Tamara is a 1981 play by John Krizanc about the painter Tamara de Lempicka. The play is based on the historical meeting of Gabriele d'Annunzio and de Lempicka. D'Annunzio had hired de Lempicka to paint his portrait, and invited her to his villa at Gardone Riviera on the southwest bank of Lake Garda, a villa now known as Il Vittoriale degli Italiani.
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Style [link]
The play draws the audience into a labyrinthine story which reflects complicity in civic responsibility. De Lempicka declines to use her voice despite the power given it through her cultural preeminence. She sells her art to the highest bidder without commentary.
In Tamara the barrier between spectator and actor has been dissolved; the spaces intermingle, and spectators become actors on many stages. Tamara is postmodern theatre performed in a large house with ten actors performing simultaneous scenes in several different rooms; at other times there is simultaneous action in eleven rooms. The spectator can accompany the character of their choice and experience the story they choose, knowing that with the simultaneous performances they cannot experience the whole play. Thus the members of the audience make a series of choices, and depending upon these choices, each spectator creates their own individual viewing of the play from point of view they develop.
See interview with John Krizanc, in Tamara Journal, which is named after the play he wrote.[1]
Productions [link]
It was premiered at Strachan House in Trinity-Bellwoods Park, Toronto, Canada on May 8, 1981 and published as a book the same year.[2] Tamara won two Dora Mavor Moore Awards in 1982 -- one as outstanding new play, and another as outstanding production.[3] In May, 1984, Tamara opened in Los Angeles, where it would run for nine years.[4][5] The Art Deco-styled American Legion Hall on Highland Ave in Hollywood was used as the venue. The hall was originally decorated with about a dozen paintings by the title character, Tamara de Lempicka, drawn from various collectors including Barbra Streisand and Jack Nicholson, until the insurance costs proved prohibitive.[4] Soon after the play opened in New York in 1987, it starred Anjelica Huston as de Lempicka; Huston had first played the role in Los Angeles.[6]
In 2002, a 20th anniversary production was mounted in Toronto.[5]
Structure [link]
There are five key choices in the play:
- 1. As characters leave and separate from a room, which will you follow?
- 2. Or will you wait and see who shows up in one or several rooms?
- 3. Will you follow the same character all the time, or switch characters as the play progresses?
- 4. Will you stay with a friend, or each adopt different strategies?
- 5. How will you respond when an actor gives you instructions (i.e. to follow them, or wait in the room, etc.)?
Responses [link]
In 1995 Boje wrote an article for Academy of Management Journal about the play, and how people coming to a room in the play from different room sequences, will have very different organizational storytelling sensemaking of what is happening.[7]
References [link]
- ^ Krizanc, John & D. M. Boje. Special Feature: Tamara Journal Interview with John Krizanc. Tamara Journal. Vol 5 (3): 70-77; Boje, D. M. Hyperion Responsorial: Tamara Organizing, Reply to Krizanc, pp. 81-85. Click here for Interview and response pdf
- ^ "Spying on a unique drama," The Globe and Mail, 11 May 1981, Ray Conlogue
- ^ "An outstanding night for Tamara," by Carole Corbeil, 16 November 1982, The Globe and Mail
- ^ a b "The little play that grew," Stephen Godfrey, 26 December 1985, The Globe and Mail
- ^ a b "Tamara the trail-blazer returns in April --- More than 20 years after it astonished audiences, show returns to Toronto," Martin Knelman, Toronto Star, 2 October 2002
- ^ "Anjelica Huston to Star In Drama Off Broadway," The New York Times, 18 August 1987
- ^ Boje, D. M. 1995. "Stories of the Storytelling Organization: A Postmodern Analysis of Disney as 'Tamara-land.'" Academy of Management Journal. 38(4): 997-1035. The article applied critical postmodern storytelling perspective to the Tamara play by looking at Disney corporate narratives, contrasting official (hegemonic) and more (corporately) marginalized stories Boje 1995 Academy of Management Journal.
External links [link]
https://wn.com/Tamara_(play)
List of Princess Gwenevere and the Jewel Riders characters
The following is the list of principal fictional characters from the children's animated series Princess Gwenevere and the Jewel Riders (also known as Starla & the Jewel Riders outside of North America). The series follows the quest of a young princess of Avalon, Gwenevere (Starla), and her friends, Fallon and Tamara, to find and secure the scattered enchanted jewels and thus stop the evil Lady Kale from taking over the kingdom, restore harmony in magic, and bring the banished wizard Merlin home. In the second season, the Jewel Riders receive more powers and new costumes to battle Kale and the mighty Morgana for more magical jewels that too need to be kept out the grasp of dark forces.
The titular trio of teenage Jewels Riders consist of Gwenevere / Starla (voiced by Kerry Butler in the first season and Jean Louisa Kelly in the second season), whose Special Friend is the winged unicorn Sunstar (Deborah Allison), and her friends: Fallon (Allison), riding Moondance the unicorn (Barbara Jean Kearney), and Tamara (Laura Dean), who in the second season gets the "zebracorn" Shadowsong (Henry Mandell). Each of their Jewels has different magical abilities and their own colors and corresponding gemstones of various powers, also allowing them to communicate with their animals.
Tamara (2005 film)
Tamara is a 2005 Canadian-American horror film, released only in select theatres by City Lights Pictures, a Manhattan-based production company.
Plot
Tamara Riley is a shy and unattractive but intelligent girl who likes witchcraft and has a crush on Bill Natolly, her handsome English teacher. When a critical article she writes about the school's athletes is published, two of the star athletes, Shawn and Patrick, want revenge. Tamara attempts to perform a magical ritual to bind her fate to that of her teacher, but when she must spill her own blood she ceases the ritual. That night, a prank is orchestrated by Shawn and Patrick, along with Shawn's girlfriend Kisha. Shawn calls Tamara, impersonating Mr. Natolly, and invites her to a motel room. A video camera is placed there and catches Tamara undressing. Shawn, Patrick, and Kisha watch this, along with three others who did not know about the prank (Chloe, Jesse, and Roger). Shawn comes in and taunts Tamara, and Tamara is accidentally killed in a struggle. Despite Chloe's demands that they inform the police, she is blackmailed into helping bury Tamara. However, they are shocked when Tamara walks into class, looking more attractive than ever before. They convince themselves that she was only unconscious and dug her way out of the ground. That night, while Roger is watching a movie in the school AV room, the image on the screen suddenly changes to the video of Tamara's murder.
Jam!
Jam! is a Canadian website, which covers entertainment news. It is part of the CANOE online portal, owned and operated by Quebecor through its Sun Media division.
Jam! is currently the only media outlet that publishes a comprehensive collection of the official Canadian record charts as compiled by Nielsen SoundScan and Nielsen Broadcast Data Systems.
CKXT-TV, Sun Media's television station in Toronto, aired a nightly entertainment magazine series, Inside Jam!. However, due to low ratings the program's airtime was reduced substantially. Effective March 24, 2006, the show went from a daily program to a weekend only show, before later being removed from the schedule altogether. One of the hosts of the show, Chris Van Vliet, announced on the programme in February 2010 that he would be leaving the show to join the CBS affiliate in Cleveland as their entertainment reporter. His co-host Tara Slone re-located in August 2010 to Calgary to become co-host of Breakfast Television on CityTV Calgary.
Standard Test and Programming Language
JAM / STAPL ("Standard Test and Programming Language") is an Altera-developed standard for JTAG in-circuit programming of programmable logic devices which is defined by JEDEC standard JESD-71.
STAPL defines a standard .jam file format which supports in-system programmability or configuration of programmable devices. A JTAG device programmer implements a JAM player which reads the file as a set of instructions directing it to programme a PLD.
The standard is supported by multiple PLD and device programmer manufacturers.
References
Epistle of James
The Epistle of James (Ancient Greek: Ἰάκωβος Iakōbos), the Book of James, or simply James, is one of the twenty-two epistles (didactic letters) in the New Testament.
The author identifies himself as "James, a servant of God and of the Lord Jesus Christ," who is writing to "the twelve tribes scattered abroad" (James 1:1). The epistle is traditionally attributed to James the Just, and the audience is generally considered to be Jewish Christians who were dispersed outside of Palestine due to persecution.
Framed within an overall theme of patient perseverance during trials and temptations, James writes to encourage believers to live consistently with what they have learned in Christ. He desires for his readers to mature in their faith in Christ by living what they say they believe. James condemns various sins including pride, hypocrisy, favoritism, and slander. James encourages believers to humbly live Godly wisdom rather than worldly wisdom, and to pray in all situations.
Composition
Podcasts:
-
by Mos Def
-
by Pitbull
-
by Jermaine Dupri
-
by Cardan
-
by Newcleus
Jam On It
by: Mos DefTo all my people in the back jam on it {Right}
To all my people in the front jam on it {ha ha, ha ha}
To all my people on the side jam on it {he he, he he, right}
So jam on it, say what
[Mos Def]
The sweet old beats my speech radiates
I grab the mic my voice resulates and penetrates
I make the "B-Boy" emulate
A buck-fifty still swinging like a heavyweight
Me and the lounge about to levitate
You don't believe let me demonstrate
The way we make cats disintegrate
[Voice]
Well hold up you got to stop the tape
You got to prove you can rock the bricks
Me and my man going to investigate
The whole way that you operate, cooperate
And what's your name? {Mos Def}
And where you from? {Brooklyn}
And how you living {Very well, very well}
Damn you had to say it twice? {That's right}
So you nice? {Damn right}
[Mos Def]
I rock the party all night all night
{All right, all right}
So why you over here ripping with me?
Trying to prove you position to me?
{Some cats ain't equiped to MC}
But you can see I'm different "G"
The universal magnificently
I rock the party eficiently
From the Brooklyn but centered to (?)
And I do it so lyrically
That you got to give it to me
Like Rick James, I kick game and spit flame
Burning rappers all up out their frame
We get into this vein
From Brownsville all the way down to Brisbean
{Damn this brother's flow is insane}
That's what I've been trying to explain
Got no time to play games
Keep it coming like the next train
Make the party people exclaim
Whenever they hear my name
They go "Mos Def"
Oh yes my style is so fresh
Guranteed to win any MC contest
Old school like the eighty-four fresh dress
You spend you assets to get my cassette
Now that's fresh, the red hook address
Make a cop jealous swell like abscess
I'm shoutin' bigs up to Medina and the rest
Bout' to drop it on your block a high on the press
[Chorus with singing in backround]
I said people in the front jam on it {Say what, say what}
To all my people in the back jam on it {Say what, say what}
To all my people on the side jam on it {Ha ha, ha ha}
Jam on it, Ha ha, ha ha
To all my people in the front jam on it
To all my people in the back jam on it
To all my people on the side jam on it
So jam on it, ha ha, ha ha
[Mos Def]
You see my name is Mos Def and my style will never pest
Brown skinned body-rocking MC
I got the black zodiac and you know it's never whack
Sagitarius definatley
You see it's me and lyricist and we're getting serious about to make another hit
I tell your homeboy chill cuz' his style ain't ill but it's straight up counterfeit
You see I'm fast or bent or sweet then bullet and when I'm on the set
All the hip-hop fans just raise they hands because the one and only mighty Mos Def
You see I come into the party in a "B-Boy" stance I rock the mic so viciously
So all the real "B-boys" and real "B-Girls" never know others better than me
[Voice]
I said hey Mos Def you can't steal the show
You ain't the only MC out here with flow
I'm the Pro-Castro and I'm letting you know
That I get on the mic and go toe to toe
[Mos Def]
Well cool young brother and just slow you role
Cuz' your arm's to shook to have mic control
See I get on the mic and jump off your case
You best get out my face and stay in a child's place
[Voice]
See I get on the mic because I know I can
And I'm fresher than you because I know I am
So when I jump on the stage you better step back
Because your name is Mos Def but your really Mos Whack
[Mos Def]
Uh listen up little brother you ain't grown
The sun is going down you need to take you butt home
And come outside with your whack freestylin'
You should have kept it in the house like Debbie Galler
When I grab the microphone people scream my name
The ain't no sesame street this is a grown-man's lane
See you best heed my words and listen up
Or I'm a tell your momma to whip your butt
[Voice]
Well you ain't my daddy and I'm letting you know
That you can't tell me when it's time to go
See I get on the mic and show you what it's about
Cuz' even my momma said knock you out
[Mos Def]
Well if you didn't know baby boy I'm a tell ya'
You need to learn to respect your elders
But since you here and you think you got skill
Then get on the mic and show your real
[Voice]
Well I'm the devastatin' never fakin'
Always keep your body shakin'
Steady rockin' never stoppin'
Keep your body always jockin'
Rock the beat, shock the beat
Till' it's time to stop the beat
Steady moving show improvement
Keep the party keep on groovin'
[Mos Def]
Well hey young blood that was fresh
You just got one hundred on your MC test
You got a soul-shocking body-rocking set you see
You need to pack up your bags and get down with me
[Chorus with singing in backround]
So jam on it, so jam on it
I said jam j-jam j-jam on it
I said were rocking to the bright early morning
I said jam j-jam j-jam on it
This is the one to keep inside the jam
And make you get up and just do that dance
This is the one to keep inside the jam
And make you get up and just clap your hands
New York you got to jam on it
And Atlanta got to jam on it
And BK you got to jam on it
Got to jam on it, you got to jam on it
And Miami you got to jam on it
And California you got to jam on it
(?) got to jam on it
Got to jam on it, got to jam on it
Chicago got to jam on it
And Detroit cuz' they got to jam on it
And St. Louis got to jam on it
Got to jam on it, got to jam on it
The whole world you got to jam on it
And Brooklyn yes we got to jam on it
The "Lyricist" just to make you jam on it
Make you jam on it, make you jam on it
{And don't you hear the sound...}