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This section covers resources for research on all apects of Russian cinema and performing arts including dance, theater, and the circus. Although there is some overlap of this category with that of Russian Music and Opera, we try not to include here sources that are predominantly about musical theater, but rather sources that emphasize one of the other performance arts. Ballet is one genre in particular that requires the use of sources from both categories, for information about composers of ballet music will appear in the Music section, but information about choreography and dancers and stage productions will be in this section.
Please note that many Russian performers, directors, choreographers, and films are included in western language sources from video catalogs and specialized encyclopedias to websites and online databases. Described below are major sources for performing arts research either published in the Russian language or in other languages but specifically about one or more of the Russian performance arts. If you are looking for information about drama as a literary form, see the section on Resources for Russian Literature.
Although Russian theatrical and cinematic history is extremely rich, this is not reflected in the publishing output as far as reference books and bibliographies are concerned. There are few really excellent reference sources covering Russian performing arts and even fewer substantial bibliographies. For this reason taking advantage of all possible avenues is important, so do not overlook general arts resources, Western language resources, and Internet resources. This also means having to use bibliographies that appear in periodicals instead of relying on monographic items. In fact, there are a number of Russian/Soviet film periodicals discussed below due to their large bibliographic components.
One of the difficulties with this subject is that there are no exceptional guides or substantial bibliographies of bibliographies for Russian cinema and performing arts. There is a general bibliography of film bibliographies that has some information for Russia, but it covers only a minimal portion of the publications available. It is annotated in the General Resources for the Arts since it covers all the countries of Eastern Europe and not just Russia. The three-volume guide listed below covers some of the basic resources in the field, but with a heavy emphasis on stage drama as indicated by its title. The second item listed below limits its coverage to music and theater.
Moskva: Gosud. tsentral. teat. biblioteka, 1977-78. 3 vols.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 016.7920947 R913 v.1-3
In the introduction the compilers mention a dearth of fundamental bibliographic and reference works in the area of Russian theater. This guide is one attempt at beginning to fill that need. The work is divided into a number of sections; the first volume contains V.I. Lenin and theater, a general section that describes the various types of reference materials available such as encyclopedias, archival guides for theater collections, etc, a section identifying bibliographies on the theory and history of theater, but the bulk of the volume is listings of bibliographies on specific playwrights. The second volume is dedicated to works on specific theaters. The citations are arranged so that the general works appear first, followed by theaters of Moscow and Leningrad, and then by the other regions of the RSFSR. The non-Russian republics of the former Soviet Union are not represented in this guide. The third volume covers the art of the actor, the director, set design and costumes, and other figures related to the theater such as critics. The rest of volume three contains indexes for names, repertoire, theaters and educational institutions. All entries are annotated. See the entry below that appears in the section on archive guides.
Petrovskaia, I.F. Leningrad: Leningradskii gosud. inst. teatra, muzyki i kninematografii, 1984. 71 p.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 016.7920947 P456t
This is one of the few guides in the field of performing arts and it limits its coverage to just music and theater. It also is limited to the 19th and early 20th centuries. In fact, it is not a true guide, but rather a text that provides an overview of the publishing output in the area. However, it does cover a number of standard works in both fields and gives some tips on where to find various types of information. For example, the book mentions that governors were required to report on provincial theaters in their districts and it tells you where to look to find this information. That the information is presented in the form of bibliographic essays and that there are no indexes makes the use of this source more cumbersome than it should be.
Voskanian, E.A. Moskva: Gos. biblioteka SSSR im. V.I. Lenina, Otdel spravochno-bibliograficheskogo obsluzhivaniia, 1983. 66 p.
UIUC Call Number: History, Philosophy & Newspaper FILM 016.792 V927t
This short bibliography of reference tools in the area of theater has 153 entries for Russian and foreign works. Topics covered include drama, music, opera and operetta, ballet, puppet theater and theater for children. Circus and popular stage performance are not included. All of the citations are arranged by subject categories with Russian items presented first and foreign items listed second. All of the annotations are in Russian. Subject categories include general topics, dramatic theater, puppet theater, etc. with each of these categories being subdivided by type of resource such as encyclopedias, bibliographies, terminological dictionaries... There are author and geographic indexes. See the entry below for a pre-revolutionary bibliography on the history of Russian theater.
A good place to start researching this field is the Teatral'naia entsiklopediia and the 20-page article entitled "Bibliografiia teatral'naia" which appears in the supplemental volume, pp.27-57. This bibliography divides the citations by type of performing art such as music, drama, puppet theater, etc. Other bibliographies for the performing arts and cinema are described below.
Cohen, Louis Harris. Edwards Air Force Base, CA: Photographic Branch, DOETC, Air Force Flight Test Center, 1976. Rev. edition. 492 p.
UIUC Call Number: Oak Street Facility Q. 016.79143 C66s 1976
This large, annotated bibliography covers a number of interesting topics related to the film industry in the Soviet Union. In fact, each of the 11 chapters presents a different topic. For example, there is a chapter on bibliographies and reference works related to cinema, one on cinema books in Ukrainian, one on autobiography, biography and actors, etc. All of the entries are annotated to give the user a fairly detailed picture of the contents. Many of the chapters also open with a review of the main issues for the topic. Citations for works about stage theater and acting also appear in certain chapters. A glossary of Russian-English cinema terms is included at the end as well as a name-subject index. See the entry below for one of the works of critic Adrian Piotrovskii.
Moskva: Nauchno-issledovatel'skii institut kinoiskusstva, 1996-
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 791.430947 K6244, UIUC has n.5,6,10-11
Published since 1996, this serial is devoted to Russian film bibliography. It is divided into several sections which contain various bibliographies such as a bibliography of books published on the subject of cinema during that year, one with published works by cinema figures and bibliographies or filmographies of special topics. A few articles also appear in every issue. The first three issues used to be available on the Internet, but the site appears to be defunct last time we checked (July 2003).
Moskva: 1995-
UIUC Call Number: Main Stacks 791.4305 CHI [UIUC has n.2, 4-5]
This is another recent serial devoted to film studies that includes bibliography as a major component. The main bibliography section, which covers articles and reviews from newspapers and journals, divides the citations by subject such as directors, documentaries, film festivals, etc. Indexes for authors, names, films appear at the end of the section. Bibliographies of special topics as well as articles and reviews of new books round out the issues. See the entries on the left that appeared in issue no. 2 under the heading Russian Film Festivals Abroad.
Moskva: Iskusstvo, 1955-1961.
UIUC Call Number: Main Stacks 791.43 Ez1M
Ezhegodnik kino is an annual that covers film in the Soviet Union. It is included here because almost half of each issue comprises an extensive bibliography of books and articles on film that were published in the Soviet Union for that year as well as a detailed filmography of the year. The first half of the annual includes articles on film, but the second half is the Prilozheniia listing important dates and facts, the filmography that provides all basic information about the film including title, director, length, release date, actors, etc., the bibligraphy, and a name index for the first half of the annual. The entries in the filmography are arranged by title with genre categories, and the entries in the bibliography are grouped first by subject and then by whether they are books or articles. See the citations below for articles about the documentary Povest' o pingvinakh.
Moskva: Informkul'tura, 1983- .
UIUC Call Number: Main Stacks 016.7902 Z8
Moskva: Informatsionnyi tsentr po problemam kul'tury i iskusstva, 1974-1975.
UIUC Call Number: History, Philosophy & Newspaper FILM 016.79205 NO
For books and articles about all manner of performing arts from music and ballet to circus and theater, this bibliography is an excellent resource for materials in Russian even though it includes non-Russian items as well. It has been produced since 1974 by the Russian State Library in Moscow and has appeared under various titles. Besides the two listed above it was called also Novosti nauchnoi literatury: teatr (1975-1978) and Bibliograficheskaia informatsiia: teatr (1979-1982). Citations are organized by subject. Use the table of contents to better understand the classification scheme. Each issue has indexes for name/title, show name, name of theater, circus, or dance troupe. See the entries below that appear in the 1986:4 issue under the subject Periodicals on Theater.
Rubinshtein, IU. Zak, M.E. Moskva: Izd-vo Vostochnoi lit-ry, 1962. 180 p.
UIUC Call Number: History, Philosophy & Newspaper FILM 016.791430947 R825k
This annotated bibliography covers books published in the Soviet Union from 1917-1960 on the topic of film. One of the highlights of this work is that is also provides the contents of collections. The citations are arranged by subjects such as V.I. Lenin on film, theory and history of cinema, cinema in the Republics, film directing, filmography, reference books, etc. See the table of contents for more details. There are indexes for names, themes, scenarios, and film titles. Included are both feature films and animated films. See the entry on the right for a volume on cinematography which appears under the heading of theory and history of cinema arts.
Vishnevskii, Ven. ed. Moskva-Leningrad: Iskusstvo, 1941.
UIUC Call Number: International & Area Studies Russian Reference (Slavic) 016.79205 V82t v.1
This bibliography lists pre-revolutionary periodicals on the performing arts, including drama, music, cinema, dance and the circus. The entries are arranged chronologically by date of first publication, but there are title, name, geographical and subject indexes to help locate information within the main arrangement. Entries include full title, place and dates of publication, preceding and succeeding titles, language and enumeration information, etc. Some of the entries are annotated and all list the major libraries in the former Soviet Union that hold the title. See the entry below for Dramaticheskii vestnik. After you use this source to find serial titles of interest, be sure to check the online catalog at the University of Illinois to see if the titles are held in our library.
Kununa, A.A. Sakharova, E.M. Moskva: Kniga, 1977. 237 p.
UIUC Call Number: Main Stacks 016.8917092 So89
This is an annotated bibliography of works about Soviet drama and screenwriting. It is divided into 3 main sections: annotations of major drama works, annotations of major screenplays and a partly annotated bibliography of works about Soviet drama and screenwriting. The bibliography section begins with general works and then lists works about individual dramatists and more specific themes. There are indexes for names, titles and subjects, but unfortunately no bibliographic references for each entry. See the entry below for the screenplay of Osvobozhdenie.
Lysiak, O.I. Moskva: Gos. tsentr. teat. biblioteka, 1989. 189 p.
UIUC Call Number: International & Area Studies Russian Reference (Slavic) 016.79209473 L996m
The Taganka Theater is one of the great Russian theaters in Moscow and this piece is a bibliography of works about various aspects of the the theater and its productions. Although this work could be classified as a literary resource due to its heavy concentration of drama materials, it also has sections on set designs, music in Taganka productions and other topics related to the performing arts in general. There are biographical sections for works about famous figures associated with the theater as well as listings for notable productions. There are indexes for shows and names. See the entries below that appear for Veniamin Smekhov.
Zernitskaia, E.I. Mosvka: Gos. biblioteka SSSR imeni V.I. Lenina, 1982. 414 p.
UIUC Call Number: Main Stacks 016.7920947 Z54t
The history of the Mayakovsky Theater is presented in this bibliography. It is arranged chronologically by year of production. The initial section under each year presents citations for works about the theater in general. Subsequent sections under each year are for the shows produced in that year with citations for reviews, books, articles, and illustrations about those shows. Each show is initially presented with basic premiere data such as date of premiere, director, stage designer, and composer. There are indexes for names and shows and also a list of periodicals appears at the end. See the image below for some citations about the 1933 production of Fonvizin's "Nedorosl'".
Zernitskaia, E.I. Moskva: Gos. biblioteka SSSR imeni V.I. Lenina, 1978-1979. 4 vols.
UIUC Call Number: Main Stacks 016.7920947 So89 v.1-4
This 4-volume set contains thousands of entries for books, journal articles, newspaper articles, and reviews on the subject of theater for children in the USSR. Most entries have brief annotations. The entries are arranged by era, and then by subject within that era. Thus, one of the eras is theater for children during WW II (22 June 1941-9 May 1945) and some of the subcategories are specific theaters and also specific republics of the USSR. The first two volumes presnt over 3500 citationsin this kind of arrangement. The third volume contains "Spravochnye materialy" with an index of all works, books and journals, included in the bibliography, a name index, an index of children's theaters, a geographic index of theaters, and an index of titles of shows. Volume four contains citations for newspaper articles. See the entry below which appears at the beginning of the section for Azerbaidzhan during the time period of 1956-1972.
Ismagulova, T.D. et al. Sankt-Peterburg: Rossiiskii institut istorii iskusstv, 1992. 26 p.
UIUC Call Number: History, Philosophy & Newspaper FILM 016.792094721 B471
This bibliography covers monographs produced by the Leningrad State Institute for Theater, Music and Cinematography between 1971 and 1991. Actually, there are only two citations for 1991 in the bibliography, so it really covers only up through 1990. It is a continuation of an earlier bibliography covering the years 1923-1970 which appeared on pages 303-333 of the book Leningradskii gosudarstvennyi institut teatra, muzyki i kinematografii: sbornik statei, 1971. UIUC lacks this 1971 publication. The 406 entries are arranged chronologically and unfortunately, there is no index for subjects or even names. See the image below for a few items that appeared in 1985.
For filmographies for the years 1955-1961 see also Ezhegodnik kino described above.
Moskva: Iskusstvo, 1961- . 15 vols.
UIUC Call Number: International & Area Studies Russian Reference (Slavic) 791.43 V96s v.1-4 + v.5 uncataloged MH film MH1095
This catalog covers Soviet films from 1918-1985 and is greatly enhanced by its detailed indexes. A typical entry for a film includes the names of the major figures involved in the creation of the film, a summary of the plot, bibliographic references, and other descriptive data about the film. There is a name index for all people involved in the film industry, a name index for literary figures whose works have been made into films, an index for films by studio and date, and a chronological index. The entries are arranged chronologically by the date in which the film was made with volume 1 containing silent films from 1918-1935, volume 2 containing talkies from 1930-1957, and volume 4 containing talkies from 1958-1963. Volume 3 contains the indexes for volumes 1 and 2. Volume 4 has its own indexes since it was produced later. Volume 5 covers the years 1964-1965, v.6 = 1966-1967, v.7 = 1968-1969, v.8 = 1970-1971, v.9 = 1972-1973, v.10 = 1974-1975, v.11 = 1976-1977, v.12 = 1978-1979, v.13 = 1980-1981, v.14 = 1982-1983, v.15 = 1984-1985. See the entry below on the film Andzhelo from volume 1.
Moskva: Informatsionno-analiticheskaia "Dubl'-D, 1994-.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 791.430947 F4873
This film catalog presents Russian films from the early 1990's including films made in more than one country as long as one of them was Russia. Entries are arranged alphabetically by film title. A typical entry provides the date, length, names of people involved such as the director, scriptwriter, actors, etc., production company, a brief plot summary, and a filmography and/or biographical sketch of the director. There is an index for directors at the end. See the entry to the left for the film Ochen' vernaia zhena.
The second title listed above is compiled by the same individuals and covers Russian films from 1995-2000. It provides the same information about each film as the previous title except there are no biographical sketches of the directors. This source has more indexes: for director, actor, composer, scenarist, costume designers, etc.
Moskva: Iskusstvo, 1964-1990.
UIUC Call Number: Main Stacks 791.4305 EK UIUC holds 1964, 1966-1984, 1987, 1989, 1990
Ekran is an annual that covers film in the Soviet Union. It is included here because at the end of every issue is a filmography for the Soviet films released during that year. Entries include all basic information about the film including title, director, length, release date, actors, etc. The films are arranged alphabetically by title within several categories such as cartoons, documentaries, full-length, shorts, and foreign films that were released in the Soviet Union that year. The format of presentation and content of the entries changes over the years with less information being provided in the later years of publication. The other parts of the annual are articles on various topics in the realm of cinema. Some years also include lists of prizes earned by Soviet films and festival information. See the entry below for the cartoon Aktsionery from 1963.
Vishnevskii, Ven. E. Moskva: Goskinoizdat, 1945. 191 p.
UIUC Call Number: History, Philosophy & Newspaper Film 791.73 V823k
For information on over 2,000 pre-revolutionary (1907-1917) silent and sound films, this short filmography may be helpful. Entries include title, studio, genre, director, length, major actors, and a brief annotation of plot with some historical information included. For example, the annotation may tell you that a particular film was notable for being the first attempt at using a certain camera technique, or that a certain person died during the filming, or some other piece of Russian movie trivia. Entries are divided by type of film (silent, talkie, gramophone) with indexes for names, titles, and literary works adapted into films. See the entry below for the 1909 silent film Drama v Moskve.
Moskva: Novoe literaturnoe obozrenie, 2002. 564 p.
UIUC Call Number: International & Area Studies Russian Reference (Slavic) Q.791.430947 V544
This catalog describes about 300 Russian feature films from 1908-1919 which have been preserved in whole or in part in various film archives throughout the world. The films are presented chronologically with basic data given first, for example, genre of film, length, date of release, director, main actors, etc. What follows are reprinted excerpts from both published and archival sources that comment on the films. These sources include periodicals and memoirs of individuals involved in the film industry. There are a number of black and white illustrations that enhance the text. A biographical section of major figures in the Russian film industry during this time period appears at the end of the catalog. Indexes cover cinematographic firms and enterprises, film titles, pseudonyms and cryptonyms, and names. There is also a list of memoirs cited in the texts.
Vishnevskii, Ven. E. Moskva: Muzei kino, 1996. 285 p.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 070.180947 V823d
2689 Russian documentaries from 1907-1916 are the subject of this filmography. The compiler was a well-known film historian and film archivist in the Soviet Union. This volume was published posthumously based on the author's manuscript which is held in the Gosfil'mofond Rossii and is an unique source for Russian documentaries. The documentaries are presented chronologically by year and alphabetically within each year. Entries provide titles, premiere dates and places, genres, and often citations for reviews. Some of them also have annotations pertaining to content. Many of the films covered in this filmography are housed in the Rossiiskii gosudarstvennyi arkhiv kino-fotodokumentov. The compiler's autobiography is given as part of the introductory materials. There are indexes for names, films whose material was used in the production of other films, films released in various edits and variants of the same plot, and reedited films. See the entry below for an advertising film on the Crimea.
URL: http://www.russianarchives.com/rao/catalogues/index.html
Use this site to compile a filmography. It has several databases of films including the catalog of the Russian State Documentary Film & Photo Archive which is located in a Moscow suburb. This catalog holds over 28,000 Russian film titles and it is currently being updated with more titles. Searching can be done by director, cinematographer, studio, data of release, title, and keyword. The records themselves include all of the above information plus a plot summary and other details. The site also has a catalog with English language films. These, however, are not your typical feature films. They are often news related films about various Russian topics. The Russian film catalog must be searched using Cyrillic fonts and the English film catalog uses English fonts. One of the sponsors of the site is the Open Society Institute.
Moskva: Gos. Tsentral. teatral. biblioteka, 1984-1985. 6 vols.
UIUC Call Number: Main Stacks Reference 792.05 TEAT 1937-1976:1-6
Covering all aspects of the performing arts from music and dance to drama and cinema, Teatr is a leading journal in this field in Russia. This six-volume set is an index to the contents of the journal from 1937-1976. The first volume contains the subject classification for the entire set, but at the beginning of each volume is the contents for just that volume. Basically, the citations are grouped by region with the individual genres of performing arts listed for each region. All of volume 6 comprises the name and title indexes for the previous 5 volumes. Since there is no subject index, the user is forced to use the clumsy classification scheme to find things. This is fine if performing arts by region is the focus of the research, but doing a genre search across regions, such as all the articles on ballet, is more cumbersome. See the entries below for some that appear under Georgia and ballet.
S.S. Mokul'skii, ed. Moskva: Sovetskaia entsiklopediia, 1961-1967. 6 vols.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 792.03 T222 v.1-5 + supplement. Note: Copy 2 (v. 1-5) in Main Stacks.
Another fine subject encyclopedia from the publishing house Sovetskaia entsiklopediia, this work contains many biographical entries for dancers, musicians, dramatists, actors, etc. Keep in mind that it represents the Soviet perspective. Entries include biographical data, historical significance and often bibliographical references as well. Entries are signed by the scholars who wrote them and are arranged alphabetically by topic or surname with an index volume that contains a name-subject index, a bibliography of the performing arts, and additional entries. The name-subject index groups people by region and speciality. See the entry to the right for the Georgian, Akhospireli.
Belova, E.P. et al., eds. Moskva: Soglasie, 1997. 631 p.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 792.8094703 R921
Dancers, choreographers, composers, set designers, anyone associated with ballet, including Russian emigres, are the subject of this work. Entries, about 1449 of them, are for historical figures, movements, schools, and ballets with an index of ballets at the back. Entries are signed and provide bibliographical references as well as basic biographical data. Many illustrations enhance the text. See the entry to the right on Alexis Blache.
Shneer, A.Ia. et al. Moskva: Sovetskaia entsiklopediia, 1973. 375 p.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 791.303 Sh6t
Covering the world of the Russian pre-revolutionary and Soviet circuses, this small encyclopedia has entries on circus performers, circus terminology, props, circus acts, and companies, basically, anything related to the circus. Entries range from one paragraph to several in length and most have bibliographical references. There is even an entry for circus journals if further research is desirable. The text is enhanced by numerous illustrations including both drawings and photographs. See the entry below on the cartwheel.
Shvydkoi, M.E. ed. Moskva: Bol'shaia Rossiiskaia entsiklopediia, 2000. 479 p.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 791.30947 T788
With more than 550 articles, this encyclopedia chronicles all aspects of the Russian circus. Since it is the first Russian encyclopedia of its kind published since the one listed above came out in 1973, the compilers made a special effort to cover topics from recent years. Although most of the articles are biographical sketches of performers, directors, and other circus personnel, the encyclopedia also provides definitions of circus terminology and entries for circus concepts and troupes. Most of the articles include bibliographical references for further reading and are signed by the scholars who wrote them. The book is enhanced by many illustrations and an index of names, pseudonyms and troupes. See the entry to the right on Nikolai Zherebtsov.
Iutkevich, S.I. Moskva: Sovetskaia entsiklopediia, 1986. Izd. 2. + 1970, Izd. 1. 637 p. + 2 vols.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 791.4303 K6242
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 791.4303 K624 v.1-2
The second edition of this scholarly Russian film encyclopedia updates the first edition. It includes brief articles on all aspects of film history from biographical articles to terminology to longer articles on national cinema. Many western and non-Russian figures are also included. A number of the entries have bibliographical references, but please note that the first edition has more references than the second. At the back of the book there are an appendix of additional entries, a multi-lingual glossary of film terminology, and an index of films. See the entry above on the film scholar Galina Prozhiko.
Grigorovich, IUrii Nikolaevich ;Vanslov, Viktor Vladimirovich. Moskva: Sovetskaia entsiklopediia, 1981. 623 p.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 792.803 B195
This is an earlier version of Russkii balet, the scholarly ballet encyclopedia mentioned above, but with differences. The later encyclopedia focuses on Russian ballet topics, while this one emphasizes ballet in general, but Russian topics are included. In fact, some of the Russian topics that appear in the 1981 version do not appear in the later, updated Russkii balet so both should be checked for the desired information. All entries are signed by the scholars who prepared them and many provide bibliographic references. Numerous illustrations enhance the text. See the entry above on the Kiev Choreography School.
Andreev, M.I. ed. et al. Moskva: Bol'shaia Rossiiskaia entsiklopediia, 2001. 565 p.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 792.0947 R923
This is the first theater encyclopedia for Russia since the 5-volume scholarly Teatral'naia entsiklopediia which appeared in the 1960's. It includes entries on directors, actors and actresses, artists, theatrical institutions and organizations, as well as related periodical publications from Russia and the former Soviet Union. This encyclopedia extends the coverage of its 5-volume predecessor to the end of the 20th century, but it does not have the full scholarly apparatus that makes the Teatral'naia entsiklopediia so valuable. For example, there are no bibliographical references for the entries and not even an article on theater bibliography. Although the articles are not signed by their authors, the list of contributors is provided at the back. See the entry on the right for the director, Viktor Pavlovich Romanov.
Leningrad: Iskusstvo, 1968-1975. 3 vols.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 792.0947 R9212
These three volumes cover Russian Soviet theater from 1917-26 and theater of the peoples of the USSR from 1917-1921. The set is included under the dictionary heading because it is neither a directory and nor an encyclopedia. It has entries for all of the major theaters which begin with overviews of the history of each theater and are followed by the repertoire and premieres listed season by season, and then by archival documents pertinent to major events related to that theater. There are indexes for theaters and theatrical organizations organized by region, for repertoires, for names and for periodicals. There is also a list/bibliography of the archival resources for each theater. Volumes 1 and 2 are entitled Russkii sovetskii teatr 1917-1926 and volume three is Teatr narodov SSSR 1917-1921.
Elistratov, V.S. Moskva: Russkie slovari, 1999. 181 p.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 791.4303 El47s
An ususual source, this dictionary compiles over 1000 phrases that originated in Russian motion pictures or cartoons and that have entered into common usage in the Russian language. The compiler explains the meaning of the phrase and cites in which movie or cartoon it originated. Entries are arranged alphabetically by the first word in the phrase. There are indexes for films and key words. The film index can be interesting in that the number of phrases from each movie is easily seen and may be a reflection the movie's popularity. See the entry to the right for a famous phrase from Chapaev.
Zarubin, V.I. Moskva: Ellis Lak, 1998. 428 p.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 792.8094731 Z192b
Ballet premieres at the Bolshoi Theater in Moscow are the subject of this specialized dictionary/encyclopedia. Articles which are often about a page in length provide basic data about the ballet and its Bolshoi Theater premiere such as the performers, the composer, the choreographer, the date of the premiere and a short summary of the plot. Entries are arranged chronologically by premiere date, but several appendices enhance the text. For example, there is an ballet repertoire for the Bolshoi from 1825-1997 which shows all of the ballets staged during that time period, a list of all the directors of the ballet troupe of the theater, an alphabetical listing of all the ballets included in the main part of the text, a name index and an index of parts and dances. The volume is amply illustrated with both color and black and white images of performers and scenery.
Bolberg, N.A. Moskva: Gos. Izd-vo "Iskusstvo", 1950. 531 p.
UIUC Call Number: History, Philosophy & Newspaper FILM 016.7920947 R299
This volume is an official list of approved works for performance in the USSR as of May 1, 1950. It includes dramas, one-act plays, operas, ballets and operettas. It does not include classic works of Russian drama such as those by Chekhov, Griboedov, Fonvizin, et al. because it was clear to all Soviet theater workers that those works were officially acceptable. Also not included are approved works that are in the languages of the various Soviet nationalities. Any works not included in this list that were not part of the few categories of exceptions were not allowed to be performed on a Soviet stage without prior approval from Glavrepertkom. The list is divided by genre and is arranged by title. The entries provide the title, author or translator, and a brief description such as "tragedy in 4 acts." After the list is a section called "Spravochnyi material" which provides more detailed information on each work such as a plot summary, a description of the stage Decorations, the number of characters, the cast of characters, etc. These sections are also divided by genre. In addition, there is a list of plays that won the Stalin prize. See the entry below for the opera Dmitrii Donskoi from the "Spravochnyi material".
Moskva: Izd-vo MAI, 1993. 356 p.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 791.40947 K624
With contact information for over 1000 organizations, this directory documents many aspects of the movie, television and video industry in Russia. It also has some interesting statistical material in the introduction such as the number of movie theaters in various cities of Russia, the ages and educational levels of moviegoers, etc. The bulk of the text is the directory of organizations which is divided based on type of organization such as governmental agencies, distributors, newspapers and journals related to the industry, and film festivals among others. Indexes for names, organizations, and regions enchance access to the content. Try to double-check information from this source on the Internet since it is several years old. See the entry below for the Museum of Film in Moscow.
Moskva: Moskovskii rabochii, 1971. 284 p.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 792.0947 An2m
This is a guide to the theaters of Moscow. More than 30 theaters and theater museums and libraries are covered. The entries include historical data as well as repertoires. The entries are grouped by type of theater. Although much of the data is outdated (more current information can be found on the Internet), the seating plans for each theater are very well done with all rows and sections numbered and labeled clearly. See the plan reproduced below for the Stanislavsky Dramatic Theater.
Looking for Russian theater seating plans? City directories often include them. For Moscow and St. Petersburg in the early part of the 20th century try Vsia Moskva and Ves' Peterburg/Ves' Leningrad. The University of Illinois holds almost complete runs of these titles on microfilm from 1896-1936 for Vsia Moskva [UIUC Call Number film 914.731 V969] and from 1894-1934 for Ves' Peterburg/Leningrad [UIUC Call Number film 914.745 V63]. The Internet can also provide seating plans. Try searching "skhemy teatrov" in a Russian search engine. One site that comes up is Spravka - Zheltye stranitsy which has plans for about 25 Moscow theaters. If you don't like this site, there are a number of others with seating plans.
In addition to using this section, see also the biographical section on Russian Music, for some of those sources may be applicable to this category. The page entitled General Resources for the Arts includes items that cover both Russian and Eastern Europe. There are some biographical sources there that would be interesting for Russian cinema research. Keep in mind that encyclopedias are good sources for biographical information. For this category see in particular Teatral'naia entsiklopediia and Russkii balet.
N.B. This section includes mostly biographical dictionaries or sets that are not covered in the Russian biographical archive. Those few that are both in the RBA and included here are of particular signifance and are noted as such. Resources for Russian biography are extremely rich and the Biographical Archive doesn't even scratch the surface, so be sure to use this set as a starting point only.
Moskva: Iskusstvo, 1972. 439 p.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 791.432 St89
With several hundred entries, this biographical dictionary covers individuals who engaged in scriptwriting for the Soviet film industry regardless of whether they made their main career in that capacity or in some other. Typical entries include birth and death dates, a career statement, brief educational details, awards, a list of films that the individual worked on and bibliographical references for works by and about the scriptwriter. Entries are arranged alphabetically by surname. See the entry below for Viktor Viktorovich Konetskii.
Dolmatovskaya, Galina; Shilova, Irina. Moskva: Progress, 1979. 684 p.
UIUC Call Number: Russian Reference 791.430922 D62:E cop.2. Note: Copy 3 in Main Stacks.
If you consider this work more of an introduction into Soviet cinema than a serious reference source, it may help with your question. This English-language source is divided into two sections: directors and actors. The articles read more like stories than like fact-filled biographies, but there is some basic information included such as birth date, education, and a brief filmography. Follow the link for the entry on the actress Ludmila Savelyeva.
Moskva: ROSSPEN, 2000. 782 p.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 790.0922 Es882. Note: Copy 2 at Oak Street Facility.
With more than 800 articles, this source contains many biographical sketches of Russian performers, from rock stars and bards to song writers and artists of the circus, including some emigres. Biographical entries provide personal data and career achievements as well as bibliographical references. There are also non-biographical entries for genres, rock groups, dance troupes, etc. Some photos of artists and groups are included. The length of the entries ranges from several pages to one paragraph, but all are signed. All entries are arranged alphabetically. Particularly valuable is the extensive name index which provides access to people mentioned in the text that do not have their own entry. See the entry below for the juggler, Mikhail Ivanovich Meshcheriakov.
Moskva: Gosud. tsentral. teatral. biblioteka, 1983. 115 p. (Seriia "Chto chitat' o teatre").
UIUC Call Number: Main Stacks 016.7920947 Z37s
This small biographical dictionary covers a handful of famous Soviet theatrical set designers active in the 1970's. The inroduction is a brief overview of the topic with the entries following arranged alphabetically by surname. Entries typically are several pages long providing biographical data and career highlights with bibliographical references and lists of the major works of each figure. The appendices include a bibliography for further reading and a bibliography of reference works related to the topic as well as indexes for names, authors and titles.
Sankt-Peterburg: RNB, 1992.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) 792.0947 G699m v.3:1, v.3:2
This set provides citations for archival documents held by the Russian National Library in Saint Petersburg such as letters, telegrams and photos for figures prominent in Russian theatrical culture. The entries are arranged alphabetically by surname of the figure and contain a brief description of the document as well as fond and item numbers. Eash figure is identified by full name, dates and a brief statement of their occupation. There is a list of all included fonds and a name index. See the entry below for the documents of the tenor Mitrofan Chuprynnikov.
Dubrovskii, V.Ia. ed. Moskva: Inkombuk, 1999. 695 p.
UIUC Call Number: International and Area Studies Russian Reference (Slavic) Q.792.094731 V63
This recent encyclopedia is actually a biographical dictionary of people associated with the Maiakovskii Theater in Moscow during the first 75 years of its history. The individuals included range from actors and directors to composers and dramatists. The first section has long biographical articles on 4 major figures in Russian theatrical life, Meierkhol'd, Popov, Okhlopkov, and Goncharov. The rest of the encyclopedia comprises regular biographical entries that span one paragraph to several pages in length for hundreds of other individuals. There are some helpful additions such as a repertoire of the theater from 1922-1997, a list of all the employees of the theater in 1997, and a name index. The texts are enhanced by many photographs, but no bibliographical references are provided.
The performing arts and cinema are subjects that are well-represented on the Internet. In fact, there is so much information to sift through that it is imperative to locate a couple of good portal or gateway sites that can introduce you to the wealth of material available on the performing arts topic of your interest.
How do you find Russian performing arts and film portals? You can try going to any big Russian gateway or search engine such as Yandex or Mail.ru and search the terms "kino", "portal" or "teatr", "portal". You can also try this (using English search terms such as Russian film portal) in a western search engine such as Google. Some of the biggest sites will appear, for example www.film.ru, Kino Teatr, Teatr. Stranitsy moskovskoi teatral'noi zhizni., Kinoafisha Moskvy, and Teatr.ru. Most of these portals include links to other sites as well as news of the industry. Many of those that are geared to cinema also have film databases that cover Russian as well as Western films. A number of portals that deal with culture in general also will come up.
Sometimes the expression "baza dannykh" (database) on a Russian search engine can result in finding interesting reference tools on the Internet. For example, searching "baza dannykh" and "teatr" can lead you to the site of the Center for Information Technologies for Theaters which contains a database of theaters all over the former Soviet Union. Some of the entries are more complete than others, but useful information still can be gleaned from it.
Another option is to look for a person or organization that has gathered links on Russian cinema or performing arts and produced some kind of guide to these sites. Such guides may be helpful in beginning your search for internet resources on Russian performing arts. Take a look, for example, at the webpage prepared by the library specialists at the University College London or at the guide created by the staff of the Library of Congress. There are many such guides to the Internet that have been produced by Slavic departments or Slavic centers around the world and most of them have sections on culture and/or film and theater. Please keep in mind that websites are often most useful for current, not historical or in-depth, information.


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subset: commoncrawl


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Discharge Instructions: Ascites Shunt
You had surgery to place an ascites shunt, a tube that drains excess fluid from your abdominal space into another place in your body. The fluid buildup is called ascites. Your doctor placed the shunt during surgery. It includes a small bulb that you pump to move the ascites fluid and to keep the tube from clogging. The bulb is located under your skin, on one side near the bottom of your ribs. Your health care professional showed you how to pump the shunt in the hospital. Here are general guidelines.
Home Care
To keep the tube clear, be sure to pump the shunt at bedtime and when you get out of bed every morning. Use these steps to pump the shunt:
Wash your hands with soap and water.
Lie on your back, on your bed or couch.
Feel near the bottom of your ribs and locate your shunt pump. Use the hand that is on the same side as your pump.
When you find the pump, hold the bulb between the thumb and finger of that hand. Keep the pump firmly in place against your ribs.
Use a finger of your opposite hand to push down on the center of the bulb. Push against your ribs as far as you can.
Lift your finger slowly and let the bulb expand back to its normal shape.
Repeat the last two steps until you have performed the pumping action 20 times.
Make a follow-up appointment as our staff directed.
When to Call Your Doctor
Call your doctor right away if you have any of the following:
Abdominal swelling or fluid buildup
Tenderness at the pump site
Trouble pumping the shunt bulb
Bulb will not expand back to normal after you push on it
Pain in your abdomen
Nausea or vomiting
Fever above 101.5°F (38.5°C)
Swelling in your arms


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A few weeks ago, this brilliant idea crossed my mind. Why don't I build a private cloud at home, in my garage, so that I can get the experience of setting up the technology?
Vijay told me I was crazy, so to prove just how easy it would be I did it anyway, and as a result I've had a private cloud running in my garage since early March.
First, Some Background
Before I get started there are a few housekeeping items I'd like to quickly address.
TL;DR - Too Long, Didn't Read
I think it's only fair to tell you that this post is a bit lengthy since I wanted to tell the full story. I also wanted to cover as much of the details of the process as possible. Even so, I wasn't able to deep dive into everything so if you have questions please fire them off in the comments and I'll be happy to keep the conversation going there. With that said, grab a cup of coffee and enjoy the story!
If you're looking for the tl;dr version, the diagram under So Meta... should tell you everything you need to know.
And if you're looking for an in-depth guide to best practices for building private clouds that include reference architectures, check out Brian Adler's white paper on Designing Private and Hybrid Clouds.
The Road Ahead
It may also be helpful to have a quick outline of the topics I'm going to discuss. First, I'll walk you through some of the decision making process. How did I arrive at the decision to build a private cloud? How did I choose the technologies and hardware? Then I'll tell you a bit about the mechanics. How did I put the pieces together? What does my infrastructure look like? And lastly I'll show you some of the fruits of my labor (my favorite part). :)
Cloud-in-My-Garage Epoch
I had been contemplating an upgrade to my local home file server for quite a while. My research had lead me through all of the NAS devices and other consumer options but at the end of the day I really wanted to build my own system.
That realization led me to looking at some rack mountable servers with hot swappable SATA on eBay for hours on end. When I finally found the right server, and it was enroute to me via the logistics loving courier, I realized that I wasn't far off from being able to set up a small private cloud with just a little more hardware.
Technology Shuffle
In order to proceed with some confidence I needed to make a few decisions about what technologies I would use. I wanted to be able to attach additional storage to my compute VMs. I also wanted to have the option for my cloud enabling technology to handle network security.
Another requirement was technologies that could be acquired and run for free, but had enterprise support available. Of course, whatever I chose would need to be compatible with RightScale so that I could easily provision and automate anything I might choose to run on my new garage cloud.
For the cloud enabling technology I settled on Citrix CloudStack 2.2.14, because it met my above criteria and has been proven to power some of the largest public and private clouds in the world reliably. Of course I could also have chose Eucalyptus or OpenStack which are technologies supported by RightScale. In fact, I'm seriously considering doing it all over with each of them for the experience. ;)
From there, the decision to use the Citrix XenServer 5.6 hypervisor was a clear choice since I knew it would work seamlessly with CloudStack, plus it supported security groups.
So Meta..
I realized pretty quickly that the loss of my CloudStack Management Server could be pretty catastrophic if I intended to run anything of consequence on my garage cloud. In order to have some resiliency I would have to do continuous backups of the management database at a minimum. Having a runbook or automation scripts to easily reconfigure the management server from my backup would be even better.
If you're thinking that sounds a lot like a RightScale ServerTemplate,
I'm glad you're enjoying the koolaid you're right on the money. In fact the Database Manager for MySQL 5.1 handles safely and continuously backing up your database content, as well as providing tools for restoring that data in case of a disaster.
Given that I needed most of the functionality of the database manager for my management server, I decided I would simply make a clone of that template and add the CloudStack specific installation to that new template. The result is my CloudStack Management Server Single-Node ServerTemplate which you can use to set up your own small scale private cloud without having to worry about the CloudStack installation and disaster recovery planning.
The AWS Node's Connected to the Garage Cloud
By now you may be asking yourself how I was able to use a RightScale ServerTemplate to setup my CloudStack Management Server on my bare metal hardware inside my network. If you took a closer look at the diagram above you've probably already figured it out, I'm not. Instead I'm running my CloudStack Management Server on an AWS instance and connecting it to my network via an OpenVPN IPSec tunnel.
Let's just get this out of the way, it's a little crazy to run the cloud management server for your private cloud; on a public cloud. I did it so that I could take full advantage of the configuration and orchestration tools built into the RightScale Database Manager ServerTemplate. Also that way I didn't have to "waste" a physical system that I could be utilizing for more important tasks, like running VMs!
This approach has it's own issues of course. Such as, How will my management server communicate with my hypervisor hosts? Will the images be stored on the management node, requiring my hypervisors to essentially download their OS from the internet each time?
As it turns out, setting up connectivity became the most complex part of my implementation, and I can't say that I would recommend it to anyone. I wound up using OpenVPN, setting up my All-in-One CloudStack Management server as the VPN server, and connecting my home network to it with an OpenVPN client.
*NOTE: I did do a fair amount of hacking to get OpenVPN to work in my environment, so that my management server could talk to all the servers on my local network. That's built into the ServerTemplate linked above, but chances are you'll need to do some tweaking to get your network working smoothly. Your mileage may vary, caveat emptor, etc.
Needless to say, networking is hard, when you get stuck it's probably a routing problem, and I'll stick with software engineering. :)
On the topic of having to traverse the VPN for images and disk I/O, since my file server was acting as the primary and secondary storage for CloudStack, my hypervisor hosts would be using a resource local to my network for it's root drive as well as any additional volumes I would attach. So, no weird situation where VMs are traversing the internet or my VPN.
Cloudifying the Bare Metal
With my storage, CloudStack Management Server, hypervisors, and networking figured out it was time to bolt everything together which meant spending some quality time with the CloudStack Install and Administrator guides.
Since I didn't have a very large cloud, nor did I have any serious networking gear to setup VLANs etc. I chose to use the basic networking mode of CloudStack. I also chose not to create a separate storage network to handle the burden of disk I/O traffic.
With such a simple configuration and flat networking my configuration came together pretty quickly. The one thing which was fairly confusing is that once I'd added all of the appropriate components (a Zone, Cluster, Hosts, IP ranges etc) I expected to be presented with a big red "GO" button to initialize my environment. Instead, CloudStack was periodically checking the configuration of my environment and when it determined that it had everything it needed the initialization started automatically. That struck me as not terribly intuitive, but it became clear if I was watching the log file.
Orchestrating the Garage Cloud
Once CloudStack was happy with my environment and configuration I could take a step back and start interacting with my new cloud the way that I've become familiar - using RightScale.
Cloud Registration Two-Step
The steps were easy here. I went to Settings -> Administered Clouds in the RightScale dashboard and added a new CloudStack based cloud. I was then prompted to provide the name of my cloud (I know, I get no style points for 'rjghome', it's boring) and a set of CloudStack API credentials with Admin permissions.
Now, this is where the process gets a tiny bit confusing. Once I've completed those steps, I'm immediately asked for another set of credentials. This time I'm not asked for detail like the API endpoint URL or the cloud name, but just a set of API credentials with User permissions. What's happening here is that the first step is simply registering my private cloud with the RightScale dashboard. That first step requires Administrator permissions because it has to be done by someone who has the authority to allow the cloud to be consumed by RightScale users.
Imagine that I were doing this as an IT project for a corporation, and I had built out a much larger infrastructure in my corporate datacenter. The purpose of that private cloud would be to allow people in the organization to use RightScale to deploy their own workloads on that private cloud without having to depend upon IT. However, IT would have to "register" that cloud with RightScale, making it available to other consumers within the organization. That step of initial registration requires Administrator permissions, then the IT department can distribute API credentials with User permissions to each group that will be consuming. You can read more about registering a CloudStack cloud in the RightScale support docs.
So, it's a producer/consumer model. Make sense? Cool!
RightImages for CloudStack
Ok, just one more step before I can start launching servers through RightScale on my Garage Cloud! Each of the ServerTemplates that RightScale publishes now includes a placeholder for a RightImage for each of the supported Hypervisors on CloudStack (KVM, XenServer, ESXi/VMWare) so that when you import them from the MultiCloud MarketPlace they will "just work."
However, in order for them to "just work" you need to upload the appropriate RightImage into your CloudStack environment, specifying the MD5 fingerprint of the image. RightScale will then match up the image you've uploaded to your CloudStack environment with the placeholder that's in the published ServerTemplates allowing you to launch them on your cloud.
So...Why again?
After completing all of those steps I was finally able to launch a simple Base ServerTemplate for Linux which brings us full circle to the beginning of this post. It was super exciting to see a server become operational (something I've witnessed thousands of times) on my own private cloud, knowing that it was running on hardware I setup and configured myself.
So, really, why did I do it? Really the short answer is "because I could", but it was also an excellent learning experience. This exercise gave me the opportunity to really see the moving parts of a private cloud implementation, and let me get my hands dirty with the actual technologies.
Plus, how cool is it to be running a full 3-Tier PHP stack in about 30 minutes on your own private cloud?
I also now have a great test bed for building ServerTemplates without running up any public cloud usage fees. I guess that means I'll have more motivation to make my Wordpress All-in-One ServerTemplate multi-cloud, eh?
If you'd like some guidance on building a private cloud from me or one of my RightScale colleagues, just request a free consultation.


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SMS through Google Chat in Gmail was discontinued
As of April 1, 2014, sending SMS messages to phone contacts through Google Chat in Gmail was discontinued for all supported mobile operators.
If you want to send text messages through a chat app, you can send and receive Google Voice text messages with Hangouts. You'll need a Google Voice phone number and to turn on texting in Hangouts.
Megan is a Google Chat expert and the author of this help page. Help her improve this article by leaving feedback below.
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text:
Balloons & Beach Balls Catalog
Welcome to THE source for wholesale direct pricing on premium quality latex balloons, foil mylar balloons, giant advertising balloons, beach balls, and other outstanding promotional, advertising and decorating products. We offer top quality in-house custom screen printing on many of our products. Since 1989 we have been helping our clients build their business and make their special event a resounding success. When you are serious about your image, trust us to get it right.


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British climber David Mason has been doing some serious damage as of late with sends of grades between V9 and V13 in locations including Hueco Tanks, Joe's Valley and Vastervik, Sweden. Here Mason climbs some classics and hidden gems in the Left Fork area of Joe's Valley, flashing Monarch (V11).
Search Videos:


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Bed, Bath & Beyond Rises On In-Line Q1
Bed, Bath & Beyond (BBBY) was rising after hours, following the company's in-line fiscal first-quarter report.
After the bell, the company said it earned 93 cents a share, including a one-time tax benefit, meeting analysts' estimates. Its $2.61 billion in revenue just squeaked past expectations for $2.60 billion in revenue.
Same store sales rose 3.4% in the quarter, ahead of the 3.1% rise the Street was expecting.
Its second quarter guidance was also in-line, although its full year forecast missed expectations. The company said it expects to earn between $1.11 and $1.16 a share next quarter and $4.84 to $5.01 a share this year. Currently, the consensus estimate for the second quarter is calling for earnings per share of $1.14 on revenue of $2.81 billion, while analysts see Bed, Bath earning $4.99 for the full year on $11.68 billion in sales.
The stock is up nearly 15% this past year, trailing the market.


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"I love the address labels with the little monkey on them. I have a soft spot for monkeys and these make me smile. The service was so quick, and I'm very pleased with Tiny Prints!"
"I purchased these address labels for my sister who has always loved monkeys. The design on this was too cute to pass up. The address labels came out great, although the size is a bit larger than the standard address label size, but that didn't really bother me. My sister loved these, so I am very happy with my purchase!"
"I used envelopes made out of wood veneer so these not only provided the return address, they helped keep the flap sealed!"
"I bought these as part of my sister shower present. She is using them for her thank-you notes. They match the invites wonderfully. They are really cute!!!"
"These were used to complement baby shower invites. They were a little slow to get off the sheets but went on beautifully and added a classy touch to the invitations."
Copyright © 2004-2017 Shutterfly, Inc | Tiny Prints | Terms of Use. Designated trademarks and brands are the property of their respective owners.


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Welcome to Talking Heads.
Before and after every first-team fixture, our co-commentator and an Arsenal blogger will have their say on the game.
Arsenal took on Southampton in the Premier League on Tuesday and our Talking Heads for this game were former Gunner Stephen Hughes and James McNicholas from Gunnerblog.
Arsenal will come into the game off the back of a fantastic result and performance against Newcastle at the weekend. It was really entertaining, we scored seven goals, and, despite Newcastle really being in the game for an hour, in the end we could probably have scored even more.
Southampton are fighting for their lives. There are players in their squad that have never played Premier League football, so it's all new to them. They got a great result at Stoke, which no one saw coming. They were 3-1 up at the break and started the game very well.
They're a different kettle of fish at home. The crowd really get behind them and they will start brightly. I don't expect it to be easy. With the form Arsenal are in, most people will be expecting an away win but anything can happen on the day.
I remember playing against Rickie Lambert on numerous occasions at different levels and I'm pleased he's got his shot at playing in the Premier League. He can definitely do it at this level. He's a big, old-fashioned centre forward. He holds the ball up well and is a real threat. He attacks the ball in the air, and whoever plays centre half for Arsenal will have to be alert to that.
Arsenal are in great form and scoring a lot of goals at the moment, so I'll go for a 3-1 away win.
JAMES McNICHOLAS, GUNNERBLOG
This was a disappointing day for Arsenal fans: neither the performance nor the result will have been to many Gooners' satisfaction. There is an oft-repeated Premier League mantra about a point away from home never being a bad thing. This, much like the dispiriting draw at Villa Park in November, is one of the exceptions that disproves that rule.
When picking a star performer for Arsenal you can only really look at Wojciech Szczesny, who made several impressive saves, the pick of which stopped Bacary Sagna from scoring an embarrassing own goal. Sagna had a particularly torrid time of it: it was his miscued clearance which led to Southampton's opener. When even Arsenal's Mr. Reliable is struggling, you know it's a bad day at the office for the Gunners.
Arsène Wenger will probably be a little relieved to escape with a point. Our only goal was scored by a Southampton player after the award of a slightly soft free kick. The Saints had at least one decent shout for a penalty turned down, and will feel aggrieved at the decision to disallow Gaston Ramirez's second-half effort for a push on Laurent Koscielny.
Arsenal will consign this game to history, and hope for better performances to get through a difficult January. The Gunners may need to make new resolutions just a day into the New Year.
After four league wins on the bounce, Arsenal will be hoping to continue that momentum at St. Mary's. In the reverse fixture the Gunners triumphed with a resounding 6-1 win, and while Southampton have somewhat found their feet in the Premier League since then, this is still a game in which Arsenal have a good chance of continuing their recent fine run.
Three points could be vital. On paper, this is our easiest fixture of a difficult January, in which we travel to Swansea and Chelsea as well as hosting Liverpool and Manchester City. In order to keep pace with our rivals for Champions League qualification, this match is something of a must-win.
I'm hoping that Per Mertesacker has recovered from the bout of illness that kept him out of the game with Newcastle. Southampton's Ricky Lambert is a powerful, commanding centre forward, and Per is the best-suited of our centre backs to cope with his aerial threat. I wouldn't be surprised to see Olivier Giroud start, too. His two-goal cameo at the weekend demonstrated how effective he can be, especially in tandem with Theo Walcott. Hopefully, even if he is shifted out to the wing, Theo can continue his rich vein of form against his former club. It would be great to start 2013 on a high.
* The views expressed in Talking Heads do not necessarily reflect those of Arsenal Football Club or Arsenal Broadband LtdCopyright 2017 The Arsenal Football Club plc. Permission to use quotations from this article is granted subject to appropriate credit being given to www.arsenal.com as the source


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AMES, Iowa — The Water Rocks! team came home with 15 awards at the 23rd Annual Iowa Motion Picture Association award ceremony, held on March 29 in Burlington, Iowa.
Water Rocks! is a statewide youth education campaign to bring awareness about water and why it rocks. The Water Rocks! team has produced numerous music videos, public service announcements and several documentaries that explore all aspects of water resources, including chemistry, contaminants, conservation practices, watersheds and more.
At the IMPA ceremony, three of the Water Rocks! videos earned Awards of Excellence in Educational Production: "Will U B the H 2 My O?", "I Am An Iowan" series and the "What's In Your Water?" series. Also earning Awards of Excellence are "Cover Crop Anthem" for Original Music and "Isle of Plastic" for Computer Generated Visual Effects. "Incredible Wetlands" earned an Award of Achievement for Documentary.
The entertaining, humorous and effective videos run the gamut of visual style including computer-generated animation, live actors and a mixture of both.
The song "Will U B the H 2 My O?" won an Award of Achievement for Original Music.
Visit the website to learn more and to watch the videos: www.waterrocks.org. Follow Water Rocks! on Facebook and Instagram.
Partners of Water Rocks! are Iowa State University Extension and Outreach, Iowa Department of Natural Resources (USEPA Section 319), Leopold Center for Sustainable Agriculture, Iowa Water Center and Iowa Learning Farms.


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TAKING A CUE from Pierre Villere's Concrete Returns on page 16, I have my own take on The Emperor's New Clothes.
I would describe the emperor in the Hans Christian Andersen fairy tale as a senior vice president. And rather than discussing new clothes, I'd focus on the unrealistic expectations he and his corporate planner had forced on the good knight's region. The good knight would show the courage to alert the vice president that his advisers didn't understand how things really happen in the field. The vice president would revise the strategic plan and all would become right.
The concrete industry needs a few good knights right now. Our product's position as the world's most durable building material is at risk. And if we don't rally to address the issues of alkalisilica reaction (ASR) in a clear and concise manner, the concrete industry may not participate in the upcoming economic rebound to its fullest extent.
In its Vision 2020 report, ACI's Strategic Development Council, the concrete industry's innovation think tank, estimated the size of the concrete repair industry is approaching $20 billion. Yes, they meant billion. One key growth factor is our infrastructure's age and our society's lack of reinvestment. Big numbers like this scare me. On one hand, repair contractors may have plenty of future business. But more realistically, unless we focus our efforts on creating more durable structures, owners will turn from concrete to other materials.
Our industry's haphazard approach to mitigating ASR is a shortcoming. There are at least three industry initiatives focused on solutions to this problem. ASR's foreboding shadow is becoming ever more widespread. Our customers are demanding longer service life to match their level of investment. As our quality aggregate resources become depleted, we need to be more consistent on ASR evaluations and mitigation procedures.
Help on the way
Fortunately, there's a way to involve the good knights who work in quality control in developing a consensus approach. ASTM International Committee C09 on Concrete and Concrete Aggregates is hosting the "Workshop on ASR Testing, Specification Management and Mitigation from a Ready-Mix Producer's Perspective" on June 24. The workshop will be held in conjunction with the standards development meetings in San Diego.
Richard Szecsy, president of the Texas Aggregates and Concrete Association, and Steven Parker, CHRYSO Inc., Rockwall, Texas, are the co-chairs. They hope the event will provide a forum for ready-mix producers to discuss their unique issues with ASR specifications.
The presentations will showcase the challenges a producer faces when confronted with real-world situations. "We have several examples in which standard uses of ASR test methods and specification limits are in conflict with production means and methods," says Szecsy.
To register for the workshop, visit www.astm.orgdswedbyyvzwsuaycvvzybbuc. There is no fee for ASTM members, presenters, and students. The fee for non-ASTM members is $50 for online and $75 onsite.
For More on ASR...
At ACI's 2012 Spring Convention, committees 201, Durability of Concrete, and 236, Material Science of Concrete, hosted two sessions on recent advances in ASR Test Methods and Understanding Mitigation Mechanisms. Several leading researchers presented updates. Among the most pertinent of these presentations were:
- Alkali-Aggregate Reaction: What Our Current Approach Tells Us and What it Doesn't.
- A Proposed New Test Method for Determining ASR Potential: The Concrete Cylinder Test.
- Developing a Rapid and Reliable ASR Test Method Based on Determining ASR Activation Energy from Aggregate-Solution Tests.
- Can Acoustic Emission Detect Alkali-Silica Reaction Earlier than Other Tests?
- Miniature Concrete Prism Test — A Practical and a Reliable Test Method to Evaluate Alkali-Silica Reactivity of Aggregate.
- Understanding the Role of SCMs in Mitigating Alkali-Silica Reaction.
You can view these and other presentations at www.aciconvention.org/handouts.


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By Rob Kelly
Lukas Podolski believes that playing alongside Santi Cazorla will get the very best out of him this season.
The 27-year-old striker scored his first goal for the Club against Liverpool on Sunday after some superb interplay with the Spain international.
The pair combined again as Cazorla struck the second goal of the game at Anfield, and Podolski says this performance was just a taste of things to come.
"I like Arsenal's style of football and Santi's as well - I love his style of football, with one or two touches," he said.
"We play [well] together and you could see it here - he passed for me for the first goal, I passed to him for the second goal.
"But we are only three matches in. We have 35 matches more so we must keep going."
Podolski has been used on the left flank and as a central striker so far this season, but he insists he does not have any real preference.
"I play on the left side but you see at Arsenal it is different from the [German] national team," he said.
"At Arsenal, it's a three-point position. I not only play on the line but I can go in the middle and play with Santi and Abou Diaby and Mikel Arteta.
"This is my style of football. I like this but it's not only about one match - I want to play more of these matches."Copyright 2017 The Arsenal Football Club plc. Permission to use quotations from this article is granted subject to appropriate credit being given to www.arsenal.com as the source


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Women's Jackets
Explore women's jackets for all weathers and occasions. Oversize shearling aviators and soft leather bikers sit alongside tailored blazers and sculptured styles in wool, sporty bombers, practical quilts and puffers, and lightweight styles.
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Dolphin Artists :: David Garibaldi
Born in Oakland, California, David grew up just East of San Francisco. Through his fascination for drums, he began playing music at age 10. His parents bought him his first drumset in high school and the rest, as they say, is history. By age (17) David began his professional career by 1966, the Vietnam War brought uncertainty. Upon waiting for his draft into the Army, his future changed when it was suggested he enlist in the United States Air Force and become a member of the 724th United States Air Force Band. Read more on Last.fm more
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"The sound of my snare drum comes mainly from the funk tradition. I've always liked the high pitched crack of a snare back-beat, but also like a lot of sensitivity and clarity for ghosted notes. One major asset of my snare drum is its versatility. Even though it was designed with a specific music in mind, it can be…
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On the occasion of the commemoration of the 48th anniversary of the establishment of the Group of 77, on 15 June 2012, H.E. Ambassador Mourad Benmehidi, Permanent Representative of Algeria to the United Nations and Chairman of the Group of 77 and China, expresses his congratulations to G77 Member Satates, stressing the importance of strengthening the unity and solidarity for the development of the South.
Please click on the Message (EN-AR-FR-SP), sent to all G-77 Chapters to see the full text.
للإتصال بنا | شـروط وأحكـام | الرسائل التحايلية


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apple The Woz: We've Fallen Behind in Smartphones
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Part Time Jobs in Apple Valley, California ( CA )
Apple Valley, California, did not become an incorporated town until 1988, and is one of only 22 incorporated cities in California that refers to itself as a town instead of a city.
With its many amenities including an amphitheater, beautiful parks, and distinguished schools, Apple Valley is a great place for anyone to live with or without a family.
GrooveJob.com has nearly every type of job you may be looking for with every type of company in Apple Valley, whether it's in health care at Pacific Dental Services, Inc. or in retail at CVS.
Employers in Apple Valley are looking for part-time and seasonal workers, as well as students, to fill their positions. If you don't find what you're looking for today, check back often because GrooveJob.com is always adding new jobs to our listings.


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Deep racial disparities exist in every aspect of American life, from health to education, employment, wealth, and housing.
Race Forward needs your support so people of all races can have equal opportunities and outcomes.
Let's make racial justice a reality. Donate today.
Race Forward: The Center for Racial Justice Innovation was formerly known as the Applied Research Center (ARC). The goal of our rebrand was to:
Race Forward advances racial justice through research, media, and practice. Founded in 1981, Race Forward brings systematic analysis and an innovative approach to complex race issues to help people take effective action toward racial equity.
Keep up to date with e-mail updates from Race Forward and Colorlines
We are really excited about our new name and look! Stay tuned through Spring 2014 as we re-organize our website to make the content even more accessible.


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bankruptcy fraud: an overview
Bankruptcy fraud is a white-collar crime that takes four general forms. First, debtors conceal assets to avoid having to forfeit them. Second, individuals intentionally file false or incomplete forms. Third, individuals sometimes file multiple times using either false information or real information in several states. The fourth kind of bankruptcy fraud involves bribing a court-appointed trustee. Commonly, the criminal will couple one of these forms of fraud with another crime, such as identity theft, mortgage fraud, money laundering, and public corruption.
Nearly 70% of all bankruptcy fraud involves the concealment of assets. Creditors can only liquidate those assets listed by the debtor; thus, if the debtor fails to reveal certain assets, the debtor can keep the assets despite having an outstanding debt. To further conceal the assets, businesses or individuals may transfer these unrevealed assets to friends, relatives, or an associate so that the asset cannot be located. This type of fraud raises the risk and costs associated with lending and becomes passed on to others who wish to borrow money.
Petition mills are one type of bankruptcy fraud scheme on the rise in the United States. Petition mills purport to keep financially-strapped tenants from becoming evicted by passing themselves off as a consulting service. While the tenant believes to be receiving help in avoiding eviction, the petition mill actually files the tenant for bankruptcy and drags out the case. Meanwhile, the "service" charges exorbitant fees, empties the tenant's savings account, and ruins the tenant's credit score.
Multiple filing fraud consists of filing for bankruptcy in multiple states, using the same name and information, using aliases and fake information, or some combination thereof. Multiple filings slow down the court systems' ability to process a bankruptcy filing and liquidate the assets. Often, multiple filings provide more cover for a debtor trying to engage in the concealment of assets.
A proceeding in which suspects are charged with bankruptcy fraud is criminal in nature. Federal prosecutors can bring charges for suspected bankruptcy fraud under 18 U.S.C. § 151. Proof of fraud requires showing that the defendant knowingly and fraudulently made a misrepresentation of material fact. Bankruptcy fraud carries a sentence of up to five years in prison, or a fine of up to $250,000, or both. See 18 U.S.C. § 152.
See White-collar crime, Bankruptcy, Federal Rules of Bankruptcy Procedure
menu of sources
Federal Material
Federal Statutes
- 18 U.S.C. § 1344, Bank Fraud
- 18 U.S.C. §§ 151-152, Bankruptcy Fraud
Federal Judicial Decisions
- Important U.S. Circuit Courts of Appeals Decisions:
- United States v. Hughes, 401 F.3d 540 (4th Cir. 2005)
- United States v. Dennis, 237 F.3d 1295 (11th Cir. 2001)
- United States v. Butler, 211 F.3d 826 (4th Cir. 2000)
- United States v. Ladum, 141 F.3d 1328 (9th Cir. 1998)
- United States v. Levine, 970 F.2d 681 (10th Cir. 1992)
- United States v. Gibbs, 594 F.2d 125 (5th Cir. 1979)
State Material
State Agencies
Other References
Key Internet Sources
- U.S. Department of Justice
- Federal Bureau of Investigation
- Financial Crimes Enforcement Network
- National White Collar Crime Center
Other White-Collar Crime In The News
Useful Offnet Sources
- Good Starting Point in Print:
- Kathleen F. Brickey, Corporate & White Collar Crime, Aspen Publishers (2006)
- Ellen Podgor and Jerold Israel, White Collar Crime in a Nutshell, West Group (2004).


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|Topic Review (Newest First)
|I'm using www.networksolutions.com .You can go on their sight and build a preview page before you buy. the cost for my sight is $120 a year and that includes 100 pages to use. I had never done anything like this before, so if this dummy can do it than anyone should be able to build a site. I'm using their one of their templates for my sight right now, they have a bunch of different templates, you don't need to know all of the computer stuff to do this, they do make it easy.They have always been more than helpful whenever I've had a problem. If you want you can check out my here...www.thedeadendcruizers.com/
Web site creation is not rocket science... but you do need to organize it properly. Just like building a car, you need to plan the web site out. I build mine from scratch... and if you look close it is starting to get cluttered. Don't let yours get like mine. www.project-quicksilver.com .
I built one for my car club too, www.MDCamaroClub.com . It is a much simpler site, but is still effective. Just think about what the main message you want your site to get across, and then focus on that.
I use Bluehost.com for my hosting service. They have all the templates and tools to allow your site to have a full range of features. $7.00/mo gets you MYSQL support, 15 Gig of space, and 400Gig of bandwidth.
But don't be afraid to contact a professional for a web site. In todays world, if you have a poor looking web site, people will think you have a poor company. A decent web site should cost no more than $1,200 to get started.
I am no expert on websites, but I spent time looking at various websites and layouts I liked. Spent many nights reading about making a website. I downloaded website builder software from netscape called netscape communicater. It can open other websites you find on the net to modify it. Doubt its anywhere near as nice as frontpage but it was free. I also read up on html so I could learn how to make rollovers using javascript. Made my buttons and stuff in an image program that was on my computer. Alot of information can be found on html if you want to do things that the program won't do. You can see the html for other sites by right clicking when you visit the site and clicking propertys or save the html for one you design in notepad and put in your changes. Not an easy way to do it, but for messing around building a website and not stuck having to use a template that your provider lets you choose from. I am still using a free webhost for now, which means I have a subdomain. I use 50webs.com, much improvement over the free host I had before that had tons of advertising and popups. Just things to do if you want to mess around building a site without spending anything right now. Then once you get something built you like, for a business you can spend the money on a domain and site statistics, ect. Mine is basically a personal site just to show what I do and maybe pic up some sidework. Its enough to suit my needs for now. If I wanted a more complex site or owned an actual business, then I probably would buy some good software, look at various webhosting plans, or tssk, pay someone to do it.
As far as hemi wondering about rankings, different search engines use different ways of determining how they rank based on keywords, how many links there are to your site ect. I also read up on that too a little. But you can submit your site to search engines like google and yahoo, dmoz.org, to get your site submitted in to search engines. Much imformation can be found on rankings too if you search and read. My old site actually got pretty good rankings when searching for specific keywords, but my new one doesn't seem to be ranked as well for some reason.
for my website, i went thru bravenet.com and i like it so far, one of the options i have is multiple sub domains, the one subdomain i have is www.gallery.******.com, which makes it easy to place all the project images in a seperate section
if your going to have numerous seperate pages on the site, and redundant info on each one, php is a great way to do it
all the redundant info (navagation bar, menu, footer info, contact info) goes on a seperate page, and then a simple script in each web page automaticly includes it when the page is loaded
for example, this is MY redundant info:
its called "ssi" which means server side include, and mines done in javascript, but theres other types of SSI, php being one of them
if you want search engines to find all your webpages, make sure the SSI is a language that the search engines can see (javascript doesnt work with search engines) if you use a type of code that search engines DONT see, build a "site map" and link to it. i did that and included a "sitemap" link at the very bottom of all of my pages, so if a search engine finds any of my pages, it finds the rest too
Wow, I think I got more than I bargained for, which is definitly a good thing.
I appreciate the info Edge, I'm keeping this thread bookmarked for later. Im still talking it over with some others about what the website should be like. I think the extra domains part will definitly be something to get for us.
Thanks again Edge, If I have any questions your the first person Im gonna turn to
Buy a copy of Microsoft's FrontPage 2003 for $88 - The Software Guy
Register your domain name at www.active-domain.com - about $8 to $9 a year, or at webhost4life (see below)
Open a hosting account with www.webhost4life.com - Hosting Plans
The basic plan is $20 setup fee, $4.95/mo for 1000 MB You get alot of stuff including unlimited bandwidth, email accounts, MySql database for php message boards, etc. Look at the list in the Hosting Plans link. I have had great success with webhost4life and the uploading files is a piece of cake. They also have great technical support, including online tickets and/or an 800 #
I have also had a chance to use Godaddy.com for hosting, and they have some great deals as well. Even more space for about the same price as WH4L. Like 5 GB for $5/mo. But all in all, I prefer WH4L because you can add many domains under the one hosting account. You set up subfolders for each domain. Godaddy does not offer this feature. So what good is 5 GB for one domain? Not really an advantage unless you have a lot of photos and/or videos to host.
FrontPage is very easy to use, no harder than using Word or Excel (IMO). Take baby steps and spend a lot of time at www.frontpagewebmaster.com. That is a message board where many expert web designers help from around the world. About the same caliber as HR.com is for car help.
I have a number of links for building websites here: http://www.edgesz28.com/edgesz28/webtools.htm
Once you learn the basics, you can add javascript and DHTML to the code and spice things up a bit.
Here are few I did using FP2003, but some features like the drop down menus are not standard FP.
There is really too much to try to convey in one message. If you decide to give it a try and have any more questions, please do not hesitate to PM me. I will help in any way that I can. Understand this: Once you get the hang of FP, building websites is NOT hard.
Good luck, Ed
About the easiest I know of is register.com they have templates for the sites as well as registration of your domain name..Probably all you need is the 5 page beginner site..
Id love to have my own Gremlin website.
Not a forum, but the kind that when you type in Gremlin in the yahoo search it would pull up my site. But Im to dumb to figure em out. Shoot I cant even figure out how to do the supposadly easy ones like the freebie Yahoo ones. Hg
Designing a Website
Alright, Calling on website owners!
I want to make a website for the company Im working for right now. Now Im not trying to advertise for it or anything since it would be kinda dumb to advertise my stuff on this website.
But Ive seen alot of sites that people on here have opened for their own shop, and thats about what I need.
So does anybody know where I can start at, and what I need to do?
This would be my first website so Im learning as I go.
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a place for zinesters - writers and readers
John Destalo, his, Raw: Exposing the Untamed Mind, was released, earlier this year, by PostDada Press, is hosting a poetry workshop for the Midtown Poets Community Group which meets every Third Tuesday, 7-9pm
at the Midtown Scholar, one of "America's Great Independent Bookstores."
1302 North Third Street, Harrisburg PA 17102.
Emerging and established poets alike are encouraged to attend.
7:00 begins an hour of open forum poetry reading followed by an hour
Added by mary z. kunstweker on August 15, 2011 at 5:30am — No Comments


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Coastal Bryan Heritage Trail
Richmond Hill, GA 31324
The Coastal Bryan Heritage Trail is a combination of historic markers, homes and buildings in Richmond Hill and Bryan County. The trail incorporates notable pre-Civil War and Civil War sites identified by the Georgia Historical Society and sites from the Henry Ford Era. In the 1930s, Henry Ford made a lasting impression on the community and built many of the buildings that now characterize historic Richmond Hill. Follow the trail and discover Richmond Hill's unique history.
Info & Amenities
Hours of Operation
Sunday: 8:00AM - 5:00PM
Monday: 8:00AM - 5:00PM
Tuesday: 8:00AM - 5:00PM
Wednesday: 8:00AM - 5:00PM
Thursday: 8:00AM - 5:00PM
Friday: 8:00AM - 5:00PM
Saturday: 8:00AM - 5:00PM
Admission & Fees
Admission Free
Facility Amenities
Free Parking, Self-guided Tours
General Information
Family-friendly, Free Admission , Open Year 'Round
Group Amenities
Special Tags
Civil War Site
Suitable for Ages
All Ages


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Watch Full Episodes
Description: Watch full episodes of Sesame Street here.
Description: Watch full episodes of Sesame Street here.
Description: Fireflies form the letter W.
Description: Debra Messing explains the word "nature."
Description: 11 hippos perform tricks while they waterski!
Description: Make cupcakes and art with Elmo while his mommy is at work.
Description: Color Zoe eating watermelon.
Description: Telly, Zoe, Elmo and Baby Bear compete in the annual Chasing the Cheese run.
Description: What does "D" stand for? Dance!
Description: Ziggy Marley and celebs sing.
Description: Give each of Rosita's amigos one piece of food and have a fiesta.
Description: Color 11 hearts with your friend Zoe.
Description: Six chefs make six burgers.
Description: There are 13 people in this boy's family.
Description: Usher sings an a cappella ABC song.
Description: Jesse Williams and Elmo talk to Felix the Fly about the word "furious".
Description: Cookie Monster has to pass challenges to win the Hungry Games.
Description: Make up your own dance with Zoe.
Description: Join Abby on an adventure to find things that start with the same letter.
Description: All about counting by twos.
Description: Dwight Howard and Elmo discuss the meaning of the word "strategy".
Description: Octopus is a word that starts with O!
Description: Jake Gyllenhaal demonstrates "separate."
Description: Help Ernie feed and play with dinosaurs!
Description: Sherri Shepherd explains the word "identical."
Description: Terrence Howard explains the word "incognito."
Description: Imagine words that start with the letter "I".
Description: Help Detective Elmo discover who stole the cookie painting.
Description: Jude Law learns "cling."
Description: Help Cookie Monster collect the gems and win the Hungry Games.
Description: Do the Elmo Slide together
Description: There are many things buried in Abby Cadabby's magical sandbox! Help her find them all.
Description: Adam Sandler explains the word "crunchy."
Description: Cookie Monster sings about sandwiches and the letter S.
Description: Use rhyming to help Super Grover find a little boy's lost pet.
Description: Anyone can be an artist--just use your imagination!
Description: The Letter N Museum is filled with things that start with the letter N!
Description: Terry Crews, Abby Cadabby and the Count talk about the word "artist".
Description: Dress up Elmo and Abby Cadabby in fun costumes!
Description: Help Oscar build a submarine, an airplane, or spaceship and explore underwater, the beach, and space to find trash for his trash collection.
Description: The Count sings all about 8.


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For more information, contact
Professor Bruce Brown
Walton Professor of Theatre
168 Walton Fine Arts Center
Date: February 28, 2013 - House Opens at 7:00 pm for seatingLocation: Black Box TheatreTicket Price: $8.00
A drama by Roberto Aguirre-Sacasa
Directed by Professor Bruce B. Brown
It's 1988 - Prep-school senior Brandon Hardy is brilliant, athletic, popular and charming - the kind of student that makes St. Joe's School for Boys proud to call its own. However, his privileged life threatens to collapse when a disturbing videotape is found on campus. As the resulting scandal takes unexpected turns, Brandon's mother Elizabeth must sort fact from fiction from family and confront unsettling truths about her son, herself, and their life.
(Adult language, sexual themes)
Brandon Hardy - Darrick Conroy
Elizabeth Hardy - Jacqueline J. Jurcik
Coach Russell Shea - Utah Robertson
Maddy Emerson - Lauren Charters
Justin Simmons - David Pluebell
Cheryl Moody - Isabella Clark
Set Designer - Bruce B. Brown
Assistant Scenic Designer - A. M. Nystrom
Light Designer - Clayton Becker
Costume Designer - Justin L. Hughes
Sound Designer - Katelyn G. Nichols
Graphic Designer - Kincaid McMinn
Director- Bruce B. Brown
Stage Manager - Tori Rhein
ASM - Catalina Ruiz
Back to Event Schedule


text:
713-213-4286 email@example.com
University of St. Thomas President, Dr. Robert Ivany, announced the promotion of Dr. Dominic Aquila, former Vice President of Academic Affairs, to Provost on Jan. 14.
The promotion came as a means to provide flexibility and better preparation in response to the rapid pace of change that impacts higher education.
"In this key role, Dr. Aquila will assist me in coordinating the efforts of the vice presidents to support the Academic Plan," Ivany said. "Our success requires innovative planning and vigorous execution in enrollment management, facility enhancement, new revenue stream development, student life enrichment and fundraising efforts."
Aquila first joined St. Thomas in 2007 as the Dean of Arts and Sciences. In 2008, he was named Vice President of Academic Affairs. Now, as provost, he is focusing his energy on the University's strategic initiative, to develop academic programs that interest and will benefit students, and strengthen the programs already in place.
"The mission," Ivany said, "to educate leaders of faith and character remains constant, but the ways we achieve our mission must always improve."
In addition, Aquila would like to build upon the University's strong Catholic identity by learning how to better serve the Greater Houston area. Plans include expanding offsite course offerings and online offerings to increase the University's presence throughout the city.
"It is an incomparable honor and privilege to be named to this extremely important position, especially now, when higher education is in great flux, and many universities find themselves at a crossroads." Aquila said. "At St. Thomas we have a mission to advance and an intellectual and cultural heritage which is our calling to transmit to our students. New realities challenge the traditional ways in which this transmission occurs."
"In my new role, my purpose is to bring together and focus the powerfully creative forces of our faculty, deans, staff, students, vice presidents and community partners to communicate the attractiveness and vitality of St. Thomas's educational mission and heritage," Aquila said. "The measure of our success is how well everyone in our community, and especially our students, realize the benefits of this rich tradition in their lives. My great hope is that all who enjoy the friendship of our community prosper according to the values of our Basilian founders, who with the psalmist pray for discipline, goodness and knowledge."
Educating Leaders of Faith and Character
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Please select one of the options below: Apply Now, Schedule Visit, or Request Info.


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Lonavala Overview
You can reach Lonavala from Goa by road in about using a cab upon driving using a cab.
Lonavala is a town and a hill station Municipal Council in Pune district in the Indian state of Maharashtra.
It is about 64 km away from the city of Pune, 96 km away from the city Mumbai. It is famous throughout India for the hard candy sweet known as chikki. But it also offers many sites worth visiting.
Trekking is a good way to get around, but having a vehicle (even a bicycle) is still better, as some points of interest are quite some distance from the main towns.
Other attractions: Bhushi Dam, Valvan Dam, Kaivalyadhama Yoga Hospital, Duke's Nose, Ryewood Park, Tiger's Leap If you are looking for car rental Lonavala let us know and we will be happy to provide you with best budgeted deals for Goa to Lonavala cabs.. Book cabs in Lonavala