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Paddington Gold Mine

The Paddington Gold Mine is a gold mine located 5 km south of Broad Arrow, 30 km north of Kalgoorlie, Western Australia. It is operated by Norton Gold Fields Limited, having acquired the mine from Barrick Gold on 25 August 2007 for A$45 million. Paddington Gold are major sponsors of Goldfields Titans; the mine opened in 1985, under the ownership of Pancontinental Mining, mining ore in two open pit operations, the two original open pits being active until 2002. In 1994, the processing plant was upgraded to be able to handle 3.0 million tonnes of ore per annum. AurionGold, the former Goldfields Limited, was taken over by Placer Dome Limited in January 2003. Placer Dome in turn was taken over by Barrick Gold in March 2006. In 2007, the mining tenements were enlarged through the acquisition of the Mount Pleasant and Ora Banda properties. Shortly after, on 26 April 2007, Norton announced it had purchased the mine from Barrick Gold for A$45 million, it moved the small Kundana Plant, at the Kundana Gold Mine near Paddington and part of the sale, to its Mount Morgan Mine Project, near Rockhampton, Queensland.

Underground mining commenced in April 2009 with the cutting of a portal at Norton's Homestead deposit at Mount Pleasant, 18 km south-west of the Paddington mill, is expected to deliver mill feed from December 2009 with a grade in excess of 6.0 g/t. Production performance of the mine was below plan in 2008-09, having been scheduled at 145,000 ounces and achieved only 137,000, because of shortfalls in the second half of 2008. In August 2009, Norton signed an agreement with Curtin University of Technology’s Western Australian School of Mines to establish cooperation in education, professional development, research and development between WASM and the Paddington Gold Mine. On 28 September 2009, two miners were injured, having been pinned between the counterweight of an excavator and a wall in the plant area. Recent production of the mine: The Australian Mines Handbook: 2003-2004 Edition, Louthean Media Pty Ltd, Editor: Ross Louthean Western Australian Mineral and Petroleum Statistics Digest 2008 Page 34: Principal Mineral and Petroleum Producers - Gold Place Names Search Results - Paddington Geoscience Australia website Norton Gold Fields Limited - Paddington operations MINEDEX website Norton Gold Fields Limited at Yahho!7 Finance

Jacques Lecoq

Jacques Lecoq, was a French stage actor and coach. He was best known for his teaching methods in physical theatre and mime which he taught at the school he founded in Paris known as École internationale de théâtre Jacques Lecoq, he taught there from 1956 until his death from a cerebral hemorrhage in 1999. Jacques Lecoq was known as the only noteworthy movement instructor and theatre pedagogue with a professional background in sports and sports rehabilitation in the twentieth century; as a teen Lecoq participated in many sports such as track and gymnastics. Lecoq was drawn to gymnastics, he began learning gymnastics at the age of seventeen, through work on the parallel and horizontal bars, he came to see and to understand the geometry of movement. Lecoq described the movement of the body through space as required by gymnastics to be purely abstract, he came to understand the rhythms of athletics as a kind of physical poetry that affected him strongly. Following many of his exercise sessions, Lecoq found it important to think back on his period of exercise and the various routines that he had performed and felt that doing so bettered his mind and emotions.

In 1937 Lecoq began to study sports and physical education at Bagatelle college just outside of Paris. He received teaching degrees in swimming and athletics. In 1941, Lecoq attended a physical theatre college where he met Jean Marie Conty, a basketball player of international caliber, in charge of physical education in all of France. Conty's interest in the link between sport and theatre had come out of a friendship with Antonin Artaud and Jean-Louis Barrault, both well-known actors and directors and founders of Education par le Jeu Dramatique. While Lecoq still continued to teach physical education for several years, he soon found himself acting as a member of the Comediens de Grenoble. While Lecoq was a part of this company he learned a great deal about Jacques Copeau's techniques in training. One of these techniques that influenced Lecoq's work was the concept of natural gymnastics; this company and his work with Commedia dell'arte in Italy introduced him to ideas surrounding mime and the physicality of performance.

During this time he performed with the actor and clown, Dario Fo. He was first introduced to theatre and acting by Jacques Copeau's daughter Marie-Hélène and her husband, Jean Dasté. In 1956, he returned to Paris to open his school, École internationale de théâtre Jacques Lecoq, where he spent most of his time until his death, filling in as international speaker and master class giver for the Union of Theatres of Europe; the school was relocated to Le Central in 1976. The building was a boxing center and was where Francisco Amoros, a huge proponent of physical education, developed his own gymnastic method. Lecoq chose this location; the school was located on the same street that Jacques Copeau was born. Lecoq aimed at training his actors in ways that encouraged them to investigate ways of performance that suited them best, his training was aimed at nurturing the creativity of the performer, as opposed to giving them a codified set of skills. As students stayed with Lecoq's school longer, he accomplished this through teaching in the style of"via negativa" known as the negative way.

This teaching strategy consists of only focusing his critiques on the poorer or unacceptable aspects of a student's performance. Lecoq believed that this would allow students to discover on their own how to make their performances more acceptable. Lecoq did not want to tell a student how to do something "right." He believed, supposed to be a part of the actor's own experience. The goal was to encourage the student to keep trying new avenues of creative expression. Many actors sought Lecoq's training because Lecoq provided methods for people who wished to create their own work and did not want to only work out of a playwright's text, his training involved an emphasis starting with the neutral mask. This neutral mask is symmetrical, the brows are soft, the mouth is made to look ready to perform any action. Lecoq believed that this mask allowed his students to be open when performing and to let the world affect their bodies; this is because the mask is made to seem as if it has no past and no previous knowledge of how the world works.

This is supposed to allow students to live in a state of unknowing in their performance. The aim was that the neutral mask can aid an awareness of physical mannerisms as they get emphasized to an audience whilst wearing the mask. Once Lecoq's students became comfortable with the neutral masks, he would move on to working with them with larval masks, expressive masks, the commedia masks, half masks working towards the smallest mask in his repertoire: the clown's red nose; the larval mask was used as a didactic tool for Lecoq's students to escape the confines of realism and inject free imagination into the performance. The mask is a blank slate, amorphous shape, with no specific characterizations implied; the expressive masks are character masks that are depicting a particular of character with a specific emotion or reaction. The mask is automatically associated with conflict; the last mask in the series is the red clown nose, the last step in the student's process. Because this nose acts as a tiny, neutral mask, this step is the most challenging and personal for actors.

Lecoq believed. He believed that to study the clown is to