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Regina Taylor's CROWNS April 28th (Columbia, TN)
Please click image to enlarge.
Labels: Crowns, Regina Taylor
Casting complete for DC Copeland's "Once Upon A Time In Harlem: A Jitterbug Romance" (Harlem)
Please click post's title for a readable version.
2031-33 National Black Theatre Way
5th Avenue between 125 & 126th Street
Please RSVP for the free reading of the play to
or email info@nationalblacktheatre.org
To learn more about the play and NBT, please click the post's title.
Labels: DC Copeland, National Black Theatre, Once Upon A Time In Harlem: A Jitterbug Romance, Petronia Paley
Tonight: "Coloring the Great White Way: Bringing Diversity to Commercial Theatre" (NYC)
Stephen Byrd, Nelle Nugent and Woodie King Jr. head the powerhouse lineup of panelists tonight for TRU's "Coloring the Great White Way: Bringing Diversity to Commercial Theater."
Panelists to include producer Stephen Byrd (upcoming A Streetcar Named Desire, '08 revival Cat on a Hot Tin Roof); Kamilah Forbes, artistic director of the Hip-Hop Theatre Festival, director (Def Poetry Jam on Broadway); Woodie King Jr., artistic director of New Federal Theatre (What the Wine Sellers Buy, For Colored Girls..., Checkmates); producer Nelle Nugent (Stick Fly, Ghetto Klown, Time Stands Still, ...Nicholas Nickleby); Donna Walker-Kuhne of Walker International Communications; and Melissa Marano, Senior Client Account Executive at aka Promotions (Jerusalem, The MotherF*er With The Hat, Billy Elliot, Stick Fly, A Streetcar Named Desire).
Have we made any significant progress in bringing diversity into commercial theater? Is there an audience to support the work, and how do we tap into that audience? How can we help along the process? Even commercial plays with tremendous crossover appeal, such as "Stick Fly" and "Radio Golf", have not managed to succeed as well as we might hope. How do we build a culturally diverse audience that can truly support works like these? Might cultivating producers of color help generate players who have a vested interest in bringing more culturally diverse works into commercial production? And can we do it without compromising the integrity of diverse voices in order to make them more palatable to the white mainstream?
Doors open at 7:00pm for networking and refreshments, panel starts promptly at 7:30pm. FREE for TRU members; $12 for non-members. Please call for reservations: 212/714-7628; or e-mail TRUnltd@aol.com before 5pm today (Wednesday)
The Players Theatre, 115 Macdougal Street, 3rd floor
Please click the post's title to visit TRU's website.
TRU Current Panels & Events truonline.org
Labels: TRU
AAPEX Double Dramaturg Award goes to Jacqueline Lawton and Jewell Robinson
The African American Playwrights Exchange (AAPEX) is pleased recognize two extraordinary ladies of the Washington, DC theatre community - Jacqueline Lawton and Jewell Robinson - for their contribution to African American theatre history in the form of a stage piece about Ira Aldridge: The African Roscius. Robinson, who is the Director of Public Projects for the National Portrait Gallery at The Smithsonian, commissioned Lawton to develop the piece from Aldridge's letters. In addition, Robinson has portrayed Aldridge's daughter in performances which have featured renowned Shakespearean actor Avery Brooks in the role of Ira Aldridge.
To learn more about this pair and their collaboration on the play, please click the post's title.
Labels: AAPEX Double Dramaturg Award, Jacqueline Lawton, Jewell Robinson
AAPEX Interview: Jacqueline Lawton
Jaqueline Lawton
Interview with Jacqueline Lawton by Jaz Dorsey
Washington DC based freelance dramaturg Jacqueline Lawton has had the kind of career that might make up many a dramaturg's fantasies and daydreams. Her artistic and administrative adventures in our nation's capital have allowed her to work with such legendary theatre companies as Woolly Mammoth, Arena Stage, African Continuum Theatre, Theater of the First Amendment, and the John F.Kennedy Center, to name but a few. She lists some 30 productions on which she has served as production and new play development dramaturg over the past decade, and from the stunning spectrum of activities on her CV, she is also clearly a serious force in the DC theatre community.
In addition to that, I have discovered that as a playwright Jacqueline has made a major contribution to the materials that we so urgently need to investigate and better understand the history of the African American contribution to the theatre.
Thanks to another fabulous DC lady, Jewell Robinson, who is the Director of Public Programs at The National Portrait Gallery, Jacqueline was commissioned to create a work for the stage based on the life of 19th century Shakespearean actor Ira Aldridge, who rose from the ashes of the African Grove Theatre to an astounding career that made him a sensation in England and Europe and ended with his death in Poland.
AAPEX will have more to say about Aldridge, who we choose as our muse for 2012, but right now I'd like to introduce everyone to Jacqueline Lawton:
What role did theatre and the arts play in your childhood and upbringing?
Theater and the arts have always been a part of my life thanks to my mother's love of MGM movie musicals. Amazing artists like Judy Garland, Gene Kelly,Debbie Reynolds, Fred Astaire, Ginger Rogers, Bing Crosby, and Danny Kaye taught me the ins and outs of show business. I'd watch these movies over and over again. I learned the songs, dance steps, and dreamed of one day becoming a performer. I read Shakespeare before I learned it was hard to read. I wrote plays to entertain my family, especially my younger sister. Also, my mother had these amazing craft books. My sister and I made decorations, puppets, and costumes based on different holidays, fairy tales, and traditions. We didn't dress up for Halloween, but a part of our Thanksgiving tradition was to make costumes, sing made-up songs and act out little made-up plays. In elementary school, we took field trips to see plays at the local civic center. The first professional play I remember seeing was Jack and the Beanstalk. I fell in love with the Harp. My family remains incredibly supportive of my theater career.
Tell us about your own evolution as an artist.
In Junior High and High School, I continued to write and found opportunities to perform through UIL Poetry Interpretation and One Act Play Competitions. In college and graduate school at the University of Texas at Austin, I studied theater, playwriting, solo performance, performance studies and screenwriting with Amparo Garcia Crow, Jill Dolan, Fran Dorn, Ruth Margraff, and Suzan Zeder. Each of these women encouraged me to find my voice and tell my stories. I was also a part of The Austin Project, a writing group comprised of women artists, activists,and scholars and led by Sharon Bridgforth and Joni Jones. It was a deeply profound and lasting experience that taught me how theater could be used as a tool for social justice. During grad school, I traveled to Europe (Dublin, Ireland and Venice, Italy) to write and participated in the Kennedy Center's Playwrights' Intensive (2002) and World Interplay (2003). At the Kennedy Center, I met the fabulous Gregg Henry and a whole slew of professional directors, designers, actors, and playwrights. From them, I learned firsthand what was possible for me. At World Interplay, I was introduced to performance styles and traditions from around the world. It was amazing and cracked opened my world view! After graduating with an MFA in Playwriting in 2003, I made my way to the east coast seeking adventure and wanting to be a part of an artistic community. In 2005, I did an internship in Literary Management and Dramaturgy at Woolly Mammoth Theater Company and learned how to be a dramaturg from Mary Resing. From there, I worked at the Folger Shakespeare Library and Arena Stage, where I began working as a teaching artist. As far as who I'll be in the future, I see myself growing, traveling and pushing myself beyond who I am right now. I envision myself prolific, writing plays and continuing to work in the theatre, contributing to the magic that happens in every performance.
When and how did you discover Ira Aldridge and what has your journey with him been?
Ira Aldridge is a much lauded and highly celebrated 19th century Shakespearean actor. He was born in America in 1807 and began performing at the African Grove Theatre. In 1833, he made his London stage debut, toured all over Europe and Russia, and is the only black stage actor honored with a bronze plaque at the Shakespeare Memorial Theatre at Stratford-upon-Avon. He is an absolute legend. However, very little is known about him, owing to racial prejudice of the time period. I was first introduced to Ira Aldridge in college and learned more when I began teaching at Montgomery College and the University of the District of Columbia. Then, in the spring of 2010, Jewell Robinson, the Director of Public Programs for the National Portrait Gallery (NPG), commissioned me to write a play about Ira Aldridge for NPG's Culture in Motion Series*. I give great thanks to director and playwright, Jennifer L. Nelson, who recommended me for the gig! With Ira Aldridge: The African Roscius, I chose to the tell Aldridge's story from the point of view of his daughter, Amanda, who was a professional singer,composer and teacher. Ira Aldridge died before she was born, so all she had of him were diary entries, photographs, theater reviews, his guitar, and letters. My absolutely favorite letter was written to Ira from his son, Ira Daniel, an excerpt of which reads: "My Dear Papa, - Mamma is not very well today. Dr. Popham was here on Monday last to see her. We are very dull without you. Mamma and I send our best love and kisses, and I remain your affectionate son, Ira Daniel Aldridge" The post script, which always touches my heart, reads: "I send kisses for you, Papa. Send us some, don't forget." It's a remarkable story of a great man who began his life as a poor boy from Lower Manhattan and emerged as one of the world's finest artists. Avery Brooks, a celebrated Shakespearean actor in his own right, played Ira Aldridge and Jewell Robinson played his daughter Amanda Aldridge. The play was presented twice at the National Portrait Gallery in collaboration with the National Museum of African American History and Culture. Recently, it was presented as part of the Savannah Black Heritage Festival at Armstrong Atlantic State University. My hope is that we can continue presenting it at colleges and universities throughout the Unites States.
What are your thoughts on DC as a theatre town?
DC is a diverse, talented, vibrant, and passionate theater town! Yes, we struggle with sustaining funding for our artistic institutions as other cities have in this current economy. We struggle with presenting racial and gender parity on our stages. We struggle as local playwrights to see our plays staged.Yet, for all that, I've been working nonstop since moving here in 2006. I've worked as a freelance dramaturg, playwright and teaching artist and even as an actor, director and producer on occasion. As playwrights, we're surrounded by brilliant and ambitious theater artists and arts administrators who are committed to working on new plays. For instance, in 2008, Active Cultures, a Maryland based company that creates locally-based worked for a multicultural and multigenerational audience, commissioned and produced my play Mad Breed. The next year, under the auspices of the Hegira, I produced a workshop production of Anna K as part of Round House Theatre's Silver Spring Series and co-produced Deep Belly Beautiful as part of the Mead Theater Lab at Flashpoint. Last year, my play, Love Brothers Serenade, received a reading at the Kennedy Center's annual Page-to-Stage new play festival and then received a workshop and reading at Howard University. This year, Theater J, one of the nation's premiere Jewish theater companies, commissioned me to write, The Hampton Years as part of their Locally Grown Festival. What's more, the audiences in DC are diverse, savvy and intellectual; where better to grow and develop your plays! Living here for the past 8 years has been an amazing experience!
*Ira Aldridge:The African Roscius was commissioned by the Cultures in Motion Program of the Smithsonian's National Portrait Gallery. The Portrait Gallery tells American history through the individuals who have built our national culture, using the visual arts, the performing arts and the new media. Established by an act of Congress in 1962, the Portrait Gallery opened to the public in 1968. The museum's collection of more than 20,000 works ranges from paintings and sculpture to photographs and drawings. Cultures in Motion is the National Portrait Gallery's performing arts series. Broad in scope, the series is designed to educate, entertain, and promote mutual understanding of the diverse cultures that make up both the NPG collection and the mosaic of American heritage. The series uses the medium of portrayal to interpret the lives of the sitter via theater, music, and the literary and visual arts. The script for Ira Aldridge: The African Roscius was commissioned by the Marc Pachter Fund for Commissioning and was originally produced in collaboration with the National Museum of African American History and Culture. As Director of Public Programs at the National Portrait Gallery, Jewell Robinson conceives, writes, produces, and occasionally performs in the Cultures in Motion series, where in her twenty year tenure she has produced over 100 original programs about the sitters in the Portrait Gallery collection. A professional actress, Robinson has worked in New York, Japan, and at virtually every professional theater in the Washington region. She has received three Helen Hayes nominations for her work as an actress; in 2001 she received the Helen Hayes Award for her work in the Arena Stage production of Blue and New York's Audelco Award for the Grammercy Theatre's (Roundabout) production of the same show. In addition to being a recipient of the Mary Goldwater award for the body of her work as an actress, she is also the proud recipient of an honorary doctor of humane letters degree from her alma mater, Goucher College, for her contributions to the arts and her efforts in furthering diversity in American society, and is the honoree at Goucher's annual Jewell Robinson Dinner.
Portrait of Ira Aldridge as Othello (c. 1830) by Henry Perronet Briggs, courtesy of the National Portrait Gallery.
To learn more about the National Portrait Gallery, please click the post's title.
Labels: AAPEX Interview, Jacqueline Lawton, Jewell Robinson
National Black Theatre presents DC Copeland's "Once Upon A Time In Harlem: A Jitterbug Romance" 3/30 (Harlem)
What: The "radio" reading version of
D.C. Copeland's
award-winning full-length play
"Once Upon A Time In Harlem: A Jitterbug Romance."
Directed by Petronia Paley
When: 7pm, Friday, March 30th
Where: The National Black Theatre
(celebrating its 44th year of "keeping soul alive!")
5th Ave., Btwn 125 and 126th Streets, Harlem
RSVP: info@nationalblacktheartre.org or call 212-722-3800.
Seating limited.
For more information, please play the video.
Please click the post's title to visit the National Black Theatre website.
AAPEX Interview: Max Désir
Max Désir
Picture by Stanley Louis from www.3imagespro.com
Interview with Max Désir by Jaz Dorsey
The Foreign Language Acting Group is proud to recognize Haitian born multi-talented and mulit-lingual actor/singer/model Max Désir as our Artist of the Year for 2012. Max joins the cast of Circle Players production of TITANIC in the role of Joseph Laroche, which runs at TPAC April 5th - 8th.
I asked Max to tell us about himself and his work, and here is what he has to say:
Growing up in my childhood church in Haiti, theater and the arts were dormant in my life due to the fact that I was taught that I couldn't be a Godly man and an entertainer at the same time. I was taught the two were opposites, so I suppressed my innate ability to create a reality that alters life through possibly one of the most transforming apparatuses on earth, the arts. I remember watching movies as a child and reiterating lines and facial expressions of actors as I got to the parts I really liked. As an adolescent, the mirror became my best friend not because I was practicing modeling faces, which became part of my career, but because I wanted to see how convincing and mesmerizing I can be as an actor. Interestingly enough, I still practice in the mirror nowadays
After years of suppressing my ability as an actor, in 2005 my university (Medgar Evers College CUNY) held auditions for a short film featuring Danny Glover and I landed my first supporting role. Landing that role gave me the confidence and the audacity that I needed to embark on my journey an actor. From that point on, I took continuous classes, workshops and voice lessons. I partook in a lot of student and Independent films, theatrical works, commercials, voiceovers, modeling in different cities.
What brought you to Nashville and what are your "Nashville" objectives?
In 2006, I went to Las Vegas to compete in a nationwide acting/modeling/singing competition called Talent Rock founded by Lou Pearlman. I won in some categories, and received a few offers from agencies. One of these offers came from a Nashville agent. Ever since then, I have been moving between New York and Nashville looking for gigs. Nashville has been very good to my career and has built my resume in more ways than one. I hope to continue to grow as an actor in Nashville whether it is in theater or film and hope to create a triangular relationship between Nashville, New York and Los Angeles. I am also looking forward to working together with my fellow actor, business partner, and friend Stanley Louis as we periodically merge my production company, S.T.A.R. Productions, which stands for Spiritually Renewed And Trained Productions with his all inclusive videography/photography company, imagesProductions to put together independent films, commercials, and original stage plays within the community and abroad.
What are your thoughts on Circle Players and the work they do?
I became familiar and active with Circle Players back in October 2010 when I landed my audition with them for the role of George in "Raisin in the Sun." From that point forward, it has been an exciting ride working with them. Being the oldest community theater in Nashville, Circle Players stands on its own as a pivotal force in the community. As now a proud member of the board of directors, I count it an honor to be part of an organization that keeps on reaching new heights. As I learn about the history of Circle Players, I have noticed that it is becoming stronger and better than ever before under the leadership of its President Tim Larson and Vice President LaTonya Turner, who exemplify the caliber of the board as a whole. Each board member brings their own artistic historical background that contributes toward the steps forward that Circle Players is taking. And now we are daring enough to embark on this current audacious journey where we are having a Broadway quality production of "Titanic, the Musical" at TPAC April 5th through the 8th for the one weekend only. It is also worth mentioning that Circle Players will make history as they feature the
only black passenger on the Titanic (Joseph Laroche) whom I will have the honor of playing. The Laroche family has quite a fascinating story and the director and producer of the show thought it was worth featuring in the musical. Circle Players also reaches out to the youth in our community by having workshops that focus on refining their abilities as young performers.
Career wise, what's on your to do list now?
I have quite a few things on my list due to the eccentricity of abilities I've been blessed with in my life. The more immediate ones happen this summer 2012; I have a few short film projects lined up and am shooting potential commercial ideas on dvd to submit to big corporations. I hope to hit a music studio by end of summer to start working on a Worship CD in Creole/French and English. I'm working on finishing my first motivational/inspirational book "Just Like a Tree" by the beginning of 2013 and last but certainly not least I will start traveling the country again on certain weekends to churches and other organizations as a traveling evangelist and a motivational/inspirational speaker. I'm just going to stay busy and prepare myself in and out for bigger things.
Don't miss Max and the other fine actors of the cast of Circle Players TITANIC at TPAC April 5 - 8.
To learn more about the Circle Players, please click the post's title.
Come to Nashville and Go to the Theatre!
The Nashville Dramaturgy Project
Labels: AAPEX Interview, Circle Players, Max Désir, TPAC
Jaz Dorsey to workshop on writing musicals for the Nashville Songwriters Assoc
The Nashville Songwriters Association has invited me to give a workshop on writing musicals, which is pretty cool. Here's an example of what I've done in the past: EXTRAORDINARY WAITER is from my "Songs from the Cafe Escargot." It features Tony Domenico and Pam MacQuarry. I'm banging on the piano off-stage.
Labels: Extraordinary Waiter, Jaz Dorsey, Nashville Songwriters Assoc, Songs from the Cafe Escargot
Confessions of a Dramaturg or Atlanta Gothic, Part Two
Thirty four years ago I was a fairly happy fellow, in a wonderful relationship with a home, a dog, a job as a librarian at The University of North Carolina and a newly earned degree from UNC- Chapel Hill in International Studies - something of a surprise to myself and my family, as I had graduated high school from a North Carolina state mental institution, where my mother had put me when it was clear that I was determined to "grow up to be an actor."
I also had a mentor.
His name was Richard Thomas Pike and at the time our relationship began, he was the head of the theatrical design curriculum at Chapel Hill- though he was shortly to transfer to Virginia Common- wealth University.
When I had gotten into Chapel Hill, the three years of institutionalization had had somewhat the desired effect and I hadn't taken a single theatre course of any kind - up until my very last semester when, figuring that no one was looking, I took Rick's Theatre History course. However, almost all of my German, French and English classes had focused on dramatic literature and during my year of study on scholarship at the University of Göttingen in West Germany, I had had many friends - including a couple of dramaturgs - in theatres around Germany.
Two weeks into the course, Rick took me aside, told me I was a dramaturg and hired me as his assistant. I was 25 years old.
My first assignment was to dramaturg the heraldry for RICHARD III.
I went to the library and found an awesome book called SHAKESPEARE'S HERALDRY, did tracings of the relevant material and took them back to Rick, who, for a minute, thought I was some kind of genius. Then I showed him the book.
The next thing I knew, we were sitting in the Gramercy Park hotel in NYC and running around the garment district buying materials for the costumes for a production of RICHARD III at the Asolo Theatre in Florida. Not long after that we were on the Army base in Ft. Bragg, NC, building the set for an Army production of CAROUSEL.
That fall, Rick transferred to Theatre VCU, at that time under the Chairmanship of Dr. Kenneth Campbell. The department had decided to create a graduate dramaturgy program, but there was a problem - no students. They needed at least one to keep the program from folding. I fit the bill, so in spite of all my family's efforts to keep me from going there, I suddenly embarked on what has proved to be an exciting but also extremely disturbing career path in the theatre - as a dramaturg. Disturbing because of (sorry, there is no other word) all the bullshit that plagues the American theatre, including some very evil people. For some disturbing reason, these are also frequently among the most successful people.
This is where I think that the 3 years in the nuthouse actually served me well - I was used to the society of lunatics and sociopaths, but in the context of group therapy, which equipped me
with some of the skills needed to identify and protect myself against them.
34 years later, as I stop and assess where this journey has taken me, I find that only about 25% of my time and career have been devoted to tasks that fit the dramaturgical profile - doing production research and working with playwrights - and in those roles I have never been paid. My 2 actual paying theatre jobs - a brief stint as the assistant to the directors at the Alliance Theatre in Atlanta in 1980 and seven years as production manager in the NYC offices of Biggs Rosati Productions, 1990 - 1997 - were not dramaturgical positions per se.
The truth is, there are very few paying jobs for dramaturgs and quite frankly I do not have the temperament to sit in a corner and take a back seat to anyone, which is pretty much what dramaturgs are - or have been - expected to do. So I have spent most of the past 34 years doing what you might call "pro bono" work from setting up an Actors' Reading Room at The Atlanta Public Library in 1981 ( a dismal failure) to founding The African American Playwrights Exchange in 2007 to coordinating a new play reading series for the Metro Nashville Parks Theatre Department, which kicked off in September of 2011.
In the course of all this, I have served "as" many different things.
Audience Development Adviser
Playwright/Composer
Film Festival Administrator
Critic/Journalist
Set & Costume Designer
I don't for a minute think that this inventory of dramaturgical roles is unique to me; in fact, I'm pretty sure that diversification of this kind is one of the trademarks of dramaturgy.
Over the past 30 years, the dramaturgical presence has grown tremendously in North America. There is a wonderful professional organization known as the LMDA - www.lmda.org - which connects dramaturgs and literary managers from all parts of the continent, and these days having a dramaturg on board is a source of pride and prestige.
But people can still look at you funny when you use the word dramaturg, and I've been subjected to some interesting permutations of the word, from "drama-turkey" to, well, use your imagination.
Still, I think the dramaturg is here to stay.
Come to Nashville and Go to the Theatre.
Labels: Confessions of a Dramaturg, Jaz Dorsey
DREAMGIRLS at Harold Washington Cultural Center this Saturday March 10th at 8pm (Chicago)
Join us as we kick off
Broadway To Bronzeville!
If you missed last weekend then you need to come see us on
Saturday, March 10 @ 8pm
for the Broadway Musical
Directed and Produced by John Ruffin
Harold Washington Cultural Center
4701 S. Dr. Martin Luther King, Jr. Drive
Jimalita Tillman rsvpbet@yahoo.com
A 501c3 organization
Please click the post's title to learn more.
Labels: Harold Washington Cultural Center
The Laramie Project at University School of Nashville
Ask not what you think of the play -
ask what the play thinks of you.
From the folks who brought us the Nashville Premiere of BLOODY, BLOODY ANDREW JACKSON (and they said it wouldn't play in Nashville!) - get
ready for another compelling theatrical experience, as the Student Theatre Guild of The University School of Nashville prepares to confront us with their interpretation of THE LARAMIE PROJECT.
If you're not familiar with the play, it's worth a Google.
15 young actors will portray 60 different characters under the direction of USN senior Hannah Baker.
It is no surprise that these young artists are ready to take on this intense retelling of the murder of Matthew Sheppard and it's backlash on the town of Laramie, Wyoming, given that they are studying under such brilliant mentors as Catherine Coke and Jim Manning. But the choice of this script was strictly the students', who felt that the play was timely in light of all the attention that is given to bullying, teen suicide and gay marriages at this moment in our culture's history.
Recent productions of BBAJ and CABARET were the work of the theatre department, but this time out the producers are those students who make up the Student Theatre Guild, which is technically one of the school's clubs and entirely run by students. Hannah Baker, who directs LARAMIE, is the guild president and Sam Douglas, who really rocked last year as Andrew Jackson, is the vice president. Both are seniors.
The guild meets every Wednesday, either to work on their own productions or to discuss the theatre scene in Nashville and - most highly admirable - they support the theatrical productions at other area high schools, such as Harpeth Hall and Montgomery Bell. I would strongly suggest that local producers - especially filmmakers - join them on some of these theatre trips to check out the incredible teen talent that is being nurtured in Nashville's institutions of learning, including both our fine high school and university programs which are preparing the next generation of actors and associated talents for the future of the Acting Industries in our country.
The Student Theatre Guild also produces annually both a showcase and a scene night. Out of 400 students, 60 participated in the most recent scene night as actors, and another 10 as directors. That reflects a lot of interest in stage work. Training at USN also includes playwrighting and technical studies, and offers independent studies based on individual interests.
Performances @ $5.00 a ticket are Thursday, March 29 at 5:00 pm then at 7:00 pm on that Friday and Saturday. The address is 2000 Edgehill Avenue at the corner of 21st Ave. South and parking is in the 19th Ave. lot.
A closing observation: there is no such thing as a "student actor" - there are only actors who are studying, and it has been my experience with actors, real actors, that they are ALWAYS studying.
To learn more about this great school, please click the post's title.
Labels: University School of Nashville
Confessions of a Dramaturg or Atlanta Gothic, Part One
When I was a little boy growing up in my grandmother's home at 99 Peachtree Battle Avenue down in Atlanta, Georgia, spending my afternoons listening to the lp vinyl recordings of the soundtracks of the great Hollywood versions of the great Broadway musicals, I had no idea that I would grow up to be...
a dramaturg.
And when I became a dramaturg, how could I imagine that my own dark and troubled family history would come back to me in the form of a play and an opportunity to "do the dramaturgy" on a production of that play.
Most of y'all know Alfred Uhry - certainly for DRIVING MISS DAISY and LAST NIGHT OF BALLYHOO.
Now you're about to learn about PARADE from my point of view. PARADE is Uhry's musical about the trial and lynching of Leo Frank.
My family sat on both sides of the trial table on this wretched miscarriage of justice. My Grandfather, Hugh Manson Dorsey, was Leo's prosecutor. Another nearly related gentleman, Luther Rosser, was Leo's defense attorney. I'm not quite sure how Luther is related - just that we used to call him "Uncle Luther" when I was growing up and the adults were having cocktails.
My grandfather went on to become the Governor of Georgia - 1917 - 1921- because of the fame that the trial brought him.
That was after Leo Frank was lynched.
Strange subject for a musical. I certainly felt that way when I saw it in New York at the end of the last century, sitting there watching my grandfather sing, dance and prosecute Leo Frank.
Leo was exonerated about 50 years later when another man confessed to the murder of "little Mary Phagan".
Well, as Kurt Vonnegut says in one of his novels - so it goes.
The Boiler Room Theatre in Franklin, Tennessee, has a production of PARADE coming up in the fall. Between now and then, Jamey Green and his crew have some other cool stuff going on. You can check 'em out by clicking the post's title.
Come to Nashville - no, make that Franklin - and Go to the Theatre.
Labels: Alfred Uhry, Confessions of a Dramaturg, Jaz Dorsey, Parade
AAPEX Interview: Anthony Lamar White
Interview with Anthony Lamar White by Jaz Dorsey
Last year, Florida playwright Anthony Lamar White contacted The African American Playwrights Exchange about his script CALMING THE MAN - a hard hitting play about manhood that offers some unusually demanding challenges for actors of the male persuasion.
I was delighted when Anthony contacted me to let me know that Atlanta's New African Grove Theatre was gong to give the play a read on March 17 at The Southwest Art Center. I hope the theatre will keep track of the feedback because I would love to hear what an audience says in response to Anthony's jarring look at fathers and sons.
I asked Anthony about himself and his play and here is what he has to say:
I was born a writer. I say that because I've been writing for as long as I can remember. Before I learned to read and write, I knew how to tell a story. My mother and grandmother encouraged my writing by buying me a typewriter for Christmas when I was nine. By then I was writing short stories, poems, and songs. However, during sixth grade, my class put on a Bicentennial play and I was cast as a letter in the word "History". That's when I fell in love with theatre and first tried my hand at writing a Christmas play for my church's youth group. It was a smashing success. Later, during my senior year of high school, I was attending the National 4-H Conference in Washington, D.C. and happened to be in the audience during screen legend Katherine Hepburn's performance in the play, Westside Waltz. What made this even more unforgettable was my English honors class had read "On Golden Pond" and went to see the movie. And, this performance was the same week she won the Academy Award for Best Actress for "On Golden Pond." I've been aiming for Broadway since then.
There wasn't a community theatre or live theatre in my community, so I started a community theatre group in my hometown, Perry, Fla., during the late 1980s / early 1990s, and continued writing plays for the group to perform. In 1999-2000, I wrote the initial version of my stageplay, Calming The Man. The play was well-received, even selected to be part of the 2001 National Black Theatre Festival's Readers Theatre of New Works. However, shortly after that my mother became extremely ill and I became her full-time caretaker. I put the play aside and did not pull it back out until a year ago. I spent a couple of months revising the play, and the staged reading by the New African Grove Theatre group will begin the play's second phase.
I consider what I do as art because I was inspired to write by great artists like Toni Morrison, August Wilson, James Baldwin, and Sidney Poitier. Oh, and seeing Diana Ross in Lady Sings The Blues turned me into a screenwriter. I'm a playwright, novelist, screenwriter, songwriter, and journalist who loves what he does. And that is write. I can't say that I have a preference when it comes to the medium I write for. I usually let the story decide how it should be told. My play, Calming the Man, was begging to be told first-hand as only live theatre could do. While the story behind my novel, The Pages We Forget, needed to be unveiled slowly, layer by layer, chapter by chapter.
If I had to find one problem with my writing, it would be the writing process. I wish I could devote myself to working on and completing one project at a time, but I can't. Right now, I'm working on my next play, a romantic suspense drama, Vampire, which does not contain any "real, fanged" vampires. Or does it? I'm also completing my next novel. And, revising a screenplay. But still, I think I've grown considerably as an artist, but I don't think I'm nowhere near where I would like to go with my craft.
What inspired you to write CALMING THE MAN?
CALMING THE MAN is deeply personal to me. It was inspired by the life and drama that one of my close friends endured while growing up. This is not his story, but he inspired the main character, Tracey, a young man who wants so desperately to win the love of his father, Daddyo, a man who could not and would not allow himself to love his son. Daddyo was a product of the pre-Civil Rights era, and it shows in the way he
responds to his family and the people around him. Daddyo has been bleeding inside his entire life, but still, he blames his son Tracey for inflicting his deepest wound. My friend was very much like Tracey. And, like Tracey, his desperation for his father's affection led to some tragic events.
Calming The Man is an award-winning stageplay about the self-destructive anger that destroys so many young men - young Black men in particular. It's a story about the inherent anger passed down from generations of African-American fathers to their sons.
***The stageplay was chosen to premiere at the 2001 National Black Theatre Festival Reader's Theatre of New Works.
***Top-5 finalist in the 2001 Theodore Ward National African-American Playwriting Contest sponsored by Columbia College (Chicago)
***Top-5 finalist in the 2001 Wichita State University National Playwriting Contest
***Received a development grant from the Pilgrim Project Foundation (NYC) in December 2001 - a foundation that funds projects promoting Christian values;
***Premiered in NYC in May 2002 as a staged reading by the Oberon Theatre Ensemble (off-off Broadway);
***Awarded a development grant in 2000 by B.E.A.M., which is sponsored by Jim Beam Corp
What are the date, time and location of the Atlanta reading?
Atlanta's New African Grove Theatre under the direction of Keith Franklin will perform a staged reading of Calming The Man on:
Date: March 17th
Location: The Southwest Arts Center
at 915 New Hope Road SW, Atlanta GA
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Call for Plays (3/20 Deadline)
Seeking Play Submissions for Summer Festival! (New York)
Date: 2012-03-06, 10:26PM EST
Reply to: kristine@catchaclover.org [Errors when replying to ads?]
Catch A Clover Productions LLC is proud to announce our 2012 project- Morphology: From Script to Stage. We are inviting you to participate in the creative evolution that occurs when a script transforms from words to life.
We are currently accepting submissions of unpublished plays that have yet to be produced. We are accepting both full lengths and one acts.
We will be producing multiple plays spanning two weekends in July. The rehearsal process will occur throughout the month of June. When chosen, the playwright will be encouraged to sit in on rehearsals (this is not a requirement) in an effort to form a creative playground in which the playwright will benefit from the prospective of fellow artists.
Don't live in the New York area? Not a problem! We would still love to hear from you regardless of whether you are able to come to rehearsals!
To submit a play please send us a cover letter as well as a 10 page excerpt to kristine@catchaclover.org. We will be accepting submissions from now until March 20th. The winning works will be announced April 1st. Feel free to check us out at catchaclover.org for more information on our company.
We look forward to reading your work! Good luck!
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text:
Graptodytes bilineatus is a species of beetle belonging to the family Dytiscidae.

It is native to Europe.

References

Dytiscidae
Beetles described in 1835

redpajama_set_name: RedPajamaWikipedia


The Apostolic Christian Church is conveniently located a few blocks off of I65 S and I465.
Take Exit 107 for Keystone Ave. Turn Right onto Keystone Ave. Turn Right onto National Ave (beside Burger King). Turn Right onto State Ave, and then 1/2 block turn Left onto Standish Ave. Church is located on the Right.
Take Exit 107 for Keystone Ave. Turn Left onto Keystone Ave. Turn Right onto National Ave (beside Burger King). Turn Right onto State Ave, and then 1/2 block turn Left onto Standish Ave. Church is located on the Right.


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Cody Allen was released by the Angels on Tuesday.Allen was designated for assignment Saturday, and after failing to draw interest while on the waiver wire, the Angels have requested unconditional release waivers the right-hander.These Cus Crise Celts don't beat themselves, and through gritted teeth or otherwise, there's something to be said about that.There's no way the defense can be pleased with any of that.
"Obviously, Dennis played an incredible second half in every aspect – defensively, offensively – and gave us great separation," Thunder coach Billy Donovan said.Wind: The signature feature of Icelandic weather is wind.TB and at SF …Researchers who apply for access can only have access for up to three months, and no more than 60 scholars are allowed in at once.Chelios is also a product of the Little Caesars AAA Hockey Club and spent one seasons with the United States Hockey League's Chicago Steel, where he posted 34 points in 52 games the 2009 campaign.
At 6-foot-3 and 226 pounds, Cantrell profiles as an effective option when split out wide, something that was also true of the since-departed Tyrell Williams.Any seller credit accrued from sales after Jan.Stop: Gaze at domesticated musk oxen, the Ice Age wonders of the Alaskan landscape for their wool, in Palmer.The uniform buildings and rigid grid-plan streets were meant to celebrate order and conformity, while echoing a powerful past and promising a glorious future.
Evan Fournier finished with 16 points, but missed a contested 3-pointer as time expired in overtime.Glenn Sanabria, the Terriers' second leading scorer entering the contest at 13 points per game, was held to only 6 points on 2-of-13 shooting.He was out-chanced by most of the Canucks regular forwards, with Henrik Sedin, Sven Baertschi, Michael Chaput, and Brendan Gaunce being the regulars to direct fewer pucks towards the net.As of today , the Blue Jackets sit third in the Metropolitan Division with 51 points and are pacing for 100-plus points once again."But when you you can't allow that to bother you and I think that showed.View More VEGAS – Vegas Golden Knights General Manager George McPhee announced today, July 4, that the team has acquired a fifth-round pick in the 2018 NHL Entry Draft from the Carolina Hurricanes in exchange for forward Marcus Kruger.
Visitors very rarely know that Italy boasts as many culinary traditions as the number of regions it is composed of, so they think of eating Italian the most common dishes they have been hearing about, Picci said.It's not a must-win game for standings' sake."If I had a little more space on the baseline, I was going to attack, probably spin and make something happen, but I ran out of real estate," Richardson said.He also led QMJHL rookies in scoring and earned a spot on the QMJHL First All-Star Team and All-Rookie Team, while winning the Mike Bossy Trophy as the league's best professional prospect.Songs were written after his arrival, fans were so ecstatic that 2000 of them observed his first practice with the Vancouver Canucks on Nov.3 and nobody could seem to get enough of the Russian Rocket.Bastian will miss his third straight game due to his upper-body issue.
More information should be revealed, including a potential timeline for his return, once additional tests have been conducted.Take your time and stop at the well-marked scenic overlooks, starting with the Shenandoah Valley Overlook at mile 2, where you can see the Shenandoah River, as it winds through valley.The Bruins had two opportunities on the power play late in the period, but were unable to capitalize on either, the second of which came to an early end when Matt Grzelcyk was whistled for a slash at 19.Monmouth had a 10 advantage in fast-break points and beat the Saints at home for a sixth straight time.It doesn't mean we won, but we gave our team a chance for success.is trending toward starting and serving as the ' lead back Thursday against the Chiefs after coach Anthony Lynn told Steve Wyche of NFL Network he's not optimistic Melvin Gordon and Austin Ekeler will be available for the contest.
Pittsburgh is Cincinnati's most hated division rival.Its Steel Pier amusement park offers rides, games, and food.The hotel's various activities also help distinguish it as the No.Behind Casimir, FGCU made 15-pointers, a Mabee Center record for an opposing team, on 25 attempts.He doesn't even have an ERA because he hasn't recorded an out.So we recommend buying miles at full price.
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text:
Prescription analysis of statins in patients with cardiovascular diseases and other comorbidities in various tertiary care hospitals at Salem district, Tamil Nadu
Arul B Department of Pharmacy Practice, Vinayaka Mission's College of Pharmacy, Vinayaka Mission's Research Foundation (Deemed to be University) Salem – 636008 Tamil Nadu, India
Jitty Sara Mathew Department of Pharmacy Practice, Vinayaka Mission's College of Pharmacy, Vinayaka Mission's Research Foundation (Deemed to be University) Salem – 636008 Tamil Nadu, India
Lekshmi Mohan Department of Pharmacy Practice, Vinayaka Mission's College of Pharmacy, Vinayaka Mission's Research Foundation (Deemed to be University) Salem – 636008 Tamil Nadu, India
Krishna Prasad TK Department of Pharmacy Practice, Vinayaka Mission's College of Pharmacy, Vinayaka Mission's Research Foundation (Deemed to be University) Salem – 636008 Tamil Nadu, India
Kothai R Department of Pharmacy Practice, Vinayaka Mission's College of Pharmacy, Vinayaka Mission's Research Foundation (Deemed to be University) Salem – 636008 Tamil Nadu, India
The present study was conducted to analyse the prescription patterns of statins in patients with cardiovascular diseases and other comorbidities in various tertiary care hospitals at Salem district, Tamil Nadu, India. This prospective observational study was carried out for a period of 6 months from November 2017 to April 2018 in which 200 prescriptions were selected for the study by considering the inclusion and exclusion criteria. A total of 200 prescriptions were analysed. Patients of above 60 years' age group were mostly diagnosed n=87 (43.5%) of cardiovascular diseases. Male patients n=142 (71%) were more prone to CVDs than female patients n=58 (29%). Most of the patients were diagnosed with CAD n=66 (33%) followed by dyslipidemia n=33 (16.5%) and hypertension n=27 (13.5%). Out of 165 patients diagnosed with comorbidities, most of the patients were found to have DM about 104 (63%). The results showed that among the various statins, Atorvastatin-10mg about 100 (50%) was the most commonly prescribed drug than Rosuvastatin (n=80; 40%) and Simvastatin (n=20; 10%).
Keywords: Cardiovascular diseases, Comorbidities, Prescription patterns, Statins
Arul B, Jitty Sara Mathew, Lekshmi Mohan, Krishna Prasad TK, & Kothai R. (2019). Prescription analysis of statins in patients with cardiovascular diseases and other comorbidities in various tertiary care hospitals at Salem district, Tamil Nadu. International Journal of Research in Pharmaceutical Sciences, 10(1), 668-672. Retrieved from https://pharmascope.org/index.php/ijrps/article/view/122


они не знают о чем говорить, решая ту или иную коммуникативную задачу.
надо выучить и не ставим перед ними проблемы, которые нужно решить».
коммуникативных навыков учащихся на старшей ступени обучения.
учащихся к продуцированию собственных высказываний.
cамостоятельность, проблемность и деятельностный подход в обучении.
приемов, считаю, что наиболее оптимальными будут следующие.
мыслями в паре, обсуждают в малых группах и презентуют классу.
анализ, принятие решений, установление причинно-следственных отношений.
прогнозирование дальнейшего развития сюжета [3,c.131].
соотнести, обобщить, выдвинуть гипотезу и т.д. (Приложение 2).
взглянуть на вещи по-другому или явились автором какой-либо идеи.
от инерции мышления, преодолении привычного хода мыслей [3, c.143].
кластеры и умные карты[3, c.106].
Одним из средств активизации речи и мышления является ролевая игра.
что в свое время побуждает желание высказаться.
роли, основанные на пересечении интересов [12, с.132] (Приложение 8).
позитивный и конструктивный вид дискуссии, так как в ней нет противников.
дискуссий, так как в этом методе задействовано 6 разных режимов мышления.
оценку идей, отбор наиболее существенной информации.
проблемы «Как думать, когда не думается; о чем говорить, когда не говорится».
опасения, что они будут кем-то опровергнуты или подвергнуты критике.
значимые для них ситуации, вызывающие у них желание говорить и общаться.
так как дает план для исследования вопроса и выражения своего мнения.
метода, так называемые «модифицированные дебаты» (Приложение 9).
нестандартные формы работы и проявляют оригинальность суждений.
форуме педагогов-практиков «Педагогический поиск - 2013» и на мастерклассе в рамках работы Школы молодого учителя.
ресурс]. Режим доступа: http//www managementlib.ru. – Дата доступа – 03.12.2013.
Э. Боно//перевод с англ. А.А. Курсов. - Мн.: ООО «Попурри», 2005.
«Дельта» совм. с издательством «Речь», 2003.
ресурс]. Режим доступа: http//www moluch.ru. – Дата доступа –.2012.
6. Полат, Е.С. Метод проектов на уроках иностранного языка//ИЯШ. – 2000. - № 2.
8. Якиманская И.С. Личностно-ориентированное обучение в современной школе/И.С.
9. Corbett, Pie. Telling Tales [Электронный ресурс]. Режим доступа: http//www.
Englishteaching online. - Дата доступа –2010.
1. Знание: What? Where? When? Etc.
explaining….? — Can you describe it in your own words…?
Применение: How is it used? What does it relate to…? In what situations….?
point? What are the causes of…? How do … fit together?
conclusions on the basis of the information available? How does something relate to you?
Оценка: Is it good or bad? Why is this reasonable / good/ beneficial? Why?
Виды заданий на классификацию, анализ, сравнение, принятие решения.
1. Classify the definitions of love and comment on the way you categorize them.
attitude" and discuss your position.
transformation – рассказывают в другом жанре.
Nasruddin. The man who lost the money must have been up even earlier that you were.
1. Read the story and while telling it make use of as many adjectives and adverbs as you can.
of money lying on the road…).
3. Shorten the story to 3 sentences.
It's better to be pleased with what you have.
5. Rank the titles from the most to the least suitable. Choose the best one. Explain your choice.
6. Can you think of what might happen as a continuation of the story?
motto for your final year.
the best way of relaxing.
Eg.1) [Action] is the fundamental key to all success (Pablo Picasso).
3) [Failure] is success if we learn from it (Malcolm Forbs).
class explain the reasons for their choice).
Jolie, Joanne Rowling, Henry Ford.
Eg. 1) Thomas Edison failed 10.000 times before he invented the light bulb.
2) Walt Disney experienced 3 total bankruptcies before he created his profitable animation studio.
results in the form of a diagram).
Determined, risky, aggressive, organized, confident, enthusiastic, lucky, ambitious, hardworking.
6.Creating the Formula of Success (the pupils create their own formulas and present them to the class).
town. The problem is that you have lost the key. You know that the neighbour has an extra key.
Convince the neighbour, who doesn't know you, to give the key.
town. When a stranger asks you for the key you are not sure whether you should trust him/ her.
solve a family problem. You need to go home, but the problem is that you have a test in Maths.
and you haven't planned to miss the test.
student who wants to leave early. What will you decide to do in this case?
The Statement for Debate: "I run to win — if I can't win I don't run".
successful outcome — a sport is only worth playing if the individual or team is going to win.
1. It's a good philosophy because it inspires people to give their very best.
1. The pressure of having to win can take away the enjoyment of the sport.
long as you know you have tried your best at something.
3. Competition can often bring out the worst in people. They can become aggressive and selfcentred and forget everything apart from winning.
You have spoken well on your point. And your words about victory sound beautiful.
But the pressure of having to win can take away the enjoyment of sport. But suppose you are right.
Motto "It's participating, but not winning that matters".
winners and losers. It's a fact. It would be nice if all were winners but it's impossible.
that you won't win, won't be among the best. It's a desire of every person to be the first, it's so natural.
beat others. Real sport is not for all, it's only for strong people both physically and psychologically.
soldier". The same about sport: "A sportsman who doesn't dream of victories is a bad sportsman".
weight or has come to the finish the first. These emotions become stronger if the rival is very strong.
are not ready to win — stay at home or become a spectator.
хулиганству, помочь найти пути решения проблемы.
восприятия иноязычной речи на слух.
(The students watch a video with subtitles in the lab on-line and suggest their ideas).
bullying most? What can we do to protect ourselves form bullies?
(The students give their associations and explain them).
T. By the way, is bullying typical of Belarusian schools? In what form does in mainly exist?
Have you ever been bullied? Have you ever bullied anybody?
1) pre-reading stage. Vocabulary Work.
T. Let's revise some words you've learnt yesterday which will be helpful while reading the text.
Match the words with the phrases.
problem in the US; find out reasons for bulling; learn who becomes a victim more often.
3) after-reading. Making a summary of the text.
→ summary) first to each other, then to the group.
Ps. (Each pair of pupils gives their variant of the summary).
T. Now let's brainstorm what forms bullying can take. You can use a dictionary if necessary.
Ps. suggest any words which describe violent behaviour.
T. Now scan text 2 for learning about other forms of bullying.
What is bullying? What are its main types? Give examples of each one.
physical portrait of a bully victim).
after-reading. Sharing the information with the other group.
group can choose a partner from group 2. Teach each other the information you've just learnt.
— Do you still insist that you have never been bullied and that you have never bullied anybody?
Now we'll have some fun. You've leant some new violent words. Pantomime these actions.
text a message, push, kick, punch, pinch, threaten, tease, ignore, spread rumors.
1) pre-listening. Motivation, introducing the vocabulary.
turning point of his problem?
recording, switches to the function "Interaction" and checks the understanding).
Ps suggest a possible continuation of the story.
Ps listen to the second part and compare their predictions with the contents.
T. Let's analyze our predictions and compare them with the story.
Ps say what way out the boy found.
What would you do if you were bullied or saw anybody being bullied?
VIII. The Results of the lesson and homework.
T. Good job. As far as we see we have answered all the questions. Your marks are ….
Your home work is to write an essay "Bullying can turn a child's life into a disaster".


Tom Steyer is co-founder of Next Generation. His group promotes solutions to two of the biggest challenges confronting the next generation of Americans: The risk of dangerous climate change, and the threat of diminished prospects for children and families.
Opponents of the move from fossil fuels to renewable energy frequently cite the cost — financial as well as on jobs — for their opposition. Investor and philanthropist Tom Steyer, who has been on the front lines of this debate for some time, says that's nonsense.
In fact, he contends, the opposite is true.
Steyer points to the state of California, where his environmental non-profit Next Generation is based, as an example of how switching to a clean-energy economy can benefit everyone.
Steyer expects to see the changes in California spread to other areas of the US as the nation begins to adopt clean energy more widely — despite the political gridlock over the issue in the nation's capital.
Outside the United States, in places like India, the transition will be harder because the capital costs of renewable energy are much higher. But Steyer believes this can be overcome, as well.
India and other countries are not going to be asked to sacrifice, Steyer maintains, because they will be making economic decisions that are in their own interests — and which are also going to help them avoid greenhouse gas emissions.
During the transition, however, the international financial community needs to "start checking exactly what their function is and what they are thinking," Steyer says.


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text:
Agreement on Trade, Economic and Technical Cooperation between
the Caribbean Community (CARICOM) and the
Government of the Republic of Colombia
The Caribbean Community (CARICOM) and the Government of the Republic of Colombia (hereafter called the Parties);
AWARE of the necessity to accelerate the Caribbean and Latin American integration process and of the significance accorded by the Parties to the various sub-regional integration processes, as a means of achieving greater international competitiveness of the Region and facilitating their full development;
TAKING INTO ACCOUNT the different levels of economic development between the Member States of CARICOM and Colombia;
DESIROUS of achieving a more dynamic, commercial and economic relationship between them;
CONSIDERING the advantage of formulating clear and accurate guidelines that permit their different economic entities greater involvement in the economic development of the Member States of CARICOM and Colombia;
HAVING REGARD TO the rights and obligations of Colombia under the Cartagena Agreement (Andean Group), the Montevideo Treaty 1980, that establishes the Latin American Integration Association (ALADI), which allows the conclusion of Partial Scope Agreements with other countries and integration areas of Latin America, and Resolution 2 of the Council of Ministers of Foreign Relations of the Contracting Parties of the said Treaty; to the rights and obligations of the Member States of CARICOM under the Treaty establishing the Caribbean Community; and also the rights and obligations of Colombia and those Member States of CARICOM which are Contracting Parties to the General Agreement on Tariffs and Trade (GATT);
DECIDING to establish closer trade and economic relations and promote greater technical cooperation between the Parties;
HEREBY undertake to implement this Agreement:
ARTICLE 1: OBJECTIVES
The fundamental objective of this Agreement shall be to strengthen the trade and economic relations and technical cooperation between the Parties through:
the promotion and expansion of the sale of goods originating in CARICOM and Colombia with particular emphasis on exports from CARICOM States in the early stages of the implementation of this Agreement;
the promotion and protection of investments aimed at taking advantage of the opportunities offered by the markets of the Parties and strengthening their competitiveness in the international market;
the facilitation of the creation and operation of regional joint ventures;
the development of technical and scientific cooperation activities which may be agreed upon between the Parties;
the promotion of private sector activities, including business exchanges between the Parties.
ARTICLE 2: THE JOINT COUNCIL
A CARICOM-Colombia Joint Council on Trade, Economic and Business Cooperation (hereinafter called the Joint Council) is hereby established and shall be responsible for the administration of this Agreement.
The Joint Council shall consist of representatives of Colombia and CARICOM.
The functions of the Joint Council shall be:
to ensure compliance by the Parties with the provisions of this Agreement;
to recommend solutions to any problems which may arise in relation to the provisions of this Agreement;
to review this Agreement periodically, assess its functioning and recommend measures considered appropriate for the achievement of its objectives;
to implement any other functions which the Parties may assign to it.
The decisions of the Joint Council shall have the status of recommendations to the Parties.
ARTICLE 3: MEETINGS OF THE JOINT COUNCIL
The Joint Council shall meet at least annually, on such dates as may be determined by the Parties.
The meetings of the Joint Council shall be chaired jointly by the Parties.
Meetings of the Joint Council shall be held alternately in Colombia and in a Member State of CARICOM or in such other place as may be agreed by the Parties.
The Agenda for each meeting of the Joint Council shall be agreed on by the Parties, at least one (1) month before each meeting.
The Joint Council shall establish and regulate its own procedures and may create subsidiary bodies to assist it in the execution of its functions.
ARTICLE 4: TRADE LIBERALISATION
The Parties agree to promote a programme of trade liberalisation taking into account the difference in the levels of development between Colombia and CARICOM generally, and, in particular, those countries designated the Less Developed Countries (LDCs) of CARICOM.
ARTICLE 5: TREATMENT OF IMPORTS INTO COLOMBIA FROM CARICOM
Colombia agrees to grant products originating in Member States of CARICOM free access to its market by means of the implementation of programmes for the elimination of non-tariff barriers and for the elimination of tariff as set out in Annex I and Annex II to this Agreement.
The tariff on the products listed in Annex I shall be eliminated on the entry into force of this Agreement.
The tariff on the products listed in Annex II shall be eliminated through three equal annual reductions commencing on the date of the entry into force of this Agreement.
Most Favoured Nation treatment will be applied to products listed in Annex III. This is an additional list of products chosen from CARICOM's exportable offer, which may receive preferential treatment in Colombia beginning in the fourth year after the entry into force of this Agreement, following negotiations between the Parties.
The Joint Council may review any request made by the Parties to modify the treatment granted to any of the items listed in Annexes II and III to this Agreement.
For products other than those listed in Annexes I, II and III to this Agreement, Most Favoured Nation treatment shall be applied unless the Joint Council decides to improve the treatment.
ARTICLE 6: TREATMENT OF IMPORTS INTO CARICOM FROM COLOMBIA
The Parties agree that CARICOM shall grant Most Favoured Nation treatment in the application of the customs tariff in respect of all imports from Colombia.
CARICOM further undertakes that Member States of CARICOM shall not, without prior consultation with Colombia, apply any non-tariff barriers with respect to imports from Colombia beyond those currently in place or those authorised under the Treaty establishing the Caribbean Community.
The More Developed Countries (MDCs) of CARICOM, namely, Barbados, Guyana, Jamaica and Trinidad and Tobago, shall introduce a programme to eliminate or reduce tariffs on an agreed list of products of export interest to Colombia, commencing at the beginning of the fourth year after the entry into force of this Agreement.
The list of products to be offered preferential treatment by the CARICOM MDCs shall be agreed during the evaluation of the Agreement by the Joint Council in the third year after the entry into force of this Agreement. To this end, CARICOM will consider favourably the proposals by Colombia in order to bring into effect the reciprocity in this Agreement.
The CARICOM LDCs shall not be required to grant tariff concessions to exports of Colombia into their territories.
ARTICLE 7: TREATMENT OF USED GOODS
The reduction of duties provided for in Articles 5 and 6 of this Agreement shall not apply to used goods. For the purposes of this Agreement, used goods are defined as those which, on importation, show evidence of wear and include those goods which are irregular, imperfect or discarded from the production process, and in the case of motor vehicles, those which were produced more than one year before their importation.
ARTICLE 8: DUTIES
For the purposes of this Agreement, duties shall be understood as customs duties and any other charges of equivalent effect, whether fiscal, monetary, foreign exchange or of any other nature that affect imports. This does not include fees and charges when they represent the cost of services rendered.
ARTICLE 9: RULES OF ORIGIN
The Parties shall apply to imports covered by this Agreement, a regime of rules of origin which is designed to strengthen their mutual trade flows.
The determination of the origin of goods during the first three years of the implementation of the Agreement shall be in accordance with the provisions set out in Annex IV to this Agreement. The Joint Council will, at the beginning of the second year, commence the review of those provisions in order to establish those which will apply from the beginning of the fourth year.
The certification and verification procedures shall be in accordance with those established in Annex IV to this Agreement.
Rules of origin will be determined based on the general principle of change of customs classification heading, whenever this involves a substantial transformation process. The establishment of specific requirements by product may be necessary.
The origin regime shall include the concept of cumulative origin to favour production linkages among the Parties.
The Rules of Origin will be adjusted in the light of technological change, as well as changes in the production structure of the Parties.
A review mechanism is established in Annex IV.
ARTICLE 10: TECHNICAL STANDARDS
The Joint Council shall review the technical, industrial, commercial and public health standards, as well as sanitary and phytosanitary measures of the Parties and shall recommend the actions which it considers appropriate to ensure that these standards and measures do not constitute obstacles to trade between the Parties.
ARTICLE 11: GENERAL EXCEPTIONS
This Agreement allows the adoption or enforcement by Colombia or by any Member State of CARICOM of the following measures, provided they are not used as obstacles to trade:
those required to protect public morals;
laws and regulations necessary for security purposes and for the prevention of disorder or crime;
those needed to ensure compliance with laws and regulations related to customs control, or pertaining to the classification, grading or marketing of goods, or for the operation of monopolies by state enterprises or enterprises legally granted exclusive or special privileges;
those required to protect intellectual property rights;
those relating to gold or silver production or trade;
those relating to products from prison labour;
those aimed at the protection of national treasures of artistic, historical or archaeological value;
those required to prevent or alleviate critical shortages of foodstuffs in any of the exporting Parties; or
those relating to the conservation of non-renewable natural resources.
ARTICLE 12: TRADE PROMOTION
The Parties agree to establish trade promotion programmes to facilitate the activities of official and private trade missions, the organisation of fairs and exhibitions, the continuous exchange of information, market studies and other activities leading to the optimal utilisation of the preferences of the liberalisation programme, and the opportunities offered by the trade measures agreed on.
ARTICLE 13: TRADE FINANCING
The Joint Council will periodically review trade financing between the Member States of CARICOM and Colombia and recommend those mechanisms which may be implemented to facilitate this.
The Parties recognise the importance of timely payments for the development of trade and undertake to ensure that neither Colombia nor any Member State of CARICOM will establish undue impediments to the prompt payment for goods traded pursuant to this Agreement.
ARTICLE 14: TRADE IN SERVICES
The Parties recognise the importance of trade in services for the development of their economies.
The Parties further recognise that it will be opportune and necessary to develop cooperation in this sector based on the results of the Uruguay Round of the GATT. To this end, the Parties will negotiate amendments or further expansion of this Agreement.
ARTICLE 15: TRANSPORTATION
The Parties recognise the importance of improving transportation services as a means to facilitate trade between the Member States of CARICOM and Colombia.
The Joint Council shall identify the measures that contribute to improved transportation services, including the negotiation of air and maritime transport agreements between Colombia and the Member States of CARICOM.
The Parties further undertake to explore the possibility of creating joint enterprises in the area of transport and to promote the establishment of warehouses for the consolidation of freight.
ARTICLE 16: SAFEGUARD CLAUSES
The Member States of CARICOM and Colombia may apply bilateral safeguard measures of a temporary nature when:
imports of products from any Member State of CARICOM or Colombia are made in such quantities that such products cause or may cause damage to the national production of like or directly competitive products of the importing country;
it is necessary to redress balance-of-payment deficits or to protect the external financial position of the importing country.
Safeguard measures shall consist of the temporary suspension of the tariff preferences and the reinstatement of the Most Favoured Nation duties for the specific product.
Safeguard measures shall be applied for an initial period of no longer than one year. This term may be renewed for an additional year, if the causes that motivated the imposition of the safeguard clause persist.
The importing country seeking to impose or renew any safeguard measure shall request a meeting of the Joint Council in order to have consultations on the imposition or renewal of such measures. This imposition or renewal does not require consensus.
ARTICLE 17: UNFAIR TRADE PRACTICES
In cases where situations of dumping, as well as distortions from the application of export subsidies or from domestic subsidies equivalent in nature arise in the trade between the Parties, the affected Party may apply the appropriate measures in conformity with its domestic legislation, if it exists, which in any case, shall be in conformity with the provisions of the GATT.
ARTICLE 18: ECONOMIC COOPERATION
The Parties agree to encourage investments by their nationals in each other's territory through, inter alia, the consideration of eventual negotiations of Bilateral Treaties on the Promotion and Reciprocal Protection of Investments, investment promotion activities and the exchange of information on investment opportunities. To this end, similar agreements between individual Member States of CARICOM and Colombia will be encouraged.
The Parties agree to encourage joint production of goods and collaboration in the provision of services, especially those aiming to take advantage of market opportunities in third countries.
ARTICLE 19: TECHNICAL COOPERATION
The Parties agree to encourage and promote cooperation in areas such as human resource development, institution building, science and technology, research and development, environmental management, disaster preparedness and management, health research and management, energy, tourism and agricultural development.
Technical cooperation shall be implemented through the conclusion of agreements which will elaborate the modalities for dealing with, inter alia, exchanges among universities, training and research institutions, the provision of experts, the granting of training awards, graduate studies, strengthening of information systems and participation in seminars and workshops.
ARTICLE 20: PRIVATE SECTOR ACTIVITIES
The Parties agree to promote the active participation of the private sector in the fulfilment of the objectives of this Agreement. To that end, they will consider the possibility of establishing a Colombia-Caribbean Business Council to analyse trade and investment opportunities, supply business information and organise business exchanges.
ARTICLE 21: SETTLEMENT OF DISPUTES
Any dispute which may arise between the Parties concerning the interpretation, application, execution or breach of the provisions of this Agreement may, if the dispute is not resolved by the Parties, be referred by either Party to the Joint Council for its consideration and recommendations.
In the exercise of its powers under this Article, the Joint Council shall define guidelines and mechanisms for the settlement of disputes within six (6) months after the entry into force of this Agreement. Such mechanisms may be negotiation, mediation, conciliation and the formulation of recommendations by groups of experts.
The recommendations of the Joint Council or any group of experts nominated by the Joint Council with respect to the settlement of disputes shall not be binding.
ARTICLE 22: EVALUATION OF THE AGREEMENT
The Joint Council shall periodically undertake an evaluation of the implementation of this Agreement and the achievement of its objectives. On the basis of such evaluation, the Joint Council shall recommend the measures it considers necessary to improve trade and economic relations and technical cooperation between the Parties.
ARTICLE 23: ADHERENCE TO THE AGREEMENT BY OTHER ALADI MEMBER STATES AND THE BAHAMAS
In order to facilitate the convergence of this Agreement with other integration schemes of the Latin American countries, it remains open to the adherence of other ALADI Member Countries, subject to prior negotiations between the Parties and those countries which demonstrate their intention to become members, in accordance with the provisions of paragraphs (a) and (b) of Article 9 of the Treaty of Montevideo 1980.
This Agreement shall not apply to The Bahamas, unless it adheres thereto subject to prior negotiations between the Parties and The Bahamas.
ARTICLE 24: ANNEXES
The Annexes to this Agreement are an integral part thereof.
ARTICLE 25: TERMINATION
Any Party may terminate this Agreement, through written communication of its decision to the other Party. Termination shall take effect six (6) months after such notice is received by the other Party. In that event, Colombia shall inform the General Secretariat of ALADI.
All rights and obligations acquired by virtue of this Agreement shall automatically cease, on the effective date of termination, except with regard to those obligations pertaining to the importation of products which shall be in force for a further period of one (1) year unless the Parties agree to a longer period.
ARTICLE 26: ENTRY INTO FORCE
This Agreement shall enter into force when the Parties have notified each other that all internal legal procedures have been completed.
ARTICLE 27: DURATION
This Agreement shall be of indefinite duration.
Any addition, amendment or modification of this Agreement shall be done through Protocols to this Agreement.
ARTICLE 29: TRANSITIONAL MEASURES
The Parties shall immediately perform all procedures required to formalise this Agreement with the appropriate institutions, in conformity with their respective legal requirements.
The Government of Colombia shall deposit this Agreement with the General Secretariat of the Latin American Integration Association (ALADI), in conformity with the Montevideo Treaty 1980 and the Resolutions of the Council of Ministers of Foreign Relations of the Contracting Parties to the said Treaty.
IN WITNESS WHEREOF, the undersigned Plenipotentiaries, being duly authorised, have affixed their signatures to this Agreement.
DONE AT CARTAGENA in COLOMBIA in the English and Spanish languages, both texts being equally authentic, this 24th day of JULY 1994.
SIGNED Hon. Erskine Sandiford
for the Caribbean Community
SIGNED H.E. Mr. César Gaviria Trujillo
for the Government of the Republic of Colombia


text:
package com.vini.demo.taskmanager.applifecycle.guice;

import com.google.inject.AbstractModule;

public class MainModule extends AbstractModule {

    @Override
    protected void configure() {
        install(new TaskModule());
        install(new TaskTypeModule());
    }
}

redpajama_set_name: RedPajamaGithub


text:
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Nexus Magazine
NCNM Hosts Medical Tent for Portland Triathlon
National College of Natural Medicine
Hosts Medical Tent for Portland Triathlon
PORTLAND, Ore. (August 30, 2008)— The National College of Natural Medicine (NCNM), the oldest accredited naturopathic medical school in the United States, will host a medical tent Sunday, August 31 for the second annual City of Portland Triathlon. Triathlon Race Director Jeff Henderson said, "We want to create an event model that is unique in every way to reflect the values and sense of social consciousness that we're so proud of here in Portland, like sustainability and organic goods. Natural medicine is a perfect fit for the healthy new paradigm we're promoting. We're very excited to have NCNM back with us again this year." Last year the City of Portland was the first triathlon in the country to host a naturopathic medical tent.
The event organizers expect approximately 350 triathletes and more than 600 spectators at the event to be held in downtown Portland. NCNM Assistant Professor and Triathlon Medical Director Karen Frangos, N.D., said that the NCNM medical team is prepared to provide diagnostic evaluation and treatment for injuries or illnesses that are not serious or life-threatening.
"People come in with dehydration and sports injuries. But we're prepared to provide more than just First Aid," Dr. Frangos explained. "We'll diagnose and perform injury triage for joint sprains, muscle strains and other injuries." Dr. Frangos will be joined in the medical tent by Marcus Miller, M.D., N.D., and Joel Agresta, D.C. The doctors will be assisted by a small team of NCNM medical students.
In the state of Oregon, a naturopathic doctor (N.D.) is licensed as a primary care physician. A naturopathic medical degree is similar in scope, depth, and rigorous clinical training and education to that of a medical doctor (M.D.), but encompasses a variety of other health modalities such as botanical medicine, hydrotherapy, homeopathy, nutrition and physical medicine. In addition to these unique modalities, naturopaths receive clinical training in minor surgery, IV therapy and emergency medicine.
Dr. Frangos said an ambulance and emergency medical technicians will also be standing by. "We've got a team of skilled medical practitioners on hand to respond to any medical situations that arise."
ABOUT NCNM: Founded in 1956, NCNM is the oldest accredited naturopathic medical school in North America. A non-profit college of natural medicine, NCNM offers four-year degree programs in Naturopathic Medicine and Classical Chinese Medicine. Its teaching clinics offer free and low-cost medical care throughout the Portland metropolitan area and treat more than 17,000 patients per year. NCNM's Helfgott Research Institute is a non-profit research institute that conducts rigorous independent research to advance the science of natural medicine in order to improve clinical practice. Until July 2006, NCNM was known as the National College of Naturopathic Medicine.
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Orkney Fudge Variety Pack - 400g.
A 400g pack of the legendary Orkney Fudge in a variety of flavours. Beloved of ex-pat Orcadians all over the world, residents often leave Orkney with a few packs in their luggage to satisfy a relative or friend's cravings.


In this twin pack trade-sim fans will find a true treasure: two of the most important representatives of the genre combined in one box! Both Patrician IV Gold and Port Royale 3 Gold received several awards and guarantee hundreds of hours of gameplay!
Patrician IV Gold challenges players to rise up the merchant ranks to become the leader of a burgeoning shipping empire during the late Middle Age in Northern Europe. To do this trade with common goods, build up your own production and establish a merchant fleet. Later, you gain more and more political influence and even found new towns.
Port Royale 3 Gold puts you in the Caribbean of the turbulent 17th Century. The maritime powers of Spain, England, France and the Netherlands fight over the colonies. And there you are, a young sea captain whose only goal is to become the most powerful man in the New World. You can choose from three extensive campaigns: the Adventurer, the merchant or the Pirate!