Janusz III of Masovia, was a Polish prince member of the House of Piast in the Masovian branch. He was a Duke of Czersk, Liw and Nur during 1503-1524 jointly with his brother, sole ruler during 1524-1526 as the last male member of the Masovian Piasts, he was the second son of Konrad III the Red and his third wife Anna, a daughter of Mikolaj Radziwiłł the Old, Voivod of Vilnius and the first Grand Chancellor of Lithuania. After the death of their father on 28 October 1503, Janusz III and his younger brother Stanisław inherited his domains, but because they are minors, remained under the regency of their mother. Most of the Masovian inheritance was threatened by the Kingdom of Poland at the time of Konrad III's death, wasn't secured in his sons' hands until 14 March 1504, when by a ruling of King Alexander the young princes received their whole patrimony as a fief. Janusz III and his brother took the government in 1518, due to the constant riots of the local nobility. Despite this, Anna Radziwiłł retained the real power in Masovia until her death in 1522.
In the same year when they attained their majority, both princes attended the wedding ceremony of King Sigismund I the Old with Bona Sforza in Kraków. As Polish vassals, during 1519-1520 Janusz III and his brother participated in the Polish-Teutonic War sending auxiliary troops to the Polish King. Despite being the co-ruler of their domains, Janusz III didn't participate in the government until Stanisław's death on 8 August 1524, when he began his sole government. In 1525, Janusz III forbade the Lutheranism in his domains, under penalty of confiscation of property and death. Like his brother, Janusz III became known for his love of drink and women, his dissolute lifestyle contributed to his early death, which took place during the night of 9 to 10 March 1526. He was buried at Warsaw. With his death, the male line of Masovian Piasts, originating with Siemowit III became extinct; the death of both brothers caused unrest, accusations that they were murdered became widespread. King Sigismund I himself looked into the matter, concluded that there was no foul play.
According to Jan Długosz, the real cause of the death of both princes could be an inherited disease of the Masovian princes: tuberculosis. Soon after Janusz III's death the Duchy of Masovia was incorporated into the kingdom of Poland, despite resistance from some of the Masovian nobility who tried to retain their independence and argued that the Duchy should be inherited by the female relatives; the Polish king refused to recognize their demands, stood by the agreements that made him the heir to the Duchy, reuniting it with Poland. The Duchy, which would become a significant asset of the Polish Jagiellon dynasty, would retain some autonomy until 1576, he is one of the characters on the famous painting by Prussian Homage. Remains attributed to him returned haplogroup R1b. Samuel Orgelbrand, Encyklopedja Powszechna, S. Orgelbranda Synów, p.54 Józef Szujski, Historyi polskiéj treściwie opowiedzianéj ksiąg dwanaście, 1880, p.167
WQML is a radio station broadcasting a Contemporary Christian format. It is branded as Pura Palabra Radio. Licensed to Ceiba, Puerto Rico, the station serves the eastern Puerto Rico area; the station is owned by Pura Palabra Media Group through its licensee, Caguas Educational TV. On November 9, 2017, Pura Palabra Media Group files to swap WQML/98.7 in Culebra and a $1.2 million cash payment to New Life Broadcasting in exchange for the then-WNVE. Once the swap closes, the station will switch to Pura Palabra Radio and the call letters will changed to WQML. According to the terms of the contract, New Life will allow Pura Palabra Media to program the HD3 channel of WNVM as part of the deal in order to feed its San Juan-licensed translator W268BK at 101.5 FM which carries its Pura Palabra Radio programming. The sale was completed on May 22, 2018; the station changed its call sign to WQML on March 30, 2018. Query the FCC's FM station database for WQML Radio-Locator information on WQML Query Nielsen Audio's FM station database for WQML
Boris Godunov is a Russian drama film directed by Vladimir Mirzoyev. Based on Alexander Pushkin's play Boris Godunov. Action moved in our days; the story opens from the scene of the murder in Uglich of the young heir to the Russian throne by unknown persons. It takes several years. Boris Godunov is persuaded to accept the remaining vacant throne, despite his doubts. During the press conference, the clerk announces Godunov’s decision to ascend the kingdom. People are discussing this decision with the TV. Behind the king’s back is the secret, covert struggle of several boyar factions for dominance under the new government. Godunov, who ascended the throne, obsessively pursues the vision of the boy. Meanwhile, the monk Grigory Otrepyev hiding in the Chudov Monastery. After a conversation with Pimen, he learns the secret of the murder runs from the monastery and decides to try to come to power. Enlisting foreign aid and gathering the army, Grigory is sent to Moscow. Invalid individual choice or a karmic mistake can lead to a chain of fatal events.
If a person is in power, it can become a problem for the whole nation. Maksim Sukhanov as Boris Godunov Andrey Merzlikin as Grigory Otrepyev, the False Dmitri Leonid Gromov as Vasili Shuysky Dmitry Pevtsov as Prince Ivan Mikhailovich Vorotynsky Agnia Ditkovskyte as Marina Mniszech Valentinas Masalskis as Jerzy Mniszech Pyotr Fyodorov as Basmanov Leonid Parfyonov as Shchelkalov Mikhail Kozakov as Father Pimen Andrey Tashkov as Patriarch Job of Moscow Yevgeny Ponasenkov as Polish PrinceTatyana Lyutaeva as tavern owner Yelena Koreneva as episode Nika Award Maksim Sukhanov, Andrey Merzlikin — nom Boris Godunov on IMDb Этот ясный объект желания
Inga Åberg was a Swedish actress and opera singer. She was engaged as an opera singer at the Royal Swedish Opera, as a stage actress at the Royal Dramatic Theater, between 1787 and 1810. Inga Åberg was the daughter of a footman at the Royal Palace and Fredrika Maria Svahn, it is that her paternal grandmother was Beata Sabina Straas, the first professional native stage actress: Straas had been employed as a chambermaid of the royal household prior to her stage career, after she married Anders Åberg and retired from the stage, both she and her spouse was employed in the royal household, but it is not confirmed that Jonas Åberg was their son. Both Inga and her brother Gustav Åbergsson where described as beautiful and placed as students in the French Theater of Gustav III, where she was enrolled from 1781 to 1787. Many famed Swedish of stage artists of her generation was trained by the French actors of the French Theatre in Bollhuset under Monvel, among them Maria Franck, Lars Hjortsberg, as such, they performed as child actors in the productions.
Inga Åberg debuted as an opera singer at the age of fourteen the 31 May 1787 at the Royal Swedish Opera in the role of Yngve in Frigga. Her following performance in Gustav Adolf and Ebba Brahe by king Gustav III of Sweden, she was favorably noted by the king and formally engaged at the Opera; the same year, she was in parallel engaged as a stage actress at the newly founded Swedish language Ristell Theatre in Bollhuset. When the Ristell theater was transformed to become the Royal Dramatic Theatre, she became a member of its pioneer generation, it was not uncommon in the late 18th-century for stage artists to be employed at both the opera as singers and at the theater as stage actors, providing that they had the ability to perform in both capacities. Inga Åberg was referred to as one of the more noted stage artists of her generation in Sweden; as an opera singer, she was given the recognition of being the only native female opera singer of any note between the retirement of Elisabeth Olin in 1784 and the breakthrough of Jeanette Wässelius in 1800, when the opera stars where of foreign origin, such as Caroline Müller, Franziska Stading and Sophie Stebnowska.
A critic stated that she "completely acquire the character of the person she plays", she was praised for her versatility, her "energy and finesse", her grace and her "seductive gracefullness." In the first decade of the 19th-century, she was one of few actors of her generation, not deemed as outdated by the harsh critic Klas Livijn. Her beauty attracted great attention, but was regarded to have had a negative effect on her career. According to critics, she did have great natural talent, but neglected to develop it because she had been told that her beauty would be enough, therefore never reached her full potential. A contemporary writer stated that Inga Åberg: "... would have become a great singer and an excellent actress, if her unusual beauty and not been an obstacle for her artistic studies, she had been enticed to regard it as a source of income, richer but in the long term no more secure than art." She was used in ornamental roles reputed to be a courtesan and was referred to as a bad role model for aspiring female actors and singers.
Her brother and colleague Gustav Åbergsson, himself known for his beauty and used in the part of lover, changed his name from Åberg to Åbergsson to avoid any connection to "his notorious sister's name." Inga Åberg and Euphrosyne Löf were among the first named Swedish actresses at the Royal Opera to play breeches roles when they had the two leading male parts in August and Theodor eller De bägge kammarpagerna, by Kexel inspired by a French theatre comedy, in the 1794-95 season. She made a success in Olof Åhlström's Tanddoktorn with Lars Hjortsberg in 1800, played the leading part in the opera Le calife de Bagdad by Boieldieu with her brother Gustav Åbergsson and Jeanette Wässelius in 1806. In 1796, she played opposite famous singers such as Christoffer Christian Karsten, Caroline Halle-Müller, Louis Deland and Carl Stenborg in the opera La caravane du Caire by Grétry, held to celebrate that the young king had been declared of legal majority. In 1810, she launched the opera buffa Markis Tulipano by Gourbillon translated by Carl Magnus Envallsson with music by Giovanni Paisiello, in her benefit performance at the Opera.
Among her other parts were "a spirit" in Armide by Gluck and Yngve in Frigga by Gustav III composed by Olof Åhlström, Carl in Folke Birgersson till Ringstad by Kexel after a work by Monvel, Carl Sjöcrona in Det farliga förtroendet by Grétry, Gustafva in De gamla friarna by Dalayrac, Agarenne in Panurge dans l'île des lanternes by Grétry, Madame de Brillon in Monsieur Des Chalumeaux by Pierre Gaveaux. Inga Åberg was the subject of a great scandal when the merchant millionaire Hall from Gothenburg, one of the richest men in Sweden, placed his teenage son John Hall under her tutelage with the task of correcting his behavior by instructing him in "the way of the world"; this arrangement was considered peculiar by contemporary society and attracted great notorious attention. Inga Åberg accepted the offer: she gave Hall large bills to pay during the time when his son was in her care, which Hall, far from opposing, instead considered as proof of the high quality care she gave his son, she left Sweden and her career at the opera for Saint Petersburg in Russia with her young pupil John Hall.
John Hall retu
'Senior theatre' is a form of drama designed for older adults, where seniors are involved. In 1999, there were 79 companies in the US; as of 2016, there are over 800 groups with many around the world. Many theatre performers want to be on stage. A good number have never acted before, others have performed when they were young and want to do it again; some have acted all their lives and they know the joy of performing. Seniors have time to explore the theatre. There are many different types of Senior Theatre including acting classes, live theatre viewing, play reading, storytelling or theatre productions that are readers theatre, short plays, variety shows, plays from life stories of participants, musical theatre, topics facing seniors, among others. Offstage, seniors work as solo performers, playwrights, or they act in films and commercials. Many help backstage, in the box office, they take classes in all elements of theatre in colleges, in the community. Senior Theatre uses techniques; the most popular techniques in the field are script-in-hand performances.
They allow actors to have easy access to their lines and blocking without having to be concerned about the fear of forgetting. Senior Theatre can be intergenerational by including actors of all ages on stage or in the audience; the performers range from professional to amateur in both urban settings. Ages span between 50 and 90 years but most are in their late 60s and 70s. There are many benefits derived from Senior Theatre including physical, psychological and cultural growth, it builds vital social connections for isolated seniors. Vintage Improv is a term coined by Miki Manting and refers to Improv performed by people who are at least 50 years old. In Improv theater, it is difficult for vintage improvisers to compete for opportunities to perform. At Improv theaters where casts are made up of improvisers in their 20s and early 30s vintage improvisers experience the phenomenon of invisibility. Where other underrepresented groups are accommodated, age over 50 is not seen as a demographic of concern.
The phenomenon of invisibility carries over into the considerations around casting. Although there are notable exceptions with regard to specific improv theater policies, many Vintage improvisers have been they are poor listeners and do not respond appropriately in improv scenes. Seeing this important improv skill as lacking results as being dismissed as less competent. In truth is different and the phenomenon disappears when Vintage improvisers perform together, their broader life experience allows vintage improvisers to draw and make connections that are more nuanced and informed. None the less, it can be difficult for older people to be accepted in younger-oriented theaters. One way of overcoming the access problem is for older improvisers to form "over 50" troupes and create their own opportunities to perform. Lack of experience in producing troupe shows and larger performance opportunities can present a barrier, the experience of Elderberry Jam proves that the life experience of organizing in a career outside the field of entertainment combined with being open to boldly setting goals can lead to remarkably successful outcomes.
It can be helpful for cross generational collaboration when vintage troupes seek out active involvement with improvisers of younger generations. One example employing this model is Elderberry Jam Improv of Cambridge Massachusetts and their long-standing monthly show called "Jammin' with the Elderberries". Elderberry Jam Improv was the first troupe in the world to bill itself vintage. Tongue in cheek their promotional material refers to the troupe as the "World's Finest Vintage Improv"; the ensemble includes Ann "Crim" Crimmins, Roy Doolittle, Wayne Mastin, Hilary Fabre, Eric V. Fields, David Silberman, Miki Manting. EJI benefitted in parallel from the historic example of New Tricks, founded in 2003. Although no longer active, New Tricks, provided the historic context for over 50 improv troupes in New England. Troupe members boasted over 462 years of combined experience. Founded by the late Mike Martin & Jeanne Hillson. New Tricks longtime members included Don Buell, Amy Rubin, Joan Larason and Lanny Rubin.
A deliberately planned outreach for EJI is the production of a longstanding monthly improv show at The Center for Arts at the Armory in Somerville Massachusetts. This show has remained a favorite launching point for new improv troupes whose members are in the 20-35 age range; the end of show "Jam" gives all generations an opportunity to play together in a low stress setting. In 2018, in conjunction with ImprovBoston, the world’s first Vintage Improv Festival was produced in Boston; the intellectual property of Miki Manting, the one day Festival manifested as a tag onto the end of the Boston Improv Festival. It drew over 50 experienced solo vintage improvisers and existing Troupes from points as far away as Austin,Oklahoma City, northern-most Maine,Detroit and the Twin Cities. Selected Vintage Improv Troupes included The Early Bird Special of Sarasota Florida, HATS from Hadley Massachusetts, Elderberry Jam Improv. Additionally two duos, The Grown Ups from Oklahoma City, In Our Prime from Austin Texas performed at this historic event.
A longstanding short-form troupe called Kamikaze from Montpelier Maine and number of brave solo improvisers were selected to perform in specially curated teams for what turned out to be a packed Main Stage Theater at ImprovBoston. Due to broad interest, The world’s second Vintage Improv Festival is set to unfold in September 2019. Ex
Infection is the invasion of an organism's body tissues by disease-causing agents, their multiplication, the reaction of host tissues to the infectious agents and the toxins they produce. Infectious disease known as transmissible disease or communicable disease, is illness resulting from an infection. Infections are caused by infectious agents including: Viruses and related agents such as viroids and prions Bacteria Fungi, further subclassified into: Ascomycota, including yeasts such as Candida, filamentous fungi such as Aspergillus, Pneumocystis species, dermatophytes, a group of organisms causing infection of skin and other superficial structures in humans. Basidiomycota, including the human-pathogenic genus Cryptococcus. Parasites, which are divided into:Unicellular organisms Macroparasites including nematodes such as parasitic roundworms and pinworms and flukes Arthropods such as ticks, mites and lice, can cause human disease, which conceptually are similar to infections, but invasion of a human or animal body by these macroparasites is termed infestation.
Hosts can fight infections using their immune system. Mammalian hosts react to infections with an innate response involving inflammation, followed by an adaptive response. Specific medications used to treat infections include antibiotics, antifungals and antihelminthics. Infectious diseases resulted in 9.2 million deaths in 2013. The branch of medicine that focuses on infections is referred to as infectious disease. Symptomatic infections are apparent and clinical, whereas an infection, active but does not produce noticeable symptoms may be called inapparent, subclinical, or occult. An infection, inactive or dormant is called a latent infection. An example of a latent bacterial infection is latent tuberculosis; some viral infections can be latent, examples of latent viral infections are any of those from the Herpesviridae family. The word infection can denote any presence of a particular pathogen at all but is used in a sense implying a clinically apparent infection; this fact creates some ambiguity or prompts some usage discussion.
Different terms are used to describe infections. The first is an acute infection. An acute infection is one; the next is a chronic infection. A chronic infection is when symptoms develop over weeks or months, are slow to resolve. A subacute infection is one in which symptoms take longer to develop than in an acute infection but arise more than a chronic infection. A latent infection is a type of infection. A focal infection is defined as the initial site of infection from which organisms travel via the bloodstream to another area of the body. Among the many varieties of microorganisms few cause disease in otherwise healthy individuals. Infectious disease results from the interplay between those few pathogens and the defenses of the hosts they infect; the appearance and severity of disease resulting from any pathogen, depends upon the ability of that pathogen to damage the host as well as the ability of the host to resist the pathogen. However a host's immune system can cause damage to the host itself in an attempt to control the infection.
Clinicians therefore classify infectious microorganisms or microbes according to the status of host defenses - either as primary pathogens or as opportunistic pathogens: Primary pathogens Primary pathogens cause disease as a result of their presence or activity within the normal, healthy host, their intrinsic virulence is, in part, a necessary consequence of their need to reproduce and spread. Many of the most common primary pathogens of humans only infect humans, however many serious diseases are caused by organisms acquired from the environment or that infect non-human hosts. Opportunistic pathogens Opportunistic pathogens can cause an infectious disease in a host with depressed resistance or if they have unusual access to the inside of the body. Opportunistic infection may be caused by microbes ordinarily in contact with the host, such as pathogenic bacteria or fungi in the gastrointestinal or the upper respiratory tract, they may result from microbes acquired from other hosts or from the environment as a result of traumatic introduction.
An opportunistic disease requires impairment of host defenses, which may occur as a result of genetic defects, exposure to antimicrobial drugs or immunosuppressive chemicals, exposure to ionizing radiation, or as a result of an infectious disease with immunosuppressive activity. Primary pathogens may cause more severe disease in a host with depressed resistance than would occur in an immunosufficient host. Primary i