Chain of Desire
Chain of Desire is an American 1992 drama - romance film directed by Temístocles López. The film was presented at the Turin Film Festival in November 1992 and was released in the USA on June 25, 1993. A series of unrelated amorous lovers are connected by a chain of desire, it begins. She runs into a church, where she meets a man named Jesus and they make love. Jesus goes home to wife Isa and they make love. Isa leaves for an appointment with Dr. Buckley. Buckley visits Linda, a dominatrix. Linda goes home to a television commentator. Hubert has sex without her knowledge with Keith. Keith is introduced to exotic dancer Diana, who has a fling with a much older artist, Mel, he goes home to Cleo. And that night, all of these people end up at a nightclub. Alma has just learned that the lover she fled has been diagnosed with AIDS. Holly Marie Combs - Diana Mickey Cottrell - Procurer Malcolm McDowell - Hubert Bailey Linda Fiorentino - Alma D'Angeli Elias Koteas - Jesus Angel Aviles - Isa Patrick Bauchau - Jerald Buckley Grace Zabriskie - Linda Bailey Jamie Harrold - Keith Tim Guinee - Ken Dewey Weber - David Bango Seymour Cassel - Mel Assumpta Serna - Cleo Kevin Conroy - Joe Suzzanne Douglas - Angie Joseph McKenna - M.
C Karole Armitage - Dancer Michael Puler - Dancer Rachel Tucker - Dancer Alicia Ho - Dancer Edward Jenkins - Dancer Iraida Polanco - Woman in church Joshua Robert Kaplan - Boy in church Antonia Rey - Jesus' Mother Teodorina Bello - Santera Brooks Rogers - Sergeant Langdom Lynn Frazen-Cohen - Gloria Insburg Rica Martens - Woman in pearls Ebony Jo-Ann - Laughing Woman Mickey Cottrell - Procurer Sabrina Lloyd - Melissa York Bergin - Tommy Todd Bailey - Boy in window Sarah Newhouse - Girl at ticket counter Edgar Oviedo Sandoval - Radio Announcer John Schnall - Radio Announcer Matthew Shields - Boy At Club Nancy Schreiber: 1993 Independent Spirit Award - Best Cinematography Chain of Desire on IMDb https://web.archive.org/web/20110604005959/http://movies.yahoo.com/movie/1800187459/awards
An actor is a person who portrays a character in a performance. The actor performs "in the flesh" in the traditional medium of the theatre or in modern media such as film and television; the analogous Greek term is ὑποκριτής "one who answers". The actor's interpretation of their role—the art of acting—pertains to the role played, whether based on a real person or fictional character. Interpretation occurs when the actor is "playing themselves", as in some forms of experimental performance art. In ancient Greece and Rome, the medieval world, the time of William Shakespeare, only men could become actors, women's roles were played by men or boys. After the English Restoration of 1660, women began to appear on stage in England. In modern times in pantomime and some operas, women play the roles of boys or young men. After 1660 in England, when women first started to appear on stage, the terms actor or actress were used interchangeably for female performers, but influenced by the French actrice, actress became the used term for women in theater and film.
The etymology is a simple derivation from actor with -ess added. When referring to groups of performers of both sexes, actors is preferred. Actor is used before the full name of a performer as a gender-specific term. Within the profession, the re-adoption of the neutral term dates to the post-war period of the 1950 and'60s, when the contributions of women to cultural life in general were being reviewed; when The Observer and The Guardian published their new joint style guide in 2010, it stated "Use for both male and female actors. The guide's authors stated that "actress comes into the same category as authoress, manageress,'lady doctor','male nurse' and similar obsolete terms that date from a time when professions were the preserve of one sex.". "As Whoopi Goldberg put it in an interview with the paper:'An actress can only play a woman. I'm an actor – I can play anything.'" The UK performers' union Equity has no policy on the use of "actor" or "actress". An Equity spokesperson said that the union does not believe that there is a consensus on the matter and stated that the "...subject divides the profession".
In 2009, the Los Angeles Times stated that "Actress" remains the common term used in major acting awards given to female recipients. With regard to the cinema of the United States, the gender-neutral term "player" was common in film in the silent film era and the early days of the Motion Picture Production Code, but in the 2000s in a film context, it is deemed archaic. However, "player" remains in use in the theatre incorporated into the name of a theatre group or company, such as the American Players, the East West Players, etc. Actors in improvisational theatre may be referred to as "players". In 2015, Forbes reported that "...just 21 of the 100 top-grossing films of 2014 featured a female lead or co-lead, while only 28.1% of characters in 100 top-grossing films were female...". "In the U. S. there is an "industry-wide in salaries of all scales. On average, white women get paid 78 cents to every dollar a white man makes, while Hispanic women earn 56 cents to a white male's dollar, Black women 64 cents and Native American women just 59 cents to that."
Forbes' analysis of US acting salaries in 2013 determined that the "...men on Forbes' list of top-paid actors for that year made 21/2 times as much money as the top-paid actresses. That means that Hollywood's best-compensated actresses made just 40 cents for every dollar that the best-compensated men made." The first recorded case of a performing actor occurred in 534 BC when the Greek performer Thespis stepped onto the stage at the Theatre Dionysus to become the first known person to speak words as a character in a play or story. Prior to Thespis' act, Grecian stories were only expressed in song, in third person narrative. In honor of Thespis, actors are called Thespians; the male actors in the theatre of ancient Greece performed in three types of drama: tragedy and the satyr play. Western theatre developed and expanded under the Romans; the theatre of ancient Rome was a thriving and diverse art form, ranging from festival performances of street theatre, nude dancing, acrobatics, to the staging of situation comedies, to high-style, verbally elaborate tragedies.
As the Western Roman Empire fell into decay through the 4th and 5th centuries, the seat of Roman power shifted to Constantinople and the Byzantine Empire. Records show that mime, scenes or recitations from tragedies and comedies and other entertainments were popular. From the 5th century, Western Europe was plunged into a period of general disorder. Small nomadic bands of actors traveled around Europe throughout the period, performing wherever they could find an audience. Traditionally, actors were not of high status. Early Middle Ages actors were denounced by the Church during the Dark Ages, as they were viewed as dangerous and pagan. In many parts of Europe, traditional beliefs of the region and time period meant actors could not receive a Christian burial. In the Early Middle Ages, churches in Europe began staging dramatized versions of biblical events. By the middle of the 11th century, liturgical drama had spread from Russia to Scandinavia
Whitney (2015 film)
Whitney is a 2015 American biographical film directed by Angela Bassett based on American recording artist Whitney Houston and her turbulent marriage to R&B artist Bobby Brown that premiered on Lifetime in North America on January 17, 2015. Whitney received mixed reviews from critics, with praise going to DaCosta's performance as Houston and Bassett's direction of the film but criticism of Escarpeta's casting and the film's accuracy; the movie stars Yaya DaCosta as Houston, Arlen Escarpeta as Brown and Yolonda Ross as Houston's longtime friend and road manager Robyn Crawford. Whitney is set in a period of five years when Houston was catapulted in the worldwide success of her film debut The Bodyguard and its subsequent soundtrack. Filming took 20 days to shoot and was filmed in Los Angeles and Santa Clarita, California. Canadian R&B singer Deborah Cox performs all of Houston's vocals in the film, including "I Will Always Love You", "I'm Your Baby Tonight", "I'm Every Woman", "Jesus Loves Me" and "The Greatest Love of All".
In addition, songwriting/production team The Jackie Boyz performed Brown's vocals for "Every Little Step" in the Soul Train Awards scene. In 1989, Whitney Houston is a worldwide phenomenon and household name with two successful self-titled albums under her belt, she attends the 3rd Annual Soul Train Awards with her high school friend and road manager Robyn, a lesbian. During a category in which Houston's name is booed by the audience, she performs at the ceremony, it is here that she meets fellow R&B singer Bobby Brown and they begin a courtship shortly after, due to her being impressed with Brown's performance of "Every Little Step". In August 1989, Whitney invites Bobby to her lavish 26th birthday celebration, where Bobby discovers Whitney abusing cocaine. Whitney begins recording her third album I'm Your Baby Tonight, the relationship between her and Brown continues to blossom leading to a sexual relationship between the two. Unbeknownst to her, Brown is in a relationship with his girlfriend Kim, who had just given birth to his daughter.
Just as Houston discovers this, she is left infuriated. Bobby severs ties with Kim, Whitney manages to pull through and persevere in the hectic relationship. Sometime Brown is unable to replicate the success of his album Don't Be Cruel, as his record label wants him to record a greatest hits compilation. Whitney and Bobby continue to date for a number of years, with Brown proposing to her by late 1991, the two are married by the summer of 1992, it is around this time that Houston is hand picked by Kevin Costner to star in what will become her film debut The Bodyguard. Houston is encouraged to film by her husband Bobby. While on the set of The Bodyguard, Houston suffers a miscarriage, causing her to become sickly. Cissy visits and persuades Whitney to leave Bobby. Whitney struggles to keep up with fame and placate Bobby, whose career has taken a back seat to hers, as she continues to dabble with drug use after the birth of their daughter Bobbi Kristina. Soon after, The Bodyguard and its subsequent soundtrack becomes a massive success, leading Whitney to go on an international tour for nearly two years.
The pressure continues to grow for both Whitney and Bobby Whitney, who continues to abuse drugs at the height of her stardom. Bobby deals with his situation after losing his childhood friend Steve in gun violence. Whitney has received mixed-to-positive reviews from critics and holds a 62% approval rating on Rotten Tomatoes. On Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the film received an average score of 54, which indicates "mixed or average" reviews, based on 17 reviews. Official website Whitney on IMDb
The Threepenny Opera
The Threepenny Opera is a "play with music" by Bertolt Brecht, adapted from a translation by Elisabeth Hauptmann of John Gay's 18th-century English ballad opera, The Beggar's Opera, four ballads by François Villon, with music by Kurt Weill. Although there is debate as to how much, if any, Hauptmann might have contributed to the text, Brecht is listed as sole author; the work offers a socialist critique of the capitalist world. It opened on 31 August 1928 at Berlin's Theater am Schiffbauerdamm. Songs from The Threepenny Opera have been covered and become standards, most notably "Die Moritat von Mackie Messer" and "Seeräuberjenny". In the winter of 1927/28, Elizabeth Hauptmann, Brecht's lover at the time, received a copy of Gay's play from friends in England and, fascinated by the female characters and its critique of the condition of the London poor, began translating it into German. Brecht at first took little interest in her project, but in April 1928 he attempted to interest the impresario Ernst Josef Aufricht in a play he was writing called Fleischhacker, which he had, in fact promised to another producer.
Aufricht was seeking a production to launch his new theatre company at the Theater am Schiffbauerdamm in Berlin, but was not impressed by the sound of Fleischhacker. Brecht proposed a translation of The Beggar's Opera instead, claiming that he himself had been translating it, he delivered Hauptmann's translation to Aufricht, who signed a contract for it. Brecht's major addition to Hauptmann's text was the addition of four songs by the French poet François Villon. Rather than translate the French himself, he used the translations by K. L. Ammer, the same source he had been using since his earliest plays; the score by Weill uses only one of the melodies which Johann Pepusch wrote for the original Beggar's Opera. The title Die Dreigroschenoper was determined only a week before the opening. Writing in 1929, Weill made the political and artistic intents of the work clear:With the Dreigroschenoper we reach a public which either did not know us at all or thought us incapable of captivating listeners Opera was founded as an aristocratic form of art If the framework of opera is unable to withstand the impact of the age this framework must be destroyed....
In the Dreigroschenoper, reconstruction was possible insofar as here we had a chance of starting from scratch. Weill claimed at the time that "music cannot further the action of the play or create its background", but achieves its proper value when it interrupts the action at the right moments." Weill's score shows German dance-music of the time. The orchestration involves a small ensemble with a good deal of doubling-up on instruments; the Threepenny Opera was first performed at the Theater am Schiffbauerdamm in 1928 on a set designed by Caspar Neher. Despite an poor reception, it became a great success, playing 400 times in the next two years; the performance was a springboard for one of the best known interpreters of Brecht and Weill's work, Lotte Lenya, married to Weill. The production became a great favourite of Berlin's "smart set" – Count Harry Kessler recorded in his diary meeting at the performance an ambassador and a director of the Dresdner Bank, concluded "One has to have been there."Critics did not fail to notice that Brecht had included the four Villon songs translated by Ammer.
Brecht responded by saying that he had "a fundamental laxity in questions of literary property."By 1933, when Weill and Brecht were forced to leave Germany by the Nazi seizure of power, the play had been translated into 18 languages and performed more than 10,000 times on European stages. In the United Kingdom, the first staged performance was given on 9 February 1956, under Berthold Goldschmidt, although there had been a concert performance in 1933, a semi-staged performance on 28 July 1938. In between, on 8 February 1935 Edward Clark conducted the first British broadcast of the work, it received scathing reviews from other critics. But the most savage criticism came from Weill himself, who described it as "... the worst performance imaginable … the whole thing was misunderstood". But his criticisms seem to have been for the concept of the piece as a Germanised version of The Beggar's Opera, rather than for Clark's conducting of it, of which Weill made no mention. America was introduced to the work by the film version of G. W. Pabst, which opened in New York in 1931.
The first American production, adapted into English by Gifford Cochran and Jerrold Krimsky and staged by Francesco von Mendelssohn, featured Robert Chisholm as Macheath. It opened on Broadway at the Empire Theatre, on April 13, 1933, closed after 12 performances. Mixed reviews praised the music but slammed the production, with the critic Gilbert Gabriel calling it "a dreary enigma". A French version produced by Gaston Baty and written by Ninon Steinhof and André Mauprey was presented in October 1930 at the Théâtre Montparnasse in Paris, it was rendered. In 1930 the work was premiered in Moscow at the Kamerny Theatre, directed by Alexander Tairov, it was the only one of Brecht's works to be performed in Russia during his lifetime. Izvestia disapproved: "It is high time that our
Manhattan School of Music
Manhattan School of Music is a private music conservatory in New York City. The school offers bachelors and doctoral degrees in the areas of classical and jazz performance and composition. Founded in 1917, the school is located on Claremont Avenue in the Morningside Heights neighborhood of New York City, adjacent to Broadway and West 122nd Street; the MSM campus was the home to The Institute of Musical Art until Juilliard migrated to the Lincoln Center area of Midtown Manhattan. The property was owned by the Bloomingdale Insane Asylum until The Institute of Musical Art purchased it in 1910; the campus of Columbia University resides close by, where it has been since 1895. Many of the students live in Andersen Hall; as of 2011, 75% of the students come from outside New York State and 31% come from outside the United States. Manhattan School of Music was founded in 1917–1918, by the pianist and philanthropist Janet D. Schenck, as the Neighborhood Music School. Located at the Union Settlement Association on East 104th St in Manhattan's East Harlem neighborhood, the school moved into a brownstone building at East 105th St. Pablo Casals and Harold Bauer were among the first of many distinguished artists who offered guidance to the school.
Its name was changed to Manhattan School of Music. In 1943, the artistic and academic growth of the school resulted in a charter amendment to grant the bachelor of music degree. Two subsequent amendments authorized the offering in 1947 of the master of music degree and, in 1974, the degree of doctor of musical arts. In 1956, Dr. Schenck retired and Metropolitan Opera baritone John Brownlee was appointed director, a title revised to president. President Brownlee initiated the idea of relocating the school to the Morningside Heights neighborhood. In 1969, George Schick, Metropolitan Opera conductor and opera coach, succeeded Brownlee as president and led the school's move to its present location, he created the opera program, while all other major school functions were managed by Senior Director Stanley Bednar. John O. Crosby and general director of the Santa Fe Opera, was appointed president in 1976, he was followed by Gideon W. Waldrop, appointed in 1986, Peter C. Simon in 1989. On July 1, 1992, Marta Casals Istomin was named president, a position which she held until October 2005 when she retired.
Dr. Robert Sirota, former director of the Peabody Institute of the Johns Hopkins University, took over the presidency in 2005, he was succeeded by James Gandre of Roosevelt University, effective May 2013. Manhattan School of Music offers undergraduate and doctoral programs. Classical majors, jazz majors, Pinchas Zukerman Performance Program majors, cross majors from Barnard College at Columbia, most musical theater majors all take part at the conservatory. MSM offers classical and musical theatre training, granting the following degrees: Bachelor of Music – voice, performance, jazz performance, musical theater Master of Music – voice, instrumental performance and vocal, conducting, orchestral performance, contemporary performance, jazz performance, jazz composition; the program was created by Luis Perez, has an artistic advisory committee that includes Broadway stars such as Victoria Clark, Joanna Gleason, Norm Lewis, Susan Stroman, Tommy Tune, Kelli O'Hara, Ted Chapin, Bebe Neuwrith, Christine Ebersole, Graciela Daniele, James Naughton, Shuler Hensley, Ron Raines and more.
Created in 2016, the program is being considered one of the top MT programs in the nation with a current acceptance rate of about 1.6%. Following the 2017-2018 academic year, Perez retired from his position as associate dean and chair of the Musical Theater Department; the program is now under the direction of Liza Gennaro, former professor at Indiana University and daughter of Tony-award winning choreographer Peter Gennaro. Liza Gennaro, David Loud, Andrew Gerle, Mana Allen, Sara Brians, Enrique Brown, Andrea Burns, Claudia Catania, Marshall L. Davis Jr. Beverly Emmons, Peter Flynn, Andy Gale, David Gallo, Randy Graff, Andrea Green, Yehuda Hyman, Ebone VanityZo Johnson, Sue Makkoo, Sam McKelton, Robin Morse, Ross Patterson, Evan Rees, Laura Sametz, Shane Schag, Blake Segal, Bob Stillman, Eleanor Taylor, Rachel Tucker, Brandon Vukovic. Manhattan School of Music offers a wide variety of live audience performance experiences for its students, it has 8 performance spaces. There are three major orchestras: The MSM Symphony, the Philharmonia, the Chamber Sinfonia.
In addition, many smaller ensembles are assembled for orchestral chamber music. The MSM Wind Ensemble performs throughout the year; the Jazz Arts program contains various ensembles, such as the Jazz Philharmonic, the Jazz Orchestra, Concert Jazz Band, Afro-Cuban Jazz Orchestra, Chamber Jazz Ensemble. Tactus, the ensemble for