Sentences with phrase «as an ensemble program»

8:54 Updated CNN is reformatting «Parker Spitzer» as an ensemble program with Eliot Spitzer — and without Kathleen Parker, who has been his co-host for the last four months.

Not exact matches

Walnut Hill School of the Arts Summer Theater Program (Natick, MA) is an intensive five - week boarding program; participants take daily classes in acting, musical theater, and dance and are cast in a play and a musical, as well as the ensemble of a second musical prodProgram (Natick, MA) is an intensive five - week boarding program; participants take daily classes in acting, musical theater, and dance and are cast in a play and a musical, as well as the ensemble of a second musical prodprogram; participants take daily classes in acting, musical theater, and dance and are cast in a play and a musical, as well as the ensemble of a second musical production.

Posey's work over the next two years reads like a Sundance Film Festival program: in 1996, she could be seen as a Dairy Queen waitress in the ensemble - driven Waiting for Guffman, famed gallery owner Mary Boone in Basquiat, and Hope Davis» sister in The Daytrippers.

-- Actors in ensemble casts in television programs with comparable roles should be classified as all lead or all supporting actors.

Paving the way as Milwaukee's only all - female sketch comedy ensemble, Broadminded divulges the clandestine tales that women keep tucked away and tells stories of common lies and confessions in its latest program, Confessions more

Paving the way as Milwaukee's only all - female sketch comedy ensemble, Broadminded divulges the clandestine tales that women keep tucked away and tells stories of common lies and confessions in its latest program, Confessions

The Academy's musical program boasts an acclaimed choral ensemble as well as a band.

Austin's score (which featured a wild array of custom - recorded sounds such as babies crying and horse flies, in addition to a large ensemble of clarinets at London's famed Abbey Road Studios), was also highly lauded, earning a notorious Fangoria Chainsaw Award nomination and being cited by «Visions in Sound» (a popular film scoring radio program) as among the Top 10 Scores for 2010.

Choreographer Kim Brandt premieres a new ensemble work commissioned as part of ISSUE Project Room's 2015 Artist - In - Residence program.

Choreographer Kim Brandt premieres a new ensemble work commissioned as part of ISSUE Project Room's 2015 Artist - In - Residence program at A

As part of MISD «s Summer Shakeup program, Ballroom Marfa is hosting Music Moves U, a workshop led by Dr. Kahil El» Zabar and his band, the Ethnic Heritage Ensemble.

Choreographer Kim Brandt premieres a new ensemble work commissioned as part of ISSUE Project Room's 2015 Artist - In - Residence program at Artists Space Books & Talks on October 12, 2015.

Jean Baptiste Bayle has constructed a web site for downloading of hits played backwards to defeat copyright laws, as well as a site of compilations of every cover available of Billie Jean by Michael Jackson, and Paul Davis is part of the programming ensemble Beige, and is showing a work comprised of cassette mix tapes along with their packaging design.

Ensemble Connect — formerly known as Ensemble ACJW — is a two - year fellowship program for the finest young professional classical musicians in the United States, preparing them for careers combining musical excellence with teaching, community engagement, advocacy, entrepreneurship, and leadership.

/ performances 2017 Audible Edge Festival, Tone List and Tura New Music, Perth 2016 Everyday Machines, curated by Tom Smith, Alaska Projects, Sydney 2016 NOW now series, 107 Projects, Sydney 2016 Pretty Gritty series, 107 Projects, Sydney 2016 Electrofringe: New Terrains, Top Floor at Wellington, Sydney 2014 perspectives [temporal], solo audio - visual concert, Perth Institute of Contemporary Arts 2014 Club Zho 111, The Bakery, Perth 2014 NOW now Festival of Arts, Sydney (as Té with Andrew Brooks) 2012 - 14 multiplicity - large - scale, dual - screen audio - visual work presented at: Perth Cultural Centre Screen Program, 2014; Test Tone, SuperDeluxe, Tokyo, Japan, 2013; Channels Video Art Festival, Melbourne, 2013; fractal shale, Perth Institute of Contemporary Arts Performance Space, 2012; NOW now festival program launch, Sydney, 2012; fractal shale, Tape Projects, Melbourne, 2012 2014 Cinematic Scores, live soundtrack to Laszlo Moholy - Nagy's Lichtspiel Schwarz Weiss Grau, Perth Fringe Festival, Packenham Street Art Space, Perth 2013 International Computer Music Festival, Western Australian Museum (as Té with Andrew Brooks) 2012 - 13 consciousness - large - scale audio - visual work presented at: Nu Things, Osaka, 2013; Tape Projects, Melbourne, 2012; AV Union, Sydney, 2012; Terrace Bar, Newcastle, 2012; The Bakery, Perth, 2012 2013 Japan tour, solo audio - visual performances and as Té with Andrew Brooks, Osaka, Kyoto, Tokyo 2011 Improvised performance with Philip Zoubek and Andrew Brooks, The Loft, Cologne, Germany 2011 split mirror planes - for four instruments and four audio / visual sources, commissioned by Decibel new music ensemble — premiered at Perth Institute of Contemporary Arts 2010 Japan tour, solo performances, Osaka, Kyoto, Tokyo 2010 lucidity - major composition for electroacoustic ensemble: acoustic instruments, computer processing, sound synthesis and video projections performed at The BakeryProgram, 2014; Test Tone, SuperDeluxe, Tokyo, Japan, 2013; Channels Video Art Festival, Melbourne, 2013; fractal shale, Perth Institute of Contemporary Arts Performance Space, 2012; NOW now festival program launch, Sydney, 2012; fractal shale, Tape Projects, Melbourne, 2012 2014 Cinematic Scores, live soundtrack to Laszlo Moholy - Nagy's Lichtspiel Schwarz Weiss Grau, Perth Fringe Festival, Packenham Street Art Space, Perth 2013 International Computer Music Festival, Western Australian Museum (as Té with Andrew Brooks) 2012 - 13 consciousness - large - scale audio - visual work presented at: Nu Things, Osaka, 2013; Tape Projects, Melbourne, 2012; AV Union, Sydney, 2012; Terrace Bar, Newcastle, 2012; The Bakery, Perth, 2012 2013 Japan tour, solo audio - visual performances and as Té with Andrew Brooks, Osaka, Kyoto, Tokyo 2011 Improvised performance with Philip Zoubek and Andrew Brooks, The Loft, Cologne, Germany 2011 split mirror planes - for four instruments and four audio / visual sources, commissioned by Decibel new music ensemble — premiered at Perth Institute of Contemporary Arts 2010 Japan tour, solo performances, Osaka, Kyoto, Tokyo 2010 lucidity - major composition for electroacoustic ensemble: acoustic instruments, computer processing, sound synthesis and video projections performed at The Bakeryprogram launch, Sydney, 2012; fractal shale, Tape Projects, Melbourne, 2012 2014 Cinematic Scores, live soundtrack to Laszlo Moholy - Nagy's Lichtspiel Schwarz Weiss Grau, Perth Fringe Festival, Packenham Street Art Space, Perth 2013 International Computer Music Festival, Western Australian Museum (as Té with Andrew Brooks) 2012 - 13 consciousness - large - scale audio - visual work presented at: Nu Things, Osaka, 2013; Tape Projects, Melbourne, 2012; AV Union, Sydney, 2012; Terrace Bar, Newcastle, 2012; The Bakery, Perth, 2012 2013 Japan tour, solo audio - visual performances and as Té with Andrew Brooks, Osaka, Kyoto, Tokyo 2011 Improvised performance with Philip Zoubek and Andrew Brooks, The Loft, Cologne, Germany 2011 split mirror planes - for four instruments and four audio / visual sources, commissioned by Decibel new music ensemble — premiered at Perth Institute of Contemporary Arts 2010 Japan tour, solo performances, Osaka, Kyoto, Tokyo 2010 lucidity - major composition for electroacoustic ensemble: acoustic instruments, computer processing, sound synthesis and video projections performed at The Bakery, Perth

He is cofounder of the Beige Programming ensemble, and his art has been included in the Whitney Biennial and in venues such as the Museum of Modern Art and the Migros Museum in Zurich.

«As of fall 2010, all freshmen at Meadows are introduced to alternative models of artistic practice — which includes everything from our own programs in music therapy and our interdisciplinary ensemble, Point, to our community artist partnerships with Big Thought — AND to the basics of how the various arts businesses, both nonprofit and for - profit, work.

If you surveyed the concert programs of orchestras, opera companies, and chamber music ensembles across the country, then sorted the statistics, you would think that the center of gravity in classical music was slowly rotating through Central Europe — with occasional vacations to France, Italy, and Russia — as it did from the early 18th to early 20th centuries.