Centrally located in the heart of Los Angeles east of Hollywood, just steps from Thai Town and Little Armenia on Hollywood and Sunset Boulevards, Los Feliz is a surprisingly laid-back and tranquil community. Tucked beneath Griffith Park and the Santa Monica Mountains, it's a community of winding streets and rolling green hills, of peaceful neighborhoods lined with unique and beautiful homes, and of breathtaking hillside views that stretch over the city and on clear days might reach the coast. There's even a laid-back vibe to the cafes, shops, and restaurants of its walkable Los Feliz Village, giving the neighborhood a strong community vibe that residents and visitors love.
Selling Your Los Feliz Home?
Selling a home in Los Feliz? We can help! Learn more about listing your home with Brad Korb Real Estate Group, including the tools and resources we offer our sellers, our marketing strategies, and our featured listings.
Why Do Residents Choose Los Feliz?
In search of a little laid-back entertainment? Head to Los Feliz Village to stroll the charming cafes, restaurants, vintage shops, boutiques, and bars of Hillhurst and Vermont Avenues. Hillhurst even boasts its own annual street fair. There's also the outstanding and popular summer concert series at the Greek Theatre in Griffith Park, or outdoor movie nights, art workshops, and other events at the Barnsdall Art Park. And don't forget to visit the beloved Vista Theatre historic movie house! Looking for a little more fast-paced entertainment? You're not far away! To the west, both Hollywood and Sunset Boulevards of Hollywood await, presenting a wealth of restaurants, bars, shops and stores, theatres, and so much more. Explore Thai Town or Little Armenia, or take the Metro into the heart of Hollywood.
No outdoor escape is more popular or well-known than the massive Griffith Park, located directly to the north of Los Feliz. It contains beautiful outdoor pursuits, such as the Roosevelt Golf Course and the iconic Griffith Observatory, which can be reached by bus, or for those in search of an active pursuit, the Berendo Stairs. Hiking, biking, picnicking, or simply enjoying the scenic views are other popular pursuits at the park. Griffith Park might be the most popular option, but it's certainly not the only option. Head to the Franklin Hills neighborhood and trek the Franklin Hills Public Stairway System, which consists of 14 public stairways and offers a fun way to exercise while exploring the neighborhood.
There is plenty of shopping, dining, and other business and convenience service to be found in Los Feliz Village, along both Hillhurst Ave and Vermont Ave. Other options lie to the south along Sunset Boulevard, or to the west along Hollywood Boulevard.
Los Feliz public school students are served by LA Unified School District. Schools include Franklin Ave Elementary, Ivanhoe Elementary, Cheremoya Elementary, Los Feliz Elementary, Thomas Starr King Middle, and John Marshall Senior High School. Private school options include Our Mother of Good Counsel, the Lycee International de Los Angeles, The Oaks School, and Immaculate Heart School.
Looking for Los Feliz CA Homes For Sale? contact Brad Korb Real Estate Group, your local Los Angeles real estate experts, today.


Welcome to Emerald Pointe Apartments. A Riverdale, Georgia apartment rental community, Emerald Pointe is a treasure chest of the features you want like: FREE Wi-Fi at the Pool, Controlled Access Gates, Playground, Lush Landscaping, and 24-hour Emergency Maintenance. Emerald Pointe delivers large 1, 2 & 3 bedroom apartment homes for rent in Clayton County. French doors open onto private patios or balconies in this great location just minutes from downtown Atlanta. JAMCO Properties, Inc. locally manages Emerald Pointe Apartments with courteous on-site leasing and maintenance staff. You will never want to leave this ideal setting, these roomy floor plans or HUGE savings!


text:
The complex construction of the shoulder complex provides a unique mobility that surpasses the mobility of any other joint in the body. While it incorporates a ball-and-socket joint, similar to the hip, the shoulder joint has a more limited bony interface which provides much greater mobility than the hip joint, another ball-and-socket joint. The shoulder must be mobile enough for the variety of movements required of the arms and hands, but also stable enough to allow for actions such as lifting, pushing and pulling.
The shoulder girdle acts as a movable but steady support for the motions of the humerus. The shoulder girdle has 2 bones (clavicle and scapula) that move together as a unit. To maintain its integrity, the shoulder girdle depends more on muscles than on joint structures. Because the upper limb is not usually involved in weight bearing, its stability has been sacrificed in exchange for greater mobility. Such a construction provides dynamic stability to the complex, i.e. greater mobility and stability at the same time through muscular contractions.
The arm is connected to the trunk through the shoulder mechanism, a constellation of four bones (humerus, scapula, clavicle, and thorax). There are 4 different articulations that make up the shoulder girdle complex:
Glenohumeral – the synovial ball and socket joint articulation between the glenoid fossa of the scapula and the head of the humerus. This joint is what most people associate with the shoulder joint. The surface arae of the humeral head is much larger than the surface of the glenoid fossa, and only a part of the humeral head touches the glenoid. Thus, the joint is inherently unstable. The glenohumeral joint has 3 rotational degrees of freedom (DOF).
Acromioclavicular (AC) – aka claviculoscapular joint, at the top of the shoulder between the acromion of the scapula (highest point of the shoulder) and the lateral clavicle. In the transverse plane, the angle between the scapular spine and the clavicle is approximately 50 degrees. In the joint, the scapula moves on the clavicle. The joint has three rotational DOF.
Sternoclavicular – compound joint in which the clavicle articulates with the manubrium of the sternum and the cartilage of the first rib. The joint cavity is divided into two compartments by the articular disk. The sternoclavicular joint is the only joint that connects the shoulder complex to the axial skeleton.
Scapulothoracic – formed by the female surface of the scapula and the male surface of the thorax. This is a bone-muscle-bone articulation that is not synovial and, in the true sense, is not a joint. However, considering it a joint is of some value when describing motion of the scapula over the thorax. The mating surfaces are separated by the subscapularis and serratus anterior muscles, which glide over each other during motion. The scapulothoracic articulation allows translation and rotatory movement of the scapula with respect to the rib cage.
The scapula lies obliquely over the ribs between the frontal and coronal planes. The angle between the frontal plane and the plane of the scapula, called the protraction or winging angle, is typically between 30°-45° with an average of 35°. The scapula is also anteriorly tilted 10° and upwardly rotated 5°. The plane of the glenoid is approximately at right angles to the plane of the scapula. The scapula has no bony and ligamentous connections with the chest.
The following video provides a very good review of the shoulder girdle.
To really understand how the scapula moves, we need to understand what muscle groups are involved. Scapular rotations are so complex because there are 17 different muscular attachments, which can be classified by three different groups of muscles:
Intrinsic Muscles – attach scapula to humerus;
Rotator Cuff (Subscapularis, Supraspinatus, Teres Minor, Infraspinatus) – active stabilization of shoulder joint by preventing downward displacement of humerus
Extrinsic Muscles – attach/suspend scapula to neck and trunk; stabilize and/or actively moves scapula in a variety of movements
Levator Scapulae
Rhomboid Major and Minor
Pectoralis Minor
Omohyoid
Muscles of the Shoulder and Arm
Triceps Brachii (long head)
Biceps Brachii (long and short head)
Corachobrachialis
The scapula exhibits an extremely wide range of motion due to a very limited bony interface between the humerus and glenoid fossa of the scapula. The video below provides a very good animation of scapular rotations including:
Elevation (Upper Traps, Levator Scapulae, Rhomboids) / Depression (Lats, Pecs)
Upward Rotation (Serratus Anterior, Upper and Lower Traps) / Downward Rotation (Lats, Pecs, Levator Scapulae)
Protraction (Serratus Anterior, Pecs) / Retraction (Traps, Rhomboids)
Special Anatomical Consideration – Lats
One of the most misunderstood muscles that affects scapular rotations during overhead throwing is the lats. In fact many anatomy books even describe that the lats often overlay the lower portions of the scapula with no direct attachment. But the lats do attach to the inferior angle of the scapula – at least in a certain percentage of the population. This article by Dan Ogburn describes how Pouliart et al investigated the anatomy of latissimus dorsi in 100 cadavers and found that in many specimens there was a connection to the scapula as the muscle ran its course to ultimately attach on the humerus. They described three types of interactions between lats and the inferior angle of the scapula:
Type 1, Direct Attachment: muscular slips are anchored directly onto the inferior angle of the scapula.
Type 2a, Indirect Attachment: few muscle fibres with a soft, fibrous link between the two (fascia).
Type 2b, No Attachment: a bursa and no connective tissue between the two.
Ogburn adds that the majority of people (79%) had either a Type 1 (direct, 43%) or Type 2a (indirect, 36%) attachment, while the remaining 21% had no attachment at all (Type 2b). So it seems that in the majority of the population, there is some form of link between the latissimus dorsi and the scapula, even if some of us have no direct interaction.
But the effect of the PAS lats on scapular rotation during the dynamic pitching motion is very real and can be very problematic. I consider Eric Cressey to be the foremost expert in overhead sports and specifically for baseball pitching. Eric has done a number of articles and videos on the effect of short/stiff lats on depressed shoulders/scapula on PAS. In baseball throwing, lat recruitment has been shown to be higher during acceleration in professional pitchers than amateurs. Thus the lats are a very important muscle group in generating increased pitching velocity.
I look in more depth at Eric's work with the effect of lats on PAS scapular/shoulder depression in the PAS scapular rotations section, but it is important to first look at Eric's discussion of the function of the lats in general athletic movements in this section. Eric has an excellent article on the function of the lats and their importance in athletic function as they are the biggest muscle in force transfer between the lower and upper body. The reason why the lats are so important in force transfer between the lower (pelvic) and upper (shoulders) body is the vast cross-sectional area of the muscle group. The great thing about the lats is they are very easy to train and have serious growth potential due to their size.
There are 5 different points of attachment for the lats:
Pelvic: posterior aspect of the iliac crest
Vertebral: T6 all the way down to the sacrum
Ribs: last 3-4 ribs
Scapula: inferior scapular border (as discussed above)
Humeral: intertubercular groove of the humerus.
One important thing to consider with the lats as discussed by Eric Cressey is the orientation of the muscle fibers. The lats have a diagonal fiber orientation which allows for more complex movement and stability demands compared to muscle groups with purely horizontal (pecs) or longitudinal (biceps, hamstrings) orientations. This provides for potentially more powerful force transfer between the upper and lower body through the lats. The lats attach with several other muscles into a large bunch of connective tissue called the thoracolumbar fascia which has pelvic, sacral, and vertebral attachment points. Thus the lats work with other core stabilizers to transfer force between the upper and lower body. The lats also function as powerful multi-directional stabilizers of the lumbar spine due to the thoracolumbar attachments as well.
From a functional biomechanics standpoint, the lats are responsible for humeral extension, humeral adduction, humeral internal rotation, and humeral horizontal abduction. However, proper pitching mechanics requires the humerus to flex, abduct, and externally rotate. Thus, the lats are a direct antagonist to healthy overhead biomechanics.
Eric Cressey has said that people tend to overlook the effect of the lats on the position of the scapula. The lats not only influence the scapula indirectly via its functional biomechanics effects on humeral motion as described above, they also directly (albeit somewhat weakly) are involved in some important scapular motions via the subtle attachments on the scapula as it travels to the humerus.
As one of the scapular depressors, the lats work to counteract the upper traps and levator scapulae, both scapular elevators. The upper traps and levator scapulae can cause big problems with respect to forward head posture and pain along the medial scapular border. By making the lats stronger, one can help to re-position the scapula to offset these problems. But the opposite is also true; if the scapular elevators are weak then the head will fall behind the rapidly unwinding torso.
Along the same lines, the lats are weak scapular retractors, meaning that they assist the entire trapezius complex and rhomboids in pulling the shoulder blades together. The lats also help to pull the scapula down as described above. And for the majority of athletes that train a lot with bench press, this retraction helps to counteract the shortness these athletes have in their pecs. So the lats really help the general population that need to get the scaps "back and down" to improve posture.
Lastly, the lats help the levator scapulae, rhomboids, and pectoralis minor out in downward rotation of the scapula. If the lats are short and stiff, they will contribute to scapular downward rotation syndrome. This is a common problem in athletes that have tight lat muscles and can't upwardly rotate the scapula properly.

redpajama_set_name: RedPajamaCommonCrawl


Edmonton Transit System (ETS) is focused in providing safe, reliable and affordable public transit services that link people and places. To achieve this, technology has started to play a major role. With the implementation of Smart Bus, ETS has now the capability to provide a comprehensive solution to address the business challenges. With over 700 buses on Edmonton streets during rush hour, it is challenging to meet the objectives of providing safe, reliable and affordable public transit. The Smart Bus Technology will allow ETS to effectively and efficiently improve communication with bus operators and customers, reduce lost service hours, enhance safety and security, improve service planning and manage the bus fleet.
Karl Spiwek is ETS' Smart Bus and Smart Fare Project manager. Karl also managed the initiative to purchase and implement the automated scheduling solution for ETS' Disabled Adult Transit Service. Karl has over 25 years of experience in the IT Industry and has a B.Sc. in Computer Science from the University of Alberta.
Musse Dese is a professional engineer with ETS and leads the Bus Technology Application Team. Musse has been with ETS since 2007. He has been in charge of implementing various technology systems on the city's bus fleet. He was responsible for selecting the current Bus Camera Systems and expanding the use of Automatic Passenger Counters from 35 to 271 systems. He is actively involved in the implementation of the Smart Bus system. Musse obtained a B.Sc. in Electrical Engineering from the University of Calgary and is currently working towards his Masters degree in Engineering Management at the University of Alberta.
Please register for the event before November 4 at noon using our online ticketing system.


Basically, this will pull the image from the URL instead of only pulling it from your harddrive for upload.
Also accepts optional default_exts argument which limits the file types. Defaults to images.
Given the name of the clear checkbox input, return the HTML id for it.
Given the name of the url text input, return the HTML id for it.
# object that FileField will turn into a ValidationError.


... Epoxy Glass Laminated Sheet Suppliers Directory ... China Wholesale Phenolic Board Epoxy Glass Laminated Sheet 3240. ... Hainan Fuwang Industrial Co., Ltd.
g11 glass epoxy manufacturers & suppliers ... Hainan Fuwang Industrial Co., Ltd. ... Electrical Insulation Epoxy Glass Sheet 3240 Fr4 G10 G11.
China Polyester Glass, ... Insulation sheet,Bakelite sheet,3021 Phenolic bakelite sheet,3240 Fiberglass epoxy sheet,3025 textolite. ... Hainan Fuwang Industrial Co., Ltd.
... Find details about China Epoxy Glass Cloth Laminated Sheet, 3240 ... Insulation Material from NEMA Grade Fr4 ... Cloth Sheet - Hainan Fuwang Industrial Co., Ltd.
FR-4 copper clad laminated sheet,use glass fiber ... FR-4 CCL is made of flame resistant epoxy glass fabric copper-clad adhered ... Hainan Fuwang Industrial Co.,LTD.
... 3240 Epoxy Insulation Laminated sheet (Grade B) ... Homeidea Industrial Co.,Ltd. Mobile · 3240 Epoxy glass laminated sheet. ... Hainan Fuwang Industrial Co.,Ltd.
Free Sample Insulation Material Fr4 3240 Epoxy ... EPGC202 Epoxy glass laminated ... Home / Electrical insulation ... of Epoxy Sheet - Hainan Fuwang Industrial Co., Ltd.
... 3240-Epoxy Glass cloth Laminated Sheet ... 3025 phenolic cotton cloth laminated sheet 3025 electrical insulating/insulation ... Hainan Fuwang Industrial Co., Ltd.
Hainan Fuwang Industrial Co., Ltd. ... Shandong Fangding Safety Glass Technology Co., Ltd. ... Zhuhai Speedbird Pvc Film Laminated Metal Sheet Co., Ltd.


Human Rights Watch (HRW), a nonprofit, non-governmental, human rights organization made up of roughly 400 staff members around the globe, calls on the Georgian government to remove all criminal sanctions for personal use and possession of drugs.
The 67-page report, "Harsh Punishment: The Human Toll of Georgia's Abusive Drug Laws," describes the impact of overly punitive drug laws and practices on people who use drugs, and on their families.
It reads that Georgia's drug laws and their aggressive enforcement is causing severe and unjustifiable harm, adding drug prosecutions for consumption and possession often lead to long prison sentences and prohibitive fines against people who have not harmed others, but who acquired small amounts of drugs for personal use.
HRW says that although Georgia has partially liberalized drug laws, but they remain harsh. The report is based on more than 85 in-depth interviews with people who have been prosecuted for drug-related crimes, their lawyers and family members, as well as social workers, community organization leaders, government officials, and various advocacy groups and nongovernmental organizations.
The report documents the impact of overly punitive drug laws and practices, including disproportionately harsh prison sentences and fines, abusive, mandatory drug tests, coerced plea bargains, and arbitrary limitations on rights, such as obtaining a driver's license or working in various professions.
"The criminal justice system continues to treat most drug consumption or possession for personal use as a criminal felony, with severe consequences," the report reads.
According to the document, in June 2017, several members of parliament introduced a comprehensive draft law that would decriminalize personal drug use. The draft was developed by Georgia's National Drug Policy Platform, a broad coalition of non-governmental groups, experts, and activists. The draft law is grounded in a health-oriented approach that explicitly states that people with problematic drug use need support, not incarceration and stigmatization.
"The draft stalled in parliament after just one committee hearing, and the government appears to have halted any plans for further substantial drug policy reform," the report reads.
The HRW says it is time for Georgia to rethink the criminalization paradigm.
"Ending criminalization of simple drug possession does not mean turning a blind eye to the harm that drug dependence can cause in the lives of those who use, and of their families. On the contrary, it requires a more direct focus on effective measures to prevent problematic drug use, reduce the harms associated with it, and support those who struggle with dependence," the report reads.
Human Rights Watch calls on the Georgian authorities to end the criminalization of personal use of drugs and possession of drugs for personal use. This means removing all criminal sanctions for use and possession.
"Instead, greater focus should be placed on effective public health measures to prevent and address drug dependency and reduce the harms associated with it," the report reads.
On July 30, 2018 Georgia's Constitutional Court made a decision to abolish administrative punishment for marijuana consumption. The decision only refers to personal usage and not to keeping or distributing cannabis.


text:
Some Loser With A Fake Amari Cooper Twitter Account Is Making Racist Comments, Fooling Fans, Bloggers
As fantastic as Twitter can be, as we all know, there are many negatives associated with the social media platform. One such issue deals with fans making fake accounts and purposefully attempting to destroy the character of their targets. For whatever reason, Alabama wideout Amari Cooper has been one of those targets for a while now. A fake handle with over 50,000 followers, @AmarICooper, which the Crimson Tide wide receiver says his school's compliance department has requested to be taken down three times, has been posting some ridiculous comments over the past 24 hours.
In one, he claims he's the best wide receiver in the country. A few have even been racist in nature.
Most of the time, fake accounts are easy to identify and aren't taken seriously. But a number of publications incorrectly assumed this was the real Amari Cooper account and wrote articles about the tweets. The real Amari Cooper account is actually @AmariCooper9, and though he says he isn't sweating it, he's making it clear that the other account is an impersonator.
">June 13, 2014
The account was eventually taken down by Twitter, thankfully. Why some loser had to launch it in the first place is anyone's guess.


text:
Александр Бэн (; 11 июня 1818, Абердин, Шотландия — 18 сентября 1903, там же) — шотландский философ, психолог и педагог.

Биография

Работал ткачом, в 18 лет поступил в колледж, где изучал математику, физику и натурфилософию. После окончания писал статьи по технической тематике для Westminster Review. В этот период познакомился с Джоном Стюартом Миллем, идеи которого оказали на него значительное влияние.

Один из главных представителей ассоциативной психологии. Основатель журнала «Mind» (1876). В своих исследованиях в области психологии и логики он опирается на точное изучение естественных наук; Бэн пытался выяснить характер неразрывной связи между психическими явлениями и физиологическими процессами; по мнению Бэна связь эта есть лишь сопутствие одних явлений другими.

Основные труды

 The Senses and the Intellect (1855)
 The Emotions and the Will (1859)
 Higher English Grammar (1863)
 An English Grammar (1863)
 Manual of Mental and Moral Science (1868)
 The Senses and the Intellect (1861; 1894)
 Logic (1870)
 Mind and Body («International Scientific Series», 1872)
 Education as a Science («International Scientific Series», 1879)
 Rhetoric (1887, 1888)
 On Teaching English (1888)

См. также
 Психофизический параллелизм

Примечания

Ссылки
 Stanford Encyclopedia of Philosophy entry on Alexander Bain — об Александре Бэне в Стэнфордской философской энциклопедии
 Бэн А. «Воспитание как предмет науки» (Education as a Science, 1878)
 Бэн А. «Душа и тело» (Mind And Body: The Theories Of Their Relation, 1873).

Философы XIX века
Философы Шотландии
Логики XIX века
Психологи Шотландии
Преподаватели Абердинского университета

redpajama_set_name: RedPajamaWikipedia


text:
Un grup fenil (abreujat Ph o φ) és un grup substituent emprat en nomenclatura de química orgànica i que es troba format per un anell aromàtic de benzè amb un carboni amb una valència lliure, de fórmula -C6H5.

El mot «fenil» està format per «fen-», que prové de «fenol», nom del compost químic de fórmula C6H5-OH una formació culta sobre el grec phaínō 'brillar', pel fet d'obtenir-se en la fabricació del gas d'il·luminar; i de la terminació «–il» emprada en nomenclatura orgànica per designar els grups substituents.

El grup fenil és present en nombrosos compostos tant naturals com artificials. La seva reactivitat és variada per les característiques electròniques del grup que substitueix l'hidrogen.

Referències

Grups substituents


To protect Long Island's waters, applying fertilizer in Suffolk County from November 1 to April 1 is prohibited. But you've come to the right place to find out how we can have Healthy lawns & Clean water.
Does your lawn need fertilizer?
On Long Island, we depend on our groundwater for drinking water. But the nitrogen fertilizer we apply to our lawns - especially when the grass is dormant - can move down through the soil and pollute our aquifer.
This site will help you manage your fertilizer and lawn to protect our groundwater - as well as our surface waters, bays, and estuaries - from pollution due to lawn fertilizers.
Help keep fertilizer out of our waters!
Image used by permission from the Washington State Department of Ecology.


text:
Archbishop of Canterbury leads prayers at Jordan River
The Archbishop of Canterbury, Justin Welby, center, takes a golf cart past a church at the baptism site al-Maghtas in Jordan Wednesday. May, 3, 2017. The head of the Anglican church was on a visit to the region to meet refugees including Christians from Iraq and King Abdullah II. He pledged support for the refugees in Europe as well as in the Middle East. "We do not want a Middle East without Christians. Christians are the past in the Middle East, they are the present and they must be the future," said the archbishop. (AP Photo/Sam McNeil) (The Associated Press)
The Archbishop of Canterbury, Justin Welby, center left, visits the archaeological site al-Maghtas in Jordan Wednesday. May, 3, 2017. During the prayer he said "in this place where we hear birdsong and running water we are surrounded within a few kilometers with violence." The head of the Anglican church was on a visit to the region to meet refugees including Christians from Iraq and King Abdullah II. He pledged support for the refugees in Europe as well as in the Middle East. (AP Photo/Sam McNeil) (The Associated Press)
The Archbishop of Canterbury, Justin Welby, eighth from right, leads a prayer at the archaeological site al-Maghtas in Jordan Wednesday, May 3, 2017. During the prayer he said "in this place where we hear birdsong and running water we are surrounded within a few kilometers with violence." The head of the Anglican church was on a visit to the region to meet refugees including Christians from Iraq and King Abdullah II. He pledged support for the refugees in Europe as well as in the Middle East. (AP Photo/Sam McNeil) (The Associated Press)
AL-MAGTHAS, Jordan – The head of the Anglican Church prayed at the Jordan River as part of a Middle East tour in which he met with Iraqi Christian refugees.
Justin Welby, the archbishop of Canterbury, led prayers Wednesday at the Bethany Beyond the Jordan archaeological site, believed to be the place where John the Baptist baptized Jesus of Nazareth.
He called for greater support for those in need, saying: "In this place where we hear birdsong and running water we are surrounded, within a few kilometers (miles), with violence."
The Middle East is home to the oldest Christian communities in the world, but large numbers have fled in recent years to escape war and Islamic extremism.
Welby was expected to visit Israel later in the day.


text:
Title: Drama
Subject: List of Urdu-language films, List of Indonesian films, List of Pakistani Punjabi-language films, List of Bollywood films of 2008, List of Bollywood films of 2007
Collection: Drama, Entertainment
Major forms
Mythopoeia
History and lists
Literary / Poetry awards
Literature portal
Drama is the specific mode of fiction represented in performance.[1] The term comes from a Greek word meaning action (Classical Greek: δρᾶμα, drama), which is derived from the verb meaning to do or to act (Classical Greek: δράω, draō). The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception.[2] The early modern tragedy Hamlet (1601) by Shakespeare and the classical Athenian tragedy Oedipus the King (c. 429 BC) by Sophocles are among the masterpieces of the art of drama.[3] A modern example is Long Day's Journey into Night by Eugene O'Neill (1956).[4]
The two masks associated with drama represent the traditional generic division between comedy and tragedy. They are symbols of the ancient Greek Muses, Thalia and Melpomene. Thalia was the Muse of comedy (the laughing face), while Melpomene was the Muse of tragedy (the weeping face). Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BC)—the earliest work of dramatic theory.[5]
The use of "drama" in the narrow sense to designate a specific type of play dates from the 19th century. Drama in this sense refers to a play that is neither a comedy nor a tragedy—for example, Zola's Thérèse Raquin (1873) or Chekhov's Ivanov (1887). It is this narrow sense that the film and television industry and film studies adopted to describe "drama" as a genre within their respective media.[6] "Radio drama" has been used in both senses—originally transmitted in a live performance, it has also been used to describe the more high-brow and serious end of the dramatic output of radio.[7]
Drama is often combined with music and dance: the drama in opera is generally sung throughout; musicals generally include both spoken dialogue and songs; and some forms of drama have incidental music or musical accompaniment underscoring the dialogue (melodrama and Japanese Nō, for example).[8] In certain periods of history (the ancient Roman and modern Romantic) some dramas have been written to be read rather than performed.[9] In improvisation, the drama does not pre-exist the moment of performance; performers devise a dramatic script spontaneously before an audience.[10]
History of Western drama 1
Classical Greek drama 1.1
Classical Roman drama 1.2
Medieval 1.3
Elizabethan and Jacobean 1.4
Modern and postmodern 1.5
Asian drama 2
Sanskrit theatre 2.1.1
Modern Indian drama 2.1.2
Modern Urdu drama of India and Pakistan 2.1.3
Japan 2.3
Forms of drama 3
Opera 3.1
Pantomime 3.2
Creative drama 3.3
History of Western drama
Classical Greek drama
Western drama originates in classical Greece.[11] The theatrical culture of the city-state of Athens produced three genres of drama: tragedy, comedy, and the satyr play. Their origins remain obscure, though by the 5th century BC they were institutionalised in competitions held as part of festivities celebrating the god Dionysus.[12] Historians know the names of many ancient Greek dramatists, not least Thespis, who is credited with the innovation of an actor ("hypokrites") who speaks (rather than sings) and impersonates a character (rather than speaking in his own person), while interacting with the chorus and its leader ("coryphaeus"), who were a traditional part of the performance of non-dramatic poetry (dithyrambic, lyric and epic).[13]
Only a small fraction of the work of five dramatists, however, has survived to this day: we have a small number of complete texts by the tragedians Aeschylus, Sophocles and Euripides, and the comic writers Aristophanes and, from the late 4th century, Menander.[14] Aeschylus' historical tragedy The Persians is the oldest surviving drama, although when it won first prize at the City Dionysia competition in 472 BC, he had been writing plays for more than 25 years.[15] The competition ("agon") for tragedies may have begun as early as 534 BC; official records ("didaskaliai") begin from 501 BC, when the satyr play was introduced.[16] Tragic dramatists were required to present a tetralogy of plays (though the individual works were not necessarily connected by story or theme), which usually consisted of three tragedies and one satyr play (though exceptions were made, as with Euripides' Alcestis in 438 BC). Comedy was officially recognized with a prize in the competition from 487 to 486 BC.
Five comic dramatists competed at the City Dionysia (though during the Peloponnesian War this may have been reduced to three), each offering a single comedy.[17] Ancient Greek comedy is traditionally divided between "old comedy" (5th century BC), "middle comedy" (4th century BC) and "new comedy" (late 4th century to 2nd BC).[18]
Classical Roman drama
Following the expansion of the Roman Republic (509–27 BC) into several Greek territories between 270–240 BC, Rome encountered Greek drama.[19] From the later years of the republic and by means of the Roman Empire (27 BC-476 AD), theatre spread west across Europe, around the Mediterranean and reached England; Roman theatre was more varied, extensive and sophisticated than that of any culture before it.[20]
While Greek drama continued to be performed throughout the Roman period, the year 240 BC marks the beginning of regular Roman drama.[21] From the beginning of the empire, however, interest in full-length drama declined in favour of a broader variety of theatrical entertainments.[22] The first important works of Roman literature were the tragedies and comedies that Livius Andronicus wrote from 240 BC.[23] Five years later, Gnaeus Naevius also began to write drama.[23] No plays from either writer have survived. While both dramatists composed in both genres, Andronicus was most appreciated for his tragedies and Naevius for his comedies; their successors tended to specialise in one or the other, which led to a separation of the subsequent development of each type of drama.[23]
By the beginning of the 2nd century BC, drama was firmly established in Rome and a guild of writers (collegium poetarum) had been formed.[24] The Roman comedies that have survived are all fabula palliata (comedies based on Greek subjects) and come from two dramatists: Titus Maccius Plautus (Plautus) and Publius Terentius Afer (Terence).[25] In re-working the Greek originals, the Roman comic dramatists abolished the role of the chorus in dividing the drama into episodes and introduced musical accompaniment to its dialogue (between one-third of the dialogue in the comedies of Plautus and two-thirds in those of Terence).[26] The action of all scenes is set in the exterior location of a street and its complications often follow from eavesdropping.[26]
Plautus, the more popular of the two, wrote between 205 and 184 BC and twenty of his comedies survive, of which his farces are best known; he was admired for the wit of his dialogue and his use of a variety of poetic meters.[27] All of the six comedies that Terence wrote between 166 and 160 BC have survived; the complexity of his plots, in which he often combined several Greek originals, was sometimes denounced, but his double-plots enabled a sophisticated presentation of contrasting human behaviour.[27] No early Roman tragedy survives, though it was highly regarded in its day; historians know of three early tragedians—Quintus Ennius, Marcus Pacuvius and Lucius Accius.[26]
From the time of the empire, the work of two tragedians survives—one is an unknown author, while the other is the Stoic philosopher Seneca.[28] Nine of Seneca's tragedies survive, all of which are fabula crepidata (tragedies adapted from Greek originals); his Phaedra, for example, was based on Euripides' Hippolytus.[29] Historians do not know who wrote the only extant example of the fabula praetexta (tragedies based on Roman subjects), Octavia, but in former times it was mistakenly attributed to Seneca due to his appearance as a character in the tragedy.[28]
In the Middle Ages, drama in the vernacular languages of Europe may have emerged from religious enactments of the liturgy. Mystery plays were presented on the porch of the cathedrals or by strolling players on feast days. Miracle and mystery plays, along with moralities and interludes, later evolved into more elaborate forms of drama, such as was seen on the Elizabethan stages.
Elizabethan and Jacobean
One of the great flowerings of drama in England occurred in the 16th and 17th centuries. Many of these plays were written in verse, particularly iambic pentameter. In addition to Shakespeare, such authors as Christopher Marlowe, Thomas Middleton, and Ben Jonson were prominent playwrights during this period. As in the medieval period, historical plays celebrated the lives of past kings, enhancing the image of the Tudor monarchy. Authors of this period drew some of their storylines from Greek mythology and Roman mythology or from the plays of eminent Roman playwrights such as Plautus and Terence.lala
Modern and postmodern
The pivotal and innovative contributions of the 19th-century Norwegian dramatist Henrik Ibsen and the 20th-century German theatre practitioner Bertolt Brecht dominate modern drama; each inspired a tradition of imitators, which include many of the greatest playwrights of the modern era.[30] The works of both playwrights are, in their different ways, both modernist and realist, incorporating formal experimentation, meta-theatricality, and social critique.[31] In terms of the traditional theoretical discourse of genre, Ibsen's work has been described as the culmination of "liberal tragedy", while Brecht's has been aligned with an historicised comedy.[32]
Other important playwrights of the modern era include Antonin Artaud, Ernst Toller, Vladimir Mayakovsky, Arthur Miller, Tennessee Williams, Jean Genet, Eugène Ionesco, Samuel Beckett, Harold Pinter, Friedrich Dürrenmatt, Dario Fo, Heiner Müller, and Caryl Churchill.
Performer playing Sugriva in the Koodiyattam form of Sanskrit theatre.
The earliest form of Indian drama was the Sanskrit drama that is said to have its framework directly given by Lord Shiva who used these techniques to pray to Lord Vishnu.[33][33] Between the 1st century AD and the 10th was a period of relative peace in the history of India during which hundreds of modern plays were written.[34] With the Islamic conquests that began in the 10th and 11th centuries, theatre was discouraged or forbidden entirely.[35] Later, in an attempt to re-assert indigenous values and ideas, village theatre was encouraged across the subcontinent, developing in a large number of regional languages from the 15th to the 19th centuries.[36] Modern Indian theatre developed during the period of colonial rule under the British Empire, from the mid-19th century until the mid-20th.[37]
Sanskrit theatre
The earliest-surviving fragments of Sanskrit drama date from the 1st century AD.[38] The wealth of archeological evidence from earlier periods offers no indication of the existence of a tradition of theatre.[39] The ancient Vedas (hymns from between 1500 to 1000 BC that are among the earliest examples of literature in the world) contain no hint of it (although a small number are composed in a form of dialogue) and the rituals of the Vedic period do not appear to have developed into theatre.[39] The Mahābhāṣya by Patañjali contains the earliest reference to what may have been the seeds of Sanskrit drama.[40] This treatise on grammar from 140 BC provides a feasible date for the beginnings of theatre in India.[40]
The major source of evidence for Sanskrit theatre is mythological account of the origin of theatre.[40]
Its drama is regarded as the highest achievement of Sanskrit literature.[41] It utilised stock characters, such as the hero (nayaka), heroine (nayika), or clown (vidusaka). Actors may have specialised in a particular type. It was patronized by the kings as well as village assemblies. Famous early playwrights include Bhasa, Kalidasa (famous for Vikrama and Urvashi, Malavika and Agnimitra, and The Recognition of Shakuntala), Śudraka (famous for The Little Clay Cart), Asvaghosa, Daṇḍin, and Emperor Harsha (famous for Nagananda, Ratnavali and Priyadarsika). Śakuntalā (in English translation) influenced Goethe's Faust (1808–1832).[41]
Modern Indian drama
Rabindranath Tagore, was a pioneering modern playwright who wrote plays noted for their exploration and questioning of nationalism, identity, spiritualism and material greed .[42] His plays are written in Bengali and include Chitra (Chitrangada, 1892), The King of the Dark Chamber (Raja, 1910), The Post Office (Dakghar, 1913), and Red Oleander (Raktakarabi, 1924).[42] Girish Karnad is a noted playwright, who has written a number of plays that use history and mythology, to critique and problematize ideas and ideals that are of contemporary relevance. Karnad's numerous plays such as Tughlaq, Hayavadana, Taledanda and Naga-Mandala are significant contributions to Indian drama.Vijay Tendulkar and Mahesh Dattani are amongst the major Indian playwrights of the 20th century.
References 1. S Krishna Bhatta, Indian English Drama: A Critical Study, Sterling Publishers, New Delhi, 1987. 2. G P Deshpande,ed. Modern Indian Drama: An Anthology, Sahitya Akedemi, New Delhi, 2000. 3. Kaustav Chakraborty, ed. Indian English Drama, PHI Learning, New Delhi, 2011. 4. Sudhakar Pandey and Freya Taraporewala, ed. Studies in Contemporary India, Prestige Books, New Delhi, 1990.
Modern Urdu drama of India and Pakistan
Urdu Drama evolved from the prevailing dramatic traditions of North India shaping Rahas or Raas as practiced by exponents like Nawab Wajid Ali Shah of Awadh. His dramatic experiments led to the famous Inder Sabha of Amanat and later this tradition took the shape of Parsi Theatre. Agha Hashr Kashmiri is the culmination of this tradition.
In some way or other, Urdu theatre tradition has greatly influenced modern Indian theatre. Among all the languages Urdu (which was called Hindi by early writers), along with Gujrati, Marathi and Bengali theatres have kept flourishing and demand for its writers and artists has not subsided by the drama aficionados. For Urdu drama, no place is better than Bombay Film industry otherwise known as Hindi film industry. All the early gems of Urdu Theatre (performed by Parsi Companies) were made into films. Urdu Dramatic tradition has been a spectator's delight since 100 years and counting.
Drama as a theme is made up of several elements. It focuses on life and different aspects of it. The thing to be noticed here is that drama on stage imitates drama in life. It has been said that, there has always been a mutual relationship between theatre and real life. Great historical personalities like Shakespeare have influenced Modern Urdu tradition to a large extent when Indian, Iranian, Turkish stories and folk was adapted for stage with heavy doses of Urdu poetry. In modern times writers like Imtiaz Ali Taj, Rafi Peer, Krishan Chander, Manto, Upender Nath Ashk, Ghulam Rabbani, Prof. Mujeeb and many others shaped this tradition.
While Prof Hasan, Ghulam Jeelani, J.N,Kaushal, Shameem Hanfi, Jameel Shaidayi, etc. belong to the old generation, contemporary writers like Danish Iqbal, Sayeed Alam, Shahid Anwar, Iqbal Niyazi, and Anwar are a few postmodern playwrights actively contributing in the field of Urdu Drama.
Sayeed Alam is known for his wit and humour and more particularly for Plays like 'Ghalib in New Delhi', 'Big B' and many other gems which are regularly staged for massive turn out of theatre lovers. Maulana Azad is his magnum opus both for its content and style.
Danish Iqbal's play about 'Dara Shikoh' directed by M. S. Sathyu is considered a modern classic for the use of newer theatre techniques and contemporary perspective. His other plays are 'Sahir' on the famous lyricist and revolutionary poet. 'Kuchh Ishq kiya Kuchh Kaam' is another play written by Danish which is basically a Celebration of the Faiz's poetry, featuring events from the early part of his life, particularly the events and incidents of pre-partition days which shaped his life and ideals. 'Chand Roz Aur Meri Jaan' - another play inspired from Faiz's letters written from various jails during the Rawalpindi Conspiracy days. He has written 14 other plays including 'Dilli Jo Ek Shehr Thaa' and 'Main Gaya Waqt Nahin hoon'. Shahid's 'Three B' is also a significant play. He has been associated with many groups like 'Natwa' and others. Zaheer Anwar has kept the flag of Urdu theatre flying in Kolkata. Unlike the writers of previous generation Sayeed, Shahid, Danish Iqbal and Zaheer do not write bookish plays but their work is a product of vigorous performing tradition. Iqbal Niyazi of Mumbai has written several plays in Urdu, his play "AUR KITNE JALYANWALA BAUGH?" won a National award other awards. Hence this is the only generation after Amanat and Agha Hashr who actually write for stage and not for libraries.
A 1958 U.S.S.R. postage stamp commemorating Guan Hanqing, one of the great Chinese dramatists, who is renowned for his "zaju" plays.
Chinese theatre has a long and complex history. Today it is often called Chinese opera although this normally refers specifically to the popular form known as Beijing opera and Kunqu; there have been many other forms of theatre in China, such as zaju.
Japanese Nō drama is a serious dramatic form that combines drama, music, and dance into a complete aesthetic performance experience. It developed in the 14th and 15th centuries and has its own musical instruments and performance techniques, which were often handed down from father to son. The performers were generally male (for both male and female roles), although female amateurs also perform Nō dramas. Nō drama was supported by the government, and particularly the military, with many military commanders having their own troupes and sometimes performing themselves. It is still performed in Japan today.[43]
Kyōgen is the comic counterpart to Nō drama. It concentrates more on dialogue and less on music, although Nō instrumentalists sometimes appear also in Kyōgen. Kabuki drama, developed from the 17th century, is another comic form, which includes dance.
Forms of drama
Western opera is a dramatic art form, which arose during the Renaissance in an attempt to revive the classical Greek drama tradition in which both music and theatre were combined. Being strongly intertwined with western classical music, the opera has undergone enormous changes in the past four centuries and it is an important form of theatre until this day. Noteworthy is the huge influence of the German 19th-century composer Richard Wagner on the opera tradition. In his view, there was no proper balance between music and theatre in the operas of his time, because the music seemed to be more important than the dramatic aspects in these works. To restore the connection with the traditional Greek drama, he entirely renewed the operatic format, and to emphasize the equal importance of music and drama in these new works, he called them "music dramas".
Chinese opera has seen a more conservative development over a somewhat longer period of time.
These stories follow in the tradition of fables and folk tales. Usually there is a lesson learned, and with some help from the audience, the hero/heroine saves the day. This kind of play uses stock characters seen in masque and again commedia dell'arte, these characters include the villain (doctore), the clown/servant (Arlechino/Harlequin/buttons), the lovers etc. These plays usually have an emphasis on moral dilemmas, and good always triumphs over evil, this kind of play is also very entertaining making it a very effective way of reaching many people.
Creative drama
Creative drama includes dramatic activities and games used primarily in educational settings with children. Its roots in the United States began in the early 1900s. Winifred Ward is considered to be the founder of creative drama in education, establishing the first academic use of drama in Evanston, Illinois
Applied Drama
Augustan drama
Christian drama
Closet drama
Domestic drama
Drama film
Dramatic structure
Dramatic theory
Flash drama
Folk play
Heroic drama
History of theatre
Legal drama
Monodrama
Mystery play
Two-hander
Verse drama and dramatic verse
Well-made play
Yakshagana—An Indian musical drama
^ Elam (1980, 98).
^ Pfister (1977, 11).
^ Fergusson (1949, 2–3).
^ Burt, Daniel S. The Drama 100: A Ranking of the Greatest Plays of All Time (2008) Facts on File ISBN 978-0-8160-6073-3
^ Francis Fergusson writes that "a drama, as distinguished from a lyric, is not primarily a composition in the verbal medium; the words result, as one might put it, from the underlying structure of incident and character. As Aristotle remarks, 'the poet, or "maker" should be the maker of plots rather than of verses; since he is a poet because he imiates, and what he imitates are actions'" (1949, 8).
^ See also WorldHeritage's List of drama films.
^ Banham (1998, 894–900).
^ See the entries for "opera", "musical theatre, American", "melodrama" and "Nō" in Banham (1998).
^ While there is some dispute among theatre historians, it is probable that the plays by the Roman
^ Some forms of improvisation, notably the Commedia dell'arte, improvise on the basis of 'lazzi' or rough outlines of scenic action (see Gordon (1983) and Duchartre (1929)). All forms of improvisation take their cue from their immediate response to one another, their characters' situations (which are sometimes established in advance), and, often, their interaction with the audience. The classic formulations of improvisation in the theatre originated with Joan Littlewood and Keith Johnstone in the UK and Viola Spolin in the USA; see Johnstone (1981) and Spolin (1963).
^ Brown (1998, 441), Cartledge (1997, 3–5), Goldhill (1997, 54), and Ley (2007, 206). Taxidou, p. 104 notes that "most scholars now call 'Greek' tragedy 'Athenian' tragedy, which is historically correct" (2004, 104). Brown writes that ancient Greek drama "was essentially the creation of classical Athens: all the dramatists who were later regarded as classics were active at Athens in the 5th and 4th centuries BC (the time of the Athenian democracy), and all the surviving plays date from this period" (1998, 441). "The dominant culture of Athens in the fifth century", Goldhill writes, "can be said to have invented theatre" (1997, 54).
^ Brockett and Hildy (2003, 13–15) and Banham (1998, 441–447).
^ Banham (1998, 441–444). For more information on these ancient Greek dramatists, see the articles categorised under "Ancient Greek dramatists and playwrights" in WorldHeritage.
^ The theory that Prometheus Bound was not written by Aeschylus would bring this number to six dramatists whose work survives.
^ Banham (1998, 8) and Brockett and Hildy (2003, 15–16).
^ Brockett and Hildy (2003, 13, 15) and Banham (1998, 442).
^ Brockett and Hildy (2003, 18) and Banham (1998, 444–445).
^ Brockett and Hildy (2003, 43).
^ Brockett and Hildy (2003, 36, 47).
^ Brockett and Hildy (2003, 43). For more information on the ancient Roman dramatists, see the articles categorised under "Ancient Roman dramatists and playwrights" in WorldHeritage.
^ Brockett and Hildy (2003, 46–47).
^ a b c Brockett and Hildy (2003, 47).
^ a b Brockett and Hildy (2003, 48).
^ Williams (1993, 25–26) and Moi (2006, 17). Moi writes that "Ibsen is the most important playwright writing after Shakespeare. He is the founder of modern theater. His plays are world classics, staged on every continent, and studied in classrooms everywhere. In any given year, there are hundreds of Ibsen productions in the world." Ibsenites include Arthur Miller; Brechtians include Dario Fo, Joan Littlewood, W. H. Auden Peter Weiss, Heiner Müller, Peter Hacks, Tony Kushner, Caryl Churchill, John Arden, Howard Brenton, Edward Bond, and David Hare.
^ Moi (2006, 1, 23–26). Taxidou writes: "It is probably historically more accurate, although methodologically less satisfactory, to read the Naturalist movement in the theatre in conjunction with the more anti-illusionist aesthetics of the theatres of the same period. These interlock and overlap in all sorts of complicated ways, even when they are vehemently denouncing each other (perhaps particularly when) in the favoured mode of the time, the manifesto" (2007, 58).
^ Williams (1966) and Wright (1989).
^ a b Richmond, Swann, and Zarrilli (1993, 12).
^ Brandon (1997, 70) and Richmond (1998, 516).
^ Brandon (1997, 72), Richmond (1998, 516), and Richmond, Swann, and Zarrilli (1993, 12).
^ Richmond (1998, 516) and Richmond, Swann, and Zarrilli (1993, 13).
^ Brandon (1981, xvii) and Richmond (1998, 516–517).
^ a b Richmond (1998, 516).
^ a b c Richmond (1998, 517).
^ a b Brandon (1981, xvii).
^ a b Banham (1998, 1051).
^ "Background to Noh-Kyogen". Archived from the original on 2005-07-15. Retrieved 2013-02-27.
Banham, Martin, ed. 1998. The Cambridge Guide to Theatre. Cambridge: Cambridge University Press. ISBN 0-521-43437-8.
Baumer, Rachel Van M., and James R. Brandon, eds. 1981. Sanskrit Theatre in Performance. Delhi: Motilal Banarsidass, 1993. ISBN 978-81-208-0772-3.
Brandon, James R. 1981. Introduction. In Baumer and Brandon (1981, xvii–xx).
---, ed. 1997. The Cambridge Guide to Asian Theatre.' 2nd, rev. ed. Cambridge: Cambridge UP. ISBN 978-0-521-58822-5.
Brockett, Oscar G. and Franklin J. Hildy. 2003. History of the Theatre. Ninth edition, International edition. Boston: Allyn and Bacon. ISBN 0-205-41050-2.
Brown, Andrew. 1998. "Ancient Greece." In The Cambridge Guide to Theatre. Ed. Martin Banham. Cambridge: Cambridge UP. 441–447. ISBN 0-521-43437-8.
Carlson, Marvin. 1993. Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present. Expanded ed. Ithaca and London: Cornell University Press. ISBN 978-0-8014-8154-3.
Cartledge, Paul. 1997. "'Deep Plays': Theatre as Process in Greek Civic Life." In Easterling (1997c, 3–35).
Duchartre, Pierre Louis. 1929. The Italian Comedy. Unabridged republication. New York: Dover, 1966. ISBN 0-486-21679-9.
Dukore, Bernard F., ed. 1974. Dramatic Theory and Criticism: Greeks to . Florence, Kentucky: Heinle & Heinle. ISBN 0-03-091152-4.
Durant, Will & Ariel Durant. 1963 The Story of Civilization, Volume II: The Life of Greece. 11 vols. New York: Simon & Schuster.
Easterling, P. E. 1997a. "A Show for Dionysus." In Easterling (1997c, 36–53).
—. 1997b. "Form and Performance." In Easterling (1997c, 151–177).
—, ed. 1997c. The Cambridge Companion to Greek Tragedy. Cambridge Companions to Literature ser. Cambridge: Cambridge UP. ISBN 0-521-42351-1.
Elam, Keir. 1980. The Semiotics of Theatre and Drama. New Accents Ser. London and New York: Methuen. ISBN 0-416-72060-9.
Falossi,F. and Mastropasqua,F. "L'Incanto Della Maschera." Vol. 1 Prinp Editore, Torino:2014 www.prinp.com ISBN978-88-97677-50-5
Fergusson, Francis. 1949. The Idea of a Theater: A Study of Ten Plays, The Art of Drama in a Changing Perspective. Princeton, New Jersey: Princeton UP, 1968. ISBN 0-691-01288-1.
Goldhill, Simon. 1997. "The Audience of Athenian Tragedy." In Easterling (1997c, 54–68).
Gordon, Mel. 1983. Lazzi: The Comic Routines of the Commedia dell'Arte. New York: Performing Arts Journal Publications. ISBN 0-933826-69-9.
Harsh, Philip Whaley. 1944. A Handbook of Classical Drama. Stanford: Stanford UP; Oxford: Oxford UP.
Johnstone, Keith. 1981. Impro: Improvisation and the Theatre Rev. ed. London: Methuen, 2007. ISBN 0-7136-8701-0.
Ley, Graham. 2006. A Short Introduction to the Ancient Greek Theater. Rev. ed. Chicago and London: U of Chicago P. ISBN 0-226-47761-4.
O'Brien, Nick. 2010. Stanislavski In Practise. London: Routledge. ISBN 978-0415568432.
---. 2007. The Theatricality of Greek Tragedy: Playing Space and Chorus. Chicago and London: U of Chicago P. ISBN 0-226-47757-6.
Pfister, Manfred. 1977. The Theory and Analysis of Drama. Trans. John Halliday. European Studies in English Literature Ser. Cambridige: Cambridge University Press, 1988. ISBN 0-521-42383-X.
Rehm, Rush. 1992. Greek Tragic Theatre. Theatre Production Studies ser. London and New York: Routledge. ISBN 0-415-11894-8.
Richmond, Farley. 1998. "India." In Banham (1998, 516–525).
Richmond, Farley P., Darius L. Swann, and Phillip B. Zarrilli, eds. 1993. Indian Theatre: Traditions of Performance. U of Hawaii P. ISBN 978-0-8248-1322-2.
Spolin, Viola. 1967. Improvisation for the Theater. Third rev. ed Evanston, Il.: Northwestern University Press, 1999. ISBN 0-8101-4008-X.
Taxidou, Olga. 2004. Tragedy, Modernity and Mourning. Edinburgh: Edinburgh UP. ISBN 0-7486-1987-9.
Weimann, Robert. 1978. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function. Baltimore and London: The Johns Hopkins University Press. ISBN 0-8018-3506-2.
Weimann, Robert. 2000. Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's Theatre. Ed. Helen Higbee and William West. Cambridge Studies in Renaissance Literature and Culture. Cambridge: Cambridge University Press. ISBN 0-521-78735-1.
Greek & Roman Mask Timeline
Spanish Golden Age
Modern drama
20th-century theatre timeline
Roman and Byzantine theatre
Classical Athenian drama
Satyr play
Poetics (335 BCE)
The Birth of Tragedy (1872)
Medieval theatre
Liturgical drama
Morality play
Elegiac comedy
Articles that may contain original research from December 2011
Poetry, Drama, History, Prose, Literature
Drama, Aristotle, Poetry, Literature, Aesthetics
Literature, Iliad, Epic poetry, Homer, Prose
Latin, Ramayana, Homer, Mahābhārata, Iliad
Aesthetics, Samuel Beckett, T. S. Eliot, Postmodernism, Epistemology
List of Urdu-language films
Drama, Music, Punjabi (language), Musical film, Nadeem Baig
List of Indonesian films
Drama, Comedy, Horror film, Action (fiction), Garin Nugroho
List of Pakistani Punjabi-language films
Pakistan, Punjabi (language), 1949 In Film, Mundri (1949 film), Drama
List of Bollywood films of 2008
Drama, Comedy, Romance film, Priyanka Chopra, Crime
Drama, Comedy, Romance film, Vidya Balan, Thriller (genre)


text:
David Arthur Gaines (January 20, 1963 - May 16, 1990) was a NASCAR Limited Sportsman Division race car driver from Goldston, North Carolina.

He was killed in a practice session at Lowes Motor Speedway. In a five-car wreck involving Ted Comstock and Terri Sawyer, David Gaines' car had slowed for the wreck of two cars in front of him, but was hit from the rear by Peter Gibbons. Gaines' car stopped in the middle of the track and was hit broadside by Steve McEachern.

References

Sources

NASCAR drivers
1963 births
1990 deaths
People from Chatham County, North Carolina
Racing drivers from North Carolina
Racing drivers who died while racing
Sports deaths in North Carolina
Filmed deaths in motorsport


text:
Using tDAR
Frank R. Gagne
No description specified.
1-12 (12 Records)
Archaeological Investigation for Proposed Expansion of Sewer Plant (2001)
Archaeological Investigation of the General Area Once Owned by Dr. John Doy (2002)
An Archaeological Survey of Potential Cultural Resource Areas Along the Proposed US 59 Improvement in Douglas and Franklin Counties, Kansas, an Addendum (2000)
An Intensive Archaeological Survey of the Proposed Southwestern Bell Wireless Tower Site (1997)
Marion County Rural Water District No. 4 Project Work Order 4938.0000 Marion County, Kansas (1998)
An Phase II Archaeological Survey of the Plum Thicket Sanitary Landfill Project Located in Harper County, Kansas (2002)
Phase II Archeological Survey of High Potential Areas Along the Proposed US-59 Improvement in Douglas and Franklin Counties, Kansas (2000)
A Phase II Archeological Survey of the Proposed US 69 Improvement Project Located in Linn County, Kansas Project Number 69-106 K-5759-01 (2000)
Phase III Archaeological Investigation at 14DO328. Testing and Excavation of the rock Structure Located in the Area Known as Blanton's Crossing (2001)
Rice County Dam Project (1997)
Rural Water District Number 11 (2001)
TranSystem Project-Montgomery County (2002)
Ottawa County (County)
Kansas (State / Territory)
Douglas (County)
North America (Continent)
United States of America (Country)
20998 (Fips Code)
Douglas County (County)
Related Keywords and Creators are determined by looking at all of the Creators and Keywords associated with a Creator and highlighting the most commonly used.
Current Version of tDAR
Guides to Good Practice
Contributing Resources to tDAR
comments@tdar.org
Follow @DigArcRec on twitter
Follow tDAR on Facebook
Follow @digitalantiquity on Instagram
Subscribe to Digital Antiquity on Youtube
Start a project & add data
tDAR (the Digital Archaeological Record) is the digital repository of the Center for Digital Antiquity, a collaborative organization and university Center at Arizona State University. Digital Antiquity extends our knowledge of the human past and improves the management of our cultural heritage by permanently preserving digital archaeological data and supporting their discovery, access, and reuse. Digital Antiquity and tDAR are and have been supported by a number of organizations, including the Andrew W. Mellon Foundation, the National Science Foundation, and the National Endowment for the Humanities. A more complete set of acknowledgements are provided here.
Copyright © 2018 Digital Antiquity. Design Credits. 0e3c873b88105742a49c1b91f8e5afafacfeaadd (master)


text:
Salco Watches
TAG Heuer CAF1112 BA0809
This is a superb, substantial and guaranteed authentic mens TAG Heuer Aquaracer wristwatch. It is in excellent condition! Designed with professional divers in mind--thanks to its water resistance to 300 meters (984 feet)--the TAG Heuer Aquaracer Calibre 5 automatic watch for men is as fashionable in the boardroom as it is on the wakeboard. The 42.5mm wide (1.61-inch) stainless steel watch case is topped by a unique dual bezel that's composed of fixed black aluminium/steel ring and unidirectional turning bezel in fine-brushed steel with polished studs and minutes scale, which includes engraved numeral with black varnish and a luminous dot at 12 o'clock. The black dial face includes silver stick hour markers, luminous baton hands (with seconds hand), and a day-and-date function at 3 o'clock. Other features include a caseback engraved with diver decoration, an anti-reflective scratch-resistant sapphire crystal, and a triple-link stainless steel bracelet band with polished finish. Please review the dial which is a really gorgeous deep black tone. Typical solid, handsome and substantial watch as expected from the TAG Heuer line!
All functions operate perfectly.
Prestige, performance, avant-garde technology and absolute reliability: these four "watchwords" have characterized TAG Heuer philosophy since its founding in 1860, when Edouard Heuer set up the company's first workshop in St-Imier (Switzerland). Since that date, the firm's bold and innovative spirit, its dedication to the high-precision measurement of infinitesimal fragments of time and its quest for excellence in the design and fabrication of its products constitute the very soul of TAG Heuer. From its very first patent for a chronograph mechanism in 1882 to the introduction, in 2004, of a revolutionary new automatic movement (the Monaco V4), TAG Heuer continues to be at the forefront of some of the most spectacular innovations in watchmaking history.
For more than 150 years, TAG Heuer has faced down every challenge, and then pushed past it. By defying the time-honored conventions of Swiss watchmaking, it has led it to ever higher levels of precision and performance.
It makes its own rules, chooses its own path, never quits moving forward, never compromises, never cracks under pressure.
Crown Material
Dial Type
Sub-Dials
Luminescent
Water Resistant
Items included
Pre-Owned; Excellent
WAF2010 BA0818
Men's
Dress/Casual
Hour, Minute, Second.
Stainless steel (polished)
Screw fit
Classic TAG Heuer fluted stainless steel with TAG Heuer insignia
Brushed stainless steel - unidirectional
Silver stick hour markers
Polished silver with luminous infill
Hands and hour markers
Genuine polished TAG Heuer stainless steel with double locking fold-over clasp
Genuine polished TAG Heuer stainless steel deployment clasp with TAG Heuer insignia
Day and Date indicated at 3 hour marker
300m (1000ft)
Sapphire Crystal (flawless)
Watch and original TAG Heuer box
Other Executive Items