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Double Room, Mountain View
- One Double Bed
Bungalow, Sea View
- One Double Bed
Double Room, Sea View
- One Double Bed
Superior Double Room, Sea View
- One Double Bed
Posh beach resort with a full-service spa
Collect 200 points.*
Simply enter your Nectar card number on the confirmation page. Your points will be credited 30 days after your trip is complete. *Offers may apply
Within easy reach of Sanctuary of Artemis and Metropolitan Expo, this Markopoulo Mesogaias resort is located by the sea and set on the beach. Area attractions also include Factory Outlet Airport.
Resort Features
At Aquis Mare Nostrum Hotel Thalasso, catch some rays at the beach, pamper yourself at the full-service spa, or enjoy water skiing.
Room Amenities
Guestrooms have refrigerators, air conditioning, and safes; rooms also include direct-dial phones and hair dryers.Information missing or incorrect? Tell us!
Hotel Amenities
- General
In addition to a full-service spa, Aquis Mare Nostrum Hotel Thalasso features a sauna and a steam room. The resort offers a restaurant and a coffee shop/café. Guests can unwind with a drink at one of the resort's bars, which include a poolside bar and a bar/lounge. A complimentary breakfast is offered each morning.
This 4-star property offers access to audiovisual equipment and small meeting rooms. Event facilities include a conference center, conference/meeting rooms, and a ballroom. This beach resort also offers a children's pool, a seasonal outdoor pool, and a fitness center. A roundtrip airport shuttle is complimentary to guests at scheduled times. Onsite parking is complimentary.
- 24-hour front desk
- Air-conditioned public areas
- Airport transportation (complimentary)
- Total number of rooms - 350
- Audiovisual equipment
- Babysitting or childcare
- Ballroom(s)
- Number of floors - 6
- Tennis on site
- Banquet facilities
- Bar/lounge
- Barbecue grill(s)
- Beauty services
- Business services
- Coffee/tea in lobby
- Coffee shop or café
- Free breakfast
- Computer rental
- Concierge desk
- Multiple large conference rooms
- Currency exchange
- Doorman/doorwoman
- Dry cleaning/laundry service
- Elevator/lift
- Event catering
- Fitness facilities
- Full-service health spa
- Gift shops or newsstand
- Hair salon
- Internet point
- Children's club
- Laundry facilities
- Massage - spa treatment room(s)
- Multiple small meeting rooms
- Multilingual staff
- Free parking
- Secure parking
- Garden
- Poolside bar
- Porter/bellhop
- Restaurant
- Room service (limited hours)
- Conference center
- Number of meeting/conference rooms - 3
- Sauna
- Security guard
- Spa services on site
- Steam room
- Swimming pool - children's
- Swimming pool - outdoor seasonal
- Television in lobby
- Tour assistance
- Parking
Free parking, Secure parking
- Room Amenities
- Balcony
- Air conditioning
- Direct-dial phone
- Refrigerator
- Daily housekeeping
- Extra towels/bedding
- Private bathroom
- Hair dryer
- In-room childcare (surcharge)
- Iron/ironing board (on request)
- In-room safe
- Rollaway/extra beds available
- Cribs/infant beds available
- Dining
A complimentary buffet breakfast is served each morning between 7 AM and 10 AM.
Aquis Mare Nostrum Hotel Thalasso has a restaurant serving breakfast only.
Room service (during limited hours) is available.
- Recreation
A children's pool and a seasonal outdoor pool are on site. Other recreational amenities include a sauna, a steam room, and a fitness center.
The recreational activities listed below are available either on site or nearby; fees may apply.
- Personal motorized watercraft on site
- Scooter/moped rentals nearby
- Bicycle rentals nearby
- Fishing nearby
- Bird watching nearby
- Aerobics on site
- Basketball on site
- Kayaking on site
- Playground on site
- Rowing or canoeing on site
- Sailing on site
- Swimming on site
- Table tennis on site
- Volleyball on site
- Water skiing on site
- Windsurfing on site
- Yoga classes/instruction on site
- Spa
Thalasso Centre has massage/treatment rooms. Services include massages, facials, body wraps, and body scrubs. A variety of treatment therapies are provided, including hydrotherapy and thalassotherapy. The spa is equipped with a mud bath, a sauna, and a spa tub.
Guests under 18 years old are not allowed in the spa.
- Body wraps
- Body scrubs
- Thalassotherapy treatments
- Hydrotherapy treatments
- Mud bath in spa
- Sauna in spa
- Spa tub in spa
- Massages
- Minimum age to access spa is 18
- Body treatments
- Facial treatments
Policies & Fees
- Check-in
Check-in time starts at 2 PM
- Check-out
Check-out time is noon
- Payment types
Accepted at this hotel: American Express, Diners Club, JCB International, MasterCard, Visa
- Pets
Pets allowed
- General
Extra-person charges may apply and vary depending on hotel policy.
Government-issued photo identification and a credit card or cash deposit are required at check-in for incidental charges.
Special requests are subject to availability upon check-in and may incur additional charges. Special requests cannot be guaranteed.
Hotel Registry Number - 0208K014A0084800
- Fees
- Unless otherwise indicated, the charges below are not included in the overall room price. If not included in the overall room price, they will be charged by the property at check-in or check-out. Charges can vary, for example, based on length of stay or the room you book. This property told us they will charge you for the following:
We have included all charges provided to us by the property. However, charges can vary, for example, based on length of stay or the room you book.The following fees and deposits are charged by the property at time of service, check-in, or check-out.
- All citizens of Greece will be charged the national value-added tax
The above list may not be comprehensive. Fees and deposits may not include tax and are subject to change.
- Fee for in-room wireless Internet: EUR 5 (for 2 hours, rates may vary)
- Fee for in-room high-speed Internet (wired): EUR 5 (for 2 hours, rates may vary)
- Fee for wireless Internet in public areas: EUR 5 (for 2 hours, rates may vary)
- Fee for high-speed Internet (wired) in public areas: EUR 5 (for 2 hours, rates may vary)
- Additional Details
Cash transactions at this property cannot exceed EUR 1500, due to national regulations. For further details, please contact the property using information in the booking confirmation. This property offers transfers from the airport. Guests must contact the property with arrival details 24 hours prior to arrival, using the contact information on the booking confirmation. Reservations are required for massage services and spa treatments. Reservations can be made by contacting the resort prior to arrival, using the contact information on the booking confirmation. A resort fee is included in the total price displayed.


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Hi all,
My boyfriend is disabled (registered blind) and is entitled to free bus travel with the correct pass, from what I understand. So, he lives in Wales and has a pass issued by his local area which entitles both him and me to free bus travel. Great because I don't drive, so we have to use public transport together. When he visits me in England, his pass isn't valid. So I have googled around and found that disabled people are entitled to free bus travel in England too, however, he isn't resident here and so has to pay. I don't expect my travel to be free, as his companion, but it seems ridiculous that he has to pay in England.
I know it probably has to do with the devolved government etc, but if it's free travel for disabled people in Wales and England, then why can't an English disabled person travel for free in Wales and a disabled Welsh person travel free in England?!!
Is it the same for OAPs and their free travel? or have I missed a trick here?

subset: commoncrawl


text: Patagonia women's Alpine Guide Jacket - The Alpine Guide Jacket and Pants are highly durable, breathable soft shells made of a new wind-resistant Polartecr Power Shieldr Stretch Woven fabric to both protect and vent on extended, demanding climbs or ski tours. Polartecr Power Shieldr Stretch Wovens are enhanced with Polartecr Hardfacer technology to dramatically increase abrasion and snag/pick resistance, improve lasting durable water repellency, reduce moisture gain in wet conditions and accelerate dry-times. Polartecr Power Shieldr Stretch Woven fabrics offer a dramatic improvement on the original soft shell concept - single layer woven fabrics that deliver excellent weather protection, high breathability and lasting durability for harsh use.


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A growing number of Alabama students are taking and excelling in Advanced Placement courses, according to a national report released Wednesday.
The seventh annual "AP Report to the Nation," released by The College Board, shows a marked increase in Alabama students' participation and success in these advanced courses, which allow high-schoolers the opportunity to study at a college level.
Read the full story from The Opelika-Auburn News.


text:
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THE SCREENING ROOM: Betty Buckley, Glenn Close, Barbra Streisand, Patti LuPone Sing "As If We Never Said Goodbye" (Video)
By Playbill Staff
24 Jan 2013
The original Broadway production, which opened Nov. 17, 1994, starred Tony Award winner Glenn Close as Norma Desmond. For more on the musical, visit the Playbill Vault.
Glenn Close at the Tony Awards:


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2013-2014 Theatre Courses
First-Year Studies: Power Plays: Theatre as Politics
This course examines how periods of social unrest and political upheaval can yield profoundly influential works of dramatic literature. Referencing specific historical events and political movements, including those of the late 20th century in America (the AIDS crisis of the 1980s; the antiwar, women's, and civil rights movements of the 1960s), we will investigate how a play can come to be a record of its times and a lasting call to arms. Studying a large number and cross-section of plays that range from the classical to the modern and contemporary canons (from Lysistrata to Hair to Angels in America), we will determine how style, form, content, and the intent of the playwright shape audience response and why certain plays continue to inform the way we think and live. Students are expected to participate fully in class discussions and conferences and to create individual and group projects that are the expression of their own particular interests and areas of theatre study; i.e., acting, directing, design, playwriting. For the purposes of discussion, students will be asked to read aloud from selected assigned plays. Class work will include text and comparative analysis of selected plays and discussions of the political and historical contexts from which our plays emerged. In addition to plays, students will be assigned to read nonfiction support material. A series of documentary films and film adaptations of plays will be shown. In choosing this class, you are choosing to be a Theatre Third. This means that, in addition to this course, you will be automatically enrolled in Theatre Techniques: Technology and you will need to enroll in one other theatre component of your choice. As a Theatre Third, you are also required to attend all theatre meetings and colloquiums as listed below, as well as complete 25 hours of technical work each semester. This class meets twice a week.
Theatre Meeting
Required of all students taking a Theatre Third (including First-Year Studies with Kevin Confoy) and Theatre graduate students, Theatre Meeting takes place on Mondays—B-week schedule—at 5:30 p.m. in the PAC-Suzanne Werner Wright Theatre and usually lasts approximately 30 minutes. Students are required to swipe in before each meeting. At each of these meetings, students will receive important information about upcoming theatre program events, production details, and DownStage presentations. An opportunity for students, faculty, and staff to make announcements is provided.
Theatre Colloquium
Required of all students taking a Theatre Third (including First-Year Studies with Kevin Confoy) and Theatre graduate students, the hour-long Theatre Colloquium meets six times during the academic year to explore current topics in the theatre and meet leading professionals in the field.
Theatre Techniques
Students taking theatre courses at Sarah Lawrence for the first time are automatically enrolled in Theatre Techniques: Technology and are encouraged to enroll in Theatre Techniques: History and Histrionics and Theatre Techniques: Design Elements—three courses that introduce them to the history of theatre and to a wide range of technical theatre skills. Students who are interested in performance have priority enrollment in Theatre Techniques: The Actor's Workshop. All Theatre Third students are also required to complete 25 hours of technical work each semester.
Theatre Techniques: Technology
This four-week course is an introduction to the Sarah Lawrence College performance spaces and their technical capabilities. The course is required of all students during their first semester in the Theatre program. This class meets once a week.
Theatre Techniques: Actor's Workshop
This workshop will translate the actor's imagination into stage action by building one's performance vocabulary. The class engages the students' essential self by expanding their craft through a wide-ranging set of training techniques. Students will explore through improvisation, movement, vocal techniques, scenes, and the performance of realism, experimental, classical, and comedy of manners from such playwrights as Shakespeare, Tennessee Williams, Oscar Wilde, Jose Rivera, Sara Ruhl, Susan Yankovich, Jean-Paul Sartre, and Samuel Beckett, to name a few. This class meets twice a week.
Theatre Techniques: History and Histrionics
Have you ever wondered where Arthur Miller got the idea to get inside Willy Loman's head? Did you realize that it was only after August Strindberg went insane that he wrote some of his most famous and influential plays? Did you know that the comedies of Ancient Greece and the 17th century were far more sexually explicit than contemporary comedies? Did you know there's a Nigerian play that is about the ancient African culture, but which uses ideas from Aristotle to tell its story? And that Aristotle's ideas can also be found in plays by William Shakespeare, Henrik Ibsen, and Tennessee Williams? Did you ever wonder what we really mean by "realistic"—or "naturalistic"—and that there's a difference? Did you ever consider that Godot may already have arrived? History and Histrionics answers these questions but asks many more. We read great plays from the last 2,500 years—tragedy, comedy, social critique, realism, naturalism, expressionism, musical theatre, absurdism, existentialism, and much more—to try to figure what they're about, why they were written as they were, and how they fit into the great constellation of our dramatic heritage. This course meets once a week.
Theatre Techniques: Design Elements I
This course is for students with little or no design or technical experience who are curious about design and want exposure to multiple design areas. It is also a useful tool for directors, playwrights, and actors who want to increase their understanding of the design and technical aspects of theatre in order to enhance their abilities as theatrical artists. This is a very hands-on class, in which students will learn the basics needed to execute set, costume, lighting, and sound designs. We will use a short scene or play as the focus of our discussions of the collaborative design process. Class format will include classes with the full design faculty, as well as classes focused on specific design areas. This class meets once a week.
Theatre Techniques: Design Elements II
This course is for students who have design or technical experience or have taken Design Elements I and want to explore design and technical theatre in greater depth. This course is also useful for students who are studying one area of design and want an introduction to other areas. Students will explore two of the four design areas (set, costume, lighting, and sound) in greater depth, building their technical skills, design basics, and collaborative communication skills. Class format involves classes with the full design faculty and six weeks of classes in each of two design areas with individual design teachers. The goal of this semester is to have students develop the ability to create a simple design in their chosen areas. Prerequisite: Design Elements I or faculty permission. This class meets once a week.
Theatre Techniques: Actor's Workshop
Contemporary Practice I for Dance and Theatre
Successful performances in dance and theatre rely on training that prepares performers in mind, body, and spirit to enter the realm of aesthetic exploration and expression. In this class, we will work toward acquiring skills that facilitate the investigation of how the body moves in familiar and previously unimagined ways. Through traditional and experimental practices, students will develop a sense of functional alignment, form, physical energy and dynamics, strength, and focus, as well as awareness of time and rhythm. Improvisation is an important aspect of this study. Placement class required; please check with the Dance program office for the exact date and time.
Improvisation Laboratory
Using experimental exercises and improvisation, we will explore the character's connections to his or her environment, relationships, needs, and wants. In the second semester, we will concentrate on fashioning a workable technique, as well as on using improvisation to illuminate scene work from the great dramatic playwrights: Lorca, Chekhov, Strindberg, O'Neill, Shaw, etc. This course is open to students who are willing to approach material experimentally in a laboratory setting. This class meets twice a week.
Improvisation Techniques
Great art comes from using oneself. If theatre is a way of knowing oneself, improvisation energizes that process. This course is for actors who are willing to personalize, place their characters in dangerous situations, play strong objectives, and then move on—a conscious way to reach the unconscious. We will approach the material experimentally in a laboratory setting twice a week. Students must be willing to act with and without text. This class meets twice a week.
Acting Poetic Realism
The plays of Anton Chekov, Tennessee Williams, and August Wilson serve as the point of departure in our exploration of the craft of acting. In this class, students will be challenged to expand their range of expression and build their confidence to make bold and imaginative acting choices. Particular attention will be paid to learning to analyze the text in ways that lead to defining clear, specific, and playable actions and objectives. This class meets twice a week.
Creating a Role
It is a sanctum of discovery, enabling the actor to explore non-Western movement: centering energy, concentration, the voice, and the "mythos" of a character to discover one's own truth in relation to the text—both contemporary and the classics. Traditional as well as alternative approaches to acting techniques are applied. Fall semester concentrates on working on roles such as Hamlet, Leontes, Caliban, Othello, Lear, Macbeth, Hecuba, Medea, Antigone, and Lady Macbeth; spring semester, applied to scene study from works by Arrabal, Beckett, Ionesco, Maria Irene Fornes, Sam Shepard, Albert Camus, and Jean Genet. This class meets twice a week.
Making New Work
This is a performance lab open to actors, dancers, visual artists, writers, musicians, filmmakers, and directors. The class will form an ensemble where creative processes, media crossovers, and global forms and styles are presented within an active media lab. The group, using shared performance techniques, will explore the development of personal devised work. Methods of vocal and physical work will add to interdisciplinary collaborations in order to explore sources of inspiration for new work. Investigating both traditional and contemporary performance, we will acknowledge new connections that are happening between video games and text, science and technology. Crossing cultural and media traditions, the group will create and present weekly projects, as well as a final performance.
Acting Shakespeare
Those actors rooted in the tradition of playing Shakespeare find themselves equipped with a skill set that enables them to successfully work on a wide range of texts and within an array of performance modalities. The objectives of this class are to learn to identify, personalize, and embody the structural elements of Shakespeare's language as the primary means of bringing his characters to life. Students will study a representative arc of Shakespeare's plays, as well as the sonnets, with the goal of bringing his characters to life. Class time will be divided among physical, vocal, and text work. This class meets twice a week.
Breaking the Code
A specific text-driven, on-your-feet approach to performance, based on identifying, analyzing, and exploiting particular attributes common to characters in all plays, Breaking The Code provides a foundation and a context for the most vital and decisive characterizations. Students will read, discuss, and act scenes from contemporary plays and adaptations. Open to both actors and directors. This class meets twice a week.
Close Up and Personal
Great camera work demands intimacy, emotional adaptability, risk, and connection. Students will learn how to maintain an organic experience in spite of the rigid technical restrictions and requirements. During the fall semester, we will work on cold-reading techniques, emotional expansion exercises, and scenes from published works. In the second semester, we will put original monologues and scenes on camera. We will use a monitor playback system for reviewing work to help identify specific problems. Class size is limited. This class meets twice a week.
Comedy Workshop
An exploration of the classic structures of comedy and the unique comic mind, this course begins with a strong focus on improvisation and ensemble work. The athletics of the creative comedic mind is the primary objective of the first-semester exercises. Status play, narrative storytelling, and the Harold exercise are used to develop the artist's freedom and confidence. The ensemble learns to trust the spontaneous response and their own comic madness. Second semester educates the theatre artist in the theories of comedy. It is designed to introduce students to commedia dell'arte, vaudeville, parody, satire, and standup comedy. At the end of the final semester, each student will write five minutes of standup material that will be performed one night at a comedy club in New York City and then on the College campus on Comedy Night. This class meets twice a week.
Actor and Director Lab
This course creates a functional and working process for the presentation of plays. Student actors and directors work together on chosen scripts as a way of determining and shaping a common and shared approach to the text. PROOF provides a particular way of reading, analyzing, and breaking down scripts that makes a foundation for the most vivid, physical, and distinctly realized expressions of a play. Students will study and analyze a number and variety of plays from different periods and of different styles as a way of developing a practical way of working and a guide map into a text. Students will be expected to both act and direct in scenes and in short plays for in-class presentations. This class meets once a week.
Alexander Technique
The Alexander Technique is a neuromuscular system that enables the student to identify and change poor and inefficient habits that may be causing stress and fatigue. With gentle hands-on guidance and verbal instruction, the student learns to replace faulty habits with improved coordination by locating and releasing undue muscular tensions. This includes easing of the breath and the effect of coordinated breathing on the voice. It is an invaluable technique that connects the actor to his or her resources for dramatic intent. This class meets once a week. Audition required.
Breathing Coordination for the Performer
Students improve their vocal power and ease through an understanding of basic breathing mechanics and anatomy. Utilizing recent discoveries of breathing coordination, performers can achieve their true potential by freeing their voices, reducing tension, and increasing vocal stamina. In the second semester, principals of the Alexander Technique are introduced; students consolidate their progress by performing songs and monologues in a supportive atmosphere. Two sections. This class meets once a week.
Building a Vocal Technique
A continuation of Breathing Coordination for the Performer, which is suggested as a prerequisite, students deepen their understanding of breathing coordination and Alexander Technique and work on songs and monologues of their choice. The emphasis is on maintaining physical ease in performance to increase vocal range and power.
This class meets once a week.
Voice and Speech I: Vocal Practice
This course will focus on awakening the young artist to the expressive range of the human voice, as well as to the intricacies of developing greater clarity of speech and playing with sound. A thorough warm up will be developed to bring power, flexibility, and range to the actor's voice and speech. Exercises and text work will be explored with the goal of uniting body, breath, voice, and speech into an expressive whole when acting.
Introduction to Stage Combat
Students learn the basics of armed and unarmed stage fighting, with an emphasis on safety. Actors are taught to create effective stage violence, from hair pulling and choking to sword fighting, with a minimum of risk. Basic techniques are incorporated into short scenes to give students experience performing fights in classic and modern contexts. Each semester culminates in a skills proficiency test aimed at certification in one of eight weapon forms. This class meets once a week.
Advanced Stage Combat
This course is a continuation of Introduction to Stage Combat and offers additional training in more complex weapons forms, such as rapier and dagger, single sword, and small sword. Students receive training as fight captains and have the opportunity to take additional skills proficiency tests, leading to actor/combatant status in the Society of American Fight Directors. This class meets once a week.
Movement for Performance
We will explore the full instrument of the performer, namely the human body. Daily exercises open the body to larger movement potential while introducing students to a better functioning alignment, efficient muscle and energy use, full breathing, clear weight transfer, and an increased awareness while traveling through space. In addition, students will be asked to create "movement-based pieces" in an effort to discover and articulate the languages that the body communicates regardless of the words spoken on stage. In all aspects, the goals of this class are to enable students to be courageous with their physical selves, more articulate with their expression, and more personally expressive in their performances. In addition to occasional reading handouts, there will be opportunities to visit rehearsals and performances of professional theatre and dance in New York City. This course meets twice a week.
Movement for Performance
Audition Technique
This class is for the serious-minded actor who, after graduation, anticipates pursuing a career as a performer. Predicated on the idea that auditioning is a learned skill at which one gets better with more experience and practical knowledge, the class will focus at its core on the only unalienable factor: the individuality of the actor him/herself. As much time will be spent on material selection as execution, actors will be asked to make necessary friendships with the dreaded "monologues" and, hopefully, come to regard them as necessary filters through which they can express themselves as both people and artists. Cold-reading prep will also be covered. The hope is for the actor to leave class with not only one or two terrific audition pieces, but also a better understanding of the casting process itself and what is in and out of his/her control. This class meets once a week.
Puppet Theatre
This course will explore a variety of puppetry techniques, including bunraku-style, marionette, shadow puppetry, and toy theatre. We will begin with a detailed look at these forms through individual and group research projects. We will further our exploration with hands-on learning in various techniques of construction. Students will then have the opportunity to develop their own manipulation skills, as well as gain an understanding of how to prepare the puppeteer's body for performance. The class will culminate with the creation and presentation of puppetry pieces of their own making. This class meets once a week for two hours.
New Musical Theatre Lab
Investigations for those aspiring to produce, direct, create, and/or perform musical theatre and experimental chamber opera, this class is open to theatre designers and technicians, actors, singers, dancers, composers, lyricists, and musicians who are interested in learning and using crossover skills. Students will create teams to present and perform in class project scenes that include set and costume designs and musical and choreographic styles and that go from concept ideas to production. Students will research the history of musicals, including European cabaret and global performance, with a particular focus on the influence of interdisciplinary needs of contemporary musicals. The process of adaptation, auditioning, casting, rewriting, rehearsals, and performance will also be presented. Second semester, the class will develop an open performance workshop. An interview before the registration week audition is required.
Singing Workshop
We will explore the actor's performance with songs and various styles of popular music, music for theatre, cabaret and original work—emphasizing communication with the audience and material selection. Dynamics of vocal interpretation and style will also be examined. This class requires enrollment in a weekly voice lesson and an Alexander Technique class. This class meets once a week. Audition required.
SLC Lampoon
SLC Lampoon is a comedy ensemble of actors, directors, and writers. The techniques of Second City and TheaterSports will be used to create an improvisational troupe that will perform throughout the campus. The ensemble will craft comic characters and write sketches, parodies, and political satire. This work will culminate in a final SLC Lampoon Mainstage performance in the style of Second City or "Saturday Night Live." This class meets twice a week. Audition required.
Directing & Design
Directing Workshop
Directors will study the processes necessary to bring a written text to life and the methods and goals used in working with actors to focus and strengthen their performances. Scene work and short plays will be performed in class, and the student's work will be analyzed and evaluated. Common directing problems will be addressed, and the directors will become familiar with the conceptual process that allows them to think creatively. The workshop is open to beginning directors and any interested student. This class meets twice a week.
Directing the 20th Century: From Chekhov to Churchill
This class will focus on directing plays in the 20th-century canon, covering a range of styles and content. We will cover the whole journey of directing a play, with a strong emphasis on practical work. Students will be required to bring in design research for plays and to direct scenes from the plays, both of which they will present to the class for critique. The class will focus on how to use the text to inform the choices made by the director. This class meets twice a week. Jackson Gay will teach in the fall; Will Frears, in the spring.
Directing, Devising, and Performance
This class is a laboratory, where students will explore (on their feet) a range of methodologies, philosophies, and approaches to creating performance and theatre. How do you direct a theatre piece without starting with a play? Alongside a broad survey of artists and art movements of the 20th century that continue to influence theatre artists today, students will practice a variety of ways of staging, with and without text, and always in relation to being a "live event." Following a trajectory from the Dadaists to Fluxus, from the surrealists to John Cage (and beyond), we will wrangle with these "postdramatic" artists and explore how their ideas can lead us in finding our own unique theatrical voice. Students will be given reading and creative assignments outside of class and will be expected to work collaboratively throughout the term. This class meets once a week.
Actor and Director Lab
Costume Design I
This course is an introduction to the many aspects of costuming for students with little or no experience in the field. Among the topics covered are: basics of design, color, and style; presentation of costume design from preliminary concept sketches to final renderings; researching period styles; costume bookkeeping from preliminary character lists to wardrobe maintenance charts; and the costume shop from threading a needle to identifying fabric. The major class project will have each student research, bookkeep, and present costume sketches for a play. Some student projects will incorporate production work. This class meets once a week.
Costume Design II
This is a more advanced course in costume design for students who have completed Costume Design I or who have the instructor's permission to enroll. Topics covered in Costume Design I will be examined in greater depth, with the focus on students designing actual productions. An emphasis will be placed on developing sketching techniques and beginning and maintaining a portfolio. This class meets once a week.
Advanced Costume Conference
This is an advanced conference in costume design.
Lighting Design I
Lighting Design I will introduce the student to the basic elements of stage lighting, including tools and equipment, color theory, reading scripts for design elements, operation of lighting consoles and construction of lighting cues, and basic elements of lighting drawings and schedules. Students will be offered hands-on experience in hanging and focusing lighting instruments and will be invited to attend technical rehearsals. They will have opportunities to design productions and to assist other designers as a way of developing a greater understanding of the design process. This class meets once a week.
Lighting Design II
Lighting Design II will build on the basics introduced in Lighting Design I to help develop the students' abilities in designing complex productions. The course will focus primarily on CAD and other computer programs related to lighting design, script analysis, advanced console operation, and communication with directors and other designers. Students will be expected to design actual productions and in-class projects for evaluation and discussion and will be offered the opportunity to increase their experience in design by assisting Mr. MacPherson and others, when possible. This class meets once a week.
Scenic Design I
This course introduces basic elements of scenic design, including developing a design concept, drafting, and practical techniques for creating theatrical space. Students will develop tools to communicate their visual ideas through research, sketches, and models. The class will discuss examples of design from theatre, dance, and puppetry. Student projects will include both conceptual designs and production work in the department. This class meets once a week. There is a $50 course fee.
Scenic Design II
This class will further develop the student's skill set as a scenic designer through work on department productions and individual projects. Students will deepen their skills in drafting and rendering for the stage and develop their ability to communicate with directors, fellow designers, and the technical crew. In addition, students will continue to have hands-on exposure to practical scenic construction, rigging, and painting techniques. Students in this course are required to design a department production. This class meets once a week.
Sound Design I
This course will cover sound design from the beginning of the design process through expectations when meeting with a director, how to collaborate with the rest of the design team, and ultimately how to create a full sound design for performance. The course will explain how to edit sound, as well as many of the programs commonly used in a professional atmosphere. Throughout the course, we will create sound effects and sound collages and cover the many ways that sound is used in the theatre. Skills learned in this class will prepare students to design sound in many different venues and on different types of systems. The class will focus on the creative side of sound design, while covering the basics of system design, sound equipment, and software. This class will meet once a week.
Sound Design II
This course is a continuation of training in the elements of sound design, with assignments that include designing for Theatre program productions.
Design Techniques in Media and Puppetry
This course allows students to explore design possibilities in projection, animation, scenic design, and puppetry through a series of exploratory projects and group work. We will create visual sequences using the overhead projector, stop-motion animation techniques, shadow puppetry, and video animation. The course will introduce basic digital manipulation in Photoshop®, simple video animation in After Effects®, and the live manipulation of video using Isadora media interface software. Individual projects in the second semester will challenge students to integrate these techniques into performance. Basic knowledge of Photoshop and the Macintosh operating system is highly recommended. This class meets once a week.
Introduction to Projection Design
This course will introduce students to all aspects of video design for integration with live performance. In this hands-on class, students will learn how to generate still and moving-image content and how to edit and prepare media. Fundamental image and video editing will be covered by using Adobe's Creative Suite and Apple's Final Cut Pro. Students will also learn programming, using Isadora software, as well as the specifics of hardware components that include mixers, monitors, and projectors and how to work with multiple screens. In addition, the course will include viewing and discussions of contemporary projection design and will address creative considerations of the practice. Students will complete a series of short assignments during the year and will develop a more realized design project for a final presentation. This class meets once a week.
Theatre Techniques: Design Elements I
Theatre Techniques: Design Elements II
Medley Playwriting Workshop: Developing the Dramatic Idea
You have an idea or vision for a play that you would like to write. You have no particular idea for a play, yet you feel eager to explore and learn how to write in the dramatic form—which involves live characters interacting in three-dimensional space before a live audience. Either way, this course involves learning craft techniques, as well as advanced methods, for dramatizing your ideas from initial scenes to completed rough/first drafts. The course will involve in-class writing exercises and reading selected plays. We incorporate free writing and brainstorming techniques, acting improvisation, and audio and video recordings from your in-process work. In-progress drafts of your work will involve 1-, 5-, 10-, and 30-minute versions of your play as it comes into being. This class meets once a week.
Experiments in Language and Form
In this class, we focus on writing "experimental theatre"; that is, we experiment with theatrical forms that extend beyond traditional portrayals of time, three-dimensional space, language, character, and dramatic structure and discover the impact that different types of onstage presentations might have on audiences. We are not interested in "imitating" the style of "experimental" playwrights but, rather, using their texts as influence, stimulus, and encouragement as we attempt our own "experiments." As we investigate various experimental playwrights—Beckett, Ionesco, Arrabal, Adrienne Kennedy—we will seek to ascertain the political, spiritual, psychological, and social elements that influenced the creation of their works. Our aim, first and foremost, is to investigate and explore ways to genuinely investigate and give theatrical expression to our own personal, political, and spiritual interior lives, values, observations, and beliefs. We will then examine the most effective manner of communicating our theatrical experiments to an audience. Our "experimental writing" will include multimedia presentations as part of the scripted onstage play or performance. This class meets twice a week.
Writers Gym
"You can't wait for inspiration, you have to go after it with a club."—Jack London
Writers Gym is a yearlong writing workshop designed for writers of any genre and for any level of experience from beginner to advanced. Our focus is on writing exercises that develop characters and stories, whether for the stage, screen, or prose narration. In addition, we study theories about the nature of creativity. Our goals are as follows: to study writing methods that help to inspire, nurture, encourage, and sustain our urge/need to write; to learn how to transform personal experiences and observations into imaginative dramatic and/or prose fiction or poetic metaphor and imagery; to concentrate on building the inner lives of our characters through in-depth character work in order to create stronger stories; to explore—that is to say, investigate—and gain access to our spontaneous ideas; to articulate and gain a more conscious relationship to the "inner territory" from which we draw ideas; to confront issues that block the writing process; and to gain greater confidence in relation to revision as we pursue clarification of the work. This class meets once a week.
Playwriting Techniques in Solo Performance
This class is for people who lean toward performing and writing. Most of us have stories to tell, but what makes a personal story dramatic? This course challenges the solo performer to discover and craft the dramatic structure of the solo play—not just what is on the stage but what is on the page—with emphasis on imagination, characterization, story, and plot. This class meets once a week.
Solo Performance in Production
This course is designed to explore various aspects of staging solo performance. Through assigned texts and viewing video performances of contemporary artists, we will examine the myriad ways of structuring solo performance and experiment with uses of technology, music, visual art, and movement. In addition, we will look at contemporary trends in performance, audience participation, direct action, ritual, and endurance, as evidenced by artists such as Marina Abromovic. We will look at uses of nontraditional texts for performance such as the poetic series. We will also examine solo performance through the lenses of culture, current events, race, ethnicity, and gender. This class will include an informal end-of-year showing. The goal of the course is for each student to create a unique and individualized vehicle for him/herself. This class meets once a week.
Playwriting Techniques
The focus of this class is to investigate the mystery of releasing your creative process while, at the same time, discovering the fundamentals of dramatic structure that gives form to that process. To that end, in the first term students will write a series of both "spontaneous writing" exercises and "structural" exercises. Both types of exercises are taken from The Playwrights Guidebook, which we will use as a basic text. At the end of the first term, students will write a short but complete play based on one of their "spontaneous writing" exercises. In the second term, students go on to adapt a short story of their choice and write a play based on a historical character, event, or period. The focus in all instances is on the writer's deepest connection to the material—where the drama lies. The work will be read aloud and discussed in class each week. Students will also read and discuss plays that mirror the challenges presented by their own exercises. This class meets once a week.
Playwright's Workshop
Who are you as a writer? What do you write about, and why? Are you writing the play that you want to write? Or the play that you need to write? Where is the nexus between the amorphous, subconscious wellspring of the material and the rigorous demands of a form that plays in real time before a live audience? This course is designed for playwriting students who have a basic knowledge of dramatic structure and an understanding of their own creative process—and who are ready to create a complete dramatic work of any length. (As Edward Albee points out, "All plays are full-length plays.") Students will be free to work on themes, subjects, and styles of their choice. Work will be read aloud and discussed in class each week. The course requires that students enter, at minimum, with an idea of the play that they plan to work on, although they may also bring in a partial draft or even a completed draft that they wish to revise. We will read some existent texts, time allowing. This class meets twice a week.
The Magic of Playwriting
This course challenges the assumption that talent cannot be taught. What we call "talent" is more likely a set of skills that may not be teachable but can be developed. During class, we discover a point of view, sharpen our creative torque, exercise focus, and listen to our subconscious. We also employ craft to make more potent our vision for a particular play. We interpret feedback from our peers in order to expand and adjust our material. Using techniques learned from great world dramatists, we rigorously edit and revise. All the while, we remember that there is a certain ineffable quality to every great play—something in its craft that remains a mystery. The objective of this course is to make the most of what can be developed or learned while retaining the magic of our work. This class meets once a week.
Theatre Outreach, Theatre History, & Production
Methods of Theatre Outreach
Developing original, issue-oriented, dramatic material using music and theatre media, this course will present the structures needed for community extension of the theatre. Performance and teaching groups will work with small theatres, schools, senior-citizen groups, museums, centers, and shelters. Productions and class plans will be made in consultation with the organizations and with our touring groups. We will work with children's theatre, audience participation, and educational theatre. Teaching and performance techniques will focus on past and present uses of oral histories and cross-cultural material. We will study sociological and psychological dynamics as part of an exploration of the role of theatre and its connections to learning. Each student will have a service-learning team placement. Special projects and guest topics will include the use of theatre in developing new kinds of afterschool programs, styles and forms of community on-site performances, and media techniques for artists who teach, as well as working with the Sarah Lawrence College Human Genetics program. This class meets once a week.
Methods of Theatre Outreach—Group B
Group B is a weekly conference course with Shirley Kaplan and Allen Lang that is available to students who have previously taken the Theatre Outreach course and who want to continue teaching and have a placement in the community. This class meets once a week.
The Performing Arts for Social Change
Today, theatre is increasingly defined as a commercial enterprise. This course will examine the use of theatre for social impact, examining its practice, theory, role, and production. Discussions will include how theatre is used for creating personal and social change and the key elements of successful projects. Classes will look at the full scope of a social change initiative—from process to performance to organization to impact. Interactive class sessions will include participation in a creative process involving community building, team building, conflict resolution, social issue analysis, and scene creation. Each student will be expected to develop a coherent theory of change and to construct a viable performing arts-based project "blueprint." Students will also visit a rehearsal of The Possibility Project in Manhattan. Paul Griffin is founder and president of The Possibility Project, a nonprofit organization using the performing arts to empower teenagers to transform their lives and communities. This class meets once a week.
Theatre Techniques: History and Histrionics
Dramaturgy is the study of dramatic structure—how plays are built and how they work. Although every play worth its salt works according to its own idiosyncratic plan, still there are certain principles that allow us take it apart in order to better understand how it was put together. There are many ways to do this, and we will be trying a wide assortment of them. For example, we will study two plays that utilize the same dramaturgical devices but to very different ends. This might involve looking at, say, both Sophocles' Electra and Arthur Miller's A View From the Bridge in order to examine classical structure; or comparing Kyd's The Spanish Tragedy to Shakespeare's Hamlet in order to see the guiding principles of Elizabethan drama; or reading Augier's simple-minded Olympe's Marriage side-by-side with Ibsen's great Hedda Gabler; or tracing the development of expressionism over the course of the 20th century from O'Neill's The Emperor Jones to Kennedy's Funnyhouse of a Negro. We will also look at how two plays may tell the same story but with different plots and using different dramaturgical principles. For this we might examine Euripides' Hippolytus, Racine's Phaedre, and Sarah Kane's Phaedre's Love; or Shakespeare's King Lear and Nahum Tate's neoclassical version of it (in which the end of the play finds Lear presiding at the wedding of Cordelia and Edgar); or the Orestes story from Aeschylus' The Oresteia and Euripides' Orestes to Sartre's The Flies. The examination of multiple drafts of plays is often the surest way to see inside the playwright's mind; fortunately, we have complete early drafts of plays that, after revision, became masterpieces. We might study Chekhov's early manuscript of The Wood Demon in order to compare it to the play it became in Uncle Vanya; or look at Tennessee Williams' early flop, Battle of Angels (which closed in Boston after nearly burning down the theatre) and its later reworking as Orpheus Descending. There are many other possibilities as well: faux folk drama in the form of Ansky's great horror-thriller, The Dybbuk, or Lorca's Blood Wedding; ritualistic drama from Genet's The Maids to Albee's Who's Afraid of Virginia Woolf?; farce from Feydeau's A Flea in Her Ear to Guare's House of Blue Leaves. Because an understanding of genre is essential to the work we will do, a working knowledge of the principal genres (classicism, Elizabethan, neoclassicism, realism, naturalism, expressionism, etc.) and their historical context is required for the course. This class meets twice a week.
Global Theatre: The Syncretic Journey
"Good evening, ladies and gentlemen, and welcome to La MaMa, dedicated to the playwright and to all aspects of the theatre."—Ellen Stewart
The La MaMa Experimental Theatre Club in New York City has been the host of contemporary and international theatre artists for 52 years. You will have the opportunity to attend the performances, meet the artists, and participate in workshops led by them, as well as access the La MaMa archives on the history of international theatre in New York. Your personal "syncretic theatre journey" is enhanced by the observance of fellow theatre-makers and oneself that is informed concretely by the application of text, research, movement, music, design, puppetry, and multimedia, as well as social and political debate in class. Coordinators of the La MaMa International Symposium for Directors, David Diamond and Mia Yoo, will host you in New York City, where you will exchange ideas with visiting and local artists: Yara Arts Group and artists of the Great Jones Repertory Theatre. Historical and contemporary experimental directors Vsevold Meyerhold, Richard Forman, Dawn Monique Williams,Cecile Pineda, and Karen Coonrod—and playwrights Eugene Ionesco, Mac Wellman, Lynn Nottage, Cherlene Lee, and Frederico Garcia Lorca—will be discussed.
Far-Off, Off-Off, Off, and On Broadway: Experiencing the Fall 2013 Theatre Season
Weekly class meetings in which productions are analyzed and discussed will be supplemented by regular visits to many of the theatrical productions of the current season. The class will travel within the tristate area, attending theatre in as many diverse venues, forms, and styles as possible. Published plays will be studied in advance of attending performances; new or unscripted works will be preceded by examinations of previous work by the author or company. Students will be given access to all available group discounts in purchasing tickets. This class meets once a week.
London Theatre Tour
The purpose of this course is to experience and examine present-day British theatre: its practices, playwrights, traditions, theatres, and artists. This is a two-credit academic course, and any student enrolled at Sarah Lawrence College is eligible to take the class. During two weeks in London, students will attend a minimum of 12 productions, tour various London theatres, meet with British theatre artists, attend regularly scheduled morning seminars, and make an oral presentation on one of the plays that the group is attending. Plays will be assigned prior to the end of the fall semester, and preparation and research for the presentation should be complete before arriving in London. Productions attended will include as wide a variety of venues, styles, and periods of theatre as possible. Seminars will analyze and critique the work seen, as well as discover themes, trends, and movements in the contemporary theatre of the country. Free time is scheduled for students to explore London and surrounding areas at their leisure.
DownStage is an intensive, hands-on conference in theatrical production. DownStage student producers administrate and run their own theatre company. They are responsible for all aspects of production, including determining the budget and marketing an entire season of events and productions. Student producers are expected to fill a variety of positions, both technical and artistic, and to sit as members of the board of directors of a functioning theatre organization. In addition to their obligations to class and designated productions, DownStage producers are expected to hold regular office hours. Prior producing experience is not required. This class meets twice a week.
Production Workshop
The creative director of the Theatre program will lead a discussion group for all the directors, assistant directors, and playwrights participating in the fall theatre season (including readings, workshops, and productions). This is an opportunity for students to discuss with their peers the process, problems, and pleasures of making theatre at Sarah Lawrence College (and beyond). This workshop is part problem solving and part support group, with the emphasis on problem solving. This course is required for directing, assistant directing, and playwriting students whose productions are included in the fall theatre season. This class meets once a week.
Stage Management
This course is a hands-on laboratory class in the skills, practices, and attitudes that help a stage manager organize an environment in which a theatrical team can work together productively and with minimum stress. Classroom exercises and discussion augment the mentored production work that is assigned to each student. Script analysis, blocking notation, prop management, and cue writing/calling are among the topics covered. Knowledge of and practice in stage management are essential tools for directors and useful supplements for actors and designers. This class meets once a week during the fall semester and will be taught by Ms. Minsky; spring semester, taught by Ms. Sealander, is devoted to mentored production practicums.
Tools of the Trade
This is a stagehand course that focuses on the nuts and bolts of light and sound board operation and projection technology, as well as the use of basic stage carpentry. This is not a design class but, rather, a class about reading, drafting and light plots, assembly and troubleshooting, and basic electrical repair. Students who take this course will be eligible for additional paid work as technical assistants in the theatre department. This class meets once a week.
Internship Conference
For students who wish to pursue a professional internship as part of their program, all areas of producing and administration are possible: production, marketing, advertising, casting, development, etc. Students must have at least one day each week to devote to the internship. Through individual meetings, we will best determine each student's placement to meet individual academic and artistic goals.
Graduate Student Components
Grad Lab
Taught by a rotating series of Sarah Lawrence faculty and guest artists, this course focuses on developing the skills needed for a wide variety of techniques for the creation and development of new work in theatre. Ensemble acting, movement, design and fabrication, playwriting, devised work, and music performance are all explored. The class is a forum for workshops, master classes, and open rehearsals, with a focus on the development of critical skills. In addition, students in Grad Lab are expected to generate a new piece of theatre to be performed each month for the Sarah Lawrence community. These performances may include graduate and undergraduate students alike. Required for all Theatre graduate students. This class meets once a week.
Contemporary Collaborative Performance: Grad Projects I
This course will provide a critical and supportive forum for the development of new works of original performance, focusing primarily on where current dance and theatre combinations find inspiration. In the first semester, students will explore contemporary theatre-building techniques and methodologies from Dada to Judson Church and beyond. The majority of time will be devoted to lab work, where students will create their own short performance pieces through a multidisciplinary approach. Students will be asked to devise original theatre pieces that utilize methods such as solo forms, viewpoints, chance operations, and creations from nontheatrical sources. In addition to the laboratory aspect to the class, a number of plays, essays, and artists' manifestos will be discussed. In the second semester, students will collaborate on a single evening-length work, utilizing theatrical and nontheatrical sources in an attempt to speak to our cultural moment. Please note: The second semester will require additional developmental/rehearsal time outside of class. In addition to class work, there will be several opportunities to visit rehearsals and performances of professional theatre and dance in New York City. Open only to first-year graduate students and required for all first-year Theatre graduate students. This class meets once a week and will be taught by Mr. Neumann in the fall. Faculty for the spring is currently tba.
This course will provide a critical and supportive forum for the development of new works of original theatre with a focus on conducting research in a variety of ways, including historical and artistic research, workshops, improvisations, experiments, and conversation. Each student will focus on creating one original project—typically, but not limited to, a solo—over the course of the full year. During the class, students will show works in progress. During conference, students and faculty will meet to discuss these showings and any relevant artistic and practical problems that may arise. This class meets once a week and is required for all second-year Theatre graduate students.
Theatre students may be invited to participate in outside programs, including:
The London Theatre Program (BADA)
Sponsored by Sarah Lawrence College and the British American Drama Academy (BADA), the London Theatre Program offers undergraduates from Sarah Lawrence an opportunity to work and study with leading actors and directors from the world of British theatre. The program offers acting classes with leading artists from the British stage. These are complemented by individual tutorials, where students will work one-on-one with their teachers. A faculty selected from Britain's foremost drama schools teaches technical classes in voice, movement, and stage fighting. This intense conservatory training is accompanied by courses in theatre history and theatre criticism, tickets to productions, and the experience of performing in a professional theatre. In addition, master classes and workshops feature more of Britain's fine actors and directors. Designed for dedicated students who wish to study acting in London, the program offers enrollment in either the fall or spring semester for single-semester study. Those wishing to pursue their training more intensely are strongly encouraged to begin their training in the fall and continue with the Advanced London Theatre Program in the spring semester. Audition required.
La MaMa E.T.C. sponsors two summer events in Umbria, Italy, in conjunction with Sarah Lawrence College: International Symposium for Directors, a three-week training program for professional directors, choreographers, and actors in which internationally renowned theatre artists conduct workshops and lecture/demonstrations; and Playwright Retreat, a one-week program where participants have ample time to work on new or existing material. Each day, master playwright Lisa Kron will meet with the playwrights to facilitate discussions, workshops, and exercises designed to help the writers with whatever challenges they are facing. More information is available at http://lamama.org/programs/umbria/.


text:
by Graham Swift; Knopf, 2012; 319 pages; $25
Even the most insignificant actions inform our lives. It is that idea that Graham Swift continues to explore with the preciseness of observation Henry James perfected. In "Wish You Were Here," Swift reflects recent British and world terrors through the seemingly insignificant actions of a seemingly insignificant man. The results are shattering.
The novel is set late in 2006. England has recently survived the terror of mad-cow disease. The world still flinches every time it remembers the terror that the attacks on the World Trade Center engendered. And Jack Luxton is still smarting from selling his family cattle farm at the insistence of his wife, Ellie.
The Luxtons now run a vacation caravan park known as The Lookout on the Isle of Wight. Jack and Ellie grew up together, bonded by an abundance of family tragedies. Jack's mother died horribly; Ellie's deserted the family for another man. Jack's father, Michael, died violently; Ellie's father soon followed.
Jack's brother Tom, eight years Jack's junior, always seemed the apple of his mother's eye. Once she dies, Jack comes to think of himself as the buffer between Tom and their father. On his 18th birthday, Tom quietly leaves the farm, Jack listening from his own bed. Tom becomes a Special Forces sniper, only to die in a bomb attack during the Iraq War.
Tom's death shakes Jack and Ellie's marriage to its core. Both husband and wife learn that even their world is a precarious place, that anything that has happened — because of them and despite them — will have an impact on their lives. There exists what Swift terms, with his scrupulous irony, "a larger, unlocal malaise of insecurity."
That "insecurity" eventually manifests itself as an indefinable terror. No manner of "looking out" or of "taking care" matters — not even the two trips Jack remembers from his youth, trips he tells himself he magnanimously took with his younger brother, caravan trips he remembers as "the best times of his life up to that time."
Tom moves on; Jack remains on the farm. Jack "better not move on and see what else might be going, because he might end up having nothing … Jack was a sticker, a settler. He didn't have the moving-on instinct, or he never really thought he could move on." Yet Tom, "a mover-on and leaver-behind," is to be buried as Jack has had to bury their parents, even had to bury Tom's dog, Luke.
The real achievement of "Wish You Were Here" lies in Graham Swift's restrained elegance of language as he examines the subtleties of human interaction with a terror that cannot be given a face. That quality is epitomized by a British Campaign Medal from World War I. It's a Distinguished Conduct Medal given to one of a pair of Luxton twins, a medal that has had a bearing on the lives of all the Luxtons since then.
The irony is that Britain wasn't really sure the medal had been issued to the correct twin, but no matter. That existential irony is at the heart of this consummately executed exploration of the caprices of a world that seems to have few answers for our questions, a world that seems terrified to provide satisfactory definitions for family and heroism and love and hope.
Steven Whitton is a professor of English at Jacksonville State University.


text:
Two cream, two sugar in a Tim Horton's Coffee (Canada's most popular donut/coffee shop)
"I'd like a large double-double and an old fashioned plain donut please."
από Bruce McDonald 10 Απρίλιος 2006
178 65
A Canadian term used to describe how you take your coffee - two teaspoons of sugar and two creams. Preferably used in any Tim Hortons location.
Server at your local coffee shop: Can I take your order?
You: Ya, I'll have a medium double-double.
You: Ya, I'll have a medium double-double.
από Tania J 24 Σεπτέμβριος 2004
405 88
A way Canadians order coffee, meaning double cream and double sugar. Most commonly heard at Tim Hortons coffee chain. Even in Quebec the same term is used but pronounced in French of course.
I'll have a large double-double and a boston cream donut.
από Neil Jamieson 26 Απρίλιος 2004
429 172
A burger at IN-N-OUT with two meat and two cheese.
Yeah, I'll have a double double animal style with animal fries and a large lemonade.
από Mike 12 Απρίλιος 2005
225 94
The Canadian term for a coffee with double cream, double sugar.
*ordering at a coffee shop* "Could I get a double-double and a donut?"
από Manchester Rain 16 Οκτώβριος 2005
178 73
double double
A coffee from Tim Horton's, a coffee and donut chain in Canada and north east USA. A double-double is two cream two sugar in your coffee.
A coffee from Tim Horton's, a coffee and donut chain in Canada and north east USA. A double-double is two cream two sugar in your coffee.
You going to Timmy's, get me a double-double.
από Rick Barnes 1 Απρίλιος 2008
90 41
2 glasses of wine, followed by 2 shots of espresso
;Cures sleepless anxiety
;Normally a lunch time fix
;Cures sleepless anxiety
;Normally a lunch time fix
Hey Stephanie! Lets go to that Irish Pub, then to Starbucks, cuz i need a double double STAT!
από sweetgrassnyc 2 Σεπτέμβριος 2011
11 14


text:
May 14, 2012
Dominion Virginia Power will face additional federal oversight at its North Anna Nuclear Power Station in central Virginia because of a safety violation related to its emergency diesel generators, the U.S. Nuclear Regulatory Commission said Monday.
Federal regulators said inspectors found that a gasket failure prevented one of the four diesel generators from performing its function following the August 5.8-magnitude earthquake. The failed gasket was not caused by nor related to the earthquake. While the gasket was replaced the same day, inspectors found the plant did not have adequate procedures for installing it.
Richmond-based Dominion discussed the issue with federal regulations in April. The NRC has deemed it a "white" violation, or being of low to moderate safety significance. The NRC evaluates performance at commercial nuclear power plants with a color-coded system that classifies findings as green, white, yellow or red, in increasing order of safety significance.
Dominion spokesman Rick Zuercher said the energy provider isn't challenging the NRC's findings but said the issue never posed any public threat and that maintenance procedures have been improved at the plant about 40 miles northwest of Richmond.
Additionally on Monday, the NRC said that after meeting with Dominion, it found no violation at the company's nuclear power plant in Surry.
The NRC had said last month that inspectors found Dominion failed to provide appropriate maintenance procedures for a standpipe that indicates coolant levels in one of the reactors at its Surry plant during maintenance activities. In a letter to Dominion on Monday, regulators said that the basis for the preliminary finding and apparent violation described in the inspection report are "no longer valid."
Dominion Virginia Power is a subsidiary of Dominion Resources Inc., one of the nation's largest producers and transporters of energy. It serves retail customers in 15 states and ha
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"Julia (married, 33 years old) came to see me on the advice of her doctor. She was suffering from recurring …[tension]…. Medical investigation revealed no obvious cause and her doctor was concerned that Julia's…[tension] was psychological in origin. … Apart from the stress related to caring for a young family, Julia did not seem to have any particular problems which could be causing her [tension] …and there was no sign of an underlying problem from her childhood… I put her on a detox diet and recommended that she take MiGone Plus daily, cautioning her that it might take a month or more for her to see positive effects. During the first week, Julia's …[tension] continued and she used PureCalm to relax and help…By the second week, her …[tension] was less frequent and much less severe and Julia was beginning to see light at the end of the tunnel…"- Michele Carelse, Clinical Psychologist
"After years of …[tension] I tried MiGone Plus. I am now completely off the… tablets for the first time since I can remember."- William, UK
"I had stress induced… [tension] at least once a week ever since my son was born 3 1/2 yrs ago. …I tried MiGone Plus about 5 months ago. I figured what could I lose…I never thought it could be possible… Thank you so much for such a wonderful product! "- Natalie, PA, USA
"I have had a history of …[tension] since my 2nd child 1976. I have been to many doctors, tried many things.... Either, nothing worked or I would have a reaction or sensitivity to it. Needless to say there were days of time with my family, work and church that I missed. …When coming across this site I figured what did I have to lose. I have followed the instructions on MiGone Plus. I am so very happy to say that after 1 week the …[tension] was gone or was waning and less intense. I would even take MiGone Plus when I would feel [it] coming on. To be relieved of the … light and sound sensitivity has given me more that I could have ever wanted. This one product has changed my life. Needless to say there are several other products that I am using from Native Remedies. One is the Detox Drops because of the damage to my liver... I hope to soon have my energy back. But to be free of …[tension] in 6 weeks is just a blessing. Thank you for your high level of products and production and concern for the health of others."- Melissa, Al, USA
"I wanted to write and recommend MiGone Plus to anyone who suffers from… [tension] like I do. It has made a tremendous difference!"- Steward, USA
"I have recently used your Natural products for severe… [tension]. For many months I have been trying various…[things], and have in fact been referred to a specialist because of the lack of relief I have received… I decided to ship to England your products; I have combined the MiGone Plus with PureCalm and have received an amazing relief from my problems. I have used the products for three weeks and they have changed the quality of my life completely. I wholeheartedly endorse these products, and have become an Affiliate of this company. Thank you NativeRemedies.com "- David, USA
"For a number of years I have suffered from …[tension], the past 18 months have been particularly difficult and resulted in around six days a month where I was incapacitated... I tried MiGone Plus and have not had …[tension] since commencing use of this product around 4 months ago. It is so wonderful to finally have a clear head... Thank you so much."- Kerrie, Australia
"My …[tension] is linked to stress and…I had all sorts of tests but they could find nothing wrong with me. My doctor suggested that I take medication, which I did not want to do, so I tried MiGone Plus. After two weeks the …[tension] became less and less frequent…I really can't see why doctors don't recommend MiGone!... Thanks for your help!"- Melinda, USA
"I took MiGone Plus as you recommended and I am very happy with the results. I just wanted to let other folk know that I recommend MiGone Plus without hesitation for …[tension]"- Lorna, USA
"I had …[tension] so bad that I was out of work often and couldn't cope… MiGone Plus is easy to take. It has no side effects. I have been taking it for six weeks and except for one mild …[problem] in the first week, I haven't had …[tension] since, touch wood."- Phyllis J., USA
"Thank you for your wonderful products, especially MiGone Plus! I have been a sufferer of …[tension] since my teens and no one could find the cause. The money I spent on medication was no joke and it always made me feel sick the next day. Since taking a course of MiGone Plus I have only had one attack, which was quite mild and went away sooner than usual."- Karen, USA
"I recommend the MiGone Plus elixir to anyone who'll listen. I haven't had bad …[tension] since finishing the 3rd bottle - about 3 months ago. I'm now enjoying the first real relief from ear [problems] (a result of a vehicle accident 5 years ago) with the ear drops. The sinus drainage and wax buildup is finally under control. Now, do you have anything for ringing ears…)?"- Denise N.


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01 nomad mint cond. garage kept, one owner, never dropped or laid down must see to appriciate many custom touches 121/2 apes ostrich skin grips V&H bagger duels braided cable and lines fuel processer almost new tires 1yr old battery custom paint and much...More info Email a friend
06 Boulevard ready to go riding. It comes with 2-driver sets 2-passenger sets. You Get 2-helmets ,all the leather goes too . You will have everything you need to get out and ride. Garage kept . This bike can be dressed out in 30 min. for a long road trip...More info Email a friend
Like new - only 10,000 miles - full windshield - passenger backrest - hard leather saddlebags - custom Road Burner 2 into 2 exhaustMore info Email a friend
BURGUNDY-BLACK TWO TONE, GARAGED, H-D COVER, REMOVABLE WINDSHIELD, NEW GRIPS, TUNED, 12,300 MILES, NEVER DOWN, EXTRA CHROME, CORBIN SHOTGUN SEAT, SCREAMIN EAGLE PIPES, PACKAGE RACK, SADDLE BAGS, H-D HELMUT + 2 OTHERSMore info Email a friend
Triumph Bonneville EFI, 2010, 8000 mi +; Blue/White, Windscreen, new rear tire avail,asking $6,000/OBO. Call Zeb @ Sandhill Cycle Inc: 910-295-9033/South on Rt 15-501 below Carthage, NC or Rt 15-501 N of Pinehurst, NC traffic circle off Rt 1/Open House ...More info Email a friend
Low mileage 42238. Great Bike!! Always sheltered and covered. No free rides.More info Email a friend
2008 Yamaha YZ250 in good shape. Very fast. Runs great.More info Email a friend
HARLEY DSG '03, 100th Anniv Edi, gun metal blue, 88ci, low mi $8500. 919-879-8045More info Email a friend


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Hundreds chart
Curriculm LocationBlue
Hundreds Chart - Print and keep a copy handy
Hundreds chart
A mathematics curriculum based activity that teaches Hundreds Chart - Print and keep a copy handy which are part of Numbers mathematics.
Hundreds chart is an online mathematics game that helps inspire children learn, motivates them with fun and allows them to achieve higher in Numbers mathematics.
Hundreds chart
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Used by over 70,000 teachers and 1,000,000+ students.
Keywords and information on Hundreds chart mathematics activity
The online mathematics activity Hundreds chart is in the bility group Blue. This activity is part of the lesson group Numbers and in the focused subgroup of Hundreds Chart - Print and keep a copy handy
This mathematics Numbers activity is 1 of 1000's of online games, worsheets and videos available to members.


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The Pew Charitable Trusts is driven by the power of knowledge to solve today's most challenging problems. Pew applies a rigorous, analytical approach to improve public policy, inform the public and stimulate civic life.
Apr 10, 2012
Most Americans continue to say they are hearing a mix of good and bad news about the nation's economy, though the percentage hearing mostly bad news has ticked up since last month.
Nearly six-in-ten (57%) say they are hearing mixed news about the economy, 30% say they are hearing mostly bad economic news and 11% say they are hearing mostly good news, according to the latest weekly News Interest Index survey, conducted April 5-8 among 1,000 adults by the Pew Research Center for the People & the Press. The survey was in the field when a new federal jobs report was released April 6 that showed worse than expected job growth in March but a slight dip in the unemployment rate to 8.2%.
In early March, 62% said they were hearing mixed news about the economy, while 24% said they were hearing mostly bad economic news. Just as in the latest survey, 11% said they were hearing mostly good news.
Read the full report, Majority of Americans See Economic News as Mixed, on the Pew Research Center for the People & the Press' website.
The Pew Health Group's new Web site informs and engages people about issues that affect their health and well-being.
Spring 2012
Read articles on improving elections, the changing news environment, improving school lunch standards, and more.
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Texas State MLM Law
MLMLegal.com has tracked pyramid, consumer protection, endless chain, and MLM distribution statue legislation in each state.
The following is applicable legislation in Texas State:
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When I access my work email system in OSX, I run a terminal command looking like this:
and then terminal prompts me for my password, I enter it, and I get a confirmation message that I have logged in.Code:ssh -L 5555:xxx.yyyy.com:5555 -p 2222 email@example.com
I then open a browser and access our email client through http://localhost:5555
I want to do this with my iPhone.
Using Term-v1100, I have no troubles executing the previously mentioned command, I input my password and voila, I'm in. However, once I go to open Safari, using either Summerboard or the Sunburst Dock app, Term-v1100 resets. It basically closes down, and my connection is dropped.
I have tried using the nohup command and then my command, but running
basically nothing happens and I am never prompted for my password.Code:nohup ssh -L 5555:xxx.yyyy.com:5555 -p 2222 firstname.lastname@example.com
The easiest way to get this working, must be to either:
- Have Terminal running in the background while I use Safari to browse my email
- Find a way to get the system to "remember" the ssh command so it does not "reset" once terminal gets closed down
Does anybody have any ideas what so ever how this could be done?
Is there any way to CMD+TAB in iphone?
Thank you.