seen from China
seen from Indonesia
seen from United States
seen from United Kingdom
seen from Poland
seen from Brazil
seen from China
seen from Uruguay
seen from China
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seen from Türkiye
seen from United Kingdom
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Near Belle Meade on the L&N
This is a run-through Missouri Pacific train on the Louisville & Nashville Railroad, most likely southwest of that second namesake city in the Belle Meade area. I figure (with some help from learned people in a FB L&N group) this train is moving away from Nashville and is headed for Memphis.
Three images by Richard Koenig; taken June 26th 1976.
Notes on stumbling run 31-07 and group discussion
DANI'S NOTES
Great text, but it’s too much. Ballet into political scene works very well because it alternates movement-based with text-based scenes
Be specific with what our text-use convention is
Beginning is great, but first few scenes feel like a summary of scenes. Text-less scenes in between would give it more air (i.e. have Ari and Vera meet and fall in love in a separate scene)
Transitions need to be clearer: politician scenes need to have a clear moment of transition, of collectively putting the coat on, transforming, manspreading. Introduce those conventions better.
Beppo can be guiding the scene. It’s nice, but there’s too much text.
The run was way too fast and the arch of the scenes was therefore not clear
Best man speech can be more about the interaction with the text. You need one or two scenes with full arches before you fall into a politician scene. Take your time!
Convention of the text and of the characters was unclear. Translate some of the text to actions to make it more understandable.
GROUP DISCUSSION
We need more space to see the repercussions of the politicians’ actions on the town people.
We need to see more reactions of the people on the bans (like the Peach/Chip response to the canned meat), whether positive/negative or off-handed
Carrot banning = opportunity to introduce Lau’s character. Have her needing to hand in all of her carrots as the carrot blending scene happens.
First market scene must be lively, we see how much we love vegetables. Lau may feel affected but the rest must actively love all else she sees. Then we’ll see the contrast with the second market scene
We need to embody our play, breathe the text, feel the actions instead of anticipating the text. Back to technical basis. When we embody the play, the information is going to come out.
Bring back moments from the first sharing. First ban can be just Laura giving up the carrots (threefold). Then we reprise that after the second scene, with the whole line of us giving up different vegetables one after another.
Exercise: do the scene without text and see how much it needs.
We need contrast with quiet scenes, minimal scenes, like how the Keir Starmer speech worked in our first sharing
What is our objective in actions per scene?
Really choose the lines that need to land: ‘No animals were harmed in the canning of this product.’
Do we need to bring back a domestic scene to emphasize the impact that the banning of carrots has on the smallest unit of life (the couple, the domestic life)
Go back to the play as if we were running it without the clown. Track the plot points. Put on the play as if we were not clowns. Really understand what it is before we bring in the clown and muddy the storyline.
Do we want to introduce more clearly who we are as clowns, before we start the tale of Cropshire? The first frame could be us playing around as clowns who cannot speak, try to welcome the audience. Ask them to turn their phones off without speech etc. Then the challenge hits us from the left: to perform this tale.
Is the scene providing the audience exposition to the clowns or to the world?
What is the straight play trying to say to the audience? Tragic story of impending doom and what happens when fascism takes over. Clowns put on this play but don’t want to perform these terrible parts. There then needs to be a moment of distance between the clowns and the play.
Are the rebels (Lau, Ali, Vera) just clowns who are trying to put on the play, but then our clowns get punished for it?
How are we going to make this way? What is this play about?
Bring in the sound of the curtain rolling for all scene transitions so that the sound can then start to dictate what we need to do later on in the play (sound comes before movement)
Rehearsal 31-07-25
Big day today! In preparation for this upcoming Tuesday's sharing with tutors and Sam Ward, we reworked the carrot dealing scene to incorporate Chip; revised politician scenes 3, the stocks and politician scene 4; and devised the first meat substitute scene.
A major discovery from today was that we needed to pull focus to the love story of Peach and Chip, and insert a moment of tension between them before we could go into the carrot dealing scene. If we only saw them fall in love and get married in the opening scene and then did not return to their storyline until the moment of Peach's betrayal to Chip, the moment would feel out of context and lack urgency. We therefore added a moment of disagreement between them in the meat substitute scene.
The carrot dealing scene proved a major chance to properly introduce Beppo as a character, and seen as we plan on ending the play with just Millie and Beppo left, we inserted a nursery rhyme into the opening of the recipe book Millie and Beppo read - maybe the play is dedicated to children/the next generation.
What proved a challenge is navigating how the village characters and politicians start bleeding together in politician scene 3 and 4, first with Laura and then with Ali and me. To clarify the transition from the politicians into the rebels charged guilty of carrot-dealing, we decided to choreograph a moment where our politician blazers get pulled off before we get put in the stocks. We also cut the lines us three had in politician scene 4 and clarified Laura's text before we go into the ballet by scrapping anything that was not strictly read from the book.
We ended the rehearsal with a stumbling run-through up until politician scene 4, where we found ourselves rushing through most of the scenes and fighting to keep a hold of the plot. More on this in the next post!
I'm now officially Mr Ashe Duran
【世界フィギュア選手権2019】日本女子代表公式練習 宮原知子 曲かけ練習「(C)フジテレビジョン」の動画再生ページです。
Official Practice Run-through Vids on SportsNavi Video player (no sound?)
Satoko Miyahara (above link)
Rika Kihira
Kaori Sakamoto
I just wonder why Fuji doesn’t do it on their own site.
Gameplay run-through, with one user-generated hiccup at the start. ;-)
Advance Freshie Registration Guide
8-1-15 (late post)
So here’s a quick run-through of what you, a freshie, have to do during the AFR. :)
1. Attend the orientation. They’ll tell you what to do, where to go, and what the Form 5A and Form 5 look like.
2. Go to your home college for pre-advising. Your adviser will tell you the subjects you still need to get, if CRS didn’t give them to you. :( Make sure you have 2 passport-sized or 2x2 ID pictures for the student directories.
3. Pass your requirements at the OUR (Office of the University Registrar). Here’s the list of things you need to pass:
Original and photocopy of NSO birth certificate,
Form 138 (4th year High school report card) (they will keep this, FYI)
Form 137 (if you have it already)
Medical certificate from the University Health Service (UHS)
2 copies of the student directory (will be given during pre-advising)
Form 5A (will be given during pre-advising)
2 self-addressed stamped long white envelopes
4. Enlist for the classes you don’t have yet. Make sure that you make use of your freshie priority and get all the subjects you need! If you don’t have a PE class yet, I highly advise that you get one during enlistment. Sayang kasi eh. And upperclassmen say that PE is a good stress-reliever. ;)
You will receive your Form 5, which consists of the subjects you’ve enlisted in and the breakdown and total of your matriculation fee.
5. Pay your matriculation fee through any of the following modes:
Debit (ATM) card (Credit cards aren’t accepted yet.)
Cash (exact, as in EXACT, amount)
Manager’s or cashier’s check (They don’t accept personal checks from freshies.)
Note: Bank validations aren’t accepted yet during the AFR. But you may have it validated during the Regular Registration instead.
6. Pay for your ID and get an ID picture-taking schedule. The later you get a schedule, the later the date of your ID picture-taking.
Note: You don’t have to do steps 1-6 in one day. You may do it during the duration of the AFR and regular registration. You also don’t have to pay during the registration, since they’ll set a later deadline for payment. Although, I still advise that you pay as soon as possible so that you could get your ID picture taken earlier.
If you’re done with the whole thing, pat yourself on your shoulder for becoming a registered UP-Diliman student! Now treat yourself with your favorite food and enjoy the rest of your summer because classes will start sooner than you know it. :)
Top o' the show to ya.
The director before almost every full run-through
