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Saturday, 3-Mar-2012 15:42 Email | Share | | Bookmark
Pantomimes like pageants

Pantomimes like pageants, need to be very well rosetta stone planned, and it is essential that initial organization should begin many weeks in advance of the production date. Pantomimes are nearly always divided into separate scenes, very often taking place in different countries or even in different centuries. It is therefore necessary that there should be an overall unity of design culminating in the grand finale. This latter is really just an excuse for visual effects, and for once the performers become rosetta stone merely cloths hangers on which to put elaborate garments.
The scene should be discussed at some length with the producer so that the background, which is decided upon, does not present impossibilities for the provision of costumes within the budget or insuperable making problems for the wardrobe. Because of the large numbers of costumes rosetta stone needed full use must be made of the cheapest materials available, such as tarlatan (thin, stiff, open-weave muslin) nets and inexpensive cottons and taffetas. Very often it is possible to pick up goods that have been substantially reduced in price as cheap lines either in the big stores or on stalls in street markets.
Costumes for pantomimes need to be imaginative, gay and fairly bold in conception—this does not mean that they need to be garish. Usually in one scene there needs to be the flavor of what is newest at the moment in clothes. It is always a good idea to make use of a modern rosetta stone gimmick and to point it in some way if this can be conveniently fitted into the scheme. The audience comes to pantomime to have the eye feasted as much as for any other purpose, thus making a great chance for the designer to excel. Because of the very varied audience to be catered for there must be costumes to please patrons of all ages and delight the eyes of toddlers, teenagers, parents and grandparents.

Saturday, 3-Mar-2012 15:34 Email | Share | | Bookmark
In the past century Irish painting

handsome man
However, nationalist energies were beginning air max to coalesce ),reviving interest in Irish culture-including Irish visual arts. Beatrice Elvery’s (1907), a landmark achievement, merged the devotional simplicity of fifteenth-century Italian painting with the iconography ) of Ireland’s Celtic past, linking the history of Irish Catholicism with air max the still-nasce t Irish republic. And, although also captivated by the French plein air school, Sir John Lavery invoked the mythology of his native land for a 1928 commission to paint the central figure for the bank note of the new Irish Free State. Lavery chose as this figure, with her arm on a Celtic harp ),the national symbol of independent Ireland.
In Irish painting from about 1910, memories of Edwardian romanticism coexisted with a new sense of realism,exemplified air max by the paintings of Paul Henry and Se Keating, a student of Orpen’s. realism also crept into the work of Edwardians Lavery and Orpen, both of whom made paintings depicting World WarⅠ,Lavery with a distanced Victorian nobility, Orpen closer to the front, revealing a more sinister and realistic vision. Meanwhile, counterpoint to the Edwardians and realists came Jack B. Yeats, whose travels throughout the rugged and more authentically Irish West led him to depict subjects ranging from street scenes in Dublin to boxing matches and funerals. Fusing air max close observations of Irish life and icons with an Irish identity in a new way, Yeats changed the face of Irish painting and became the most important Irishartist of his century. (353 words)
In the past century Irish painting has changes from a British-influenced lyrical tradition to an art that evokes the ruggedness air max and roots of an Irish Celtic past. At the turn of the twentieth century Irish painters, including notables Walter Frederick Osborne and Sir William Orpen, looked elsewhere for influence. Osborne’s exposure to “plein air” painting deeply impacted his stylistic development; and Orpen allied air max himself with a group of English artists, while at the same time participated in the French avant-garde experiment, both as painter and teacher.

Saturday, 3-Mar-2012 15:28 Email | Share | | Bookmark
Whenever you see an old film

Whenever you see an old film, even one made air max as little as ten years ago, you cannot help being struck by the appearance of the women taking part. Their hair-styles and make-up look dated; their skirts look either too long or too short; their general appearance is, in fact, slightly ludicrous. The men taking part in the film, on the other hand, are clearly recognizable. There is nothing about their appearance to suggest that they belong to an entirely different age.
This illusion is created by air max changing fashions. Over the year, the great majority of men have successfully resisted all attempts to make them change their style of dress. The same cannot be said for women. Each year a few so- called top designers in Paris or London lay down the law and women the whole world over rush to obey. The decrees of the designers are unpredictable and dictatorial. This year, they decide in their arbitrary fashion, skirts will be short and waists will be high; zips are in and buttons are out. Next year the law is reversed and far from taking exception, no one is even mildly surprised.
If women are mercilessly air max pas cher exploited year after year, they have only themselves to blame. Because they shudder at the thought of being seen in public in clothes that are out of fashion, they are annually black-mailed by the designers and the big stores. Clothes, which have been worn, only a few times have to be discarded because of the dictates of fashion. When you come to think of it, only a women is capable of standing in front of a wardrobe packed full of clothes and announcing sadly that she has nothing to wear.
Changing fashions are nothing air max more than the deliberate creation of waste. Many women squander vast sums of money each year to replace clothes that have hardly been worn. Women, who cannot afford to discard clothing in this way, waste hours of their time altering the dresses they have. Hem-limes are taken up or let down; waist-lines are taken in or let out; neck-lines are lowered or raised, and so on.


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