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Edgy Estella Aces the Sleepover Party by Anonim Pdf
Estella wants to be a movie star when she grows up. She loves attention and glamour but she has never been to a sleepover party before. She's nervous the other girls won't like her. To combat her fear, she calls on her three best friends--the Worry Warriors--to help out!
Edgy Estella Aces the Sleepover Party by Marne Ventura Pdf
Nine-year-old Estella Garcia dreams of being a movie star when she grows up, but she is nervous about attending her very first sleepover party at the home of the new fourth-grader, Brittany, especially as the theme is "art," which is not really her thing--so she turns to her three best friends, The Worry Warriors, to help her overcome her anxiety.
Filmatized in 2013 and the official recipient of three Oscars, Solomon Northup's powerful slave narrative 'Twelve Years a Slave' depicts Nortup's life as he is sold into slavery after having spent 32 years of his life living as a free man in New York. Working as a travelling musician, Northup goes to Washington D.C, where he is kidnapped, sent to New Orleans, and sold to a planter to suffer the relentless and brutal life of a slave. After a dozen years, Northup escapes to return to his family and pulls no punches, as he describes his fate and that of so many other black people at the time. It is a harrowing but vitally important book, even today. For further reading on this subject, try 'Uncle Tom's Cabin' by Harriet Beecher Stowe. Solomon Northup (c.1807-c.1875) was an American abolitionist and writer, best remembered for his powerful race memoir 'Twelve Years a Slave'. At the age of 32, when he was a married farmer, father-of-three, violinist and free-born man, he was kidnapped in Washington D.C and shipped to New Orleans, sold to a planter and enslaved for a dozen years. When he gained his freedom, he wrote his famous memoir and spent some years lecturing across the US,on behalf of the abolitionist movement. 'Twelve Years a Slave' was published a year after 'Uncle Tom's Cabin' by Harriet Beecher Stowe and built on the anti-slavery momentum it had developed. Northup's final years are something of a mystery, though it is thought that he struggled to cope with family life after being freed.
Contemporary Theatre, Film and Television by Thomas Riggs Pdf
Biographical reference providing information on individuals active in the theatre, film, and television industries. Covers not only performers, directors, writers, and producers, but also behind-the-scenes specialists such as designers, managers, choreographers, technicians, composers, executives, dancers, and critics from the United States, Canada, Great Britain, and the world.
Sissy Dreams: From Boyfriend to Girlfriend by Paul Zante Pdf
Receiving a text from Sasha, my girlfriend, at work was always risky. Especially when she wanted to know if her girlfriend was horny. A short and sweet (and filthy) story.
Explains the basic skills and techniques of tennis, and includes over sixty activities and drills, as well as instruction in singles and doubles match play.
Objectives, Obstacles, and Tactics in Practice by Hillary Haft Bucs,Valerie Clayman Pye Pdf
Objectives, Obstacles, and Tactics in Practice is the first book that compiles practical approaches of the best practices from a range of practitioners on the subject of working with Stanislavski's "objectives," "obstacles," and "tactics." The book offers instructors and directors a variety of tools from leading acting teachers, who bring their own individual perspectives to the challenge of working with Stanislavski's principles for today's actors, in one volume. Each essay addresses its own theoretical and practical approach and offers concrete instructions for implementing new explorations both in the classroom and in the rehearsal studio. An excellent resource for acting and directing instructors at the university level, directing and theatre pedagogy students, high school/secondary theatre teachers, and community theatre leaders, Objectives, Obstacles, and Tactics in Practice serves as a resource for lesson planning and exploration, and provides an encyclopedia of the best practices in the field today.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.