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London Winds Demonstrate Emotional Range in Music for Wind Quintet
08/04/2018 28/03/2018 by Glyn Pursglove
United Kingdom Ibert, Barber, Nielsen: London Winds (Philippa Davies [flute], Gareth Hulse [oboe], Michael Collins [clarinet]; Katy Woolley [horn]), The Weston Gallery, Royal Welsh College of Music and Drama, Cardiff. 23.3.2018. (GPu)
Philippa Davies © Katie van Dyke
Ibert – Trois Pièces brèves
Barber – Summer Music
Nielsen – Wind Quintet Op.43
Founded by clarinettist Michael Collins in 1988, London Winds works both as a quintet and in larger formations as specific music and particular occasions require. It was as a quintet that they performed in this concert. London Winds are, deservedly, held in high regard as a leading chamber ensemble. Paradoxical as it may seem, I suspect that I might have been more excited by this concert if I hadn't known, from past experience, just how very accomplished they are. That they were indeed very accomplished seemed merely to fulfil my expectations, rather than excite me.
The concert took place, not in RWCMD's modern concert hall, but in the much smaller, Weston Gallery – a pleasant room lined with nineteenth- and twentieth-century pictures in the College's older buildings. This certainly made for intimacy in the relationship between performers and audience, though sight-lines were rather less than perfect for many in the audience, though I am not sure that there weren't acoustic losses.
London Winds chose to play a programme made up of three staple works from the twentieth-century repertoire for wind quintet. Fine as all these three works are, I couldn't help but wish that they had included something a little more adventurous, such as Ligeti's Sechs Bagatellen, for example, a work London Winds have recorded. What they did play, was handled with the absolute in technical accomplishment – both individually and as an ensemble – and with consistent musical insight.
Ibert's Trois Pièces brèves, of 1930, made an attractive appetiser for this lunchtime concert, being both charming and witty. Ibert makes a definite virtue of the brevity of these pieces (less than seven minutes in total) writing concisely and with a sharp pointedness. The opening allegro is bright and quirkily colourful, sounding for all the world like incidental music for a particularly sophisticated comedy, being full of ironic touches and near-parody. Phillipa Davies' flute was brightness itself and Michael Collins' clarinet was jauntily graceful in the statement of a 'spring-like' theme, aptly answered by some quasi-birdsong from the oboe of Gareth Hulse. The several, often sudden, changes of rhythm in this deceptively complicated short movement (well under three minutes long) were, predictably, very well handled by London Winds. I have memories from many years ago of a student performance – not in this College – which dissolved into chaos and helpless laughter in this movement. The Andante is essentially pastoral in tone (and is even shorter). Its opening involves lines in counterpoint for flute and clarinet, played delightfully by Davies and Collins. Bassoonist Robin O'Neill provided a sure-footed 'drone' over which flute, clarinet and oboe played Ibertian games. The closing pièce, with its duple time theme circulated amongst the instruments, has the air of a peasant's dance (though, being by Ibert, these are very sophisticated peasants!) about it. The accelerating coda requests (and certainly received) the audience's applause.
London Wind's performance of Samuel Barber's Summer Music was properly full of warmth and energy – most of its music being effervescent and optimistic. I felt, even more forcefully than I have on previous hearings of the piece, that Barber must have been writing, in part, in response to Mozart's music for Winds, as in the way, particularly, in which the horn and the oboe seem at times to be pointing in a different direction, as it were, to the other three instruments, embodying a plangent sense of the brevity of summer, of, indeed, the transience of all things , including human joy. Thus summer and autumn are simultaneously evoked – the apprehension of autumn (and beyond) is surely part, after all, of summer's 'music' – and this appears to be the key to the power of Barber's piece. That power was fully articulated by London Winds.
Nielsen's Wind Quintet is, of course, one of the finest works ever written for this particular combination of instruments. It has that sense of being a kind of 'sublime' conversation, an exchange of ideas and emotions among a small group of friends that one more commonly associates with, say, the great string quartets. It was, I suspect, important that Nielsen knew the members of the Copenhagen Wind Quintet and that he wrote with these performers specifically in mind – rather as, say Shakespeare wrote for actors he knew well or as Duke Ellington composed with specific soloists in mind.
In the opening movement (Allegro ben moderato) Robin O'Neill's bassoon presented the main theme engagingly and lucidly – something important and desirable, since most of what happens in the rest of the movement evolves from this theme. The second movement Menuetto wasn't perhaps quite as graceful as it might have been (and as it is in London Winds' own recording of the work on Chandos), though the duets between clarinet and bassoon and between flute and oboe were sensitively played (and were 'supported' very well by the horn of Kate Woolley). The closing movement, after its solemn 'Praeludium', settled attractively into its beautiful main theme – based on Nielsen's own chorale tune Min Jesus, lad min Hjerte faa en saaden Smag paa dig ('My Jesus let my heart love thee') and the 11 variations thereon: the flute solo, the duet between clarinet and the bassoon and the bassoon solo all being played in especially winning fashion. At the close, after returning to the dignified theme, the quintet's close in serious (even solemn) beauty – it apt enough that the quintet should have been played at Nielsen's funeral – brought us to a worlon of how marvelously various music for this particular combination of instruments can be in the work of significant composers – and when played by a top-class ensemble like London Winds.
Glyn Pursglove
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Piotr Beczala features in Sven-Eric Bechtolf's nightmarish Rusalka in pre-pandemic Vienna (17/01/2021)
Singing in Blaibach, Germany, Julia Bullock gets to the heart of healing music (17/01/2021)
The Event Horizon: hope and ambition from Simon Armitage and The Hallé (16/01/2021)
The digital premieres of The Planet – A Lament and Wide Slumber for Lepidopterists from PROTOTYPE (15/01/2021)
New York's PROTOTYPE 2021 – still daring, but now digital (14/01/2021)
A Rosenblatt Recitals at Home stream – From Handel to Wagner – is a much-needed antidote to the current doom and gloom (14/01/2021)
Via L.A. from Linz: Philip Glass's new Piano Sonata shows he is still maturing at age 83 (12/01/2021)
BON APPÉTIT!: A Sweet Soirée – Jamie Barton is as luscious as the chocolate cake she bakes for Opera Philadelphia (11/01/2021)
Rosenblatt Recitals return for their twentieth anniversary 'at Home' and Verismo is all in a good cause (11/01/2021)
Compelling and cutting-edge: LA Opera presents Prototype Festival's Modulation (10/01/2021)
INTERVIEWS, ARTICLES, NEWS, AND SEASON PREVIEWS
Pianist and author Jack Kohl discusses his new book of essays with Robert Beattie (12/01/2021)
The Kathleen Ferrier Awards Competition 2020 announces winners (09/01/2021)
Opernhaus Zürich on line programme in January 2021 (06/01/2021)
Met Stars Live in Concert – New Year's Eve Gala review and new dates (21/12/2020)
English National Ballet update their current lockdown plans for 2020-21 (21/12/2020)
Sometimes a Light Surprises: J.M.W. Turner at Tate Britain (20/12/2020)
The latest opus of Graham Johnson: Francis Poulenc: The Life in the Songs (08/12/2020)
Royal Liverpool Philharmonic Orchestra Live and On Demand – January and March 2021 (07/12/2020)
OVERCOMING THE EFFECTS OF THE PANDEMIC – MORE NEWS OF EVENTS (07/12/2020)
SOPRANO JULIET PETRUS IN CONVERSATION WITH RICK PERDIAN (04/12/2020)
Bampton Classical Opera returns with a seasonal concert in Witney, Oxfordshire, on 12 December (03/12/2020)
Lucerne Festival's plans for Summer 2021 (02/12/2020)
Longborough Festival Opera's exciting 2021 update (02/12/2020)
Garsington Opera has announced its 2021 season (02/12/2020)
Rosenblatt Recitals at Home in aid of Target Ovarian Cancer – details of the programmes and a review (01/12/2020)
Copyright © 2021 Seen and Heard International | All rights reserved |Privacy Policy


text:
Strands of Truth
by Colleen Coble, narrated by Devon O'Day
Suspense, romance, and generational secrets meld when a DNA test helps Harper Taylor locate the family she's always longed for...but has it also put her in the crosshairs of a killer?
Harper Taylor is used to being alone - after all, she grew up in one foster home after another. Oliver Jackson finally took her under his wing when she was a runaway teenager, and now Harper pours her marine biology knowledge into Oliver's pen shell research. But she's never stopped wishing for a family of her own. So when a DNA test reveals a half-sister living just two hours away, Harper is both hopeful and nervous. Over warm cinnamon rolls, Harper and Annabelle find striking similarities in their stories. Is it just a coincidence that both their mothers died tragically, without revealing Harper and Annabelle's father's name?
Oliver's son Ridge still sees Harper as a troubled teen even all these years later. But when Oliver is attacked, Ridge and Harper find themselves working together to uncover dangerous secrets that threaten to destroy them all. They must unravel her past before they can have any hope for the future. Strands of Harper Taylor's childhood are resurfacing - but will the truth save her...or pull her under? Suspense, romance, and generational secrets meld in this engrossing new novel from USA Today best-selling author Colleen Coble.
"Free-dive into a romantic suspense that will leave you breathless and craving for more." (DiAnn Mills, best-selling author)
"As always, Colleen Coble never disappoints. Strands of Truth is no exception. I was hooked from the first page. Trying to read this story slowly is impossible. Don't be surprised when you find yourself flipping the pages in a hurry to find out what happens next! This one is for your keeper shelf." (Lynette Eason, best-selling, award-winning author of the Blue Justice series)
"Colleen Coble's latest book, Strands of Truth, grips you on page one wit

redpajama_set_name: RedPajamaCommonCrawl


./document.tex:750: Extra alignment tab has been changed to \cr.
in the preamble of the document.
Easy LaTeX (http://wordpress.org/extend/plugins/easy-latex/), a WordPress plugin.
WP LaTeX (http://wordpress.org/extend/plugins/wp-latex/) is another WordPress plugin.


So you are looking to get the top pricing and the best customer service in the area? You are in luck, Prince William Scrap Metal is the top Manassas Scrap Yard! Below you will find our address, contact information, and hours of operation.
Don't want to miss out on updates from Prince William Scrap Metal? Like our Facebook page!


The collection contains assignments and analysis for an Open Source Earth Science course for grades 9 - 10. The Open Source Earth Science course has been organized to meet the CA Science Standards for Earth Sciences in grades 9 - 10, as adopted by the California State Board of Education.
SMU faculty play a big role in local and national news coverage each year. Check out some of our recent Faculty Newsmakers!
Professor Michael Williams' Inaugural Professorial Lecture. Tuesday, 24 June 2014.
In this assignment, we will perform a simple analysis of poor households in the United States, considering whether certain kinds of households are more likely to be poor and what sorts of households make up the largest proportion of the poor. Students will be looking at three characteristics that may be associated with poverty: race, age, and family type.
A team of Vanderbilt researchers is working on a radical new way to test drugs and toxins. It all starts with an "organ on a chip."


text:
Review: Batman Begins - PS2, Xbox, Gamecube
Better than most movie games. But that's not saying much.
By Dan Ryckert
It's no secret that movie-to-game translations have been notoriously weak. With few exceptions (Goldeneye, Chronicles of Riddick), this corner of the gaming world has generally been a wasteland of mediocrity. Some movies seem like excellent source material for an action videogame, yet the final product manages to disappoint.
Batman Begins is one of those films that seems like it could be made into an excellent game. It has a great protagonist, extremely atmospheric environment, and a slew of cool gadgets and tools that seem custom-fit for a great gaming experience. On the technical end of things, EA did things fairly well for the most part. Gotham looks beautiful, especially in some of the levels where you can see the skyline illuminated by moonlight. The feel of the film has been replicated fairly successfully, helped in no small part by the excellent voice-over work of the films' stars. Actual film clips are used in between levels, and these can be unlocked as you progress through the game. Graphically, the game has few flaws. Faces look especially detailed, and enemies show an appropriate level of fear when you swoop down on them from above. The sound effects are similarly polished and appropriate, and the 'swoosh' of your cape opening sounds like it came directly from the film. Unfortunately, the frequent cutscenes can't be skipped, and this can get to be very frustrating on levels where you're dying often.
Surprisingly, Batman Begins plays very much like a watered-down version of the Splinter Cell series. Within a few minutes of playing the game, you're sure to get a sense of dejà vu when you find yourself climbing pipes, picking locks, and sneaking up on enemies in a burning building. It's eerily similar to the first level of the original Splinter Cell. The similarities don't end there. Batman has an optic cable which he can use to peer under doors, and he'll frequently need to interrogate henchmen to get access codes and information. At times, it seriously feels like Splinter Cell with a cape. There's also some Prince of Persia influence, as platforming segments feature you walking narrow planks and jumping from rope to rope.
The game features an initially intriguing "reputation" system which ends up being almost completely worthless. Your reputation meter will get higher as you use the environment to scare enemies, thus increasing the overall level of fear in the area. The problem with this is that using the environment is not really an option, it's absolutely necessary throughout the entire game. For some reason, bullets will kill Batman almost instantly, even though the movie explained that his suit is made out of bullet-resistant Kevlar. Granted, I'm not expecting total accuracy in terms of the movie, but getting killed instantly by gunfire really takes away from the fun of this game.
Because of the lethality of guns, you are forced to do something in the environment to scare the enemies into dropping them. Unfortunately, the way you go about this is extremely linear. I've never been a huge fan of the Splinter Cell series, but I always admired the sheer amount of ways you can get through any area. You can use brute force, stealth, distraction, hostages, the environment, etc. etc. etc. In Batman Begins, you have one option, and the game holds your hand far too much when it comes to showing you what to do. Let's say you have to throw a Batarang at a support cable, making a heavy object fall onto the enemies. Instead of making you think about it and analyze the situation, the camera will actually lock onto the support cable and show the Batarang icon in the top right of the screen. From there, it's just a matter of hitting Z to throw it, then swoop down onto the frightened enemies and press B and Y a lot to kill them. Any attempt to get past a room like this without using the environment leads to instant and certain death. There are some moments of satisfaction in the game, such as when you drop down from a pipe to stealthily destroy an unsuspecting enemy, but it's all been done before (again, Splinter Cell).
I'm very disappointed with the use of gadgets in the game. For some reason, you can't use them at any time. Batman can't throw Batarangs at enemies, he can only throw them at specially designated environmental objects. If there's a room with a bunch of enemies, you can't just throw a flash-bang right before you swoop in to destroy them. You have to use the environment to scare them, then get close to them while they're afraid and wait for the icon to pop up indicating that you can use it. Even the simple act of navigating the levels can be annoying at times, as the camera isn't very responsive and has a tendency to lock onto things you don't want it to. It's little annoyances like this that keep Batman Begins from being a truly fun gaming experience.
There are two Burnout-inspired Batmobile levels that are a welcome addition to the game. They feature you racing through Gotham performing takedowns on random thug vehicles. For some reason, you can only use the Batmobile's weapons on boss vehicles. I can't for the life of me figure out why the game only lets you use weapons and gadgets at certain times, as it really detracts from the overall experience. While fun, these levels aren't nearly as good as the racing from Burnout or the weapons-based vehicular levels of 007 Everything or Nothing.
When it comes down to it, Batman Begins is a mediocre game that has been patched together using elements from superior games. If you're looking for great stealth gameplay, get Splinter Cell. If you need a Batman fix, just do yourself a favor and see the movie again. The game is filled with far too many annoying aspects and features some extremely linear gameplay. It manages to be better than most licensed games, but ultimately falls short.
Graphics: B
Sound: B
First Play: B
Last Play: C-
Gameplay: C-
Overall: 73% C
Review: Splinter Cell: Chaos Theory - Xbox
Review: Cold War - Xbox
Review: Splinter Cell Double Agent (360)


text:
Reading and writing in Indigenous environments in the age of ICT
At the start of the 2019 elementary school year, a Grade 1 student asked her teacher if she would be able to choose new books at the book fair as she did in previous years. This 6-year-old child's delight at starting school and the prospect of getting new books, as she had done with her 4-year-old kindergarten class in October 2017, and her 5-year-old kindergarten class in April 2018, is an eloquent testimony to the impact of our action research project on the Anicinape community school in Abitibi-Témiscamingue.
Teachers say that the relationship of the students to the written word (reading and writing) has been profoundly transformed during the action research.
Thanks to well-stocked literature corners set up in every classroom and to teacher training offered to meet training needs for the teaching and assessment of reading and writing, teachers at all levels say that the relationship of the school's students to the written word (reading and writing) has been profoundly transformed during the action research; they also recognize that their reading and writing instruction and assessment practices have changed.
Several key factors contributed to the success of this action research project: a close bond of trust between the school's teaching staff, a community elder and the research team; sufficient resources to make a beautiful dream come true: to equip all the school's classrooms with literature corners and organize book fairs to fill these spaces with new books every year, thus regularly rekindling students' appetite for reading; a committed school team (teachers and educational advisors); and a research team with complementary expertise that made it possible to provide customized training to teachers.
Good news: at the book fair, to be held in the school gymnasium in November 2019, our young reader will indeed be able to choose two new books, one of which she can take home, while the other will be added to the literature corner of her new classroom, for the other students to enjoy.
Main researcher: Christiane Blaser, Université de Sherbrooke
Original title: Soutenir le développement professionnel d'enseignantes du primaire pour améliorer les pratiques d'enseignement et d'évaluation de la lecture et de l'écriture en contexte autochtone, à l'ère des TIC
Oral interactions in literary reading circles in preschool and elementary school
Teaching lexical spelling
Metacognitive, interactive and creative activities to teach syntax and punctuation
Thwarting environmental contaminants
How and why should interpretative debate be taught in upper secondary school?
An analysis of reading and writing activities (French version only)
The land: a source of healing for Innu youth
New approach promoting written production in primary school


Bengal Cat Forums • View topic - Bengals & CHRISTMAS trees!!??????
Post subject: Re: Bengals & CHRISTMAS trees!!??????
Tree has been up since Friday night and it is still standing!! I figure if Dexter hasn't destroyed it yet, he wont. He is usually pretty good about immediately tearing apart anything and everything he sets his evil little sights on. The first night we had it bare and kept it that way and they sniffed around it quite a bit. Dexter took a BIG chomp out of one of the low branches and he got sapped. Needless to say he hasn't tried to eat it again. The next day I decorated with them held up in the bedroom and when I let them out they barely noticed anything changed about the tree. Bauer swatted at a couple of low hanging bulbs and knocked one out but I distracted them with treats and they have since left the ornaments alone.
I actually find the BIGGEST problem is that they fight and wrestle under the tree and this makes quite a mess by A) messing up the tree skirt, and B) shaking the tree and causing the needles to fall all over the floor surrounding the tree. I have needed to vacuum quite a bit since we put it up.
For the next couple of days we are just going to lock them up in the bedroom/bathroom while we are at work so that we can supervise them around the tree, and so that I can make sure Dexter is genuinely done with his attempts to devour it I figure after a while the novelty will probably wear off.
my tree's stayed up a total of 4 days...they are now back in the box packed away forever probably!!
The biggest problem really is the dam tree skirt. they mess around with it and then shake the tree and the needles go EVERYWHERE and when they screw up the skirt the needles don't fall on the skirt - they fall on the carpet. So it's not like i can just go over the balcony and shake out the skirt I have to actually bust out the vacuum and all that. Such a pain! But I am all about appearances so that tree better persevere, damnit!
Tammy just posted this on Facebook. I think it is perfect for this thread!
i am putting a small tree up on a bookshelf where they can't get it but next year i am going to have one of these made!!
We made sure to get anti shatter ornaments. I come prepared!
My poor second tree - this happened pretty much every other day. And that doesn't include the 'help' to wrap christmas presents - in fact I had to re-wrap about a third of all the presents last year.
This year they will be good - they will!!!
Oh dear Goodness BeckyN.... I just fell of my chair laughing.
Cannot wait to share my experiences with Basil and Lapka's first real Christmas tree.
No better way to get into the Christmas spirit than to see your kitties attacking your tree.
I love seeing how excited they get!
I would be carefull with real xmas trees.
Even though it sounds like lot of fun, you need to remember that your cat may injury himself or get toxicated.


text:
Dallas-based CRE developer enters Orlando mkt w/land east of Winter Park
The 3.4-acre parcel highlighted in blue was recently acquired by Victory Real Estate Group. (Orange County Property Appraiser)
Dallas-based developer Victory Real Estate Group paid more than $2.27 million on July 21 to enter the Orlando market, buying land east of Winter Pines Golf Course for what will likely be a multi-tenant commercial building.
Located in the 2200 block of N. Semoran Boulevard at the southeast corner with Hanging Moss Road, the property lies just east of Winter Park city limits and across the street from Lakeview Office Park.
The 3.4-acre undeveloped parcel was sold by National Bank of Commerce, which controlled the asset after acquiring the former Riverside Bank of Central Florida, which previously bought the land in 2006 for $1.85 million.
Developer preps Phase 3 retail for Shoppes at Alafaya, wetlands mitigation an issue
Insight on big-box retail tenants with executed LOIs that are lined up for this long-anticipated expansion, and challenges ahead to resolve wetlands questions.
Victory Real Estate is a high-volume developer of mixed-use and built-to-suit commercial mostly in the Dallas-Fort Worth area, but in the past year has started pursuing other types of development and entering the South Florida market.
"This is one of a few new properties we've purchased for retail and built-to-suit opportunities," president and CEO Tony Ramji told GrowthSpotter. "We bought this on spec and have multiple users interested, we're just thinking now about the best uses and are very much in preliminary stage on the property."
One development route could be to sell or lease a restaurant pad to a national chain, and build a small multi-tenant retail building. The company has a handful of LOIs for the property and is evaluating the right fit, Ramji said.
Bowman Consulting has been hired as civil engineer, and the developer has yet to hire an architect.
"We hope to have our first deal signed in the next couple of weeks and then proceed from there," he said.
Seminole County Developments
PetSuites plans Florida market entry via Winter Springs, land under contract
Insight on where the new development stands in permitting, and CRE brokers behind the land deal.
By Mike Salinero
"I'm pleasantly surprised with how robust the Orlando market is. We're doing projects in Phoenix, Denver, the Carolinas and other big cities, and when I came to Orlando I find it has recovered well from the recession, premiums are priced into the market," Ramji continued. "I think you have to have a lot of experience to come in and do spec development. I think there's a perception by people in the southwest that Florida still had all these opportunities, but I find you can't come in (here), make a mistake and expect to make money."
The buyer took out a $2.42 million loan from Stonegate Bank to help finance the land and future development.


You may recognize Jamie's friendly face from all those trips to pick up your Reserve Society or Preservation Society beers from the Tasting Room.
Jamie has been with The Bruery for three years, but about a year and a half ago she had the opportunity to get her hands dirty with a homebrew lesson from one of our former brewers.
We used Patrick's homebrew system which was still surprisingly advanced. We got to pick a beer style we wanted to brew and Jay drafted up a recipe. My first batch was a Belgian Pale Ale with Honey Tangerines.
What was is that sparked your interest?
Honestly, I became interested homebrewing after that first batch. My friend and old co-worker Jenn Doyle told me she likes to brew on the weekends. I went over to her house we brewed a partial grain IPA kit. It didn't really quite turn out as planned but I was determined to keep with it.
Right now I have a nice easy drinking honey Kölsh in my carboy.
Well the biggest disaster definitely happened with my third batch, which was the first time I brewed on my own. I accidentally added way too much priming sugar. When I opened a bottle for the first time, the cap shot off the bottle and flew into my ceiling. I wasn't able to salvage one bottle of that batch, but thats a good thing because from what I did taste it was terrible.
Any exciting personal victories yet?
I haven't had that moment in my brewing career yet. I believe that time will come once I brew a beer that I actually want to bring to work and have everyone judge.
New brewers, keep everything as organized and as clean as possible. You will mess up when you start brewing, but don't let it discourage you!
Jamie Burns is our Societies Coordinator (and lover of French Bulldogs). Jamie has been at the Bruery for 41/2 years and is loving every minute of it.


text:
Modryń – dawna gromada, czyli najmniejsza jednostka podziału terytorialnego Polskiej Rzeczypospolitej Ludowej w latach 1954–1972.

Gromady, z gromadzkimi radami narodowymi (GRN) jako organami władzy najniższego stopnia na wsi, funkcjonowały od reformy reorganizującej administrację wiejską przeprowadzonej jesienią 1954 do momentu ich zniesienia z dniem 1 stycznia 1973, tym samym wypierając organizację gminną w latach 1954–1972.

Gromadę Modryń z siedzibą GRN w Modryniu utworzono – jako jedną z 8759 gromad na obszarze Polski – w powiecie hrubieszowskim w woj. lubelskim na mocy uchwały nr 8 WRN w Lublinie z dnia 5 października 1954. W skład jednostki weszły obszary dotychczasowych gromad Modryń wieś, Modryń kol. i Modryniec ze zniesionej gminy Miętkie oraz miejscowość Rulikówka kol. z dotychczasowej gromady Szychowice ze zniesionej gminy Kryłów w tymże powiecie. Dla gromady ustalono 11 członków gromadzkiej rady narodowej.

1 stycznia 1960 gromadę zniesiono, włączając jej obszar do gromady Mircze w tymże powiecie.

Przypisy

Modrynx

redpajama_set_name: RedPajamaWikipedia


text:
/**
 * BrewerySelect Store.
 * A store for the BrewerySelect view.
 */

import { ReduceStore } from 'flux/utils';

import dispatcher from '../dispatcher';

class BrewerySelectStore extends ReduceStore {

  getInitialState() {
    return {
      fetching: false,
      error: null,
      models: [],
    };
  }

  // eslint-disable-next-line class-methods-use-this
  reduce(state, action) {
    const { type, data, error } = action;

    switch (type) {

      case 'REQUEST_FETCH_BREWERIES':
        return {
          fetching: true,
          error: null,
          models: [],
        };

      case 'RECEIVE_FETCH_BREWERIES':
        return {
          fetching: false,
          error: error || null,
          models: data || [],
        };

      default:
        return state;
    }
  }
}

export default new BrewerySelectStore(dispatcher);

redpajama_set_name: RedPajamaGithub


2 drawer file cabinet with lock letter and legal size. Legal size vertical file cabinets office furniture warehouse. File cabinets: extraordinary legal file cabinets 4 drawer. 2 drawer legal size file cabinet getsleepco.
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text:
Q: SharePoint BDC Service error: Cannot connect to the LobSystem (External System) Im new to SharePoint 2010. I created an External Content Type in SharePoint Designer using data from AdventureWorks database. After setting permissions for my ECT I created an External List and configuring my ECT as the datasource. When trying to access my External List in SharePoint I got an error message: "Cannot connect to the LobSystem (External System)"
A helpful response is appreciated. Thanks.

A: Only the login Users of sql server can view the data of external list of sharepoint site
If you want to see the external list data then add sharepoint users under SQL server
security\Logins

redpajama_set_name: RedPajamaStackExchange


Children can have loads of fun creating Easter and spring themed pictures with this brilliant set of craft sponges.
Dip the sponges into ready mix paint and press onto paper- the colourful sponges are great for reinforcing pattern making and developing hand eye coordination.
Each sponge measures between 7cm x 5cm and 10cm x 5cm, the sponges are easy to grip thanks to their large size and chunky shape.
This set includes five designs in egg, lamb, rabbit, chick and flower. Also included in the set is an instruction sheet and template for creative ideas.
Paint can be easily washed off the sponges, so they are ready to use for next time.


Hallelujah was originally written by Leonard Cohen and released in 1984 on the album Various Positions. Many other arrangements have been performed. The most known ones was released by Rufus Weinwright or Jeff Buckely. It was used in the film Shrek in 2001.


Halloween is right around the corner! Find out the best 6 ways to have a crazy Halloween party this year while still being sustainable. Be sure to subscribe to our mailing list for more tips each week!
It takes six human lifetimes for one water bottle to decompose.
We camped out at San Francisco Pride this past weekend, and what a weekend it was!


As this year's holiday season is drawing to a close, I hope you will remember to thank your frontline staff. I encountered so many wonderful employees this year who were really under pressure and maintained their composure and friendliness during some trying circumstances. In one instance, a woman shopper was clearly upset over not receiving the coupon discounts she expected and really started to blast the employee (who was not the employee who forgot to apply the discount) and this employee handled her superbly! She acknowledged her emotions first "I can see you are very upset" and then she proceeded to help satisfy the concern, "let me see how I can correct this". In a matter of 60 seconds, the woman had calmed down and actually started to smile and apologize to the employee.
What a wonderful example of great service recovery.
I saw a lot of patience in your frontline staff as they worked till the bitter end. You should be very proud of so many of your employees as they really tried hard to delight their customers.
You have to know that internal customer service results in external customer service and it is all a reflection of your culture. So pat yourself on the back, but please, please remember to personally and creatively thank each and every one of your employees, because believe me – your frontline is your bottom-line!
Previous>Champions of Customer Service	Next>I'm Really Good, Right?


text:
Q: Find required card combination to add up to a specific number of colors Assume I got unlimited supply of cards: there exist three kinds, red cards, blue cards and ones that count for both red and blue. I now want to calculate how many of each of these three cards I need to meet a certain number of blue and red cards, while providing the number of cards to use in total. Example for (hopefully) more clarity:

*

*total number of cards to use: 22

*number of red cards to meet: 14

*number of blue cards to meet: 16

In this case, I would need:

*

*8 cards that count for both blue and red

*6 red cards

*8 blue cards

This combination of cards adds up to 22 in total while providing 14 red and 16 blue cards, since 8 of our cards count for both. For this simple example, I can easily calculate that in my head. But for bigger ones, how would I calculate this? Is there like a formula I could create out of this?
How would such a scenario work out with three colors? So now there is a card that counts for all three colors, three cards that count for color the pairs (red/blue, red/green and blue/green) and the single colored cards.

A: Let

*

*$a$ be the number of cards needed that count for red

*$b$ be the number of cards needed that count for blue

*$c$ be the total number of cards

These three values fall very neatly into a Venn diagram:

Then the total number of cards needed that count for both red and blue is, by the inclusion-exclusion principle, $a+b-c$. From there we can work out the number of red cards ($a-(a+b-c)=c-b$) and the number of blue cards ($c-a$).

For three colours it's much the same thing, with three sets in the Venn diagram. You also need, in addition to the number of cards that count for each one of the three colours $c_r,c_g,c_b$ and the total $N$, the number of cards that count for each combination of two of the three colours $c_{rg},c_{gb},c_{br}$, otherwise the solution may not be unique.
We get the number of three-coloured cards $c_{rgb}$ from the inclusion-exclusion principle:
$$c_r+c_g+c_b-c_{rg}-c_{gb}-c_{br}+c_{rgb}=N$$
$$N-(c_r+c_g+c_b-c_{rg}-c_{gb}-c_{br})=c_{rgb}$$
Then the numbers of cards with exactly two colours – $c_{rg}'$ for example is the number of cards with red and green and not blue:
$$c_{rg}'=c_{rg}-c_{rgb}$$
$$c_{gb}'=c_{gb}-c_{rgb}$$
$$c_{br}'=c_{br}-c_{rgb}$$
Finally the numbers of cards with exactly one colour:
$$c_r'=c_r-c_{rg}'-c_{br}'-c_{rgb}$$
$$c_g'=c_g-c_{gb}'-c_{rg}'-c_{rgb}$$
$$c_b'=c_b-c_{br}'-c_{gb}'-c_{rgb}$$


Crispy, golden-brown shoestring matcha sea salt fries with a little kick of heat.
Fries are one of the tastiest indulgences. Who doesn't love to snack on delicious, golden-brown, crispy fries?
Here we present an Asian version of the classic fry, complete with sriracha ketchup and a superfood kick of matcha sea salt. Matcha's subtle, veggie-ish flavor adds an earthy element to these matcha sea salt fries that balances out the heat of the cayenne very well.
…free radicals, which attack your blood cells and can lead to cancer.
…the build-up of toxic protein fragments in your brain, which can lead to Alzheimer's disease.
…stunted blood flow and "frustrated" arteries, which can cause stroke and heart attack.
…chemical toxins and heavy metals in your body.
…fat oxidation, which can lead to type 2 diabetes.
So the matcha green tea powder does quite a lot for your body!
If you're not a huge fan of spicy heat, simply experiment with the amounts of cayenne and sriracha to your liking. These matcha sea salt fries make a perfect afternoon snack, or a great side to a meal.
Using a mandoline or chef's knife, cut potato(es) lengthwise, into skinny shoestring fries, with a thickness of about 1/8 inch, as identically as possible.
After the potato is cut, dry the potato pieces with a paper towel.
In a small bowl, mix together the matcha powder, salt, and cayenne pepper.
Pour the oil into a large frying pot so that it goes up the sides about 1 inch to-1 1/2 inch.
Heat the oil to a temperature of 400ºF. When the oil hits 400 degrees, place half of the uncooked potato sticks into the pot…gently!
Cook for 1 minute, then remove the pieces with tongs onto the paper towel-lined baking sheet.
Bring oil temperature back to 400 degrees, and repeat the process with the other half of the uncooked potato sticks. Your potato sticks should be cooked, but not yet crisp.
With all the potato pieces now cooked, bring the oil temperature back to 400 degrees once again.
Place half of the potato sticks into the hot oil, and cook for about a minute (or until golden brown).
Remove potato sticks and place them on the paper towel-lined baking sheet, using new paper towels as necessary.
Bring the oil temperature back up to 400 degrees, then repeat this process with the other half of the potato pieces, removing after a minute when fries become golden brown.
After the fries have blotted on the paper towels, sprinkle the fries with the matcha salt.
In another small bowl, mix together the ketchup and the sriracha.
Serve fries hot with spicy ketchup, and enjoy!
Matcha green tea powder can be added to your favorite recipes to make them healthier. To learn how to make matcha everything, download our recipe book, or visit our Epic Matcha blog!


text:
KNET BUZZ
5 Dortmund Players with the Most Goals
Rio Eka Pratama
Netgenz - Netizen buzz Sport | The Bundesliga is known as a competition with a philosophy of playing fast and attacking. It is not surprising that many matches end with a flood of goals. For now, Borussia Dortmund is the 2nd most fertile club with a collection of 64 goals from 24 Bundesliga matches this season.
If you look at the quality of Marco Rose's team, they do have a row of players with deadly goal instincts. Nach, here are the five Borussia Dortmund players with the most goals scored this season. Who are they?
Read Also: Complete Schedule Regarding the Spanish League 2021 / 2022
Here are 5 Dortmund Players with the Most Goals
1. Erling Haaland (29)
It's no exaggeration if Erling Haaland will become a football superstar in the next few seasons. Even though he is only 21 years old, his goal sense is already phenomenal like a veteran striker. Haaland has scored 23 goals and provided 6 assists in 20 games in all competitions this season. Overall he has collected 80 goals from 79 games for Dortmund.
His goalscoring record this season could have been better had it not been hindered by injury. The Norwegian has missed 10 Bundesliga games this season due to injury. This goal record makes a row of great European clubs fall in love. He will be a hot commodity in the summer transfer market of 2022 because the launching clause of 75 million euros or IDR 1.2 trillion can be activated.
Read: 5 Premier League Clubs with the Most Gold Shoe Titles
2. Marco Reus (26)
Marco Reus is the longest-lasting player at Borussia Dortmund at the moment. He is a captain who is respected by friends or foes. The 32-year-old has been involved in Dortmund's 26 goals with 13 goals and 13 assists in 34 appearances across all competitions.
His goal record was marked by his acquisition last season with a linkage of 25 goals from 49 performances. Unfortunately, this impressive performance is not in the same direction as the club's performance. This season Dortmund could not help but be eliminated directly from the Champions League and Europa League.
3. Jude Bellingham (18)
The departure of Jadon Sancho to Manchester United in the summer of 2021 the other day seemed to be quickly overlooked by fans. His role, the role of Sancho was successfully replaced by another player from England, Jude Bellingham.
The 18-year-old has scored six goals and provided 12 assists in 34 appearances across all competitions. This impressive performance began to provoke interest from several British giants. However, he still has a fairly long contract at Dortmund until 2025.
Read: Top 5 Players Under Jurgen Klopp
4. Julian Brandt (14)
The Borussia Dortmund team is filled with quality midfielders. Julian Brandt became the most instrumental with a record of five goals and 9 assists from 30 matches in all competitions.
This is his 3rd season wearing the Dortmund uniform since being presented by Bayer Leverkusen in the summer of 2019. The 25-year-old midfielder has collected 117 games with 16 goals and 24 assists.
Read: 5 Brazilian Players with the most LaLiga Trophies
5. Donyell Malen (14)
Donyell Malen
In the summer of 2021, Dortmund brought in Donyell Malen as an alternative to Jadon Sancho. He arrived as the Eredivisie's top scorer in his first season. However, the player from the Netherlands is quite difficult to adjust to this new club.
Even so, he is ranked in the top five players with significant contributors to Dortmund this season. So far, Donyell Malen has scored 8 goals and 6 assists from 34 performances.
Even though the Bundesliga has been dominated by Bayern Munich in the last decade, Dortmund can prove to be always able to put up a troublesome fight. They have always succeeded in making a young team full of strength. This season, their chance to beat Bayern Munich is still good, even though they are eight points apart from the top of the standings.
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Shakespeare's plays
Trevor Nunn 2007 production
The audience around the thrust stage of Trevor Nunn's Ruritania-inspired production could expect to get rained on during this loud and stormy production.
Ian McKellen balanced Lear's contradictions, playing Lear as a kind father, violent master and vulnerable old man, and he infamously appeared naked during Lear's madness.
The play's action took place against a tumble-down theatre auditorium with rich velvet drapes matching the ornate scarlet military uniforms of the players.
In a twist on the text, the Fool (Sylvester McCoy) was hanged on-stage.
King Lear 2007
Act 1 Scene 1
King Lear (Ian McKellen) prepares to divide his kingdom among his daughters.
Photo by Manuel Harlan © RSC Browse and license our images
Lear What's he that hath so much thy place mistook to set thee here?
Kent (Jonathan Hyde) explains how Regan and Cornwall had come to set him in the stocks. Lear (Ian McKellen) refuses to believe him.
Fool How now, nuncle! Would I had two coxcombs and two daughters!
The Fool (Sylvester McCoy) proves he is the only one who can challenge Lear (Ian McKellen).
Edmund It is his hand, my lord; but I hope his heart is not in the contents.
Edmund (Philip Winchester) sets the trap to trick his father Gloucester (William Gaunt) into believing Edgar (Gloucester's legitimate son) is plotting against him.
Gloucester Weapons? Arms? What's the matter here?
Edmund (Philip Winchester) wades into a sword fight between Oswald and Kent. Kent has attacked Oswald because he comes 'with letters against the king'.
Enter Lear, Cornwall, Albany, Goneril, Regan, Cordelia and Attendants.
The royal procession - Lear's final public appearance before he divides his kingdom.
France Thy dowerless daughter, King, thrown to my chance, is queen of us, of ours, and our fair France.
France (Ben Addis) proposes to Cordelia (Romola Garai) after her father has disowned her for not taking part in his test.
Poor Tom, Kent, Fool and Lear (Ben Meyjes, Jonathan Hyde, Sylvester McCoy, Ian McKellen)
Regan (Monica Dolan) taunts the blinded Gloucester (William Gaunt)
King Lear: I remember thine eyes well enough. Dost thou squinny at me?
Gloucester (Wiliam Gaunt) recognises Lear's (Ian McKellen) voice but the king is oblivious and talks nonsense.
Sylvester McCoy, Ian McKellen, Ben Meyjes in rehearsal for the stable scene. They're sitting on a practice 'settle' - a high-backed bench.
© RSC Browse and license our images
Monica Dolan (Regan) rehearses tormenting Gloucester (William Gaunt) after he has been blinded, watched by one of Cornwall's men (Richard Goulding).
Guy Williams (Cornwall) and Monica Dolan (Regan) rehearse killing Cornwall's servant (Adam Booth) after he's opposed their blinding of Gloucester. The fight was choreographed by Malcolm Ranson.
Ian McKellen and Jonathan Hyde rehearsing the mock trial as Lear's 'wits begin to turn'.
Cornwall's men practise hanging the Fool (Sylvester McCoy).
Frances Barber (Goneril) wearing a hooped practice skirt. This gives the company an idea of how large the costume will be.
Trevor Nunn talks to Sylvester McCoy.
Article: A Shifting Landscape
Peter Holland examines the diverse responses that King Lear has inspired on the stage. This article first appeared in the show programme for our 2007 King Lear.
It has become something of a cliché to describe the role of King Lear as a mountain, the Everest every Shakespearean actor is supposed to have to climb before being labelled 'great'. But when Ingmar Bergman was directing the play he found a more troubling landscape:
'We equipped expeditions which with varying skill and success mapped a few heaths, a river, a few shores, a mountain, forests. All the countries of the world equipped expeditions; sometimes we came across one another on our wanderings and established in despair that what was an inland lake yesterday had turned into a mountain today. We drew our maps, commented and described, but nothing fitted.'
At its first recorded performance, King Lear fitted especially well. On 26 December 1606, the King's Men performed the play at court for King James, a king who, far from dividing his kingdom, was busily trying to unite two sovereign realms, England and Scotland. Shakespeare, for the first time in his career, wrote a play about a King of Britain (he would do so again with Cymbeline), at the point at which King James was creating a new concept of nation, calling it Great Britain. Even the play's first line, 'I thought the king had more affected the Duke of Albany than Cornwall', had a special point when spoken before an audience that may well have included both dukes, titles King James had conferred on his sons. But then the play's resonances with the current monarch have often been troubling: during King George III's bouts of madness the play was not performed in London.
On Shakespeare's bare stage, the map in the first scene and the play's dialogue were the only signs of the play's landscape. Now it is the designer who makes visible the terrain of the play. Adrian Noble's 1993 RSC production covered the stage floor with a paper map on which the lines of division were painted by the Fool; as the action tore apart family and rule, so the map was shredded and torn. At The Other Place in 1988 (directed by Cicely Berry) the stone platform of the opening scenes split apart in the storm to become rocky boulders the characters clambered over. Others have made the landscape a more abstract space, like the flight of steps that stretched the stage's full width and up and down which the characters made apparent the play's power struggles in Komisarjevsky's 1936 Stratford production, or the bizarre and largely incomprehensible shapes for set and costumes in Isamu Noguchi's designs for Stratford in 1955. Though the play unsettlingly mixes Christian and pagan, Jacobean and mythical, Victorian productions sought to find a historical moment for their spectacle and, from Macready's performances in 1838 onwards, ancient Britons peopled the stage together with druids and distant vistas of stone circles.
In Michael Elliott's 1983 television version, with Laurence Olivier as Lear, the first scene was still taking place in a version of Stonehenge. But such precise historicizing was never satisfactory.
It was the storm that most completely showed off theatres' resources, with actors competing against sound effects to be heard. David Garrick's final performances as Lear in 1776, probably his greatest triumph, played against powerful depictions of the natural world in chaos while Edmund Kean, fifty years later, demanded a storm so realistic that the set's trees swayed in the wind to the sounds of their creaking. Later storms could be hyper-realistic or totally silent, drenching actors with rain or illuminating symbolic groupings by flashes of light(n)ing, creating the ultimate storm or an apocalyptic vision that was more metaphysical than natural.
Neither Garrick nor Kean had quite been playing Shakespeare's play. Bergman's sense that 'nothing fitted' was shared in 1680 by Nahum Tate who found the play 'a heap of jewels, unstrung and unpolished' and sought to 'rectify what was wanting in the regularity and probability of the tale' by giving Cordelia a romantic love-affair with Edgar and therefore a straightforward reason for not wanting to marry the Duke of Burgundy (Tate cut the King of France). Barely 20 years after the restoration of Charles II, a tragic ending for the plot was a political impossibility and Tate ended his play, as Shakespeare's source The True Chronicle History of King Leir and the Elizabethan histories had done, with Cordelia rescued, Lear restored to his throne and Cordelia's succession secure. For more than a century Tate's ending (and much of his text) was the only version performed and when Dr Johnson, with searing honesty, wrote that 'I was many years ago so shocked by Cordelia's death, that I know not whether I ever endured to read again the last scenes of the play till I undertook to revise them as editor', it was a shock neither he nor his contemporaries could ever have had in the theatre. Kean, trying to return to Shakespeare's ending in the 1820s, is said to have tottered under the weight of his Cordelia (and Lears have been advised to get themselves a light Cordelia ever since).
But, whatever the ending, Garrick's Lear was an overwhelming emotional experience for his audience, moving them to deep grief and floods of tears at the sufferings of the wronged father, their tears echoing his as, even when cursing Goneril, he could manage the transition from the horror of the father's brutal rejection of his daughter to his pain at his realisation of her filial ingratitude. The spectators' sympathetic response was the means to wring out of them the highly-praised feelings of pity and compassion. More father than king, Garrick claimed to have based his depiction of madness on his (probably invented) visit to a man driven mad by having accidentally dropped his daughter from a window. The imitative realism of the performance and the depth of its emotional demands made Garrick's Lear for the first time into the star role it has continued to be ever since.
An old adage says of this physically as well as mentally exhausting assignment: 'When you're old enough to play King Lear, you're too old to play King Lear'. But Garrick was a young man when he first played Lear and Paul Scofield was only in his forties when, for Peter Brook at the RSC in 1962, he overturned the traditional image of the part. As Kenneth Tynan wrote in his review, Lay him to rest, the royal Lear with whom generations of star actors have made us reverently familiar; the majestic ancient, wronged and maddened by his vicious daughters…Lay also to rest the archaic notion that Lear is automatically entitled to our sympathy because he is a king who suffers. Scofield's arrogant Lear seemed to deserve what he got, the consequences of his irrational acts, the results of his exercise of arbitrary power. Brook almost exonerated Goneril and Regan in the process but he also created a world that was outside history, a pitiless universe of despairing nihilism that owed much to Samuel Beckett.
Brook's adaptation of this production to film was released in 1971, just after the one by the Russian director Grigori Kozintsev, subversively brilliant exploration of the politics of power, a profound commentary on the Soviet state. What for Brook had been an existential drama of humanity was for Kozintsev a depiction of the state's abandonment of responsibility. In neither version did everything fit, any more than Bergman had found, but for all three the impossibility of encompassing and explaining the vastness of the play was the point. A certain amount of incoherence was a virtue, not a failing.
Others have tried to explain what caused the play: King Lear has attracted its clutch of prequels (Lear's Daughters by Elaine Feinstein and the Women's Theatre Group and Seven Lears by Howard Barker) and of transformations (such as Akira Kurosawa's film Ran, Edward Bond's Lear and Jane Smiley's novel Thousand Acres). There are operatic adaptations composed and tantalizingly planned: what would Verdi's or Elgar's or Britten's King Lears have been like? There are paintings that try to envision the play and poems that search for its meanings. But in the end, actors yet again come out onto a stage, as Burbage and others did for King James in the Christmas celebrations of 1606, and start to map the play's astonishing and appalling landscape for their audiences.
Trevor Nunn talks to Sylvester McCoy during rehearsals for King Lear
Trevor Nunn and James Shapiro in conversation
Nunn A play called King Leir was in performance close to the time Shakespeare was writing his Lear. That's quite a rare coincidence isn't it? What's the story about that?
Shapiro An old play called King Leir was published in 1605 and its title page declares that 'it has been diverse and sundry times lately acted'. While that may be stretching it, it surely was on the boards in the 1590s and perhaps into the early 17th century. So it was a play that Elizabethan playgoers knew well. It was a play that Shakespeare almost certainly read in that 1605 edition - if he hadn't remembered seeing it or if indeed he hadn't played in it himself. Those going to the theatre to see Shakespeare's Lear would have most likely had a passing acquaintance with the old Leir, so it's remarkable what Shakespeare does with their expectations. When Elizabethan playgoers went to see Henry V, they remembered the earlier Famous Victories of Henry the Fifth; when they went to see Shakespeare's Hamlet, they remembered the old Hamlet. The one thing they had learned to take for granted was that Shakespeare wouldn't tamper too much with the plot.
Nunn But now with Lear...
Shapiro They would have come to King Lear expecting from the older Leir version of the play that the old king is, in the end, restored to his throne - and Cordelia lives. It's hard to imagine how devastated audiences must have been seeing the final scene of Shakespeare's King Lear, because he violated that fundamental rule of remaking an old work, which is changing the ending.
Nunn ...And perhaps a fundamental rule of drama that plays serve as a moral or cautionary influence on us, because they show, regardless of the trials and vicissitudes, that the good will triumph by the end of the story. In Lear we're expecting just that, but Shakespeare won't have it.
Shapiro We're waiting for it. We've seen so much suffering in this play, but at last, we think, we'll be rewarded with a father and daughter reunited and with a sadder and wiser Lear restored to power. No one put it better than Dr. Johnson, who had just these expectations and who wrote that 'Shakespeare has suffered the virtue of Cordelia to perish, contrary to the natural ideas of justice, to the hope of the reader and, what is yet more strange, to the faith of the chronicles'.
Nunn Isn't it therefore proof positive that Shakespeare's intentions were very different from those of the old play? Shakespeare's play is an investigation of the extremes of human behaviour, an enquiry into the nature of man, into what sort of a species we are and he concludes that life isn't like a morality play. When everything in our history tells us to believe the gods will intervene on the side of virtue, Shakespeare says they don't.
Shapiro I want to push you a little further on that. The earlier Leir play was filled with Christian references, and Shakespeare's version is ominously silent on Christian ethos and that religious veneer. I'm curious in your understanding of Lear, where is God, where is religion? Is there any sense of divine justice in your reading of the play?
Nunn This is absolutely central for me, because I find no sense of divine justice, and so I'm wondering whether, to your knowledge, any other writer of the Elizabethan age had ever ventured into questioning whether or not the heavens might be empty? In the early scenes, Shakespeare's play sets up the strong belief in his characters that human actions are overseen by the gods. The deities are not very specifically defined - there's an Apollo, there's a Jupiter, Lear seems to believe that, like him, they are old men, that they are intelligent and that they're watching. Lear clearly sees himself as a conduit of the gods. But as the play progresses, more people pray and appeal for the intervention of the gods, to no avail. The battle at the climax of the story will determine whether or not the good will triumph. Gloucester is urged to 'Pray, that the right may thrive.' He does. It doesn't. Finally, as it's realised that a death sentence is on both Lear and Cordelia, Albany leads all present in a final prayer as soldiers run to the prison: 'The gods defend them'. The next word is 'Howl'. Cordelia is dead. No intervention. The gods aren't mentioned again.
Shapiro ...And the run up to Albany's cry has Edgar reassuring us that the gods are just. Everyone we trust in this play is telling us to trust in the gods. It's extraordinary to think that Shakespeare would set up his audience in that way, and then have Lear enter with Cordelia dead in his arms. Modern, mostly secular audiences live in a world where religion is unlike what it was for Shakespeare and his contemporaries. We don't have mandatory church attendance. Even the atheists back then, if there were a handful, were Christian atheists, those who had once had faith. How as a director can you in such a sceptical age as our own convey the force of this ending?
Nunn I hope just by playing what's there. I think Edmund is placed before us early on as evidence of a solitary shocking atheist intelligence. At the end of his first soliloquy he calls out as if in mockery, 'Now gods, stand up for bastards'. Meanwhile, Lear's journey takes him increasingly towards challenging the gods, and arrives at his understanding of 'unaccommodated man', as no more than an animal. Then his fundamental questions begin. 'What is the cause of thunder?' 'Is there any cause in nature that makes these hard hearts?' His questions seem to be reaching towards Darwinian rather than divine explanations.
Shapiro Let me push you a little further there as well. When you come to Lear's final words - and in a sense the play can be read backwards through them - it's only in the Folio that Lear dies saying 'Look there, look there'. Is your production going to retain those lines or not?
Nunn Oh yes, the production does retain those lines.
Shapiro Do you have a sense, then, building on what you're describing, of what Lear may or may not be seeing when he's asking us to 'Look there'?
Nunn Lear asks just before: 'Why should a dog, a horse, a rat have life and thou no breath at all?'. Is there any reason in nature that can explain why somebody is? What is life? But if this feather stirs, he says, it will be enough 'to redeem all sorrows' he has ever felt. So perhaps in 'Look her lips, look there', he sees the hint of breath from Cordelia's lips, and so a flicker of optimism that means Lear's heart bursts smilingly. Beyond the finality of 'Never, never, never, never, never' is there for Lear a last illusory release? Or is 'Look there' a final coming to terms with a dead child in a random world?
Shapiro It was A. C. Bradley who argued 100 years ago that Lear, speaking these lines, was 'dying in unbearable joy'. It's hard to imagine that at the end of this play.
Nunn Impossible to imagine if the 'unbearable joy' Bradley had in mind was Lear looking heavenwards. Elysium is entirely absent from this play.
Shapiro This is your third go at Lear. I know that you've done two major productions of it, first in 1968 and then in 1976 with Donald Sinden, which was the first great Lear that I ever saw. You've had now thirty-some odd years to think about it. How much has your thinking about the play changed?
Nunn Thirty-some odd years in the second half rather than the first half of my life. So Shakespeare engaging with questions about mortality and what we construct for ourselves either to explain or to accept our mortality, speak very potently to me now. The play is very hard on organised human society and institutions of every kind. Lear, speaking under the cover of madness, takes the lid off officialdom. Justice - 'handy dandy, which is the justice, which the thief.' Finance - 'the userer hangs the cozenor.' Politicians - 'seem to see what they do not.' Authority - 'a dog's obeyed in office.' There is very little Lear and Gloucester have left to believe in, before they must endure their going hence.
Shapiro I've recently turned 50 and as I listen to you I feel I'm almost ready to wrestle with this play in a future book, though perhaps I'm still a little bit on the young side. I've always thought being too young is an impediment to understanding this play. When Shakespeare is writing Lear he's 42, which doesn't sound that old to us, but he knew that people lived on average until their mid-40s – only one of his three sisters was still alive and his three younger brothers would all die within the next 7 years or so. He was also, it seems, a little tired of working with institutions himself – he was a King's Man but probably not all that happy about appearing in livery at the king's beck and call. As a writer he thoroughly understood his craft; as a man of the theatre, though, he seems disengaged. I suspect that a more solitary Shakespeare is reflected in this play. I'm curious if you feel a difference between a play like Hamlet, which you've directed a number of times as well, and a play like Lear? Only 7 years at the most have passed between one and the other but it almost seems like he's passed through a stage of life by the time he's writing Lear.
Nunn I do feel he's passed from one stage of life to another. So I think of that extraordinary sonnet [No. 66 'Tired with all these for restful death I cry'], the 'suicide' sonnet. Was the composition of that extraordinary catalogue of life's disappointments in any way contemporaneous with Lear? How much despair was Shakespeare in about the world he saw around him?
Shapiro I wrestle with that question a lot…. I do get a sense of a pervasive darkening of Shakespeare's world. In 1603, one in six& Londoners died of the plague, and plague never fully disappeared for the rest of that decade. For most of 1606, the year in which this play was first staged at court at Christmastime before King James, the public theatres were closed because of plague. Walking the streets of London in these years, and with every major outbreak of plague seeing crosses painted on doors, houses sealed up, year after year, with no end to the nightmare of plague in sight, had to be deeply depressing, numbing. It must have been somewhat like living in Baghdad now - and it absolutely coloured Shakespeare's sensibility.
Nunn I mentioned that risky things are said under the cover of Lear's madness - would there have been the necessity of censorship or of the play being manipulated if it was to be performed at court?
Shapiro There's no question that there were cuts made to the play - in the production that was played at Whitehall on St Stephens Day 1606 and again in the Folio version. That having been said, the 1606 and 1623 versions of the play are both quite radical in their take on court intrigue, economic inequality, the hypocritical system of justice and on the nature of a political state. So if there was censorship, there doesn't seem to have been enough of it. This play offers as condemning a view of political and social relations as any I know.
Nunn Why was Shakespeare drawn to the subject of madness again? Was there anything going on in his life to explain why?
Shapiro That's such an essential question and such an impossible one to answer. We know that a few years earlier he was interested in madness in a very different way with Hamlet's feigned madness. Ophelia and even Malvolio come to mind, Othello and Lady Macbeth too. But this seems to be on another level entirely, a profound engagement with the question of madness and possession. We don't know what was going on in his intimate life, with his friends, lovers, or family, that might explain this. But we know for a fact that he was reading Harsnett's Declaration of Egregious Popish Imposters, an attack on Catholic priests who conducted exorcisms, and that the obsession with exorcism and with madness as 'possession' is something he's brooding about. But we only have the traces of the play, not of the life. Let me ask you, going back to this question of the text. Was it tough choosing between the 1608 Quarto and a conflated text that includes passages from the 1623 Folio?
Nunn Scholarship, as you say, has changed a lot in the last 30 years concerning this play. I don't think in 1968 anybody was saying, 'The Quarto and the Folio are two quite different plays'. I remember at the time consulting John Barton, and arriving at a 'best of both worlds' conflated text. That became the basis of the text I used in 1976, but then when I started out this time I did read a number of people who were telling me that I should be making a choice between Quarto and Folio. But I found myself unwilling to lose rich and evocative material from either version, and so I am working with a conflation again.
Shapiro You're not speaking with a purist here. I'm convinced that Shakespeare tinkered with his plays and that he handed over a script he knew would be changed in theatrical practise. Reg Foakes, who edited the Arden edition of King Lear, argues that there was revision and probably censorship, but that the two versions of the play are not as far apart as those who argue you must choose between Quarto and Folio would claim. You've obviously felt responsible and resourceful enough to go back and read some of the stuff that's been written before arriving at a conflated text and I suspect if I were directing it - rather than simply writing about it - I'd have chosen the same path as you.
One of the key differences between the Quarto and the Folio centres on the question, is this a civil war, or is it a foreign invasion from France? I've long believed there's a fundamental difference between the two, but of late I've also been thinking that if I were sitting in downtown Baghdad and somebody asked me, 'Are we experiencing a foreign invasion or a civil war?', I would probably say…
Nunn What's the difference?
Shapiro ...Yes, on an academic level and perhaps even on a theatrical level it makes a difference, but what difference does that make to the suffering that ordinary people endure?
Nunn You've mentioned Baghdad twice, and indeed we're living now through a time of war that millions of us regret, not only because as always the military solution only leads to greater misery, but because we're also seeing people so persuaded by their beliefs, that they will kill on behalf of them in the absolute certainty that God is on their side.
Shapiro When Shakespeare was writing Lear, England had just gone through, if you will, the equivalent of a '9/11' moment - the Gunpowder plot - the year before Lear was first staged. There must have been a sense that terrible destruction had been averted, and yet it was a time of great social and political rupture, reflected in the issues in the play: rebellion, loyalty, fear of a foreign invasion, an attempt on a monarch's life. So it's hard to ignore the ways in which contemporary pressures shape a play like this.
Nunn On the internet, we're told, there are images of people being executed, shot, beheaded - and we recoil at the thought that human beings can behave in such an animal way, and that out there are other human beings who want to watch and want to gloat over these images. It's inhuman - then we remember the blinding scene in King Lear.
Shapiro I can't help but think that playgoers will recall what they're seeing on the news or on the internet as they are watching that scene in your production. It's impossible to not feel the pressure of one's own times. Shakespeare would have expected as much of those who went to see his Lear.
James Shapiro is Professor of English at Columbia University and author of 1599: A year in the life of William Shakespeare (Faber, 2005).
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King Lear timeline
In Focus: Gregory Doran 2016
In focus: Bill Alexander 2004
In focus: Adrian Noble 1982
In focus: Peter Brook 1962
David Farr 2010 production
Adrian Noble 1993 production
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One of the most awaited events of tricity is finally here and we just can't keep calm.
With six successful editions of its event, La Feria proudly presents to you its upcoming seventh spring edition.
The event is no less than a full package flea that leaves no room for you to be disappointed with its' amazing range of collections.
And when we say a complete package, we mean it literally! From music, food, shopping, kid's zone, pet zone to a fabulous concert, La Feria has it all.
Save the dates, so you do not miss this once in a springtime event for yourself.
After all, who would want to miss out on the biggest flea market of the city beautiful anyways?!
The flea has been a huge success each time and well, it had to... LaFeria makes sure that it attracts in the whole Chandigarh towards the event! With each passing year, the presentation of this flea is reaching a new standard of perfection.
In fact, it is one of the best 'family flea at one stop' event in India. Not just the shopping part, the two-day flea event will be a complete family get together in the weekend moment along with binging and fun.
Time: 1200 hours to 2200 hours.
The Jewels Of La Feria, 2019.
You name it and they have it... be it wedding wear, casual party wear, date wear or even casual day wear, this flea is the ultimate stop and has it all for you. And ohh! We ain't just talking about the costumes, but also all the accessories and footwear you'd need with it to complete your look for any and every occasion you wish to attend. The super chill atmosphere and positive aura is one thing that won't let you leave the event before time. We mean, who doesn't need to chill after a long-hectic week?
Speaking of the shopping options again, this could be your chance to lay your hands on some exquisite jewelry and a wide range of other fashion items be it the traditional wear, casual wear or the party wear.
Decorative Rice Paper Lanterns, Quilling Art Frames and Boxes, Lace Earrings, Tassel Earrings and bundles of quirky Home Decor items are something that we all love and do not want to miss on. Thanks to La Feria we have got a place that'll help us spice up our home décor for real this time.
'Horizon' being the one, heading this department has already got all of the hopes really high. Not just the kids, the parents are equally excited for the kid zone arrangement surprise.
Now, who doesn't love binging good in good mood?! Muffins, puddings, and cakes are some sweet dishes which are preferred by all of us! " The Little Oven" has a varied range of muffins and many more sweet dishes to give an amazing end to your meal!
The live music concert is just what we all need in a venue as lively as La Feria and Bam! Just when we thought it might be missing on that it held us all wrong on our assumptions. Although the team hasn't revealed the band they'll be featuring but the crowd is still excited to see their surprise this year.
Fun exciting games and activities to keep you on your toes and not just so... The flea team also offers you a few exciting coupons and gift hampers for participating and winning the game. Now, how cool is that?!
If you have pets at home, make them feel special, give them love and care of course with Mutt, Of Course, coming all the way from New Delhi only at La Feria Pop Up Village.
The flea would rightly present all exclusive designs from across the country at one stop which is itself an exciting offer for the Chandigarhians. An array of exclusively customized designer clothing and accessories. Now, being around the city at this time, you should not really miss the chance of grabbing the best in the town for yourself and your loved ones.
La Feria had recently upgraded its theme game as they got inspiration from 'Kitsch Bazaar'. Just like every year, the stage has been set for the amazing artists and the stalls have been placed for the exhibitors with some sparkling never-seen-before stuff.
Although, the flea team had previously set its stage in leisure valley and CGA Golf Range like the 2018 edition the team has planned to hit its space @ Chandigarh Club, Sector –1, Chandigarh. The two-day long event shall be an attraction point for all as it'd display something relating to everyone's interest in the flea.
So, get ready with your shopping bucket lists to jazz up your weekend for real as the ultimate flea address is just around the corner for you.


Lady Gaga and Starbucks have teamed up to raise money for youth.
Introducing the Cups of Kindness Collection. Now through June 19, if you buy any of the four drinks in the collection, 25 cents goes to Gaga's Born This Way Foundation, which empowers young people to document their stories of kindness.
The coffee giant has pledged to give a minimum donation of $250k.
The four drink flavors include: Ombre´Pink Drink, Violet Drink, Matcha Lemonade and Pink Drink. Get details on the drink here.


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