1,128 research outputs found
The Far End of the Garden. A profile of choreographer Jonathan Burrows
No full textJonathan Burrows removing make-up; end of performance at Royal Opera House, Covent Garden; theatre bar; dancers rehearsing. Burrows’s VO talking about the curious relationship between the Jonathan Burrows Group and the Royal Ballet in which a small contemporary dance group has developed out of a larger organisation; he has stayed linked to the Royal ballet because this allows him the resources he needs to make his own work. Burrows walking through backstage corridors and store rooms; his VO talking about trying "to ignore arbitrary divisions between contemporary dance and ballet". Burrows rehearsing dancers. His VO talking about finding classical ballet too physically challenging; his projects having been done in spare time with dancers giving up lunch breaks, etc.; needing space to work in his own way. Rehearsal. VO says he has chosen to work with particular dancers, each of whom has an individual way of moving, and it prepared to try to do things in a different way. Rehearsal. Dancers talking about some of the differences between classical and contemporary dance. Burrows VO talking about being autocratic and having strong ideas about what he wants to happen. Burrows worries that three recent projects, Hymns, Dull Morning, and Stoics, all reached exactly the same audience and didn’t attract anyone new, and suggests that the contemporary dance audience is suspicious of anything linked to classical ballet. Rehearsal at The Place. Burrows VO says he would like more concentrated rehearsal periods, and to be able to tour more with his Group, but working with the Royal Ballet imposes constraints; he wonders about trying to find funding elsewhere. Jeremy Isaacs, General Director, The Royal Opera House, says that they would be sorry to see Burrows and his Group leave the Royal Ballet. Rehearsal. Burrows VO on wanting to go wherever he could continue his choreography and extend his audience. Kate Flatt, Choreographer, and VO talking about Burrows’s drive to create new work. Programme for performance of Stoics at The Place. People at box office and in restaurant. Dancers preparing. Burrows VO talking about the "violence" of the movement, and the audience response to it. STOICS (1991). Burrows saying that Stoics is so called in reference to ideas of English stoicism.Sir Kenneth MacMillan, Principal Choreographer of The Royal Ballet, talking about Burrows’s work, its "organic" nature and its "punctuation". Anthony Dowell, Director, The Royal Ballet, and VO on Burrows’s choreography. Further excerpt from Stoics. Burrows on his reasons for using The Blue Danube waltz. Further excerpt from Stoics. All four dancers. The Reverend & Mrs Burrows. Reverend Burrows VO on the long conversations he has with his son. Dancers in dressing room. Jonathan Burrows’s VO giving some biographical details. His father talking about his going to The Royal Ballet School at White Lodge. Burrows inside White Lodge, talks about the School’s aim to turn out people with "the right temperament and attitude". Flatt on Burrows’s interests outside dancing itself. Burrows talking about the "composition" course on choreography, and that Flatt and her co-tutor would urge their pupils to question what they did. Flatt on Burrows’s development. David Gothard, Riverside Studios 1978-1986, on how Burrows and others would work through the night at the Studios and would be influenced by each other. Burrows talking about becoming involved with Rosemary Butcher. Rosemary Butcher, Choreographer, says she was impressed by Burrows’s understanding of the modern dance movement. Burrows on working with Butcher. Photographs from Touch the Earth (1987) Butcher VO. Judith Mackrell, Dance Critic "The Independent", on the intelligence of Burrows’s characterisations. MacMillan on Burrows’s humour and acting ability. Dowell and VO (Burrows "Rehearsing the Kangaroo Rat solo from David Bintley’s Penguin Café") on how often Burrows is cast in small but important roles. Burrows and others performing a rapper sword dance in the piazza at Covent Garden. Burrows VO on learning Morris dancing at White Lodge, and how the very specific technique of Morris dancing has crept into his work. Flatt says that the inclusion of Morris technique in Burrows’s work has been organic rather than deliberate. Reverend Burrows agrees that Morris has influenced his son’s work, but adds that there has also been a rebellion against the traditional classical form. Pages from Burrows’s grandfather’s diaries, the basis for Dull Morning. Reverend Burrows’s VO saying how moved he was at this. Burrows talking about the "sad repetition" of the entries, each one beginning and ending with a comment about the weather, and with highlights being relatively insignificant events. DULL MORNING (1989). Rehearsal. Burrows VO on how he sees his future, the nature of dance, the impossibility of understanding dance "verbally". Burrows VO on his use of video to create a "movements diary". Isaacs believes that Burrows will one day create larger works which could be performed by the Royal Ballet if Burrows wants them to be. Gothard believes Burrows has the capacity to become a "key British choreographer". Isaacs would like to be able to fund new ventures. Gothard says that, in France, Burrows’s work would be properly subsidised. Burrows talks about a lack on money in Britain which can make it seem that not very much is happening when compared with Belgium and Holland. Burrows says he see himself as making "dance", not "ballet" or "contemporary" dance. HYMNS (1988), to harmonium accompaniment. Reverend Burrows: "it isn’t a send-up… it’s life." Credits
A catalogue of the best books in every department of literature; with complete author, subject, and title index.
No full textAlso issued for distribution by other firms with corresponding substitution of imprint and copyright but with omission of plates, preface, and p. 337-341, " a partial list of books published by the Burrows brothers company."Mode of access: Internet
The Far End of the Garden. A profile of choreographer Jonathan Burrows - ACE229.3
No full textSir Kenneth MacMillan, Principal Choreographer of The Royal Ballet, talking about Burrows’s work, its "organic" nature and its "punctuation". Anthony Dowell, Director, The Royal Ballet, and VO on Burrows’s choreography. Further excerpt from Stoics. Burrows on his reasons for using The Blue Danube waltz. Further excerpt from Stoics. All four dancers
Giant burrows in the Quaternary Limestones of Futaysi Island and Al Dabb'iya, Abu Dhabi Emirate
No full textPleistocene carbonates along the northern coasts of Futaysi Island and Al Dabb'iya tombolo, Abu Dhabi, U.A.E., contain unusual calcirudite-filled structures which are bowl- and funnel-shaped in vertical section; roughly circular in plan view; up to 1 m in diameter and 1 m deep. The calcirudite infill is dominated by clasts of reworked lithified smaller burrows and what appear to be fragments of beach rock or hardground. These structures were previously interpreted as marking the sites of former trees with holes, left behind by their root balls, infilled by a storm deposit and were considered to indicate an emergent event marking the boundary between two Pleistocene sedimentary sequences represented by the Futaisi (Futaysi) and Dabb’iya Members of the Fuwayrit Formation. However, they are here re-interpreted as giant burrows formed by some, as yet, unknown marine animal probably foraging for food or using them as dwelling sites which contained storm deposits emplaced in shallow water. Thin crusts on top of some giant burrow infills possibly suggest emergence and this would require a repositioning of the sequence boundary between the Futaysi and Dabb’iya Members. The burrows are believed to have been formed at approximately 75–125 Ka.<br/
Voter Education Panel
No full textJoin us on October 2nd at 4:00 in Cody Commons, MU to learn more about the power of your vote while enjoying free food! Our amazing panelists, Ella Burrows, Alex Johnson, Dr. Anthony Gabel, and Dr. Donnette Noble will explain the presidency, house, senate, and electoral college and answer your questions from the audience to help you prepare to vote
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George Frideric Handel: Collected Documents. Volume 5: 1750-1755
No full textThe life and career of George Frideric Handel, one of the most frequently performed Baroque composers, are thoroughly documented in a wide variety of contemporary sources. This multi-volume publication, the most up-to-date, fully annotated collection of these documents, presents them chronologically, providing an essential resource for anyone interested in Handel and his music. The collection also gives insights into broader topics such as court life, theatre history, public concerts, and music publishing. Volume 5 begins with the composition of Handel's last original scores for his London oratorio seasons – The Choice of Hercules and Jephtha. The death of the Prince of Wales curtailed his 1751 season and deteriorating eyesight delayed the completion of Jephtha. Nevertheless, his annual Lenten oratorios and Messiah performances at the Foundling Hospital continued. At the same time, his music was increasingly heard in the provinces and referred to in the new literary genre of the novel
Studies of burrows in recent sublittoral fine sediments off the west coast of Scotland
No full textThe burrows of the smaller macrofauna, principally polychaetes, bivalves and echinoderms are described from aquarium studies and from X-ray radiographs of boxcore subsamples obtained with a Reineck boxcorer from both sealochs and open marine sites encompassing a range of depths from 25-2l6m and sediments from sandy to fine muds. A model relating burrow types to depth is presented. Shallow sea loch sites are characterised by the deep U-burrows of the bivalve Thracia, deep sea lochs by a paucity of burrows due to the low oxygen levels found in the overlying waters. Shallow marine sites display a diverse suite of polychaete burrows and tubes and the burrows of the ophiuroid Amphiura. Two deep marine areas (>I00m) have been sampled, each characterised by capitellid polychaetes: in the Firth of Clyde the wavy burrows of Dasybranchus are found whereas in the Sound of Jura the spiral burrows of Notomastua are abundant.
Trophic group amensalism does not occur in these muds; the suspension feeding bivalves Thracia. Mya and Arctica are found as there is no tidal resuspension of the sediment.
From boxcores obtained in the vicinity of the Garroch Head Sludge Dumping Ground, Firth of Clyde and near a pulp-paper mill situated between Lochs Linnhe and Eil, a model relating burrow types to organic enrichment of the sediment is presented. In the transitory zone there is an increased number of burrows compared to the normal situation. In the polluted zone the normal fauna is replaced by opportunistic polychaetes, chiefly Capitella capitata. and the upper layers of the sediment are riddled with their burrows.
The method developed of serially X-raying boxcores allows quantitative studies of the density and depth distribution of burrows. The total length of burrows in a boxcore shows a peak of around 250cm in shallow sea loch and deep marine sites. The reduced length of burrows in shallow marine sites may be due to the presence of the burrowing echinoid Brissopsis which does not create a distinctive biogenic trace in these fine grained sediments. On average, burrows occupy 0.1% by volume of the top 5cm of the sediment but represent an increase in surface area of 10%.
Studies of the spatial distribution of burrow entrances, an important diversity regulating mechanism, reveal patches of various dimensions at some sites especially in the Arran Beep.
This ichnocoenose is compared to others from Recent sublittoral, fine sediments inhabited by brittle star communities in the Atlantic, Mediterranean and North Sea and to the ichnocoenoses of sheltered, intertidal sandflats in the U.S.A. The results of this study are used to suggest the possible producers of trace fossils commonly found in fine grained sediments: Chondrites and Planolites are ascribed to polychaetes, Scolicla to gastropods and Thalasainoides to crustaceans
An experimental procedure to study the impact of animal burrows on existing levee structures
No full textAnimal burrows have been reported to cause extensive damage to existing levees and other earthen structures in different parts of the world. In this study a centrifuge model that has been designed to investigate the impact of animal burrows on the performance of an existing earthen structure is described. The proposed methodology simulates animal burrows in an earthen structure by introducing cylindricalshaped openings inside a pre-designed model. A homogenous levee with 1:1 side slopes and a horizontal toe drain was chosen for this preliminary investigation. The steps taken to construct the model and the effect of the adopted burrow simulation technique on the model performance are discussed. Crest settlement was measured before and after the burrow introduction and during the increase in water level to failure. Conclusions regarding the adequacy of the adopted technique are made
Review of Donald Burrows et al., eds., 'George Frideric Handel Collected Documents, Volume 4: 1742–1750'
No full textReview of George Frideric Handel Collected Documents, Volume 4: 1742–1750. Ed. By Donald Burrows, Helen Coffey, John Greenacombe, and Anthony Hicks. Pp. 986. ( Cambridge University Press, Cambridge, 2020. ISBN 978-1-1070-8021-8.
Many-electron theory of resonant charge transfer: Role of surface states in He and He+ scattering off Si(100)
No full textA many-electron theory of resonant charge transfer, originally formulated for the scattering of an atom with an empty valence orbital from a surface, is extended to treat the case where the valence orbital is initially occupied by one or two electrons. The scattering of He and He+ from the Si(001) surface is investigated. The interaction is assumed to be with the narrow band of surface states, and not the much wider bulk band. As a result, considerable oscillations are found in the ionization and/or neutralization probabilities as a function of the incident energy.PT: J; CR: AMOS AT, 1989, ADV CHEM PHYS, V76, P335 AMOS AT, 1989, SOLID STATE COMMUN, V71, P449 BLOSS W, 1978, SURF SCI, V72, P277 BRAKO R, 1981, SURF SCI, V108, P253 BURROWS BL, 1984, Q APPL MATH, V42, P73 BURROWS BL, 1990, J PHYS A-MATH GEN, V23, P1101 BURROWS BL, 1991, SURF SCI, V253, P365 CHADI DJ, 1975, PHYS STATUS SOLIDI B, V68, P405 HAGSTRUM HD, 1954, PHYS REV, V96, P336 HAGSTRUM HD, 1961, PHYS REV, V122, P83 HERMAN F, 1963, ATOMIC STRUCTURE CAL IHM J, 1980, PHYS REV B, V21, P4592 MUDA Y, 1980, SURF SCI, V97, P283 MUDA Y, 1988, NUCL INSTRUM METH B, V33, P388 MUDA Y, 1988, PHYS REV B, V37, P7048 PAULING L, 1935, INTRO QUANTUM MECHAN ROBERTS N, 1990, SURF SCI, V236, P112 SOUDA R, 1985, SURF SCI, V150, L59 SOUDA R, 1986, NUCL INSTRUM METH B, V15, P114 SOUDA R, 1986, NUCL INSTRUM METH B, V15, P138 SOUDA R, 1986, SURF SCI, V176, P657 SULSTON KW, 1988, PHYS REV B, V37, P9121 SULSTON KW, 1988, SURF SCI, V197, P555 SULSTON KW, 1989, SURF SCI, V244, P543 WEAKLIEM PC, 1990, SURF SCI, V232, L219 WEISENDANGER R, 1990, SURF SCI, V232, P1; NR: 26; TC: 4; J9: PHYS REV B; PG: 11; GA: HZ245Source type: Electronic(1
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