Prairie Trail Elementary School, Lamar Middle School & Marcus High School.
Just south of Justin Rd (407), it is only a short drive to both fast food (KFC, Sonic & More) or sit down restaurants (Empress of China, Fresco's Mexicana, Bistecca & More). Plus, Flower Mound was voted the safest place in America to live by Movoto.com!


text:
US: Millions flee as they brace for Hurricane Matthew
Hurricane which already killed at least 136 people in Haiti, could have "catastrophic" impact, Florida governor says.
The fiercest Caribbean storm in nearly a decade slammed into the Bahamas early on Thursday, intensifying as it barrelled towards the southeast US coast where millions of residents heeded warnings to flee inland.
Roadways in Florida, Georgia and North and South Carolina were jammed and gas stations and food stores ran out of supplies as Hurricane Matthew approached, packing storm surges, heavy rain and sustained winds that accelerated overnight to around 205 kilometres per hour.
Matthew, which killed at least 136 people and damaged swaths of homes in southern Haiti, has strengthened from a Category 3 to 4 storm en route to eastern Florida. Four more people were killed in Dominican Republic.
Landfall was expected in Florida on Thursday night, the US National Hurricane Center said, extending its hurricane warning area further north into Georgia in its 6am EST (10:00 GMT) advisory.
"Everyone in our state must prepare now for a direct hit," Florida Governor Scott told a news conference in Tallahassee on Wednesday. "If Matthew directly impacts Florida, the destruction could be catastrophic and you need to be prepared."
READ MORE: Hurricane Matthew kills 26 as it slams into Bahamas
The four states in the path of the hurricane, tracked 410km southeast of West Palm Beach, declared states of emergency enabling their governors to mobilise the National Guard.
Shelters in Florida, Georgia and South Carolina opened their doors after authorities, along with President Barack Obama, urged locals to evacuate their homes.
Federal emergency response teams were coordinating with officials in all four states and stockpiling supplies, Obama said.
Scott requested that Obama declare a pre-landfall emergency for Florida, which would bring resources including food, water and waterproof coverings and double the active National Guard force to 3,000.
Schools and airports across the region were closed on Thursday and some hospitals evacuated patients, according to local media.
Al Jazeera's Andy Gallacher was on the coast of Florida in Fort Lauderdale on Thursday, preparing for the record-breaking storm to hit shore.
'All boarded-up'
In all, more than 12 million US residents were under hurricane watches and warnings, according to the Weather Channel.
In Florida, fuel stations posted "out of gas" signs after cars waited in long lines to fill up.
"Every gas station I went to is empty," said motorist Charles Bivona in a Tweet late Wednesday. "Here comes Hurricane Matthew. Um, yikes."
Others, meanwhile, prepared to wait out the storm.
People stocked up on water, milk and canned goods, emptying grocery store shelves, footage from local media showed.
IN PICTURES: Hurricane Matthew - Scenes of destruction in Haiti
Residents and business owners boarded up windows with plywood and hurricane shutters and placed sandbags down to protect property against flooding.
"All boarded up and ready to bunker down. God be with us," West Palm Beach Florida resident Brad Gray said in a Tweet.
The National Hurricane Center said it was still too soon to predict where in the United States Matthew was likely to do the most damage.
On Tuesday and Wednesday the storm whipped Cuba and Haiti with 230km/h winds and torrential rains, pummelling towns and destroying livestock, crops and homes.
The devastation in Haiti prompted authorities to postpone a presidential election.
Al Jazeera senior meteorologist Steff Gaulter explains Matthew:
"Hurricane Matthew is showing signs of rejuvenating as it batters the islands of the Bahamas.
As it made landfall, it was classed as a Category 3 hurricane on the five-point Saffir-Simpson scale used to measure the strength of hurricanes in the waters around the Americas.
The storm weakened as it churned across Cuba and Haiti; the high ground of the islands caused it to lose intensity.
However, the conditions are now favourable for the hurricane to strengthen.
The storm is no longer being affected by high ground and the winds are not too strong high up in the atmosphere. This ensures that the storm can rejuvenate itself without any obstructions.
Also the waters around the Bahamas are warmer than usual for this time of year. Warm waters are the energy source of these tropical systems, and the warmer the water is, the more energy is available to feed the storm.
The thunderstorms in the eye of the storm are already becoming more intense and more organised, and the pressure in the centre of the storm is dropping.
These are indications that the storm is preparing to strengthen. Hurricane Matthew is expected to be a powerful category four hurricane by the time it reaches Florida's coastline, with sustained winds of over 209km/h.
There is even a small chance it could become a category 5 storm before it approaches the coast.
The area most at risk from the storm is from Palm Beach northwards to Jacksonville, although it is still very unclear whether the eye of the storm will make landfall.
Whether the eye actually hits the coast or not, it seems highly likely that the storm will get close enough to cause a major storm surge, torrential rain, severe wind damage and significant coastal erosion.
It is expected to churn northwards along, or very close to, the east coast of Florida, meaning millions of people would be affected by the powerful storm.
Hurricane Matthew is expected to start to affect Florida from this evening local time, and continue to batter the coast for about 24 hours.
Some locations in northeast Florida have never experienced a hurricane of this magnitude and the threat of landfall has prompted major evacuations.
The Governor, Rick Scott, said Florida could be facing its "biggest evacuation ever" as the storm bears down on the state.
Follow Steff Gaulter on Twitter : @WeatherSteff
SOURCE: Al Jazeera News And Agencies