Andres Mother by Terrence McNally - 1103 Words

Homosexuality is against nature. Sexual expression is permitted only within marriage, between man and woman, male and female. Anything else is an abnormality and is against nature.- (Pope Shenouda III). Although praised in certain culture as a gift from god and â€Å"thought to have special curing powers† (The Essence of Anthropology, p.210) homosexual Americans are obligated to disrespect and held to a lower standard than their heterosexual peers. Discrimination against homosexual individuals are found in practically all settings of American culture that is Schools, military branches, the workforce and even families. The discovery and â€Å"Coming out† of a homosexual individuals within a family takes a major toile on relationships with family member that normally discourage this lifestyle. Families are forced to not only reconcile with their family members lifestyle choice but, likewise with the individuals’ partner. As seen in â€Å"Andre’s Mother† a play written by Terrence McNally, some relationships among family members are severely damaged and never reconstructed until a serious incident occurs, such as death or a major sickness. Throughout, America the idea of homosexuality goes against all cultural norms; it is often considered a disgrace to the family, work place etc. However, there are some heterosexual individuals that do accept the idea of homosexuality. One individual in particular is Terrence McNally; his play â€Å"Andre’s Mother† addresses the fear of neglect, from a motherShow MoreRelatedAnalysis of Andre; S Mother by Terrence Mcnally Essay794 Words   |  4 PagesAnalysis of Andre’s Mother by Terrence McNally The play, Andre’s Mother, by Terrence McNally is a story about accepting death and is based in a story about a young man who died before telling his mother that he was gay; leaving the man’s partner to break the news and to inform the mother about how much he missed seeing her and his fear of being rejected by her, in the time before his death. The theme of this story is to live life everyday with no regrets. Throughout the symbols and references youRead MoreMonotional Monologue In Andres Mother By Terrence Mcnalally1007 Words   |  5 PagesAndre’s Mother by Terrence McNally is a play written in 1988 describing a mother’s emotional farewell to her son who has died from AIDS. In the story, Andre’s mother has joined Andre’s surviving partner Cal, and Cal’s father and sister, to pay their her respects to her son. Each will release a white helium balloon to represent their final goodbye. We quickly learn that Andre’s mother was neither aware of her son’s sexual orientation nor his illness. Cal discloses, â€Å"When he was sick, if I askedRead MoreOrganisational Theory230255 Words   |  922 Pagesanthropologists had ‘long claimed that a knowledge of culture is valuable’ to the manager and indeed that people in business were beginning to take this claim seriously (Whyte, 1969, p. 167). This interest did not reach fruition until the 1980s. In 1982, Terrence Deal and Allen Kennedy produced the first edition of their book Corporate Cultures: The Rites and Rituals of Corporate Life. This was followed a couple of years later by the first edition of Edgar Schein’s Organization Culture and Leadership (1992)

What Are Start Ups - 2790 Words

Introduction 1. What are start ups? A start-up can be described as ‘a business or undertaking that has recently begun operation: grew from a tiny start-up to a large corporation’. (Anon., 2014). The key point here is to grow from a tiny business which denotes starting small. Meanwhile Merriam-Webster dictionary makes it more action oriented by describing a start-up as â€Å"the act or an instance of setting in operation or motion† or â€Å"a fledgling business enterprise.† The likes of Neil Blumenthal, cofounder and co-CEO of Warby Parker say â€Å"a start-up is a company working to solve a problem where the solution is not obvious and success is not guaranteed,† (Robehmed, 2013). In other words we should be seeing a start-up as a tiny venture,†¦show more content†¦In the eyes of the entrepreneur or initiator of a start-up, they don’t see problems as problems rather they see them as opportunities. Which brings us to the next phase of the discussion – what are opportunities? Literature review and critical analysis 2. a What are opportunities in the eyes of an entrepreneur? The Ebola epidemic of 2014 is the worst in history (Center for Disease Control, 2014), with 3 countries in Africa ravaged to their limits. However in the midst of this catastrophe, some entrepreneurs recognise this as their Eureka moment. As a result relatively unknown biotechnology companies like Ibio Inc, Lakeland Industries Inc , and Alpha Pro Tech Ltd who manufacture diagnostic products, Hamzat suits and face masks respectively have seen their stocks rise on the new York stock exchange with investors buying up their shares rapidly (Yasmeen Abutaleb, 2014). In the means of all the chaos, entrepreneurs are still able to identify opportunities. 2 C. Identifying opportunities Doug Neal, the Executive Director of the Center for Entrepreneurship, University of Michigan College of Engineering, Ann Arbor attempted to distinguish 6 different techniques through which Entrepreneurs identify opportunities upon which they build their businesses from observing patterns of behaviour and

Comparative History of Commerce and Industry Sector

Question: Discuss about the Comparative History of Commerce and Industry Sector. Answer: Introduction: Zen Buddhism has been an integral part of Japanese art and culture from the time of its arrival in Japan in the thirteenth century. Despite of not being much spiritual in the modern times, Zen Buddhism has kept influencing the art and architecture of Japanese people. However, Zen traces its origin back in India; it was formalized in China and was transmitted to Japan in the thirteenth century (Ingram 2015). In Kamakura period (1185-1333), the development of Japanese Buddhism has evolved in a new level and it is also called Kamakura Buddhism. This form of religion refers to various innovative Buddhist movements that come into sight during the time, especially Zen. Zen Buddhism eventually became one of the dominant schools of Buddhism in Japan. Even in the modern day Japan, the unique influence still keeps persuading and that makes Japan an exceptional country in spite its prosperity in the industrialized economy. According to Andreeva 2016, Zen Buddhism consists of two schools of practice, the Rinzai School, originated by Eisai (or Yosai, 1141-1215) and others, and the Soto School, founded by Dogen (1200-1253). The emphasis of Zen Buddhism was entirely on simplicity and the significance of the natural world created a distinguishing aesthetic, expressed by two terms wabi and sabi. The preliminary reliance of this school of philosophy was derived from the ancient Buddhist text like Mahaprajnaparamita-Sutra, which stresses on the doctrine of blankness and the lankavatara-Sutra, which deals with the doctrine of consciousness and the Avatamsaka-Sutra, which consist of the teachings of Lord Buddha. Those concepts have been analysed by several Zen masters in Japan, who also had developed many unique practices to Zen. The amorphous concepts are used to convey a sense of melancholy, naturalness, rusticity, loneliness and age. The disciplinary practice of Zen Buddhism has created a huge impact on the J apanese people. The cool and calm mediating Zen master, the informal meditation hall and other practices that created an ideal, influenced their everyday life. Zen introduced not only a new religious practice to Japan, but also calligraphy, philosophical practice and ink paintings to the culture. Lopez and Donald 2015 states that, the monochrome ink painting is the most closely related art form with Zen Buddhism. Generally, the Zen monks were the first Japanese artists to work with this medium and they expressed their religious views and passion through a quick and reminiscent manner. Their favoured subjects to study were, Zen patriarchs and progressive individuals, but soon the artists moved to several secular themes like flowering plums, birds, bamboo and the birds, which were endowed with intellectual symbolism in China. The huge range of thematic expressions broadened to embrace the landscapes and the literary figures and the style of painting became more significant than personal expression. Previously, the practices of Buddhism was restricted the privileged class of the monks, artisans, scholars, nobles, who had mastered the rituals and the complicated philosophy of Buddhism. However, in the Kamakura period (1185-1333), the practice took a drastic change in the field of religion and it became the religion of masses for the very first time. There was a political change at that time in Japan, while the old court fell to a fresh military government and the growing conflict and chaos led to the disenchantment and a revival of faith. During this divergent time, Buddhist leaders like Shinran, Eisai, and Honen emerged and developed their concept of salvation (Sanford 2014). This also gave rise to the schools of philosophy, which also influenced the art and architecture practice in Japan. The concept of Zen Buddhism, connecting to the spiritual rather than the physical was very much influencing in the fine art practices in the Kamakura period (Aitken 2015). The paintings from this period were highly influence by the practices of previous Heian Period. The religious paintings were marked with a sense of vivacity and immediacy. The Amidst cults emphasized devotion to the specific figures, who were initially considered subsidiary all over the pure Buddhist collection of gods. For instance, Jizo Bosatsu, the lord Buddha portrayed in the appearance of a young monk, who was considered as a defender of children and women and as an individual send off on a particular mission of kindness to soreness being entangled in the troubles of their different life states. The popularity of Amidism encouraged the conception of richly regarded religious cosmologies in painting representing the six dominions of existence. The paintings like Nika Byakudo which is a white trail to the wester n heaven across two rivers, shoed both the complexities faced in the journey of a believer to the western paradise and at the central position, the Jizo empathetically shielding those, who are in need. Similarly, the raigo paintings featured the interpretations of Amidst culture as well. The religious fundamentals made extensive use of the descriptive scroll design. Paintings were also used to decorate the fusuma (sliding doors) and byobu (folding screens) (Munsterberg 2015). In addition to it, a new form of painting evolved in this aura named emaki format of painting. This form consists of long illustrated hand scrolls. The major brushworks, affluent palette, generous portrayal of the miscellaneous details of contemporary survival were the essential characteristics of the paintings of the Kamakura age, but in a more reflective spiritual sense. Those are the illustrated evidences of the Japanese fondness for basing the sacred practice in the easily accessible appearance of daily liv ing. While several form of paintings continued to grow throughout Kamakura period, the sculpture was the most popular form of art so far. This period is extensively considered as a renaissance age in the Japanese sculpture, guided by the Buddhist Kei School. As a result of the Gempei War, there was a huge loss in the religious sculptures. The Kei family created the most noteworthy works in this period, in the thirteenth century. The Kamakura period sculpture was inspired by both the wonderful idealism of the Nara period and the Chinese Song Dynasty sculpture. In depicting the huge range of divine concern, Kamakura figures responded to the religious ambiance of the period. The figure by Kosho of Kuya, the rough aged mendicant, who supported the constant repetition of the nembutsu prayer, was portrayed practically but the grace message of the cord of little Amida sculptures budding from the mouth an accurate depiction of his teaching. The artisans of this era succeeded the method of yosegi -zukuri (woodblock construction) and developed a sculptural style consists of solidity, pragmatism and depiction of emotion and movement (Covaci 2016). The works were very much influenced by the masterpiece of the Nara period and the Chinese song dynasty sculptures. The sculptures were seen with wonderfully refined hint of the shielding and warm existence of the Amida. The surface of the figure was entirely decorated with the kirikane (gold leaf pattern cuttings). The portrait sculpture of Muchaku conveys a firm determination and realism; there was also a subtle touch of fleshiness around the eyes, which mentions a little humour. Sanford 2014 states that, the finest one of all the sculptures of the Kamakura age is a flawless combination of carefully skilled and accumulated parts. The white wood was mainly the means of preference. The joined block technique was utilized in the sculptures with greater frequency than the preceding periods. Kaikei was a famous sculpture of Kamakura period, who was a collaborator of Unkei and spiritual believer of Pure Land sect of Buddhism. He worked closely with Chogen, a priest,on the recreation of the Todai ji temple in Nara. Most of his sculptures were characterised by the extensively finished surface and rich decoration with pigments and gold was the noteworthy trait of those. The most significant work of Kaikei is the Amitabha Triad of Ono Jodo ji (1195). The religious evolvement also influenced the architecture of this age, though the protection and the defence became the first priority because of the Genpei War happened before. The teahouses, small rooms held by pillars, became popular in this age as well (Yamashita 2016). However, the famous built of this aura was the Sanju Sangendo Hall, a long structural design consisting of thirty-three walls. The name of the temple suggests a hall with thirty three spaces between columns. The temple caught fire in 1248 and was restored in 1266. The temple consists of thousand big statues on the lest and the main deity statue stands at the ride side, comprise of ten rows and 50 columns. The religious architecture of the period was a blend of Chinese and Japanese influence as the religion was initiated from China. The Buddhist art form followed the believers as the religion spread and got adapted and developed in each host country (Kitagawa and Joseph 2013). To conclude, it can be said that it is feasible to draw a lineage of contemporary term in the Kamakura period. In Japan Buddhism played a great role to give birth to a fresh sense of value not only on the population, but also on the art forms, culture and the architecture. Reference List Aitken, Robert.Taking the path of Zen. North Point Press, 2015. Andreeva, Anna. "Yoshihiro Nikaido: Asian Folk Religion and Cultural Interaction."Entangled Religions3 (2016). Covaci, Ive.Kamakura: Realism and Spirituality in the Sculpture of Japan. Yale University Press, 2016. Green, Ronald S. "A Cultural History of Japanese Buddhism."Japanese Journal of Religious Studies42, no. 2 (2015): 381. Ingram, Paul O. "Listening to Shin Buddhism: Starting Points of Modern Dialogue. Edited by Michael Pye, with the assistance of the Eastern Buddhist Society. Bristol, CT: Equinox, 2012. Pp. xii+ 306. $110.00."Religious Studies Review41, no. 1 (2015): 37-38. Kitagawa, Joseph Mitsuo.Religion in Japanese history. No. 7. Columbia University Press, 2013. Lopez Jr, Donald S.Buddhism in Practice:(Abridged Edition). Princeton University Press, 2015. MacDonald, Deanna, and Geeta Mehta.New Japan Architecture: Recent Works by the World's Leading Architects. Tuttle Publishing, 2013. Munsterberg, Hugo.Arts of Japan: An Illustrated History. Tuttle Publishing, 2013. Sanford, James H., William R. LaFleur, and Masatoshi Nagatomi, eds.Flowing traces: Buddhism in the literary and visual arts of Japan. Princeton University Press, 2014. Sanford, James H., William R. LaFleur, and Masatoshi Nagatomi, eds.Flowing traces: Buddhism in the literary and visual arts of Japan. Princeton University Press, 2014. Yamashita, Noboru. "Minnan Eisai and Hirado-The Introduction of the Rinzai school of Zen and Matcha tea to Japan."4 (2016): 105-125. Kitagawa, Junko, Toshiyoshi Fujiki, Kazuyoshi Yamada, Yasuharu Hoshino, Hitoshi Yonenobu, and Yoshinori Yasuda. "Human impact on the Kiso-hinoki cypress woodland in Japan: a history of exploitation and regeneration."Vegetation history and archaeobotany23, no. 6 (2014): 649-664. Hane, Mikiso, and Louis Perez.Premodern Japan: a historical survey. Westview Press, 2014. Shin'ichi, Hisamatsu. "On Zen Art."Marburg Journal of Religion17, no. 1 (2015). Noelker, G., M. J. Cha, G. Pastore, M. Maruyama, K. Zimmer, C. Lemes, P. Vergara et al. "POSTER SESSION 7P1578Validation of a novel implantable cardiac monitor for AF detection: the Detect AF study resultsP1579Vasospastic angina as both a risk factor for new-onset atrial fibrillation and a predictor of negative outcome in atrial fibrillation patientsP1580Effect of right ventricular pacing site on occurrence of atrial fibrillationP1581Clinical characteristics of patients aged under 40 with lone atrial fibrillationP1582P wave dispersion-a clinically useful parameter that does not ...."Europace17, no. suppl 3 (2015): iii237-iii259. McNabb, David E. "Commerce in the Kamakura and Ashikaga/Muromachi Shogunates." InA Comparative History of Commerce and Industry, Volume I, pp. 167-180. Palgrave Macmillan US, 2016. Siu, Julie. "Ashikaga Rule and Cultural Brilliance in the Muromachi Period: A Look at Selected Ink Monochrome Paintings." (2014). Breen, John, and Mark Teeuwen.Shinto in history: Ways of the kami. Routledge, 2013. Nagaoka, Tomohito, Junmei Sawada, and Kazuaki Hirata. "Demographic and pathological characteristics of the medieval Japanese: new evidence from human skeletons from Kamakura, Japan."Anthropological Science121, no. 3 (2013): 203-216. Keirstead, Thomas.The Geography of Power in Medieval Japan. Princeton University Press, 2014. Scheid, Bernhard, and Mark Teeuwen.The culture of secrecy in Japanese religion. Routledge, 2015. Ching, Francis DK.Architecture: Form, space, and order. John Wiley Sons, 2014.

The Theatre Essay Research Paper Introduction free essay sample

The Theatre Essay, Research Paper Introduction The chief ground why I chose to make my study on the history of theater in NY is because I find theatre really interesting ( As you know I do some of it myself ) . I besides grew up in a house full of theatre instructors. I think this subject is really of import to people who want to larn about theater because many people believe that theater in New York started on Broadway, but that is non true at all. In this study I would wish to demo you how theatre developed in New York. Chapter 1 eighteenth Century In the early 18th century the Dutch occupied most of New York. Other civilizations included the Germans, Scots, Irish and likely the most of import to theatre in all, the English. The English started to urbanise New York. Signs of the increasing urbanizing were largely seen between 1730 and 1770. We will write a custom essay sample on The Theatre Essay Research Paper Introduction or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page English headmasters started learning with Dutch co-workers in schools. Subsequently on in 1747 Columbia College was founded and a campus was established. The college taught musical direction and people could buy instruments at the local merchandiser. When vacations took topographic point people would hold entertainers preform in their gardens. Peoples would besides keep parties in tap houses like Robert Todd? s and Black Horse. These entertainers included puppeteers, acrobats, rope terpsichoreans and prestidigitators. At Todd? s public house, the first public concerts took topographic point every bit early as 1736. The presence of the royal governor changed peoples? societal activities. Every governor tried to do his ain illumination tribunal ( all were seeking to copy the English royal tribunal ) . In England, the theater had been an extension of the tribunal, so many governors tried to do theatre portion of their tribunal. In 1699 Richard Hunter petitioned for theatres in New York against Governor John Nafan, and won. Other than that nowhere is it recorded that he of all time produced any dramas but, it contributed to societal life. A few old ages subsequently Anthony Aston recorded that he spent the winter of 1703? Acting, authorship, courtship, and contending. ? 1 No other visual aspects of theatrical companies were of all time noted but, it is assumed there was recreational moving traveling on in courtyards. -3- Several decennaries subsequently another governor named William Cosby seemed to hold been linked to the visual aspect of two theaters in the metropolis. A theater was opened on December 11, 1752 in a edifice owned by Van Dam on Nassau Street. This is non that of import, although a little population of 8,622 ( nose count taken in 1730 ) was at that place to back up the theater. Even more astonishing was that there was a 2nd theater in the metropolis at the same clip. This was likely a wendy house on Broadway. Beside the being of these two theaters, nil else of import is known about their activities. By the late 1740s controls on theatrical companies in England had tightened. Therefore, many companies began to travel to the Americas. There is some grounds that several of these companies performed in the theater on Nassau Street. In 1758 former histrion David Douglass brought his company to NY and built a wendy house on Cruger? s Wharf. He built his 2nd theater in 1761 farther North on Chapel ( subsequently Beekman ) street. Douglass built his concluding theater in 1767 on John St. merely west of Broadway. This 3rd theater was Douglass # 8217 ; merely successful theater and had about no competition until 1797 when a theatre company from Philadelphia took over a circus amphitheater. -4- Chapter 2 nineteenth Century When the people returned to New York after the Revolutionary War in 1785, New Yorkers were happy to see a theater still standing after the business and devastation of much of the metropolis. New York made such a bounciness back that people who had lived at that place before the war hardly recognized it. If the first half of the nineteenth century was inordinately full of enlargement of the metropolis, there was besides great enlargement of the theater. At the bend of the century there was merely one wendy house, but by mid-century there were over two twelve. They were all over the metropolis, largely located where crowds would be attracted. A major theater in that clip was known as The New Theatre, built in 1798. The most of import thing about this theater is that it brought an about unpeopled country to a premier residential country. The Bowery Theatre, built in 1825 and subsequently called The Thalia, and the New Theatre, ( subsequently called the Park ) , were the most popular theaters built at this clip. The Park existed until 1848 and The Bowery, rebuilt five times on the same topographic point, was in usage until it burned down in 1929. -5- By the 1850s, Broadway had become the centre for theater in New York because it was going New York? s? Main Street. ? Harmonizing to George Templeton Strong, Broadway, now paved and lighted, had become? fit to walk in of an eventide. ? 2 By the terminal of the century, theaters had moved their manner up Broadway as far north as West 36 Street.In the 2nd half of the century, many immigrants were dwelling the metropolis. When they came, they brought their different civilizations and different facets of theater, demanding more theaters to house them. The Min strel show, about life in the South, had become really popular as good. -6- Chapter 3 twentieth Century As the population of the metropolis grew, it continued to travel north. The theaters moved with it. In 1895, Oscar Hammerstein I built a immense theater, the Olympia, near Long Acre Square ( where the New York Times is published ) . He chose a location between 44 and 45 Streets on Broadway. The theater was non successful, but he was subsequently called? The adult male who created Times Square? .3 Most of the theaters in usage today were built in the Times Square country between 1900 and 1930. Many theaters built at that clip were changed to film theaters or rupture down, but those that are still at that place serve as the bosom of American theater today. Right now, on Broadway, there are 20 two shows running. These are the shows, the theaters they are in and some information about each theater: 1. An Inspector Calls # 8211 ; Royale Theatre, 242 West 45 St. Opened January 11, 1927 with a show called Piggy. 2. Beauty and the Beast # 8211 ; Palace Theatre, 1564 Broadway. Opened March 24, 1913 with a music hall show. 3. Blood Brothers # 8211 ; Music Box Theatre, 239 West 45 St. Opened September 22, 1921 with a show called Music Box Revue. 4. Cats # 8211 ; Winter Garden Theatre, 1634 Broadway. Opened March 20, 1911with a show called La Belle Paree. 5. Crazy For You # 8211 ; Shubert Theatre,225 West 44 St. Opened October 2, 1913 with Hamlet. 6. Damn Yankees # 8211 ; Marquis Theatre, 1555 Broadway. Opened in the mid-1980s as portion of the Marriott Marquis Hotel. Three theaters were torn down to construct this hotel, over the protests of many theatre people. 7. Defending the Caveman # 8211 ; Helen Hayes Theatre, 240 W 44 St. Opened March 12, 1912 with a show called The Pigeon. This is the 2nd theater named after? The First Lady of The American Theatre. ? the first 1 was torn down for the Marriott. -7- 8. Grease # 8211 ; Eugene O? Neill Theatre,230 West 49 St. Opened November 25, 1925 with a show called Mayflowers. 9. The Heiress # 8211 ; Cort Theatre, 138 West 48 St. Opened December 12, 1912 with a show called Peg O? My Heart. 10. How to Succeed in Business Without Really Trying # 8211 ; Richard Rodgers Theatre,226 West 46 St. Opened December 24, 1924 with a show called The Greenwich Village Follies. 11. Jackie Mason # 8211 ; Politically Incorrect # 8211 ; Golden Theatre, 252 West 45 St. Opened February 24, 1927 with a show called Puppets of Passion. 12. Kiss of the Spider Woman # 8211 ; Broadhurst Theatre, 235 West 44 St. Opened September 27, 1917 with a show called Misalliance. 13. Les Miserables # 8211 ; Imperial Theatre, 249 West 45 St. Opened December 25, 1923 with a show called Mary Jane McKane. 14. Love! Heroism! Compassion! # 8211 ; Walter Kerr Theatre,219 West 48 St. no other information available. 15. Miss Saigon # 8211 ; Broadway Theatre, Broadway at 53 St. Opened December 24, 1924 with a show called The New Yorkers. 16. The Moliere Comedies # 8211 ; Roundabout Theatre, 1530 Broadway no other information available. 17. The Phantom of the Opera -Majestic Theatre, 247 West 44 St. Opened March 28, 1927 with a show called Rufus LeMaire? s Affairs. 18. Show Boat # 8211 ; Gershwin Theatre, 222 West 51 St. Opened November 18, 1972 with a show called Via Galactica. 19. Sunset Boulevard # 8211 ; Minskoff Theatre, 200 West 45 St. Opened March 13, 1973 with a show called Irene. 20. Translations # 8211 ; Booth Theatre, 222 West 45 St. Opened October 16, 1913 with a show called The Great Adventure. 21. Uncle Vanya # 8211 ; Circle in the Square, 1633 Broadway. Opened November 15, 1972 with a show called Mourning Becomes Electra. 22. The Who? s TOMMY # 8211 ; St. James Theatre, 246 West 44 St. Opened September 26, 1927 with a show called Merry Malones.4 -8- Decision By making this this study I have gained alot of cognition about the history of theater in New York. I think that it is of import that we learn about our theatric heritage because it has alot to make with every twenty-four hours jobs. Some theater is for societal agencies and some theater is here to learn us about something. -9- End Notes 1. Mary C. Henderson, The City and the Theatre ( James T.White A ; Company ; 1973, New Jersey ) Pg. 13 2. Ibid Pg. 88 3. Ibid Pg. 196 4. Louis Botto, At This Theatre ( Dodd Mead Company ; 1984 New York ) Various Pgs. Theatre Week ( That New Magazine ; 1995 New York ) Pg. 51 -10- Bibliography Botto, Louis ; At This Theatre ; Dodd Mead Company, 1984, New York Brockett, Oscar G. ; History of the Theatre, Sixth Edition ; Allyn and Bacon, 1991, Needham, MA Henderson, Mary C. ; The City A ; the Theatre ; James T. White and Company, 1973, Clifton, New Jersey Ommanney, Katharine A ; Schanker, Harry H. ; The Stage A ; The School, Fifth Edition ; McGraw-Hill, Inc. , 1982, New York Ortleb, Charles L. , Publisher and Editor-in-Chief ; Theatre Week ; Vol. 8, No. 33, Issue 39 ; March 20, 1995, New York