Podcasts about dead class

Deadclass, Ohio runs at The Tank until March 23rd. For more information, visit www.thetanknyc.org. Follow The Present Stage on Instagram at @thepresentstageThe Present Stage: Conversations with Theater Writers is hosted by Dan Rubins, a theater critic for Slant Magazine. You can also find Dan's reviews on Cast Album Reviews and in The New Yorker's Briefly Noted column.The Present Stage supports the national nonprofit Hear Your Song. If you'd like to learn more about Hear Your Song and how to support empowering youth with serious illnesses to make their voices heard though songwriting, please visit www.hearyoursong.org

Hey Deadheads! Buckle up for a mind-bending ride in this episode as Oteil Burbridge and Mike Finoia chat with the legendary David Gans. Dive into the wild world of David's Grateful Dead class at Stanford, where he breaks down the magic of the Dead's music in a way only a true insider can. From unexpected jams to epic transitions, David shares his unique approach to teaching and his love for the Dead's ever-evolving sound. You'll feel like you're right there in the classroom, soaking up every note and nuance. Join us as we dig deep into the Grateful Dead's musical journey, with hilarious and insightful commentary from Oteil and Mike. Ever wondered what it's like to experience the Dead's music through the eyes of a musician and a superfan? This episode is packed with stories, laughs, and plenty of “aha” moments. Whether you're a seasoned Deadhead or just curious, you won't want to miss this fascinating and fun conversation. Hit play and get ready to groove! Comes A Time Podcast and content posted by Comes A Time is presented solely for general informational, educational, and entertainment purposes. The use of information on this podcast or materials linked from this podcast is at the user's own risk. It is not intended as a substitute for the advice of a physician, professional coach, psychotherapist, or other qualified professional, diagnosis, or treatment. Users should not disregard or delay in obtaining medical advice for any medical or mental health condition they may have and should seek the assistance of their healthcare professionals for any such conditions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hey Deadheads! Buckle up for a mind-bending ride in this episode as Oteil Burbridge and Mike Finoia chat with the legendary David Gans. Dive into the wild world of David's Grateful Dead class at Stanford, where he breaks down the magic of the Dead's music in a way only a true insider can. From unexpected jams to epic transitions, David shares his unique approach to teaching and his love for the Dead's ever-evolving sound. You'll feel like you're right there in the classroom, soaking up every note and nuance. Join us as we dig deep into the Grateful Dead's musical journey, with hilarious and insightful commentary from Oteil and Mike. Ever wondered what it's like to experience the Dead's music through the eyes of a musician and a superfan? This episode is packed with stories, laughs, and plenty of “aha” moments. Whether you're a seasoned Deadhead or just curious, you won't want to miss this fascinating and fun conversation. Hit play and get ready to groove! Comes A Time Podcast and content posted by Comes A Time is presented solely for general informational, educational, and entertainment purposes. The use of information on this podcast or materials linked from this podcast is at the user's own risk. It is not intended as a substitute for the advice of a physician, professional coach, psychotherapist, or other qualified professional, diagnosis, or treatment. Users should not disregard or delay in obtaining medical advice for any medical or mental health condition they may have and should seek the assistance of their healthcare professionals for any such conditions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Howdy folks! Today Elvis is joined by Count Chocolate & Bunny O'Hare! Listen as they discuss finding a dead class pet and other gruesome stories! If you are considering leaving teaching, I strongly encourage you to click on the following link for some great resources. http://www.teachercareercoach.com/teacherneedsadrink You can support Teacher Needs a Drink and hear other bonus exclusive episodes at Patreon!! https://www.patreon.com/TeacherNeedsaDrinkPodcast Teacher Needs A Drink Podcast is proudly sponsored by Ludlam Dramatics. Ludlam Dramatics creates educational theatre posters and other Dramatic resources. Check them out at https://ludlamdramatics.com Last but not least, you can leave a message with us at the contact page of https://TeacherNeedsaDrinkPodcast.com. DO IT!

Howdy Folks! Today Elvis is joined by Shirley Temper, Bunny O'Hare, Lucille Lane, & Mrs. Sparkles! Listen as we discuss how tricky it is to get vaccinated as a Teacher, the perils of group work, the principal putting you on speakerphone, and how to handle a dead class pet. https://www.patreon.com/TeacherNeedsaDrinkPodcast Teacher Needs A Drink Podcast is proudly sponsored by Ludlam Dramatics. Ludlam Dramatics creates educational theatre posters and other Dramatic resources. Check them out at www.LudlamDramatics.com We are also sponsored by Posh Pretzels of Frisco. If you need affordable and tasty gifts shipped to your door, check out www.PoshPretzelsofFrisco.com

Did the Resurrection Really Happen? If Jesus rose from the dead, it’s the most important event to ever take place. But what evidence do we have to support such a claim? This 2-part class examines the facts and the various theories posited to explain...

Did the Resurrection Really Happen? If Jesus rose from the dead, it’s the most important event to ever take place. But what evidence do we have to support such a claim? This 2-part class examines the facts and the various theories posited to explain...

Free Word's Translator in Residence, Marta Dziurosz, reads a short story by Irit Amiel to commemorate Holocaust Memorial Day on 27 January 2016.

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis' and ‘Dead Class' (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski's Akropolis and Kantor's Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis’ and ‘Dead Class’ (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski’s Akropolis and Kantor’s Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis’ and ‘Dead Class’ (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski’s Akropolis and Kantor’s Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis’ and ‘Dead Class’ (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski’s Akropolis and Kantor’s Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis’ and ‘Dead Class’ (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski’s Akropolis and Kantor’s Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis’ and ‘Dead Class’ (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski’s Akropolis and Kantor’s Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices