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5 results for "Dramatic arts--North Carolina"
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Record #:
36091
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Before Sandra Bullock answered the siren call of the silver screen, she became known for her acting endeavors on a smaller stage, cast in ECU’s productions such as Stage Door. This work led to her dramatic experience on a larger stage: New York’s. This helped to open another door decades later, her reputation as a famous ECU alum.
Record #:
36099
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Clifton Britton took center stage in ways that went beyond revitalizing the Maskers as the Chi Pi Players. His master’s thesis became a handbook for high school English teachers who directed plays. His stage manager and directorial accomplishments included The Lost Colony.
Record #:
28059
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At the University of North Carolina, the Process Series helps creators develop new works. Directed by Joseph Megel, the series helps artists performing new works on stage. The series helps mentor and critique the works, offering feedback to the artists. All six works that received help from the series and Megel will be performed in North Carolina.
Source:
Independent Weekly (NoCar Oversize AP 2 .I57 [volumes 13 - 23 on microfilm]), Vol. 26 Issue 44, November 2009, p24-25 Periodical Website
Record #:
15500
Abstract:
The development of the dramatic arts in North Carolina has been quite interesting. Beginning with the Gifford Strolling Players as early as 1780s, North Carolina has been the home to many actors and movie stars. In 1793 New Bern vied for theatrical preeminence with the first theatrical performance given by pupils of the North Carolina school. Theatrical excellence continued in men such as John Augustin Daly, noted playwright and produce, born in Plymouth, and William Churchill DeMille, playwright, born in Washington.
Source:
The State (NoCar F 251 S77), Vol. 3 Issue 41, Mar 1936, p16, 30
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Record #:
34446
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In the early 20th century, North Carolina historians and civil leaders were interested in promoting a white Anglo heritage commemorating the State’s 1587 “founding.” This interest, coinciding with the U.S. entrance into the First World War, aimed to strengthen North Carolinians’ awareness of English heritage and to justify white supremacy. Central to the public promotion of this heritage was a civic pageant, written by Frederick Koch and performed in 1920, which used Sir Walter Raleigh as a model of democracy, set in opposition to modern “threats” of anarchy and communism.
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