Lastly Grahn argues that one must " insterstand ... engage with the work, to mix with it in an active engagement, rather than ' figuring it out.

Stein predominantly used the present progressive tense, creating a continuous present in her work, which Grahn argues is a consequence of the previous principles, especially commonality and centeredness.

* July-Pas de Quatre is premièred in London, bringing together four of the greatest ballerinas of the time: Lucile Grahn, Carlotta Grisi, Fanny Cerrito, and Marie Taglioni.

He is married to Helen ( Grahn ) and they are the parents of seven children ( Dianne, Linda, Stevan, Jon, Allan, William, and Franklyn ), 15 grandchildren ( Tomas Bergland ), five great grandchildren ( Megan Klein ) and two step-grandchildren.

Neil Grahn is head writer.

* Nancy Lee Grahn is an actress, General Hospital, Santa Barbara

Really Reading Gertrude Stein: A Selected Anthology with essays by Judy Grahn.

* Grahn, Sven.

" Metaformic Theory, as proposed by cultural theorist Judy Grahn and others, places menstruation as a central organizing idea in the creation of culture and the formation of humans ' earliest rituals.

Some of the transmissions Komarov made were recorded by amateur radio operators like Sven Grahn.

* April 4 – Lucile Grahn, ballerina ( d. 1907 )

In July 1845, she danced with Lucile Grahn, Carlotta Grisi, and Fanny Cerrito in Jules Perrot's Pas de Quatre.

Standing from left: Gillis Andersson, Evert Grahn, Knut Johansson, Sven Jonasson, Stenholm, KE Grahn.

< center > Lithograph by A. E. Chalon of Carlotta Grisi | Grisi ( left ), Marie Taglioni | Taglioni ( center ), Lucille Grahn | Grahn ( right back ), and Fanny Cerrito | Cerrito ( right front ) in Pas de Quatre, 1845

Throughout the era of the romantic ballet, the theatre presented performances by notable ballerinas, including Marie Taglioni, Carlotta Grisi, Fanny Elssler, Lucile Grahn, and Fanny Cerrito, performing in the works of Perrot, Taglioni and Saint-Léon.

Two winners were recorded in the Outstanding Supporting Actress in a Daytime Drama Series category, as a tie was recorded in the race between actresses Debbi Morgan and Nancy Lee Grahn.

The 2008 cast was Leona Brausen, Marianne Copithorne, Neil Grahn, Meer, O ' Connor, and Workun with music by the late Joe Bird.

Writers for the 2008-2010 series include Meer, Grahn, O ' Connor, Cathleen Rootsaert, Dana Andersen, Ian Boothby, Jeff Haslam, Jocelyn Ahlf, Belinda Cornish, Josh Dean, Ron Pederson, Kurt Smeaton, George Westerholm, Chris Craddock, Matt Watts, Maggie Castle, Nile Seguin and writers from Mostly Water Theatre, Gordon's Big Bald Head, and Lobster Telephone.

performed by Mark Meer and Grahn.

The production premiered in 1836 with the prodigy Lucile Grahn and Bournonville in the principal roles.

Nancy Lee Grahn originated the role in September 25, 1996.

In 1828, an article published in a Hagerstown, Maryland, newspaper briefly describes a young girl who's drawn away from her daily chores to play a familiar game with her friends.

In the second scene of the play, King Duncan describes the brave manner in which Macbeth, Thane of Glamis, and Banquo bravely led his army against invaders, fighting side by side.

In Samuel Johnson's 1828 dictionary, his definition of " pall mall " clearly describes a game with similarities to modern croquet: " A play in which the ball is struck with a mallet through an iron ring ".

The gamemaster prepares the game session for the players and the characters they play ( known as player characters or PCs ), describes the events taking place and decides on the outcomes of players ' decisions.

Henry Fielding's Tom Jones, published about 1749, describes a visit to Hamlet by Tom Jones and Mr Partridge, with similarities to the " play within a play ".

The goddess is described as wearing oak in fragments of Sophocles ' lost play The Root Diggers ( or The Root Cutters ), and an ancient commentary on Apollonius of Rhodes ' Argonautica ( 3. 1214 ) describes her as having a head surrounded by serpents, twining through branches of oak.

In section one of The Communist Manifesto Marx describes feudalism, capitalism, and the role internal social contradictions play in the historical process:

While Nomic is traditionally capitalized as the proper name of the game it describes, it has also sometimes been used in a more informal way as a lowercased generic term, nomic, referring to anything with Nomic-like characteristics, including games where the rules may be changed during play as well as non-gaming situations where it can be alleged that " rules lawyers " are tinkering with the process used to amend rules and policies ( in an organization or community ) in a manner akin to a game of Nomic.

" Scott McCrea describes the setting as " a nonrealistic Venice " and the laws invoked by Portia as part of the " imaginary world of the play ", inconsistent with actual legal practice.

Furthermore, Veal argues, the only explanation for the verbal parallels with the English translation of 1582 would be that the translator saw the play performed and echoed it in his translation, which he describes as " not an impossible theory but far from a plausible one.

One applies to the play of a single hand, and the other describes an entire poker tournament.

The name was selected as a reference to the Shakespearean play Othello, the Moor of Venice, referencing the conflict between the Moor Othello and Iago, who describes himself as " two faced " and more controversially, to the unfolding drama between Othello, who is black, and Desdemona, who is white.

A popular Cardassian board game is Kotra, which, as Garak describes it, favors bold tactical maneuvers over defensive play ; hence Garak's criticism of Nog's attempts to regroup his pieces during a game they played in the episode " Empok Nor ".

It also describes in its stage directions the prominence that technical aspects of theatre should play in a production, most notably in the use of signs or projections appearing after certain scenes which present the audience with relevant information about Hitler's own rise to power, in order to clarify the parallels.

The first dramatic text written by Gombrowicz was Iwona, księżniczka Burgunda ( Ivona, Princess of Burgundia, 1938 ), a tragicomedy — a play that describes what the enslavement of form, custom, and ceremony brings.

Because pragmatics describes generally the forces in play for a given utterance, it includes the study of power, gender, race, identity, and their interactions with individual speech acts.

Samuel Pepys saw the hybrid play on 18 February 1662 ; he describes it in his Diary as " a good play, and well performed " – he was especially impressed by the singing and dancing of the young actress who played Viola, Beatrice's sister ( Davenant's creation ).

" Stanza 46 describes that, in reference to Ragnarök, the " sons " of Mím are at play while " fate burns " ( though no further information about these " sons " has survived ), that the god Heimdallr blows the Gjallarhorn, and that Mímir's decapitated head gives counsel to Odin.

The Arab geographer al-Muqaddasi writing in 985, describes Tiberias as a hedonistic city afflicted by heat :-' For two months they dance ; for two months they gobble ; for two months they swat ; for two months they go about naked ; for two months they play thje reed flute ; and for two months they wallow in the mud.

In Bertolt Brecht's The Caucasian Chalk Circle, a play is staged as a parable to villagers in the Soviet Union to justify the re-allocation of their farmland: the tale describes how a child is awarded to a servant-girl rather than its natural mother, an aristocrat, as the woman most likely to care for it well.

Keith Johnson of Allmusic describes a " Modern Creative " genre, in which " musicians may incorporate free playing into structured modes -- or play just about anything.