Musical theatre is a form of theatrical performance that combines songs, spoken dialogue and dance. The story and emotional content of a musical – humor, love, anger – are communicated through the words, music and technical aspects of the entertainment as an integrated whole. Although musical theatre overlaps with other theatrical forms like opera and dance, it may be distinguished by the equal importance given to the music as compared with the dialogue and other elements. Since the early 20th century, musical theatre stage works have been called musicals. Although music has been a part of dramatic presentations since ancient times, modern Western musical theatre emerged during the 19th century, with many structural elements established by the works of Gilbert and Sullivan in Britain and those of Harrigan and Hart in America; these were followed by the numerous Edwardian musical comedies and the musical theatre works of American creators like George M. Cohan at the turn of the 20th century.
The Princess Theatre musicals and other smart shows like Of Thee I Sing were artistic steps forward beyond revues and other frothy entertainments of the early 20th century and led to such groundbreaking works as Show Boat and Oklahoma!. Some of the most famous musicals through the decades that followed include West Side Story, The Fantasticks, Hair, A Chorus Line, Les Misérables, The Phantom of the Opera, The Producers and Hamilton. Musicals are performed around the world, they may be presented in large venues, such as big-budget Broadway or West End productions in New York City or London. Alternatively, musicals may be staged in smaller venues, such as fringe theatre, Off-Broadway, Off-Off-Broadway, regional theatre, or community theatre productions, or on tour. Musicals are presented by amateur and school groups in churches and other performance spaces. In addition to the United States and Britain, there are vibrant musical theatre scenes in continental Europe, Australasia and Latin America.
Since the 20th century, the "book musical" has been defined as a musical play where songs and dances are integrated into a well-made story with serious dramatic goals, able to evoke genuine emotions other than laughter. The three main components of a book musical are its music and book; the book or script of a musical refers to the story, character development and dramatic structure, including the spoken dialogue and stage directions, but it can refer to the dialogue and lyrics together, which are sometimes referred to as the libretto. The music and lyrics together form the score of a musical and include songs, incidental music and musical scenes, which are "theatrical sequence set to music combining song with spoken dialogue." The interpretation of a musical is the responsibility of its creative team, which includes a director, a musical director a choreographer and sometimes an orchestrator. A musical's production is creatively characterized by technical aspects, such as set design, stage properties and sound.
The creative team and interpretations change from the original production to succeeding productions. Some production elements, may be retained from the original production. There is no fixed length for a musical. While it can range from a short one-act entertainment to several acts and several hours in length, most musicals range from one and a half to three hours. Musicals are presented in two acts, with one short intermission, the first act is longer than the second; the first act introduces nearly all of the characters and most of the music and ends with the introduction of a dramatic conflict or plot complication while the second act may introduce a few new songs but contains reprises of important musical themes and resolves the conflict or complication. A book musical is built around four to six main theme tunes that are reprised in the show, although it sometimes consists of a series of songs not directly musically related. Spoken dialogue is interspersed between musical numbers, although "sung dialogue" or recitative may be used in so-called "sung-through" musicals such as Jesus Christ Superstar, Les Misérables and Hamilton.
Several shorter musicals on Broadway and in the West End have been presented in one act in recent decades. Moments of greatest dramatic intensity in a book musical are performed in song. Proverbially, "when the emotion becomes too strong for speech, you sing. In a book musical, a song is ideally crafted to suit the character and their situation within the story; as The New York Times critic Ben Brantley described the ideal of song in theatre when reviewing the 2008 revival of Gypsy: "There is no separation at all between song and character, what happens in those uncommon moments when musicals reach upward to achieve their ideal reasons to be." Many fewer words are sung in a five-minute song than are spoken in a five-minute block of dialogue. Therefore, there is less time to develop drama in a musical than in a straight play of equivalent length, since a musical devotes more time to music than to dialogue. Within the compressed nature of a musical, the writers must develop the plot; the ma
Mentorship is a relationship in which a more experienced or more knowledgeable person helps to guide a less experienced or less knowledgeable person. The mentor may be older or younger than the person being mentored, but he or she must have a certain area of expertise, it is a learning and development partnership between someone with vast experience and someone who wants to learn. Interaction with an expert may be necessary to gain proficiency with/in cultural tools. Mentorship experience and relationship structure affect the "amount of psychosocial support, career guidance, role modeling, communication that occurs in the mentoring relationships in which the protégés and mentors engaged."The person in receipt of mentorship may be referred to as a protégé, a protégée, an apprentice or, in the 2000s, a mentee. The mentor may be referred to a rabbi. "Mentoring" is a process that always involves communication and is relationship-based, but its precise definition is elusive, with more than 50 definitions in use.
One definition of the many that have been proposed, is Mentoring is a process for the informal transmission of knowledge, social capital, the psychosocial support perceived by the recipient as relevant to work, career, or professional development. Mentoring in Europe has existed since at least Ancient Greek times. Since the 1970s it has spread in the United States in training contexts, with important historical links to the movement advancing workplace equity for women and minorities, it has been described as "an innovation in American management"; the roots of the practice are lost in antiquity. The word itself was inspired by the character of Mentor in Homer's Odyssey. Though the actual Mentor in the story is a somewhat ineffective old man, the goddess Athena takes on his appearance in order to guide young Telemachus in his time of difficulty. Significant systems of mentorship include the guru–disciple tradition practiced in Hinduism and Buddhism, the discipleship system practiced by Rabbinical Judaism and the Christian church, apprenticing under the medieval guild system.
In the United States, advocates for workplace equity in the second half of the twentieth century popularized the term "mentor" and concept of career mentorship as part of a larger social capital lexicon which includes terms such as glass ceiling, bamboo ceiling, role model, gatekeeper—serving to identify and address the problems barring non-dominant groups from professional success. Mainstream business literature subsequently adopted the terms and concepts, promoting them as pathways to success for all career climbers. In 1970, these terms were not in the general American vocabulary; the European Mentoring and Coaching Council called the EMCC, is the leading global body in terms of creating and maintaining a range of industry standard frameworks and processes across the mentoring and related supervision and coaching fields e.g. a code of practice for those practising mentoring. The focus of mentoring is to develop the whole person and so the techniques are broad and require wisdom in order to be used appropriately.
A 1995 study of mentoring techniques most used in business found that the five most used techniques among mentors were: Accompanying: making a commitment in a caring way, which involves taking part in the learning process side-by-side with the learner. Sowing: mentors are confronted with the difficulty of preparing the learner before he or she is ready to change. Sowing is necessary when you know that what you say may not be understood or acceptable to learners at first but will make sense and have value to the mentee when the situation requires it. Catalyzing: when change reaches a critical level of pressure, learning can escalate. Here the mentor chooses to plunge the learner right into change, provoking a different way of thinking, a change in identity or a re-ordering of values. Showing: this is making something understandable, or using your own example to demonstrate a skill or activity. You show what you are talking about, you show by your own behavior. Harvesting: here the mentor focuses on "picking the ripe fruit": it is used to create awareness of what was learned by experience and to draw conclusions.
The key questions here are: "What have you learned?", "How useful is it?". Different techniques may be used by mentors according to the situation and the mindset of the mentee, the techniques used in modern organizations can be found in ancient education systems, from the Socratic technique of harvesting to the accompaniment method of learning used in the apprenticeship of itinerant cathedral builders during the Middle Ages. Leadership authors Jim Kouzes and Barry Z. Posner advise mentors to look for "teachable moments" in order to "expand or realize the potentialities of the people in the organizations they lead" and underline that personal credibility is as essential to quality mentoring as skill. Multiple mentors: A new and upcoming trend is having multiple mentors; this can be helpful. Having more than one mentor will widen the knowledge of the person being mentored. There are different mentors. Profession or trade mentor: This is someone, in the trade/profession you are entering, they know the trends, important changes and new practices that you should know to stay at the top of your career.
A mentor like thi
A traffic collision called a motor vehicle collision among other terms, occurs when a vehicle collides with another vehicle, animal, road debris, or other stationary obstruction, such as a tree, pole or building. Traffic collisions result in injury and property damage. A number of factors contribute to the risk of collision, including vehicle design, speed of operation, road design, road environment, driver skill, impairment due to alcohol or drugs, behavior, notably distracted driving and street racing. Worldwide, motor vehicle collisions lead to death and disability as well as financial costs to both society and the individuals involved. In 2013, 54 million people worldwide sustained injuries from traffic collisions; this resulted in 1.4 million deaths in 2013, up from 1.1 million deaths in 1990. About 68,000 of these occurred in children less than five years old. All high-income countries have decreasing death rates, while the majority of low-income countries have increasing death rates due to traffic collisions.
Middle-income countries have the highest rate with 20 deaths per 100,000 inhabitants, accounting for 80% of all road fatalities with 52% of all vehicles. While the death rate in Africa is the highest, the lowest rate is to be found in Europe. Traffic collisions can be classified by general types. Types of collision include head-on, road departure, rear-end, side collisions, rollovers. Many different terms are used to describe vehicle collisions; the World Health Organization uses the term road traffic injury, while the U. S. Census Bureau uses the term motor vehicle accidents, Transport Canada uses the term "motor vehicle traffic collision". Other common terms include auto accident, car accident, car crash, car smash, car wreck, motor vehicle collision, personal injury collision, road accident, road traffic accident, road traffic collision, road traffic incident as well as more unofficial terms including smash-up, pile-up, fender bender; some organizations have begun to avoid the term "accident", instead preferring terms such as "collision", "crash" or "incident".
This is because the term "accident" implies that there is no-one to blame, whereas most traffic collisions are the result of driving under the influence, excessive speed, distractions such as mobile phones or other risky behavior. In the United States, the use of terms other than "accidents" had been criticized for holding back safety improvements, based on the idea that a culture of blame may discourage the involved parties from disclosing the facts, thus frustrate attempts to address the real root causes. Following collisions, long-lasting psychological trauma may occur; these issues may make those. In some cases, the psychological trauma may affect individuals' life can cause difficulty to go to work, attend school, or perform family responsibilities. A number of physical injuries can result from the blunt force trauma caused by a collision, ranging from bruising and contusions to catastrophic physical injury or death. A 1985 study by K. Rumar, using British and American crash reports as data, suggested 57% of crashes were due to driver factors, 27% to combined roadway and driver factors, 6% to combined vehicle and driver factors, 3% to roadway factors, 3% to combined roadway and vehicle factors, 2% to vehicle factors, 1% to combined roadway and vehicle factors.
Reducing the severity of injury in crashes is more important than reducing incidence and ranking incidence by broad categories of causes is misleading regarding severe injury reduction. Vehicle and road modifications are more effective than behavioral change efforts with the exception of certain laws such as required use of seat belts, motorcycle helmets and graduated licensing of teenagers. Human factors in vehicle collisions include anything related to drivers and other road users that may contribute to a collision. Examples include driver behavior and auditory acuity, decision-making ability, reaction speed. A 1985 report based on British and American crash data found driver error and other human factors contribute wholly or to about 93% of crashes. Drivers distracted by mobile devices had nearly four times greater risk of crashing their cars than those who were not. Dialing a phone is the most dangerous distraction, increasing a drivers’ chance of crashing by 12 times, followed by reading or writing, which increased the risk by 10 times.
An RAC survey of British drivers found 78% of drivers thought they were skilled at driving, most thought they were better than other drivers, a result suggesting overconfidence in their abilities. Nearly all drivers, in a crash did not believe themselves to be at fault. One survey of drivers reported that they thought the key elements of good driving were: controlling a car including a good awareness of the car's size and capabilities reading and reacting to road conditions, road signs and the environment alertness and anticipating the behavior of other drivers. Although proficiency in these skills is taught and tested as part of the driving exam, a "good" driver can still be at a high risk of crashing because:...the feeling of being confident in more and more challenging situations is experienced as evidence of driving ability, that'proven' ability reinforces the feelings of confidence. Confidence grows unchecked until something happens -- a near-miss or an accident. An AXA survey concluded Irish drivers are safety-conscious relative to other European drivers.
However, this does not translate
Henry IV, Part 1
Henry IV, Part 1 is a history play by William Shakespeare, believed to have been written no than 1597. It is the second play in Shakespeare's tetralogy dealing with the successive reigns of Richard II, Henry IV, Henry V. Henry IV, Part 1 depicts a span of history that begins with Hotspur's battle at Homildon in Northumberland against Douglas late in 1402 and ends with the defeat of the rebels at Shrewsbury in the middle of 1403. From the start, it has been an popular play both with the public and critics. Henry Bolingbroke—now King Henry IV—is having an unquiet reign, his personal disquiet at the usurpation of his predecessor Richard II would be solved by a crusade to the Holy Land, but broils on his borders with Scotland and Wales prevent that. Moreover, he is at odds with the Percy family, who helped him to his throne, Edmund Mortimer, the Earl of March, Richard II's chosen heir. Adding to King Henry's troubles is the behaviour of his son and heir, the Prince of Wales. Hal has forsaken the Royal Court to waste his time in taverns with low companions.
This calls into question his royal worthiness. Hal's chief friend and foil in living the low life is Sir John Falstaff. Fat, old and corrupt as he is, he has a charisma and a zest for life that captivates the Prince; the play features three groups of characters that interact at first, come together in the Battle of Shrewsbury, where the success of the rebellion will be decided. First there is his immediate council, he is the engine of the play, but in the background. Next there is the group of rebels, energetically embodied in Henry Percy and including his father, the Earl of Northumberland and led by his uncle Thomas Percy, Earl of Worcester; the Scottish Earl of Douglas, Edmund Mortimer and the Welshman Owen Glendower join. At the centre of the play are the young Prince Hal and his companions Falstaff, Poins and Peto. Streetwise and pound-foolish, these rogues manage to paint over this grim history in the colours of comedy; as the play opens, the king is angry with Hotspur for refusing him most of the prisoners taken in a recent action against the Scots at Holmedon.
Hotspur, for his part, would have the king ransom Edmund Mortimer from Owen Glendower, the Welshman who holds him. Henry refuses, berates Mortimer's loyalty, treats the Percys with threats and rudeness. Stung and alarmed by Henry's dangerous and peremptory way with them, they proceed to make common cause with the Welsh and Scots, intending to depose "this ingrate and cankered Bolingbroke." By Act II, rebellion is brewing. Meanwhile, Henry's son Hal is joking and thieving with Falstaff and his associates, he makes no pretense at being like him. He enjoys insulting his dissolute friend and makes sport of him by joining in Poins’ plot to disguise themselves and rob and terrify Falstaff and three friends of loot they have stolen in a highway robbery, purely for the fun of hearing Falstaff lie about it after which Hal returns the stolen money. Rather early in the play, in fact, Hal informs us that his riotous time will soon come to a close, he will re-assume his rightful high place in affairs by showing himself worthy to his father and others through some noble exploits.
Hal believes that this sudden change of manner will amount to a greater reward and acknowledgment of prince-ship, in turn earn him respect from the members of the court. The revolt of Mortimer and the Percys quickly gives him his chance to do just that; the high and the low come together when the Prince makes up with his father and is given a high command. He vows to fight and kill the rebel Hotspur, orders Falstaff to take charge of a group of foot soldiers and proceed to the battle site at Shrewsbury; the battle is crucial because if the rebels achieve a standoff their cause gains as they have other powers awaiting under Northumberland, Glendower and the Archbishop of York. Henry needs a decisive victory here, he outnumbers the rebels. The day wears on, the issue still in doubt, the king harried by the wild Scot Douglas, when Prince Hal and Hotspur, the two Harrys that cannot share one land, meet, they will fight – for glory, for their lives, for the kingdom. No longer a tavern brawler but a warrior, the future king prevails killing Hotspur in single combat.
On the way to this climax, we are treated to Falstaff, who has "misused the King's press damnably", not only by taking money from able-bodied men who wished to evade service but by keeping the wages of the poor souls he brought instead who were killed in battle. Left on his own during Hal's battle with Hotspur, Falstaff dishonourably counterfeits death to avoid attack by Douglas. After Hal leaves Hotspur's body on the field, Falstaff revives in a mock miracle. Seeing he is alone, he stabs Hotspur's corpse in the thigh and claims credit for the kill. Though Hal knows better, he allows Falstaff his disreputable tricks. Soon after being given grace by Hal, Falstaff states that he wants to amend his life and begin "to live cleanly as a nobleman should do"; the play ends after the battle. The death of Hotspur has taken the heart out of the rebels, the king's forces prevail. Henry is pleased with the outcome, not least because it gives him a chance to execute Thomas Percy, the Earl of Worcester, one of his chief enemies.
Meanwhile, Hal shows off his kingly mercy in praise of valour.
Edinburgh Festival Fringe
The Edinburgh Festival Fringe is the world's largest arts festival, which in 2018 spanned 25 days and featured more than 55,000 performances of 3,548 different shows in 317 venues. Established in 1947 as an alternative to the Edinburgh International Festival, it takes place annually in Edinburgh, Scotland, in the month of August, it is an open access performing arts festival, meaning there is no selection committee, anyone may participate, with any type of performance. The official Fringe Programme categorises shows into sections for theatre, dance, physical theatre, cabaret, children's shows, opera, spoken word and events. Comedy is the largest section, making up over one-third of the programme and the one that in modern times has the highest public profile, due in part to the Edinburgh Comedy Awards; the Festival is supported by the Festival Fringe Society, which publishes the programme, sells tickets to all events from a central physical box office and website, offers year-round advice and support to performers.
The Society's permanent location is at the Fringe Shop on the Royal Mile, in August they manage Fringe Central, a separate collection of spaces in Appleton Tower and other University of Edinburgh buildings, dedicated to providing support for Fringe participants during their time at the festival. The Fringe board of directors is drawn from members of the Festival Fringe Society, who are Fringe participants themselves – performers or administrators. Elections are held once a year, in August, Board members serve a term of four years; the Board appoints the Fringe Chief Executive Shona McCarthy who assumed the role in March 2016. The Chief Executive operates under the chair Professor Sir Timothy O'Shea; the Fringe started life when eight theatre companies turned up uninvited to the inaugural Edinburgh International Festival in 1947. With the International Festival using the city's major venues, these companies took over smaller, alternative venues for their productions. Seven performed in Edinburgh, one undertook a version of the medieval morality play "Everyman" in Dunfermline Abbey, about 20 miles north, across the River Forth in Fife.
These groups aimed to take advantage of the large assembled theatre crowds to showcase their own alternative theatre. Although at the time it was not recognised as such, this was the first Edinburgh Festival Fringe; this meant that two defining features of the future Fringe were established at the beginning – the lack of official invitations to perform and the use of unconventional venues. These groups referred to themselves as the "Festival Adjuncts" and were referred to as the "semi-official" festival, it was not until the following year, 1948, that Robert Kemp, a Scottish playwright and journalist, is credited with coining the title "Fringe" when he wrote during the second Edinburgh International Festival: Round the fringe of official Festival drama, there seems to be more private enterprise than before... I am afraid some of us are not going to be at home during the evenings! The word "fringe" had in fact been used in a review of Everyman in 1947, when a critic remarked it was a shame the show was so far out "on the fringe of the Festival".
In 1950, it was still being referred to in similar terms, with a small'f': On the fringe of the official Festival there are many praiseworthy "extras," including presentations by the Scottish Community Drama Association and Edinburgh University Dramatic Society – Dundee Courier, 24 August 1950 The Fringe did not benefit from any official organisation until 1951, when students of the University of Edinburgh set up a drop-in centre in the YMCA, where cheap food and a bed for the night were made available to participating groups. Late night revues, which would become a feature of Fringes, began to appear in the early 50s; the first one was the New Drama Group's After The Show, a series of sketches taking place after Donald Pleasence's Ebb Tide, in 1952. Among the talent to appear in early Fringe revues were Ned Sherrin in 1955, Ken Loach and Dudley Moore with the Oxford Theatre Group in 1958. Due to many reviewers only being able to attend Fringe events late night after the official festival was finished, the Fringe came to be seen as being about revues.
It was a few years. John Menzies compiled a list of shows under the title "Other Events" in their omnibus festival brochure, but it was printer C. J. Cousland, the first to publish a listings guide, in 1954; this was funded by participating companies and was entitled "Additional Entertainments", since the name "Fringe" was still not yet in regular usage. By that year, the Fringe was attracting around a dozen companies, a meeting was held to discuss creating "a small organisation to act as a brain for the Fringe", or what The Scotsman called an "official unofficial festival". A first attempt was made to provide a central booking service in 1955 by students from the university, although it lost money, blamed on those who had not taken part. Formal organisation progressed with the formation of the Festival Fringe Society; the push for such an organisation was led by director of Oxford Theatre Group. A constitution was drawn up, in which the policy of not vetting or censoring shows was set out, the Society produced the first guide to Fringe shows.
Nineteen companies participated in the Fringe in that year. By that time it provided a "complete... counter-festival programme". Not long after came the first complaints that the Fringe had become too big. Director Gerard Slevin claimed in 1961 that "it would be much better if only ten
Lincoln Center for the Performing Arts
Lincoln Center for the Performing Arts is a 16.3-acre complex of buildings in the Lincoln Square neighborhood of the borough of Manhattan in New York City. It hosts many notable performing arts organizations, which are nationally and internationally renowned, including the New York Philharmonic, the Metropolitan Opera, the New York City Ballet and the New York City Opera. A consortium of civic leaders and others led by, under the initiative of, John D. Rockefeller III built Lincoln Center as part of the "Lincoln Square Renewal Project" during Robert Moses' program of urban renewal in the 1950s and 1960s. Respected architects were contracted to design the major buildings on the site, over the next thirty years the diverse working class area around Lincoln Center was replaced with a conglomeration of high culture to please the tastes of the consortium. Rockefeller was Lincoln Center's inaugural president from 1956 and became its chairman in 1961, he is credited with raising more than half of the $184.5 million in private funds needed to build the complex, including drawing on his own funds.
The center's three buildings, David Geffen Hall, David H. Koch Theater and the Metropolitan Opera House were opened in 1962, 1964 and 1966, respectively. While the center may have been named because it was located in the Lincoln Square neighborhood, it is unclear whether the area was named as a tribute to U. S. President Abraham Lincoln; the name was bestowed on the area in 1906 by the New York City Board of Aldermen, but records give no reason for choosing that name. There has long been speculation that the name came from a local landowner, because the square was named Lincoln Square. City records from the time show only the names Johannes van Bruch, Thomas Hall, Stephan de Lancey, James de Lancey, James de Lancey, Jr. and John Somerindyck as area property owners. One speculation is that references to President Lincoln were omitted from the records because the mayor in 1906 was George B. McClellan Jr. son of General George B. McClellan, general-in-chief of the Union Army early in the American Civil War and a bitter rival of Lincoln's.
Architects who designed buildings at the center include: Diller Scofidio + Renfro: Public spaces, Hypar Pavilion and Lincoln Ristorante, The Juilliard School, Alice Tully Hall, School of American Ballet, Josie Robertson Plaza, Revson Fountain, President's Bridge and Infoscape Max Abramovitz: David Geffen Hall, original design of Josie Robertson Plaza Pietro Belluschi: The Juilliard School. Modified by Diller Scofidio + Renfro in association with FXFOWLE Architects Gordon Bunshaft: The New York Public Library for the Performing Arts Wallace Harrison: the center's master plan, the Metropolitan Opera House, original design of Josie Robertson Plaza Lee S Jablin: 3 Lincoln Center, the adjacent condominium built by a private developer Philip Johnson: New York State Theater, now known as the David H. Koch Theater, original design of Josie Robertson Plaza and original Revson Fountain Eero Saarinen: Vivian Beaumont Theater Davis and Associates: The Samuel B. and David Rose Building. Billie Tsien, Tod William: The David Rubenstein Atrium Hugh Hardy/H3 Hardy Collaboration Architecture LLC: The Claire Tow Theater WET Design: Revson Fountain The first structure to be completed and occupied as part of this renewal was the Fordham Law School of Fordham University in 1962.
Located between Columbus and Amsterdam Avenues, from West 60th to 66th Streets in Lincoln Square, on Manhattan's Upper West Side, the complex was the first gathering of major cultural institutions into a centralized location in an American city. The development of the condominium at 3 Lincoln Center, completed in 1991, designed by Lee Jablin of Harman Jablin Architects, made possible the expansion of The Juilliard School and the School of American Ballet; the center's cultural institutions make use of facilities located away from the main campus. In 2004, the center expanded through the addition of Jazz at Lincoln Center's newly built facilities, the Frederick P. Rose Hall, at the new Time Warner Center, located a few blocks to the south. In March 2006, the center launched construction on a major redevelopment plan that modernized and opened up its campus. Redevelopment was completed in 2012 with the completion of the President's Bridge over West 65th Street; when first announced in 1999, Lincoln Center's campuswide redevelopment was to cost $1.5 billion over 10 years and radically transform the campus.
The center management held an architectural competition, won by the British architect Norman Foster in 2005, but did not approve a full scale redesign until 2012, in part because of the need to raise $300 million in construction costs and the New York Philharmonic's fear that it might lose audiences and revenue while it was displaced. Among the architects that have been involved were Frank Gehry. In March 2006, the center launched the 65th Street Project – part of a major redevelopment plan continuing through the fall of 2012 – to create a new pedestrian promenade designed to improve accessibility and the aesthetics of that area of the campus. Additionally, Alice Tully Hall was modernized and reopened to critical and popular acclaim in 2009 and the Film Society of Lincoln Center expanded with the new Elinor Bunin Munroe Film Center. Top
An open mic or open mike is a live show at a coffeehouse, comedy club, strip club, institution or pub at which audience members who are amateur performers or professionals who want to try out new material or plug an upcoming show are given the opportunity to perform onstage. As the name suggests, the performer is provided with a microphone, plugged into a PA system, to make the individual's performance loud enough for the audience to hear; the performers sign up in advance for a time slot with the host or master of ceremonies an experienced performer or the venue manager or owner. The master of ceremonies may screen potential candidates for suitability for the venue and give individuals a time to perform in the show; these events are focused on performance arts like poetry and spoken word and comedy. Less small groups, such as a small rock band duo/trio or a comedy duo may appear. Group performances are uncommon, because of the space and the logistics of loading in and soundchecking such a group.
In strip club terms, amateur night is a contest for everyday women and men who compete for a cash prize by taking their clothes off just like everyday strippers. Open mic nights may have no cover charge, or a low cover charge, although the venue may have a gratuity jar or "pass the hat" for donations. Venues that have no charge make revenue from selling alcoholic beverages and food; the performers are not paid, although the venue may recompense the performers with a beverage or meal. The host or MC, as an experienced professional, is paid for her/his services; the host or MC may perform at some point during the evening, either a full set or to fill in when an amateur member is not available for her/his slot. Open mic events are somewhat related to jam sessions, in that in both cases amateur performers are given the opportunity to sing or play instruments; the difference is that jam sessions involve musical ensembles even a house band or rhythm section and a jam session may involve the participation of professional performers at a high-end jazz club.
Poetry and spoken word open mics feature a host, a poet or spoken word artist and spoken word artists, audience members. A sign-up is done that the host has a list of names to call from; some spoken word artists use pseudonyms or stage names. Poetry/spoken word open mics range from laid back, serene settings to lively sessions where readers and/or performers compete for audience applause, they are held in libraries, coffee houses, cafes and bars. Each poet or spoken word artist is asked to keep their performances to a minimum/specified time slot, giving each performer enough time to share some of their work with the audience; the host or MC acts as a "gatekeeper", determining. If a performer goes over their time limit, the host diplomatically thanks the performer for their contribution and asks them to yield the stage for the next performer. Stand-up comedy open mic nights can be held at established comedy clubs, but they are more held at other venues with or without a stage the upstairs or back room of a pub or bar, colleges, rock clubs, coffeehouses.
They are held in uncommon areas such as strip clubs and comic book shops. Such nights give newer or emerging comedians an opportunity to practice and improve, with a view to getting paid work in the future; those underage must have their parents attend clubs with them. More experienced comedians may use open mics as an opportunity to work out newer material or a new character, as the audience is not paying in anticipation of seeing their normal act. In a typical open mic night, acts will get three to seven minutes of stage time, but more experienced acts may get ten or more minutes. A first-time open mic-er needs three minutes of material for a five-minute slot. An open mic should be more than fifteen acts. A comedian will get "the light" one minute before their set is over, to finish up the joke they're on. There are booked regular open mics and "bringer" shows. A booked show is booked week in advance with some lottery spots selected by pulling candidates' names from a hat. With a regular open mic, a person puts their name on the list and they go on when their name is called by the host.
With a "bringer" show, each performer has to bring a certain number of people to get on stage. Open mic shows may have a reduced cover charge, or a minimum drink requirement. Open mic comedy nights are most widespread in larger English-speaking cities with a well-established stand-up comedy scene London and New York. In these cities, with a plethora of aspiring comedians, the greatest challenge may be in attracting an audience. To other comics at an open mic, a comedian's failure is hilarious; these shows provide an opportunity for emerging musicians to gain experience performing to a live audience without having to go through the process of getting normal music gigs, difficult to do without experience or a demo recording. Open mics provide an outlet for singer-songwriters. Prior to their popularity, the only outlet were folk clubs, which were not always friendly towards creators of new music, preferring traditional, well-known music, they suggested that music performed by acoustic musicians or solo artists in this manner would be folk music, a misconception that still com