Carrie: The Musical is a musical with a book by Lawrence D. Cohen, lyrics by Dean Pitchford, music by Michael Gore. Adapted from Stephen King's novel Carrie, it focuses on an awkward teenage girl with telekinetic powers whose lonely life is dominated by an oppressive religious fanatic mother; when she is humiliated by her classmates at the high school prom, she unleashes chaos on everyone and everything in her path. Inspired by a 1981 performance of Alban Berg's opera Lulu at the Metropolitan Opera House, Lawrence D. Cohen, who wrote the script for the 1976 film version of Carrie, Michael Gore began work on a musical based on the Stephen King novel. Gore's Fame collaborator, Dean Pitchford, was brought in to work on the project, which underwent numerous rewrites. In August 1984, a workshop of the first act was staged at 890 Broadway with Annie Golden as Carrie, Maureen McGovern as Mrs. White, Laurie Beechman as Mrs. Gardner, Liz Callaway as Chris, it was soon announced that Carrie would be produced on Broadway in 1986.
Funding was not raised until late 1987. The show was produced by Friedrich Kurz and the Royal Shakespeare Company and had its first four-week run beginning on February 13, 1988 in Stratford-upon-Avon, where it received mixed reviews. Directed by Terry Hands and choreographed by Debbie Allen, the cast included Broadway veteran and cabaret singer Barbara Cook, Charlotte d'Amboise, Gene Anthony Ray, Darlene Love, Linzi Hateley, in her stage debut, as Carrie; the massive, technically complex production by designer Ralph Koltai featured pyrotechnics, automated scenery and a gigantic white flying staircase that appeared for the show's tragic finale. The production was plagued with script and technical problems; the crew was unable to douse Hateley with fake blood without causing her microphone to malfunction. Rewrites continued following each show, the program cited a song, "Once I Loved a Boy,", rewritten and retitled "When There's No One" prior to the first performance. Cook resigned when she was nearly decapitated by an elaborate set piece - the White's Living Room, during "Open Your Heart" - on opening night, but she agreed to stay on until a replacement could be cast, which turned out to be the remainder of the show's Stratford run.
A musical section of the "Locker Room Scene" was removed after the initial few performances, another song, "White Star," was excised. The show transferred to Broadway at an expense of $8 million. Hateley and other members of the UK cast remained with the show, but Cook was replaced by Betty Buckley; the show started previews on April 1988, at the Virginia Theatre. After the final song, boos were heard mixed in with applause. Ken Mandelbaum is quoted by Wollman, MacDermot, Trask: "Ken Mandelbaum writes of an audience divided during early previews, the curtain calls of which were greeted with a raucous mix of cheers and boos. However, in an instant, when Linzi Hateley and Betty Buckley rose to take their bows, the entire theatre turned to a standing ovation. According to the New York Times, "The show had received standing ovations at some previews, as well as on opening night..." The show opened on May 12, 1988. Hampered by scathing reviews, despite the fact that the theatre was sold out every night, the financial backers pulled their money out of the show, it closed on May 15 after only 16 previews and 5 performances, guaranteeing its place in theatre history as one of the most expensive disasters of all time.
According to The New York Times, the "more-than-$7 million show...was the most expensive quick flop in Broadway history." A reading was held on November 2009, in New York City. The score and book were revised by original composers Michael Gore and Dean Pitchford, writer Lawrence D. Cohen; the songs "Dream On", "It Hurts to Be Strong", "Don't Waste the Moon", "Heaven", "I'm Not Alone", "Wotta Night" and "Out for Blood" were removed and replaced with new songs. The reading starred Sutton Foster, Marin Mazzie and Molly Ranson. On October 5, 2010, it was confirmed that Carrie would be produced Off-Broadway at the Lucille Lortel Theatre by MCC Theater; the director is Stafford Arima with the original creators working on revisions of the show. From May 25 through June 7, a developmental lab was held at MCC, directed by Arima and choreographed by Matt Williams; the initial cast for the revival was announced on May 3, 2011. From the reading held in 2009, Marin Mazzie starred as Molly Ranson as Carrie. Additional cast was announced on November 21, 2011.
On August 1, 2011, a benefit preview of the revival was presented at the Lucille Lortel Theatre. Titled "Revisiting Carrie", the event gave a behind-the-scenes look at the upcoming production with Cohen and Pitchford. Arima was present as well. Throughout the evening, Mazzie and other cast members, performed song selections from the show; the revival began previews on January 31, 2012, opened on March 1, 2012, closed a month on April 8 after a limited engagement with 34 previews and 46 performances. The MCC directors said: "MCC, the authors, the director achieved what we all set out to do – to rescue Carrie from oblivion and to give her new life. Plans are under way to preserve this production for Lincoln Center Library for the Performing Arts, so it may live on in the memories of the thousands of theatergoers who saw and loved it." During the 2011/2012 awards season the show was nominated for multiple awar
Edvard Munch was a Norwegian painter, whose best known work, The Scream, has become one of the most iconic images of world art. His childhood was overshadowed by illness and the dread of inheriting a mental condition that ran in the family. Studying at the Royal School of Art and Design in Kristiania, Munch began to live a bohemian life under the influence of nihilist Hans Jæger, who urged him to paint his own emotional and psychological state. From this would presently emerge his distinctive style. Travel brought new outlets. In Paris, he learned much from Paul Gauguin, Vincent van Gogh and Henri de Toulouse-Lautrec their use of colour. In Berlin, he met Swedish dramatist August Strindberg, whom he painted, as he embarked on his major canon The Frieze of Life, depicting a series of deeply-felt themes such as love, anxiety and betrayal, steeped in atmosphere, but it was back in Kristiania. According to Munch, he was out walking at sunset, when he ‘heard the enormous, infinite scream of nature’.
That agonised face is identified with the angst of modern man. Between 1893 and 1910, he made two painted versions and two in pastels, as well as a number of prints. One of the pastels would command the fourth highest nominal price paid for a painting at auction; as his fame and wealth grew, his emotional state remained as insecure as ever. He considered marriage, but could not commit himself. A breakdown in 1908 forced him to give up heavy drinking, he was cheered by his increasing acceptance by the people of Kristiania and exposure in the city’s museums, his years were spent working in peace and privacy. Although his works were banned in Nazi Germany, most of them survived World War II, ensuring him a secure legacy. Edvard Munch was born in a farmhouse in the village of Ådalsbruk in Løten, United Kingdoms of Sweden and Norway, to Laura Catherine Bjølstad and Christian Munch, the son of a priest. Christian was a doctor and medical officer who married Laura, a woman half his age, in 1861. Edvard had an elder sister, Johanne Sophie, three younger siblings: Peter Andreas, Laura Catherine, Inger Marie.
Laura may have encouraged Edvard and Sophie. Edvard was related to historian Peter Andreas Munch; the family moved to Christiania in 1864 when Christian Munch was appointed medical officer at Akershus Fortress. Edvard's mother died of tuberculosis in 1868, as did Munch's favorite sister Johanne Sophie in 1877. After their mother's death, the Munch siblings were raised by their aunt Karen. Ill for much of the winters and kept out of school, Edvard would draw to keep himself occupied, he was tutored by his aunt. Christian Munch instructed his son in history and literature, entertained the children with vivid ghost-stories and the tales of American writer Edgar Allan Poe; as Edvard remembered it, Christian's positive behavior toward his children was overshadowed by his morbid pietism. Munch wrote, "My father was temperamentally nervous and obsessively religious—to the point of psychoneurosis. From him I inherited the seeds of madness; the angels of fear and death stood by my side since the day I was born."
Christian reprimanded his children by telling them that their mother was looking down from heaven and grieving over their misbehavior. The oppressive religious milieu, Edvard's poor health, the vivid ghost stories helped inspire his macabre visions and nightmares. One of Munch's younger sisters, was diagnosed with mental illness at an early age. Of the five siblings, only Andreas married. Munch would write, "I inherited two of mankind's most frightful enemies—the heritage of consumption and insanity."Christian Munch's military pay was low, his attempts to develop a private side practice failed, keeping his family in genteel but perennial poverty. They moved from one cheap flat to another. Munch's early drawings and watercolors depicted these interiors, the individual objects, such as medicine bottles and drawing implements, plus some landscapes. By his teens, art dominated Munch's interests. At thirteen, Munch had his first exposure to other artists at the newly formed Art Association, where he admired the work of the Norwegian landscape school.
He returned to copy the paintings, soon he began to paint in oils. In 1879, Munch enrolled in a technical college to study engineering, where he excelled in physics and math, he learned scaled and perspective drawing. The following year, much to his father's disappointment, Munch left the college determined to become a painter, his father viewed art as an "unholy trade", his neighbors reacted bitterly and sent him anonymous letters. In contrast to his father's rabid pietism, Munch adopted an undogmatic stance toward art, he wrote his goal in his diary: "in my art I attempt to explain life and its meaning to myself."In 1881, Munch enrolled at the Royal School of Art and Design of Kristiania, one of whose founders was his distant relative Jacob Munch. His teachers were the naturalistic painter Christian Krohg; that year, Munch demonstrated his quick absorption of his figure training at the Academy in his first portraits, including one of his father and his first self-portrait. In 1883, Munch shared a studio with other students.
His full-length portrait of Karl Jensen-Hjell
Alma Mater (Illinois sculpture)
The Alma Mater is a bronze statue by sculptor Lorado Taft, a beloved symbol of the University of Illinois at Urbana-Champaign. The 10,000-pound statue depicts a mother-figure wearing academic robes and flanked by two attendant figures representing "Learning" and "Labor", after the University's motto "Learning and Labor." Sited at the corner of Green and Wright Streets at the heart of the campus, the statue is an iconic figure for the university and a popular backdrop for student graduation photos. It is appreciated for its heraldic overtones and warmth of pose; the statue was removed from its site at the entrance to the university for restoration in 2012 and was returned to its site in the spring of 2014. The Alma Mater is a bronze figure of a woman in academic robes, she klismos, with her arms outstretched in welcome. The attendant figure "Labor" is a male who stands to her proper right and wears a blacksmith's apron. At his feet lies a sheaf of papers; the proper left figure. Learning and Labor extend their hands in a handshake over the throne.
The work stands 13-feet tall. The granite base carries three inscriptions: Front: "ALMA MATER / To thy happy children / of the future / those of the past / send greetings" Left: "Given to the University / by the sculptor / the alumni fund / and the senior classes of / 1923, 1924, 1925, 1926, 1927, 1928, 1929." Right: "Her children arise up and call her Blessed" Proverbs 31:28. The long flowerbed stretching from the front of the Alma Mater to the corner of Green Street and Wright Street is known as the Alma Mater Plaza. Lorado Taft wrote in correspondence that he began sculpting on the theme of "Labor and Learning" while home from Paris in 1883, after having graduated from the University of Illinois in 1879. Taft envisioned a sculpture that students would climb on and, climbing on the statue and sitting on the throne have become campus traditions; the 1883 piece was not preserved. He began to seek funding for the project in 1916, a year after Daniel Chester French's Alma Mater was unveiled at Columbia University.
Taft was familiar with French's reserved, seated Alma Mater treatment and desired to create a more generous and "cordial" figure suitable for a Midwest mother." He began to correspond that year about the work, writing of it on a grand scale and in terms of the figures in position and dress. The central matriarch would stand "at least twelve feet high" and risen from her throne, advancing a step with outstretched arms, "a gesture of generously greeting her children." On the theme of the motto, he would pose two more figures on the same scale yet subordinate. He based Learning on Lemnia Athena as an heraldic gesture, clasping hands with a sturdy figure of Labor over the back of the chair; the subordination of figures was accomplished by sculpting them "with less accent" so as to make them appear "out of focus." According to financier Roland R. Conklin, an alumnus of the class of 1880, an initial completion date of October, 1918 was pushed back due to Taft's other commissions. Having secured the necessary patronage and Conklin announced the gift on November 27, 1916.
The plaster cast was presented at the annual convocation of the Alumni Association at 3:00 PM on June 13, 1922. So although the plaque beneath has stated the statue was conceived in 1922, it was nearly half a century in the making; the Alma Mater was cast in 1929 by the American Art Bronze Foundry with materials paid for by donations by the Alumni Fund and the classes of 1923-1929, with time donated by the sculptor himself. Taft insisted that his aim was not personal glory: he wished that his signature appear on the bronze and nowhere else, spoke decidedly of forgoing the dedication ceremony, but attend he did, at the statue's dedication on June 11, 1929, the university bestowed on Taft an honorary Doctor of Laws degree. For 33 years, the statue's provisional location was on the south campus behind Foellinger Auditorium, but the Alumni Association moved Alma Mater to Altgeld Hall on August 22, 1962 despite student dissent; the Daily Illini protested the new location as in the "worst possible taste.
Taft, whose father was the first geology professor at the University, lived for many years in Champaign at 601 E. John Street, less than two blocks from the site at Altgeld. On August 7, 2012 the statue was removed for a planned, $100,000 restoration to repair surface corrosion and water penetration into the sculpture. According to the campus historic preservation officer, a previous 1981 attempt to waterproof the statue by university staff had the unintended effect of sealing water inside the sculpture, causing serious internal damage; the statue was restored by Objects Studio Inc. of Forest Park, Illinois. The Alma Mater was expected to return before the commencement for the Class of 2013. However, the director of the restoration, Andrzej Dajnowski, reported that the damage was worse than original estimates and that the timeline was to be extended. Restoration costs tripled original estimates to more than $360,000; the statue was not returned until April 2014. Rumors amongst the student body speculated that the statue had been damaged, lost, or stolen.
Anticipating student reaction to the statue's absence for the 2013 commencement, the University announced extensive plans to provide alternative photo opportunities, including replica statues by School of Art and Design to be placed around campus, green screen photos for a virtual photo with the statue, improving other landmarks on the campus. The University d
Alma Mater (New York sculpture)
Alma Mater is a bronze sculpture by Daniel Chester French, located on the steps leading to the Low Memorial Library on the Morningside Heights campus of Columbia University in Manhattan, New York City. It is a personification of the traditional image of the University as an alma mater, or "nourishing mother". French designed the statue in 1901 and installed it in September, 1903, it was donated in memory of alumnus Robert Goelet of the Class of 1860 by his wife, Harriette W. Goelet. Alma Mater has become a symbol of the university. An owl, a symbol of knowledge and learning, is hidden in the folds of Alma Mater's cloak near her left leg and college superstition has it that the first member of the incoming class to find the owl will become class valedictorian; the legend at another time was that any Columbia student who found the owl on his first try would marry a girl from Barnard. When the statue was installed it was gilded in gold. Over time, the original gilding wore off and the few remaining flakes were removed in 1950.
In 1962, the University made the decision to have the gilding reapplied. In the early morning hours of May 17, 1970, a bomb was planted on the statue; the resulting explosion caused significant damage to Alma Mater's throne. The damage remained until 1978; the throne was recast and the sculpture was cleaned, refinished with a new patina, returned to the Low steps. Alma mater Media related to Alma Mater by Daniel Chester French at Wikimedia Commons Save Outdoor Sculpture Survey of Alma Mater
Wolfheart is the debut studio album by Portuguese gothic metal band, Moonspell. All of the tracks are in English except for "Trebaruna" and "Ataegina", which are in Portuguese, as well as the chorus of "Alma Mater"; the song "An Erotic Alchemy" is a duet, quoting Marquis de Sade. In July 2010 it was reported that Wolfheart will be represented in the form of an official stamp to be issued by the Portuguese Postal Service as part of a collection of stamps that represent the most significant rock moments and records from Portugal. All lyrics by all music by Moonspell. Fernando Ribeiro - vocals Mike - drums Passionis - keyboards Ares - bass Mantus - guitar Ricardo Amorim – guitars, backing vocals Birgit Zacher – female vocals Nuno Cartaxo - photography Christophe Szpajdel - logo Axel Hermann - cover art Carsten Drescher - layout, design
Alma Mater Europaea
Alma Mater Europaea is an international university based in the Austrian city of Salzburg, with campuses in several European cities. It was founded as an initiative by the European Academy of Sciences and Arts, a learned society of around 1500 prominent scientists, including 29 Nobel laureates. Since the early 2000s, the European Academy of Sciences and Arts has been planning the establishment of the university with the subtitle of European University for Leadership. In 2010, Alma Mater Europaea was established, with leading Austrian surgeon Felix Unger being appointed as its first president, while the German political scientist Werner Weidenfeld became the first rector, the Slovenian lawyer, university administrator and diplomat Ludvik Toplak the first prorector. At a meeting in Munich in February 2011, under the patronage of the presidents of 12 member states of the European Union, the board determined which courses the university would provide; these were to be taught in various cities across the union, in several languages, including English and Spanish.
In line with the international nature of the university, students and prominent European thinkers would meet at an international symposium at the graduation. It was decided that Alma Mater Europaea would be incorporated in European and international networks of universities through cooperation agreements. At the meeting it was decided that in the first stage, Alma Mater Europaea would start three 2-year master's degree programs; the university board stated that Alma Mater Europaea would be based on three so-called "W principles": Wissenschaft, Wirken. In German, this means: Science, Effect. In 2011, the university opened in Slovenia its first campus, located in the Slovenian city of Maribor; this campus enrolled about 500 students in 2011. In July 2011 the university co-sponsored a summer school in St. Gallen, Switzerland. In the academic year 2012-2013, about 800 students were enrolled in Maribor, the campus in Croatian capital Zagreb was opened, part of the master's degree studies were carried out in Brussels.
In 2013, the Salzburg campus of Alma Mater Europaea was founded and about 1000 students were enrolled in various studies in Austria and other countries in academic year 2013/14. In 2014, two higher education institutions joined Alma Mater Europaea; the first one is Institutum Studiorum Humanitatis, internationally renown graduate school of philosophy, with which Slavoj Žižek and numerous other world's leading philosophers had been affiliated. ISH was established in 1992; the other one is the Dance Academy, established in 2008. It is one of the few European institutions issuing government accredited degrees in dance arts. In 2014 the studies in Zurich started and in 2015 the Zürich campus was established. In 2015 New York based Global Center for Advanced Studies partnered with Alma Mater Europaea to start new masters and PhD degrees in humanities. In 2016 two new campuses were opened in Italy and Kosovo in the cities of Ascoli Piceno and in the capital Pristina; the university has premises in Salzburg, Ljubljana and Murska Sobota.
While administration and offices are in Salzburg and Maribor, lecturing takes place in Ljubljana and Murska Sobota. Lecturing in Salzburg, as well as some other European cities, will start in 2014. Department of Physical Therapy Department of Nursing Department of Social Gerontology Department of Management and European Studies Department of Archival and Documentology Studies European leadership program, producing future European thinkers. European business studies. Theological studies, which would be studied at the newly set-up European Dialogue Center for Theological Studies. A network of dialogue between Catholicism and Islam would be formed with a focus on question "What do the others think differently?" Academia Europaea College of Europe Global Center for Advanced Studies European Academy of Sciences and Arts Official website Website of the Alma Mater Europaea Website of the Alma Mater Europaea - European Centre, Maribor
Saturday in the Park (song)
"Saturday in the Park" is a song written by Robert Lamm and recorded by the group Chicago for their 1972 album Chicago V. "Saturday in the Park" was successful upon release, reaching No. 3 on the Billboard Hot 100, becoming the band's highest-charting single at the time, helping lift the album to No. 1. Billboard ranked it as the No. 76 song for 1972. The single was certified Gold by the RIAA, selling over 1,000,000 units in the U. S. alone. According to fellow Chicago member Walter Parazaider, Lamm was inspired to write the song during the recording of Chicago V in New York City on July 4, 1971: Robert came back to the hotel from Central Park excited after seeing the steel drum players, singers and jugglers. I said,'Man, it's time to put music to this! However, Lamm recalls the story differently, as he told Billboard magazine: It was written as I was looking at footage from a film I shot in Central Park, over a couple of years, back in the early ‘70s. I shot this film and somewhere down the line I edited it into some kind of a narrative, as I watched the film I jotted down some ideas based on what I was seeing and had experienced.
And it was kind of that peace and love thing that happened in Central Park and in many parks all over the world on a Saturday, where people just relax and enjoy each other’s presence, the activities we observe and the feelings we get from feeling a part of a day like that. In the studio version of the song, the line "singing Italian songs" is followed by "Eh Cumpari", Italian-sounding nonsense words, rendered in the printed lyrics as "?". Piano and vocal sheet music arrangements have read "improvised Italian lyrics" in parentheses after this line. However, in a film of Chicago performing "Saturday in the Park" at the Arie Crown Theater in Chicago in 1972, Robert Lamm sings, "Eh Cumpari, ci vo sunari," the first line of "Eh, Cumpari!". Robert Lamm – lead vocals, piano Peter Cetera – lead vocals, backing vocals, bass Terry Kath – guitar Lee Loughnane – trumpet James Pankow – trombone Walter Parazaider – alto saxophone Danny Seraphine – drums A Roller Skating Jam Named "Saturdays" Lyrics of this song at MetroLyrics