Life.

Early years.

Gabriel Syveton was born on 21 February 1864 in Boën-sur-Lignon, Loire. He studied in Lyon and then in Paris, and passed his "agrégation" in history in 1888 as a doctor of letters and associate professor. He taught in turn at the "lycées" of Aix-en-Provence, Laon, Angoulême and Reims. From 1890 to 1892 the Ministry of Public Instruction and Fine Arts assigned him to a study mission in Austria-Hungary. He resigned in 1898 so he could follow a career in politics.

Ligue de la patrie française.

The Ligue de la patrie française originated in 1898 with three young academics, Louis Dausset, Syveton and Henri Vaugeois, who wanted to show that support for Alfred Dreyfus, a French Jewish artillery officer who had been controversially convicted in 1894 on charges of treason, was not accepted by all university academics. The three circulated a manifesto that stated,  The manifesto attacked Émile Zola and what many saw as an internationalist, pacifist left-wing conspiracy. At first the manifesto was circulated only among lycée professors in Paris, but Maurice Barrès encouraged them to invite more professionals opposed to Dreyfus to sign, and to form the Ligue de la patrie française to implement the manifesto. After founding the League Syveton was asked to resume his university duties. Several days later he made a speech before the Academic Council of Paris that the League published as propaganda brochure under the title "The University and the Nation". Syveton was suspended for a year, and after this had elapsed he was dismissed when he refused the various positions that were offered to him.  At meetings of the League around France, Syveton and François Coppée also claimed that the French Masons were a subversive influence in France, directed by the supreme head of Freemasonry, Edward VII of England. The masons worked with Protestants and Jews not only to undermine the supporters of Boulanger but to undermine France itself. Some anti-Dreyfusard and Social Catholic members of the League could not accept this position and left the movement.

Deputy.

The League's candidates in the 1902 legislative elections did poorly outside of Paris. The League's treasurer Gabriel Syveton was elected deputy for the Seine. He ran in the legislative elections of 27 April 1902 for the 2nd arrondissement of Paris, and was elected in the first round. In the Chamber of Deputies he at once took an active part in creating the nationalist and republican group, of which he was appointed secretary. Others in the group were Godefroy Cavaignac and Albert Gauthier de Clagny.  On 6 December 1902 Syveton got into a heated exchange over the Humbert case with the Keeper of the Seals, and was temporarily excluded from the chamber until 29 January 1903. In February and March he spoke passionately against political interference in teacher appointments. His election to the 2nd arrondissement of Paris was invalidated on 7 April 1903 at the motion of Jean Jaurès, but he was reelected to this seat in the by-election of 21 June 1903.  During the 1904 municipal elections at a meeting of 5,000 nationalist members of the Ligue des Patriotes and the Ligue de la patrie française Syveton called on the audience to have nothing to do with the antisemitic Édouard Drumont or anyone else, such as Gaston Méry, connected to "La Libre Parole". In his view antisemitism was damaging to the Patrie Française, and the party's candidates in the council elections should avoid the subject. The slogan "Down with the Jews" should not be used at the election rallies.

Affair des Fiches.

General Louis André, the militantly anticlerical War Minister from 1900 to 1904, used reports by Freemasons to build a huge card index on public officials that detailed those who were Catholic and attended Mass, with a view to preventing their promotions. In 1904, Jean Bidegain, assistant Secretary of Grand Orient de France, sold a selection of the files to Gabriel Syveton for 40,000 francs. On 4 November 1904 Guyot de Villeneuve repeated the charge against André, for which he now had documentary proof, and made the issue a vote of confidence which the Combes government survived by just two votes. After the vote Syveton crossed the floor and slapped André in the face twice. He was at once thrown out of the Chamber and put under arrest. The case was referred to the Court of Assizes of the Seine.  Syveton was found dead in his office by his wife on 8 December 1904, the day before his trial. An inquiry found that he had died by asphyxiation from a malfunctioning gas heater in the room, but the press freely speculated over whether it was an accident, suicide or murder. It was said that his marriage was unhappy and he was well insured, so his wife would have had a motive. It might be connected with the loss of the League's financial records. The nationalists claimed that he had not committed suicide but had been assassinated by the Masons. They said he had been killed in revenge for exposing the card file. The "Affaire Des Fiches" scandal led directly to the resignation of prime minister Émile Combes.

Publications.

Publications included:

Gabriel Syveton (21 February 1864 – 8 December 1904) was a French historian and politician. He was one of the founding members of the patriotic and anti-Dreyfus Ligue de la patrie française. He was elected as deputy for the Seine in 1902. He was involved in scandal when he exposed the existence of a card file compiled from Freemason reports on public officials. It listed practicing Catholics, who should be passed over for promotion. He died, apparently from suicide, the day before being required to appear in court after physically attacking the Minister of War in the Chamber of Deputies.


Career.

Hagans grew up in Dayton, Ohio. His early inspirations included Miles Davis, Freddie Hubbard, and Thad Jones, to whom he dedicated "For the Music Suite", a 40-minute piece for jazz orchestra composed on a grant from the National Endowment for the Arts. In 1974, Hagans joined the Stan Kenton band, with whom he played until 1977, when he toured with Woody Herman. He then left for Europe, where he lived in Malmö, Sweden, a hotbed of the European jazz scene. While in Europe, he toured extensively and played with Dexter Gordon, Kenny Drew, Horace Parlan, and Thad Jones. His first recorded composition, "I Hope This Time Isn't the Last," appears on the album "Thad Jones Live at Slukefter" (Metronome, 1980).  In 1987, he moved to New York City. He has performed with Maria Schneider, Yellowjackets, Steps Ahead, Secret Society, and Gary Peacock. Hagans has worked extensively with producer and saxophonist Bob Belden on a variety of recordings and live performances, including their ongoing "Animation/Imagination" project. Festivals at which he has performed include the Mount Fuji Festival in Japan, the Montreal Jazz Festival, the Berlin Jazz Tage, and the Montreux Jazz Festival in Switzerland.  Hagans has taught master classes at universities throughout the world.  He taught at the University of Cincinnati from 1982 to 1984 and at Berklee College of Music from 1984 to 1987. From 1996 to 2010, he was Artistic Director and Composer-in-Residence for the Norrbotten Big Band located in Luleå, Sweden. The Norrbotten is a 17-piece jazz orchestra for whom Hagans wrote and arranged original compositions with guest artists including Randy Brecker, Joe Lovano, Dave Liebman, Peter Erskine, and Rufus Reid, an enterprise culminating in the Grammy nominated album, "The Avatar Sessions: The Music of Tim Hagans", for which the Norbotten Big Band traveled to New York. His compositions are featured on numerous recordings with the Norrbotten Big Band, including "Future North" (Double-Time, 1998), "Future Miles" (ACT, 2002), and "Worth the Wait" (Fuzzy Music, 2007).  Hagans has been commissioned by several other European jazz orchestras, including the NDR Big Band in Hamburg, UMO in Helsinki, and he was Composer-in-Residence at the Jazz Baltica Festival in 2000. In 2008, he was awarded the ASCAP/IAJE Established Composer Award, and in 2009 he was commissioned by the Barents Composers Orchestra to write a piece for strings, woodwinds, and percussion: "Daytonality", a piece based on improvisational melodic language.  Hagans is the subject of the feature documentary "Boogaloo Road," directed by Runar Enberg and Marianne Soderberg. He is a featured soloist on Howard Shore's soundtrack for the feature film "The Score" starring Marlon Brando, Edward Norton, and Robert De Niro.  Following his interest in exploring theatrical venues for innovative jazz, he is Composer-in-Residence with the Michele Brangwen Dance Ensemble, a dance company located in Houston, Texas, and in New York City. In January 2012, his composition "Outside My Window" was performed with the MBDE at Dance Theatre of Harlem. He also performs with author-actor Peter Josyph in duets consisting of haiku texts and freely improvised trumpet, including Josyph's "the way of the trumpet", a haiku novel written for and dedicated to Hagans.  In June 2012, Hagans was awarded an honorary doctorate from the Sibelius Academy in Helsinki.

Discography.

As sideman.

With Stan Kenton  With Ernie Wilkins  With Joe Lovano  With Bob Belden  With Bob Mintzer  With Blue Wisp Big Band  With Bert Seager  With Maria Schneider  With Steve Slagle  With Vic Juris  With Mark Masters  With Marc Copland  With Andy LaVerne  With Ron McClure  With Jon Gordon  With John Fedchock  With others

Tim Hagans (born August 19, 1954) is a jazz trumpeter, arranger, and composer. He has been nominated for three Grammy Awards: Best Instrumental Composition for "Box of Cannoli" on "The Avatar Sessions" (Fuzzy Music, 2010); Best Contemporary Jazz Album for "Animation*Imagination" (Blue Note, 1999); and Best Contemporary Jazz Album for "Re-Animation" (Blue Note, 2000).


Background.

During the 1940s and 1950s, limited social services were available to residents of Quebec. Prior to the Quiet Revolution of the 1960s, most of the social services available were provided through the Roman Catholic Church. Among their charges were people considered to be socially vulnerable: those living in poverty, alcoholics or other individuals deemed unable to retain work, unwed mothers, and orphans.  Consistent with the values of both the Church and the period, many children were admitted to orphanages despite not having been formally orphaned due to their "bastard" status (being born to unwed mothers). Some of these orphanages were operated by religious institutes, due to a lack of secular investment in social services; they encouraged unwed mothers to leave their children there, so that they might be raised in the Church. Despite the claims of supporting the children, many orphans born out of wedlock suffered from poor care in these facilities.  The "Loi sur les Asiles d'aliénés" (Lunatic Asylum Act) of 1909 governed mental institution admissions until 1950. The law stated the mentally ill could be committed for three reasons: to care for them, to help them, or as a measure to maintain social order in public and private life. However, the act did not define what a disruption of social order was, leaving the decision to admit patients up to psychiatrists.  The provincial government of Union Nationale Premier Maurice Duplessis received subsidies from the federal government for building hospitals, but received substantially fewer subsidies to support orphanages. Government contributions were only $1.25 a day for orphans, but $2.75 a day for psychiatric patients. This disparity in funding provided a strong financial incentive for reclassification. Under Duplessis, the provincial government was responsible for a significant number of healthy older children being deliberately misdiagnosed as mentally incompetent and sent to psychiatric hospitals, based on superficial diagnoses made for fiscal reasons. Duplessis also signed an order-in-council which changed the classification of orphanages into hospitals in order to provide them with federal subsidies.  A commission in the early 1960s investigating mental institutions after Duplessis' death revealed one-third of the 22,000 patients classified as "mentally incompetent" were classified as such for the province's financial benefit, and not due to any real psychiatric deficit. Following the publication of the Bédard report in 1962, the province ceased retaining the institutional notion of "asylum." When many of the orphans reached adulthood, in light of these institutional changes, they were permitted to leave the facilities.

Impacts on orphans.

Years later, long after these institutions were closed, survivors of the asylums began to speak out about child abuse which they endured at the hands of some staff and medical personnel. Many who have spoken publicly about their experiences claim that they had been abused physically and sexually, and were subjected to lobotomies, electroshock and straitjackets.  In a psychiatric study completed by one of the involved hospitals, middle-aged Duplessis Orphans reported more physical and mental impairments than the control group. In addition, the orphans were less likely to be married or to have a healthy social life. 80% reported they had suffered a traumatic experience between the ages of 7 to 18. Over 50% said they had undergone physical, mental, or sexual abuse. About 78% reported difficulty functioning socially or emotionally in their adult life.

Legal recourse in the 1990s.

By the 1990s, about 3,000 survivors and a large group supporters formed the Duplessis Orphans Committee, seeking damages from the Quebec provincial government. In March 1999, the provincial government made an offer of approximately CAD$15,000 as full compensation to each of the victims. The offer was rejected and the provincial government was harshly criticized, with Quebec's Ombudsman at the time, Daniel Jacoby, saying that the government's handling of the affair trivialized the abuse alleged by the victims. In 2001, the claimants received an increased offer from the provincial government for a flat payment of $10,000 per person, plus an additional $1,000 for each year of wrongful confinement to a mental institution. The offer amounted to approximately $25,000 per orphan, but did not include any compensation for alleged victims of sexual or other abuse.  After the offer was accepted by representatives of the Duplessis Orphans Committee, the result was bitterly contested by other members upon learning that under the terms of the settlement, the Committee's lawyer, president, and former public relations official would receive six- to seven-figure payments, in comparison with the paltry amount given to the actual victims. The Committee subsequently voted to replace both the president and the public relations official. Critics of the judgment pointed out that three of the bureaucrats running the government's compensation program were being paid over $1,000 per day for work, whereas the orphans themselves received the same amount of money for an entire year of their confinement.  Seven religious communities were involved in operating some of the facilities: the Sisters of Providence, the Sisters of Mercy, the Gray Nuns of Montreal, the Sisters of Charity of Quebec, the Little Franciscans of Mary, the Brothers of Notre-Dame-de-la-Misericorde, and the Brothers of Charity. When the settlement with the provincial government was reached, the orphans agreed to drop any further legal action against the Catholic Church. This offended some survivors; in 2006, one of the Orphans, Martin Lécuyer, stated, "It's important for me, that the Church, the priests, that they recognize they were responsible for the sexual abuse, and the aggression. It's not for the government to set that peace... It's an insult, and it's the biggest proof that the government is an accomplice of the Church."

Aftermath.

In 1999, researchers Léo-Paul Lauzon and Martin Poirier issued a report arguing that both the Quebec provincial government and the Catholic Church made substantial profits by falsely certifying thousands of Quebec orphans as mentally ill during Duplessis' premiership. The authors made a conservative estimate that religious groups received $70 million in subsidies (measured in 1999 dollars) by claiming the children as "mentally deficient," while the government saved $37 million simply by having one of its orphanages redesignated from an educational institution to a psychiatric hospital. A representative of a religious order involved with the orphanages accused the authors of making "false assertions." In 2010, it was estimated that approximately 300-400 of the original Duplessis orphans were still alive.

Fate of human remains.

In 2004, some Duplessis orphans asked the Quebec government to unearth an abandoned cemetery in the east end of Montreal, which they believed to have held the remains of orphans who may have been the subject of human experimentation. According to testimony by individuals who were at the Cité de St-Jean-de-Dieu insane asylum, the orphans in the asylum's care were routinely used as non-consensual experimental subjects, and many died as a consequence. The group wanted the government to exhume the bodies so that autopsies may be performed. In November 2010, the Duplessis orphans made their case before the United Nations Human Rights Council.

<section begin=Criticism of the historical Catholic Church transclusion/> The Duplessis Orphans () were 20,000 Canadian children who were wrongly certified as mentally ill by the provincial government of Quebec and confined to psychiatric institutions in the 1940s and 1950s. The children were deliberately wrongly certified in order to misappropriate additional subsidies from the federal government. They are named for Maurice Duplessis, who served as Premier of Quebec for five non-consecutive terms between 1936 and 1959. The controversies associated with Duplessis, and particularly the corruption and abuse concerning the Duplessis orphans, have led to the popular historic conception of his term as Premier as "La Grande Noirceur" ("The Great Darkness") by its critics.


Examples of volcanic plugs.

Africa.

Near the village of Rhumsiki in the Far North Province of Cameroon, Kapsiki Peak is an example of a volcanic plug and is one of the most photographed parts of the Mandara Mountains. Spectacular volcanic plugs are present in the center of La Gomera island in the Canary Islands archipelago, within the Garajonay National Park.

Europe.

Borgarvirki is a volcanic plug located in north Iceland.  A volcanic plug is situated in the town of Motta Sant'Anastasia in Italy.  Saint Michel d'Aiguilhe chapel, whose construction started in 969, near Le Puy-en-Velay in France. The volcanic plug rises about above the surroundings. Another building on a volcanic plug is the 14th century Trosky Castle in the Czech Republic.  Strombolicchio, the northernmost of the Aeolian Islands, and Rockall, a small, uninhabited, remote islet in the North Atlantic Ocean, are also volcanic plugs.  In the United Kingdom, two examples of a building on a volcanic plug are the Castle Rock in Edinburgh, Scotland, and Deganwy Castle, Wales. The Law, Dundee, Ailsa Craig, Bass Rock, North Berwick Law and Dumgoyne hill are other examples of volcanic plugs located in Scotland. There are over 30 volcanic plugs in Northern Ireland, including Slemish in Ballymena, Tievebulliagh, Scawt Hill, Carrickarede, Scrabo and Slieve Gallion.

North America and the Caribbean.

There are several volcanic plugs in the United States, including Morro Rock in California, Thumb Butte in the Sierra Prieta of Arizona, and Shiprock in New Mexico. Devils Tower in Wyoming and Little Devils Postpile in Yosemite National Park, California, are also believed to be volcanic plugs by many geologists.  In Canada, the Northern Cordilleran Volcanic Province gives rise to several confirmed and suspected plugs. Chief among these is Castle Rock, located in British Columbia, which last erupted during the Pleistocene.  The southern coast of Saint Lucia is dominated by the iconic Pitons, a UNESCO World Heritage site. The twin peaks, Gros Piton and Petit Piton, steeply rise more than above the Caribbean.

Oceania.

There are several volcanic plugs in the North Island of New Zealand, including:  In New Zealand's South Island, Ōnawe Peninsula on Banks Peninsula is a prominent volcanic plug, and erosion of Saddle Hill near Dunedin has also revealed a plug. Dunedin's Mount Cargill displays two plugs: its main summit and the subsidiary summit of Buttar's Peak.  In Australia, the Nut and Table Cape in Tasmania are further examples along with Mount Warning in New South Wales.

A volcanic plug, also called a volcanic neck or lava neck, is a volcanic object created when magma hardens within a vent on an active volcano. When present, a plug can cause an extreme build-up of pressure if rising volatile-charged magma is trapped beneath it, and this can sometimes lead to an explosive eruption. Glacial erosion can lead to exposure of the plug on one side, while a long slope of material remains on the opposite side. Such landforms are called crag and tail. If a plug is preserved, erosion may remove the surrounding rock while the erosion-resistant plug remains, producing a distinctive upstanding landform.


Description.

"B. rosserae" grows as a multi-stemmed shrub high, and wide. The trunks are from in diameter. Unusually for "Banksia" species, the grey bark is papery and flaky. The leaves are dark green, long and wide, with serrated margins. Flowers are yellow and occur in "Banksia"'s distinctive flower spikes; these are approximately spherical, with a diameter of about. The "cones" have a hairy appearance due to the retention of old flower parts. They typically contain from twelve to twenty follicles, most of which do not open until stimulated to do so by fire.

Taxonomy.

Taxonomic history.

Reports of who first discovered "B. rosserae" are somewhat contradictory. Peter Olde and Neil Marriott acknowledge Ann Pilkington of Kirkalocka, "who discovered "Banksia rosserae" and who drew it to our attention through various third parties." However, Kevin Collins states that it was first discovered in September 2000 by a "Grevillea" enthusiast named John Cullen. According to Collins, Cullen had visited Kirkalocka in search of an undescribed "Grevillea" species mentioned in the writings of Charles Gardner (now published as "G. kirkalocka"); in addition to finding the "Grevillea", he also found two "B. rosserae" plants growing on the top of an orange sand dune.  Irrespective of who first discovered it, its presence in the area was reported to Peter Olde and Neil Marriott. In 2001, Olde, Marriott and Keith Alcock visited the area in search of the undescribed "Grevillea" species. While there, they also searched for the "Banksia", and eventually Alcock located two specimens growing on top of a dune. The plants were clearly an undescribed species, so specimens were collected so that a formal description of the species could be published. The following year it was published as "Banksia rosserae" Olde & Marriott. The name honours Celia Rosser, an illustrator, whose three-volume monograph "The Banksias" has been acclaimed as one of 20th century's great works of botanical illustration.  In January 2002, Kevin Collins and John Cullen undertook a search for more plants, locating a clump of six plants about 20 kilometres (12 mi) from the original two, and a further 18 plants on crown land adjacent to Kirkalocka. No flowering specimen was seen during these visits; indeed, no-one knew what the flower looked like until 2006. In March of that year, storms associated with Cyclone Glenda dumped a year's worth of rain in the area in a single day, and shortly afterwards, flowers began to form. Two months later, a party of botanists and "Banksia" enthusiasts visited the area, and observed the flowers for the first time.

Infrageneric placement.

"B. rosserae"'s relationship to other "Banksia" species is uncertain. Its leaves are virtually indistinguishable from narrow-leaved forms of "B. laevigata" (Tennis Ball Banksia), and like that species it has condensed, roughly spherical inflorescences, and slender styles. However, unlike "B. laevigata" it has a lignotuber, and terminal inflorescences that hang down instead of being held erect. The lignotuber suggests an affinity with "B. lullfitzii", while the pendulous inflorescences suggest a relationship with the "Banksia" ser. "Tetragonae" series.  Olde and Marriott provisionally placed it in subgenus "Banksia" because its inflorescences take the form of "Banksia"'s characteristic flower spikes; "Banksia" sect. "Banksia" because of its straight styles; and "Banksia" ser. "Cyrtostylis" because it has slender flowers. It was placed alongside "B. laevigata", but with the proviso that "we have perceived a close relationship between "Banksia laevigata" and "Banksia rosserae" which a more informed study may find superficial."  "B. rosserae"s current placement within "Banksia" may be summarised as follows:  A 2013 molecular study by Cardillo and colleagues using chloroplast DNA found that "B. rosserae" was sister species to a clade made up of "Banksia meisneri adscendens" and "Banksia pulchella", and the three together were sister to "Banksia meisneri meisneri".

Distribution.

"Banksia rosserae" is known only from an area south-south-east of Mount Magnet in inland Western Australia. There are 27 plants known, all occurring within a radius of about 20 kilometres (12 mi). The area is around 200 kilometres (125 mi) from where other "Banksia" species are known to occur, representing "a significant extension of range into the arid zone and a significant geographic disjunction for the genus."  Although most of the land around Mount Magnet has the heavy clay soil and "Acacia aneura" (Mulga) scrub common throughout semi-arid Western Australia, the area on which "B. rosserae" occurs is unusual in having deep yellow sand and laterite. It occurs there with mallee "Eucalyptus" species, over open heath of "Grevillea", "Hakea", "Leptospermum", "Melaleuca", "Cryptandra" and "Triodia" species. Thus the flora is more like that found on the Swan Coastal Plain than the arid zone in which it occurs.

Ecology.

Very little is known of the ecology of "B. rosserae". Its massive lignotuber is clearly an adaptation to desert conditions, providing a store of water during extended periods of drought, and a store of energy from which it can resprout after bushfire. Marriott also considers its papery bark to be an adaptation to desert conditions, although he does not elaborate on how the plant benefits from it.  Flowering apparently occurs only after rain, and hence may be separated by periods of many years. Pollinators have not been recorded for the species, but extensive data from other "Banksia" species suggests that insects, birds and nectariferous mammals would all play a role. There is clearly no shortage of pollinators, as most "cones" contain plenty of follicles. Although most follicles observed are closed, a few open ones have been found, suggesting that the species is weakly serotinous: that is, a few follicles open spontaneously or in response to rain, but most remain closed until burnt.  Seedlings would have little change of surviving in a normal dry season; establishment probably requires several consecutive seasons of good rain. The combination of a bushfire followed by several seasons of cyclonic storms probably only occurs every few hundred years, suggesting that opportunities for seedling recruitment are extremely rare. This would explain why the entire population appears to be over two hundred years old.  There is little information on threats to the species. All known plants appear to be in very good health and free of pests; it seems they are not eaten or damaged by the area's kangaroos, goats and sheep. Bushfire clearly poses no threat; and the area is free from "Phytophthora cinnamomi" dieback, a scourge of most other western "Banksia" species. Any concerns about future land use are abated by the fact that the largest population occurs on crown land, which is now being considered for a conservation reserve. In fact, the only perceived threat is the rarity of conditions conducive to seedling recruitment: "it may well be that this banksia has become so adapted to its harsh environment that its long-term future in the wild is in doubt."  Because of the absence of any specific threat to the species, it has not been declared rare or threatened. However, Olde and Marriott declared it to merit Priority One listing on the Department of Environment and Conservation's Declared Rare and Priority Flora List. Consequently, they withheld the precise location of their specimens "for conservation reasons".

Cultivation.

"Banksia rosserae" is poorly known in cultivation as yet. In 2003, Kevin Collins reported that "early trials have proven good seed viability and rapid young seedling development". The following year Neil Marriott reported that "seedlings germinate well with smoked water during spring, and young plants establishing here in deep granite sands and sandy loams at Stawell are growing slowly but steadily." It was his view that the species was likely to be of value to the cut flower industry, and as a garden plant in hot dry climates.

Banksia rosserae is a recently described species of "Banksia". Endemic to inland Western Australia, it is the only "Banksia" species to occur solely within the arid zone.


Career.

Tyibilika was born in Port Elizabeth and educated at the Loyiso High School. While at high school he started playing rugby union, making his professional debut in 2001 with Griquas.  Tyibilika played for Springbok 'A' in 2004. In November of that year he made his debut for the Springboks in a match against Scotland at Murrayfield playing at flank. South Africa won the match 45–10. He scored on his debut. He played in a subsequent test against Argentina in Buenos Aires, which the Springboks won 39–7.  Tyibilika next played for the Springboks the following season in June, where he played against Uruguay, which the Springboks won 134–3. He then played a subsequent test against the Wallabies in the 2005 Tri Nations Series, which the Springboks won 33–20 at Ellis Park in Johannesburg. He earned one other cap that year against Argentina in Buenos Aires in November. He was named in the Springboks' 2006 Tri Nations Series squad.  Tyibilika was part of the Southern Kings squad that played against the British and Irish Lions, in the Lions tour of South Africa in 2009.  In the 2011 season, which would turn out to be his last, he played for Hamiltons in Cape Town.  Tyibilika scored 24 tries for Griquas, Sharks, Lions and Border, appearing 158 times.

Personal life.

Tyibilika was not married and had four children.

Death.

Tyibilika was shot dead in a tavern in the township of Gugulethu, near Cape Town, shortly after 2pm on 13 November 2011. Witnesses reported Tyibilika had his back turned to the entrance and was on his telephone when two gunmen fired ten rounds in the door. Tyibilika was found to be lying lifeless in his own blood on the floor after the incident.  Mr Oregan Hoskins, president of SARU, said, ""Solly was a trailblazer among black African Springboks. To lose him so suddenly and in this brutal manner is very distressing. The casual disregard for life in our society is shocking."" Hoskins also said, ""His emergence was a demonstration of what can be achieved when talent is combined with opportunity in what is always a very competitive position in Springbok rugby"". There were pleas for donations for a burial, with his last club Hamiltons offering to help his family. Sport and Recreation Minister Fikile Mbalula told Parliament two days after the murder that Tyibilika had done his country proud.

Solomzi "Solly" Tyibilika (23 June 1979 – 13 November 2011) was a South African rugby union footballer, who played as a flanker for the Lions in the international Super 14 competition in his last years. He was the first black person (not white or mixed race) to score a test try for the South Africa national rugby union team.


Features.

The Dark Engine's renderer, originally created by Sean Barrett in 1995, supports graphics similar to that of the original "Quake", with "Unreal"-like skybox effects and colored lighting introduced in "Thief II". Due to the limited hardware of the time, the Dark Engine was not designed with scalability in mind, and can therefore only display 1024 terrain polygons onscreen at once, as well as various other limits on objects and lights. In terms of textures, the game supports palletized PCX and TGA textures, in powers of two up to 256x256. Textures are grouped in "families" which share the same palette. There is a maximum of 216 textures and independent palettes, excluding 8 animated water textures.  The engine does not natively support advanced game scripting, with AI and object behavior being controlled by "Object Script Module" (.OSM) files, which are DLLs that are loaded at runtime. As such, new modules can be written and plugged into the level editor, DromEd, but are limited due to the scope of the functions made available by the core engine. In order to overcome this, editors must resort to complicated Rube Goldberg machine-like effects using a combination of its other systems.  For its time, the Dark Engine offered advanced AI and sound features, as well as a powerful object-oriented object system. The designer has full control of sound propagation within the level, and the "artificial intelligence" of the non-player characters (NPCs) allows for three levels of awareness: vague acknowledgement caused by mild visual or auditive disturbances, which only prompts a startled bit of dialogue; definite acknowledgement caused by significant visual or auditive disturbances, which causes the NPC to enter "search mode", and definite acquisition (triggered by visual on the fully lit player, or face-first contact with a player regardless of the light level), prompting a direct attack.

Source code.

In 2009, a complete copy of the Dark Engine source code was discovered in the possession of an ex-Looking Glass Studios employee who was at the time continuing his work for Eidos Interactive. The code was a complete set of the engine's resources, and included the libraries needed to compile the code. Fans of the "Thief" and "System Shock" series subsequently petitioned the publisher to consider releasing the code.  In late April 2010, a user on the "Dreamcast Talk" forum disassembled the contents of a Dreamcast development kit he had purchased. The contents of the kit included, among other things, items pertaining to ports of "Thief 2" and "System Shock 2" to that system. By December 2010, it had been discovered by the user and subsequently the greater Looking Glass Studios fan community that a compact disc included with the kit - the contents of which had been uploaded to the Internet - included a second copy of the Dark Engine source, minus the libraries needed to compile the code.  In September 2012, a significant unofficial update to the Dark Engine was published anonymously in a French forum, most probably based on the leaked Dreamcast source code. This unofficial patch extended the limits of the engine, introduced support for recent graphics and sound hardware, as well as better support for newer versions of Windows.

DromEd.

DromEd is the level editor for the Dark Engine. It was originally used in the design of "Thief: The Dark Project", but after a petition from the fan community it was released to the public, as were later versions.  There are four different versions of DromEd: for "Thief: The Dark Project", for "Thief Gold", for "Thief II", and lastly for "System Shock 2", commonly called "ShockEd." DromEd for "Thief: The Dark Project" and "Thief Gold" use the same version of the Dark Engine and therefore can open levels created for each game, although "Thief Gold" levels may refer to in-game objects that are not found in "Thief". "Thief II" uses a revised version of the Dark Engine, and therefore it is difficult to open levels created for "Thief" with DromEd for "Thief II". ShockEd is not compatible with any Dark Engine games aside from "System Shock 2". However, basic level geometry can be moved between editors using a geometry export feature called "multibrush". "System Shock 2" levels can be loaded by DromEd 2 with some work.  The name of the level editor, DromEd, is a reference to the original project it was designed for — a game based on the Arthurian legend of Camelot — the Camel becoming Dromedary and thence Dromed. DromEd has been used by fans to create hundreds of fan missions for "Thief" and "Thief II", and several missions for "System Shock 2".

The Dark Engine is a game engine developed by Looking Glass Studios and was used from 1998 to 2000, mainly in the early "Thief" games.


Population.

According to the preliminary 2011 census results Dominica has a population of 71,293. The population growth rate is very low, due primarily to emigration to more prosperous Caribbean Islands, the United Kingdom, the United States, Canada, and Australia. The estimated mid-year population of is ().

Vital statistics.

Structure of the population.

Structure of the population (31.12.2006) (Estimates) :

Ethnic groups.

The vast majority of Dominicans are of African descent (75% at the 2014 census). There is a significant mixed population (19%) at the 2014 census due to intermarriage, along with a small European origin minority (0.8%; descendants of French, British, and Irish colonists), East Indians (0.1%) groups, and there are small numbers of Lebanese/Syrians (0.1%) and Asians.

Amerindians.

Dominica is the only Eastern Caribbean island that still has a population of pre-Columbian native Caribs (also known as Kalinago), who were exterminated, driven from neighbouring islands, or mixed with Africans and/or Europeans. According to the 2001 census there are only 2,001 Caribs remaining (2.9% of the total population). A considerable growth occurred since the 1991 census when 1,634 Caribs were counted (2.4% of the total population). The Caribs live in eight villages on the east coast of Dominica. This special Carib Territory was granted by the British Crown in 1903. The present number of Kalinago is estimated at 4% more than 3,000.

Other demographic statistics.

Demographic statistics according to the CIA World Factbook, unless otherwise indicated.

Languages.

English is the official language and universally understood; however, because of historic French domination, Antillean Creole, a French-lexified creole language, is also widely spoken.

Religion.

According to the 2001 census, 91.2% percent of the population of Dominica is considered Christian, 1.6% has a non-Christian religion and 6.1% has no religion or did not state a religion (1.1%).  Roughly two thirds of Christians are Roman Catholics (61.4% of the total population), a reflection of early French influence on the island, and one third are Protestant. The Evangelicals constitute the largest Protestant group, with 6.7% of the population. Seventh-day Adventists are the second largest group (6.1%). The next largest group are Pentecostals (5.6% of the population), followed by Baptists (4.1%). Other Christians include Methodists (3.7%), Church of God (1.2%), Jehovah's Witnesses (1.2%), Anglicanism (0.6%) and Brethren Christian (0.3%). During the past decades the number of Roman Catholics and Anglicans has decreased, while the number of other Protestants has increased, especially Evangelicals, Seventh-day Adventists, Pentecostals (5.6% of the population) and Baptists).  The number of non-Christians is small. These religious groups include the Rastafarian Movement (1.3% of the population), Hinduism (0.1%) and Muslims (0.2%).

This article is about the demographic features of the population of Dominica, including population density, ethnicity, religious affiliations and other aspects of the population.


History.

This trick is an impressive show of skill, sometimes seen in street soccer or futsal. It is rarely used in modern professional football, as it has a relatively low success rate, but players with high confidence and skill may attempt it from time to time as a feint, to beat opposing players when dribbling. It has been used by top players such as Jay-Jay Okocha or Neymar. In fact, it was first executed in 1968 by Brazilian football player Alexandre de Carvalho "Kaneco". The rainbow kick was performed at the 2002 FIFA World Cup when Turkey's İlhan Mansız, in what was described as a "sombrero" move of "outrageous skill", flicked the ball over both his head and the head of Brazil's world-class side-back Roberto Carlos, forcing Carlos into a foul. Sometimes the use of tricks like the rainbow kick are seen as showboating and disrespectful to the opposing team. In March 2008, the Sheffield Wednesday player Franck Songo'o, on his debut loan appearance for the Championship side against Queens Park Rangers, attempted the trick in the closing minutes of the game, which Wednesday were leading, with one match report commenting that the referee "quickly called a halt to proceedings as Rangers players piled in threatening to lynch the Frenchman".  The rainbow kick appears in a famous sequence in the 1981 film "Escape to Victory", when the trick is used by the character played by Ossie Ardiles, which led to the name of "Ardiles flick". One review described it thus: "the all time special effects highlight being when Ossie Ardiles flicks the ball over his head".  The trick has also been featured in football computer games, including "FIFA 08", where it is described as "One of the most famous soccer moves". Brazilian Superstar Neymar is a notable exponent of the rainbow flick in the modern game.

The rainbow kick (also called the reverse flick-over, the rainbow flick, the Carretilha or the Lambreta in Brazil, the Lambretta in Italy, the Brazilian in Romanica, the Ardiles flick in the UK, the arco iris in Spain, the Okocha-Trick in Germany and the coup du sombrero in France) is a trick used in association football, in which a player steps to the side of the ball and flicks it up round from the side of them. The trajectory of the ball gives this trick its name. The trick is usually performed while running forward with the ball, and is done by rolling the ball up the back of one leg with the other foot, before flicking the standing foot upwards to propel the ball forward and over the head.


Prelude to battle.

On 31 March 1844 news from French Admiral De Moges from the frigate "La Neréide", warned of a flotilla of Haitian vessels that had been raiding the coast of the Ocoa Bay and transporting supplies to the Haitian Army in Azua. He recommended President Tomás de Bobadilla y Briones of the Junta Central Gubernativa, to order all ships in Santo Domingo be used for war. Conscripts for the new navy gathered at "Puerta de la Misericordia", among them were Juan Alejandro Acosta, José Antonio Sanabia, Joaquín Orta, Teodoro Ariza, Pedro Tomás Garrido y Fermín González.  Juan Alejandro Acosta together with some fellow merchants, armed two schooners. Acosta received the schooner "Eleonore" (renamed "San José") from the British merchant Abraham Cohen and was followed by the Genoese merchant Juan Bautista Maggiolo who received the schooner "María Chica" from the Catalan merchants José and Francisco Ginebra. Both schooners set sail in early April to "Aguas de la Estancia", Baní to meet there with Commander Juan Bautista Cambiaso, another Genoese merchant.

The battle.

On 13 April 1844 three schooners led by Commander Juan Bautista Cambiaso set sail from "Aguas de la Estancia". Cambiaso leading the schooner "Separación Dominicana" (flagship), the Captain Juan Bautista Maggiolo led the "María Chica" and Lieutenant Juan Alejandro Acosta led the "San José".  Two days later, on 15 April 1844 Commander Cambiaso sighted three vessels off shore bombarding Puerto Tortuguero, Azua. The three vessels were the "Pandora", "La Mouche" and "Le Signifie". Cambiaso quickly decided to engage the fleet and after a combination of manoeuvres the enemy succumbed. All three enemy vessels were sunk. Almost all sailors died in the battle and there is no record of any survivor from the sinkings.

Aftermath.

News from this victory travelled fast and on 23 April 1844 the Junta Central Gubernativa authorised to incorporate these three schooners in the newly created Dominican Navy, and Commander Cambiaso was appointed to the rank of Admiral. Haitian presence at sea vanished after this engagement, which ensured naval supremacy for the newborn nation.

The Battle of Tortuguero was the first naval battle of the Dominican War of Independence and was fought on 15 April 1844 at Tortuguero, Azua Province. A force of three Dominican schooners led by Commander Juan Bautista Cambiaso defeated a force of three vessels of the Haitian Navy. Though it was a minor naval battle engagement, it determined the naval supremacy of the Dominican Republic over Haiti until the end of the war.


Ritsuryō organization and hierarchy.

The eighth century ritsuryō innovations would prove to be remarkably durable and resilient across the span of centuries.  Any exercise of meaningful powers of court officials reached its nadir during the years of the Tokugawa shogunate, and yet the "Daijō-kan" did manage to persist intact through the initial years of the Meiji Restoration. It is not possible to assess or evaluate any individual office without assessing its role in the context of a durable yet flexible network and hierarchy of functionaries.  In the early Meiji period, the appointed Imperial "Daijo-kan" was filled with princes, aristocrats, loyalists domain lords ("daimyō"), and samurai.  Within months after Emperor Meiji's Charter Oath, the ancient ritsuryō structure was slightly modified with an express focus on the separation of legislative, administrative, and judicial functions within the "Daijō-kan" system. The evolution of a deliberative body within a modern constitutional system was gradual, and its constituent differences from the old "Daijō-kan" were not entirely self-evident at first, as revealed in an Imperial message in 1869:  Some months later, another major reform of the "Daijō-kan" re-united the legislative and executive functions which had been clearly separated earlier.  In 1871, The office of "Daijō-daijin" in the Great Council of State was briefly resurrected under the Meiji Constitution with the appointment of Sanjō Sanetomi. Despite the similarity of names for its constituent offices, this "Daijō-kan" would have been unrecognizable to Fujiwara courtiers of the Heian period. Nor would it have seemed at all familiar to those men who surrounded the emperor in the days of the Kenmu Restoration. In due course, it was decided that a modern integrated cabinet system would better serve a modern Japan. The "Daijō-kan" system, which had been divided into ministerial committees, would be replaced by a more modern model.  In December 1885, the old system was abolished completely; and yet, even afterwards, some elements of old system were adapted to new uses. For example, in that year, the title of "Naidaijin" was reconfigured to mean the Lord Keeper of the Privy Seal of Japan in the Imperial Court. The man who had previously held the office of prime minister or chief minister of the initial restoration government was the "Daijō-daijin", Sanjō Sanetomi. Sanjō petitioned the emperor to be relieved of his ancient ritsuryō office; and he was then immediately appointed "Naidaijin", or Lord Keeper of the Privy Seal. The office of the Privy Seal was identical with the old "Naidaijin" only in its Japanese title—not in terms of function or powers.

Council of State.

This dry catalog does provide a superficial glimpse inside the complexity of what was initially designed as a pre-feudal court structure. What this list cannot easily explain is how or why the "Daijō-kan" turned out to be both flexible and useful across a span of centuries:

Ritsuryō Eight Ministries.

The Asuka-, Nara- and Heian-period Imperial court hierarchy encompassed a multi-faceted bureaucracy focused on serving the needs of the Emperor, the Imperial family, the Imperial Household and the Imperial state.  Imperial power and prestige would wax and wane during the subsequent Kamakura-, Kenmu-, Muromachi-, Nanboku-chō-, Sengoku-, Azuchi–Momoyama-, and Edo-periods; nevertheless, the basic structure of the Imperial household remained largely unchanged. A mere list of the court titles cannot reveal nearly enough about the actual functioning of the "Daijō-kan"; but the hierarchical relationships sketch a general context.

Ministry of the Center.

The Taihō Code established a, sometimes identified as the "Ministry of Central Affairs." This ministry became the governmental agency for matters most closely pertaining to the emperor.  In the 18th century, the top "ritsuryō" official within this subdivision of the "daijō-kan" was the. This official had the responsibility to oversee the inspection of the interior apartments of the palace; and he was granted the privilege of retaining his swords in the presence of the emperor.  Considered central were the, 8 positions. There are 8 officials with this title, all equal in rank and in the confidence of the Emperor. In the Meiji period, a variant equerry was introduced as part of the Imperial retinue. As explained in an excerpt from the : " will perform attendant duties and will relay to him military matters and orders, be present at military reviews [in his name] and accompanying him to formal ceremonies and interviews."

Ministry of Civil Services.

The Taihō Code established a ; also known as the "Ministry of Legislative Direction and Public Instruction". This ministry collected and maintained biographical archives of meritorious subjects.  In the 18th century, the top "ritsuryō" official within this subdivision of the "daijō-kan" was the ; also known as "Chief minister of public instruction." This office is ordinarily filled by a son or close relative of the emperor. Two of the offices which were deemed to fit in this "civil services" context were the Imperial court's. and the Emperor's.

Ministry of Ceremonies.

The Taihō Code established a ; also known as the "Ministry of the Interior".  In the 18th century, the top "ritsuryō" official within this subdivision of the "daijō-kan" was the.

Ministry of Popular Affairs.

The Taihō Code established a. This ministry is concerned with the general populace, with police activities, and with land survey records. Registries for all towns and villages are maintained, including census records as well as birth and death records.  In the 18th century, the top "ritsuryō" official within this subdivision of the "daijō-kan" was the.

Ministry of War.

Ministry of Justice.

Ministry of the Treasury.

The Taihō Code established a.  In the 18th century, the top "ritsuryō" official within this subdivision of the "daijō-kan" was the. This official supervises the receipt of tributes from the provinces and imposes tribute on others.

Ministry of the Imperial Household.

The Taihō Code established a. The origins of the current can be traced back to structures which were put into effect during the reign of Emperor Monmu, with some subsequent modifications.  In 1702, the Taika era name for the palace organization, "kunai-kan" or "government" of the palace, was changed to the "kunai-shō" or "ministry" of the palace. Accompanying this modification, the chief administrative official was afterwards called "kunai-kyō". After the Meiji Restoration, the "kunai-shō" name remained unchanged. There were two other periods of modification and in 1889.  In the 18th century, the top "ritsuryō" officials within this hierarchic structure were:  The deliberate redundancies at the top were common features of each position in this stable hierarchic schema. Many positions typically mirrored the "-kyō," "-taifu," "-shō," "-jō," and "-sakan" pattern.

Tokugawa courtiers.

Even nominal administrative powers of court officials reached a nadir during the years of the Tokugawa shogunate. In this impoverished period, titles and court rank were still prized by those outside the traditional "kuge". The Tokugawa shōguns did not demur when the Emperor offered rank and an office in the court:

Geo-political sub-divisions.

The country was divided into provinces called, which were administered by governors appointed by the "Daijō-kan". The provinces were then further divided into districts called, under district governors who were appointed by the local nobility. At the beginning of the eighth century, there were 592 districts making up 66 provinces.

The, also known as the Great Council of State, was (i) ("Daijō-kan") the highest organ of Japan's premodern Imperial government under Ritsuryō legal system during and after the Nara period or (ii) ("Dajō-kan") the highest organ of Japan's government briefly restored to power after the Meiji Restoration, which was replaced by the Cabinet.


Cast.

The program featured many notable guest stars, some before they had achieved fame, including: John Astin, Jack Bannon, Roscoe Lee Browne, Steven Culp, Stacy Edwards, Fionnula Flanagan, Michelle Forbes, Kurt Fuller, Annie Golden, Grant Heslov, Laurie Holden, Stanley Kamel, Andreas Katsulas, Yaphet Kotto, Diane Ladd, Anthony LaPaglia, Scott Marlowe, David McCallum, Colm Meaney, William R. Moses, Craig Richard Nelson, Leslie Nielsen, Ethan Phillips, John Slattery, Brenda Strong, Robin Thomas, Sada Thompson, Tony Todd, John Vernon, Kate Vernon, Robert Walden and David Warner.

Episodes.

After its first season, NBC cancelled the show. It was picked up by ABC and aired for two more seasons. In total, "Father Dowling Mysteries" comprises a 2-hour TV movie plus 43 one-hour episodes.

Pilot.

The pilot was a two-hour TV movie titled "Fatal Confession", which originally aired on NBC on November 30, 1987.  There were few similarities to the books written by McInerny, with the principal character even changing his name (in the novels, he was Roger Dowling), while the setting was changed from a rural parish in the small town of Fox River to the city of Chicago – a setting which was borrowed from another series of novels by McInerny, concerning a Chicago nun. For TV, the nun changed her name, became streetwise, lost many years of age, and metamorphosed into Father Dowling's youthful assistant.  Father Prestwick did not appear in the 1987 pilot. In the first episode of the series, "The Missing Body Mystery", he is brought in by the Bishop to evaluate Father Dowling's parish, and Prestwick is initially appointed to replace him. At the end of the second episode, Prestwick is reassigned to a parish in Alaska: hence he does not appear again until the final Season 1 episode, "The Pretty Baby Mystery" (when it's said he had offended the Bishop in Anchorage, Alaska, and been kicked out there). From the start of Season 2 he becomes one of the regular cast.

Regular series.

The show was due to begin in 1988, but because of a writers' strike it did not begin to air weekly until January 1989.  For the first season, on NBC, the episodes were principally written by Supervising Producer Robert Hamilton, who contributed five of the scripts, but Hamilton was dropped when NBC cancelled the show after just eight episodes.  When ABC picked up the show for the second and third seasons (initially as a mid-season replacement), the show's executive producer, Dean Hargrove, together with Joyce Burditt, became the backbone of the writing team, frequently writing episodes jointly (Hargrove had begun his career as a scriptwriter, on the TV series "The Man From U.N.C.L.E."). And Gerry Conway, whose career began as a well-regarded writer at Marvel Comics, was now appointed as a script consultant, initially acting as script editor on the series before being promoted to co-producer for the third season, also writing many of the episodes.  For the third and longest season (the show's only full season), Brian Clemens, who had been producer and executive producer on "The Avengers" and had written many of its best regarded episodes, was added as a script consultant, and wrote or co-wrote many third-season episodes—a number of them in collaboration with co-producer Gerry Conway.  Although the show was set in Chicago, the first season was actually filmed in Denver, Colorado, where the filming locations used included the Church of the Annunciation, at 3621 Humboldt Street, which stood in for St Michael's parish church.  At the time the show was being made, Bosley's co-star Tracy Nelson ("Sister Steve") was married to actor William R Moses, the featured guest star who plays her ex-boyfriend in Season One ("The Man Who Came to Dinner Mystery").  The theme music for the regular series was composed by Dick De Benedictis.  The regular series episodes ran approximately 46 minutes 30 seconds.

Cancellation.

The show courted controversy with viewers in its third season, which led to a second, and final, cancellation. Executive producer Dean Hargrove wrote several episodes which did not sit well with viewers of a religious disposition, nor with the network, moving the show away from being a murder mystery series and straying into theological areas, including appearances by the Devil and by angels, presenting them as real characters within the storylines.

Synopsis.

Father Francis ("Frank") Dowling is a Catholic priest who continually stumbles upon murders, abductions and other crimes in his parish (the fictional Parish of St Michael's) in Chicago, Illinois. Because of the Chicago connection, many of the cases are mob-related. His legal first name of Francis is revealed in the episode "The Movie Mystery", when he's talking to the detective in charge of the case.  Fr. Frank is assisted by Sister Stephanie ("Steve") Oskowski, a nun assigned to the parish to minister to its members. It is Sr. Steve who does much of the legwork in the investigations. She's a streetwise nun, with a Polish surname and a strong ethnic accent, who grew up in a rough housing project in the diocese. She can hotwire a car, and pick any lock, among other things. Because she knows the "language of the streets" she uses this to her advantage (not just when investigating a mystery, but also in her ministry). Although she is much younger than Father Frank, the two work smoothly together as a team. He is not just a mentor to her, it's obvious she looks up to him as the father she never had.  Father Dowling has an identical twin brother, Blaine (also played by Tom Bosley). A thief and con artist, who isn't above framing his brother for his crimes, Blaine appears three times: in "The Face in the Mirror Mystery", "The Woman Scorned Mystery", and "The Fugitive Priest Mystery".  Father Philip Prestwick, who provides comic relief, is a social-climbing assistant to the Archbishop. Father Phil just happens to drop in before every meal.  Mrs Marie Gillespie is both the parish secretary and the housekeeper of the Rectory (in which the parish priest lives).  The show's format in effect creates a pseudo-family: Father Dowling and his elderly housekeeper, Marie, behave like an old married couple, with Father Dowling acting like the regular father in a conventional family (somewhat aided by his identification in the minds of the audience with Mr Cunningham, the character he played on the tv series "Happy Days"). Both of them treat Sister Stephanie as though she's their daughter. The humour largely emerges from the intrusions into this "family circle" by Father Phil, who, like an unwanted relation, disrupts the cosy informality of the household. The humour develops from the fact that Phil, in his innocence, never realises that his presence is largely an irritant to the others.  A further recurring character is a female Chicago police officer, Detective Sergeant Clancy (Regina Krueger), who is Father Dowling's friend and principal police contact in the first two seasons. In season 3 Dick O'Neill replaces her, as Lieutenant Foster, an old friend of Frank's in the police, and a devout Catholic, who Frank browbeats into doing him occasional favours during the investigations.  The mysteries usually begin with a mysterious visitor to St Michael's church, or to the parish Rectory next door where Father Dowling lives. In the first season, Sister Steve lives in a convent with the other nuns in her Order ("The Pretty Baby Mystery"); but in the second season she takes her meals at the Rectory, and when her brother is accused of murder (in the episode "The Sanctuary Mystery") he's shown sheltering in her bedroom at the Rectory. Throughout all three seasons she's also a chauffeur for Father Dowling, who doesn't drive. Because she's a car enthusiast, and reformed car thief, she handles the parish station wagon like a professional stuntman.  Between attending to parish secretarial and housekeeping duties, Marie takes phone messages for the duo while they're out travelling all over the city investigating their latest case. Meanwhile, Fr. Phil pops in and out of the Rectory, almost always at mealtimes. Marie and Father Phil provide light relief together, with a comic double-act, forever squabbling over Father Dowling's involvement in police matters, or about parish duties. However, Marie always emerges victorious.  Phil's devotion to never missing a meal at the Rectory is gradually developed into a running gag. In addition, Phil's attempts at keeping on the Bishop's good side (another running gag) are a further source of comic relief.  In the episode "The Legacy Mystery" (aired April 4th, 1990), Tom Bosley is reunited with his "Happy Days" co-star, Marion Ross, who plays the mother of a wealthy businessman accused of stealing valuable artwork.

Home media.

CBS DVD (distributed by Paramount) has released all three seasons on DVD in Region 1.  On June 6, 2017, CBS DVD released "Father Dowling Mysteries: The Complete Series" on DVD in Region 1.  In Region 2, Acorn Media released the first season on DVD in the UK on June 18, 2012. However, it was released under the title "Father Dowling Investigates".  In Region 4, Madman Entertainment released the first season on DVD in Australia on November 2, 2011.  There was also a VHS released in region 1 on the 24 of January 2000 of the "Fatal Confession" TV movie.

Father Dowling Mysteries (also known as Father Dowling Investigates in the United Kingdom) is an American mystery television series that aired from January 20, 1989 to May 2, 1991. Prior to the series, a TV movie aired on November 30, 1987. For its first season, the show was on NBC; it moved to ABC for its last two seasons.


Special performances.

At Disneyland, "Fantasy in the Sky" was brought back from retirement to feature at the 2004 and 2005 July 4 celebrations and on New Year's Eve in 2004 through 2007. A 2008 revival was cancelled due to high winds. At the Magic Kingdom, it has been performed every year on the December 30 and 31, as well as on July 3–4; the July 3 and 4 shows being held in 360 degrees around the park and the Seven Seas Lagoon concurrently. However, WDW has announced new fireworks shows to replace "Fantasy in the Sky" for Independence Day ("").  "Fantasy in the Sky" returned for Disneyland and Walt Disney World for 2009 New Year Celebration.  In early 2015, a version of Fantasy in the Sky was brought back at Disneyland Park to bridge the gap between "Remember... Dreams Come True" ending and "Disneyland Forever" premiering as part of the park's 60th anniversary. "Fantasy in the Sky"'s last performance was on May 20, 2015.  On August 2, 2016, it was announced that Fantasy in the Sky would be returning to Disneyland Park starting on September 9, 2016.  For the 2020 New Years Celebration, the Disneyland show was not presented, and was replaced by "Mickeys Mix Magic", a fireworks show that was used in the 2019 spring season to celebrate Mickey Mouse's 90th birthday.

Lifetime Changes.

Disneyland.

The Disneyland version of the show not only has some major soundtrack changes but it also got other changes which include the pyrotechnics, and the castle's adjacent lighting. Fantasy in the Sky in Disneyland isn't always held during New Year's Eve, and the east coast new year celebrations, but they even host this spectacular during a special event throughout the entire park called Throwback Nite. This event always held in Disneyland Park happens every January or February and not during the New Year's Eve special events. Sometimes, it also has been used to bridge the gaps of shows if one discontinues the show while the others are creating a brand new fireworks spectacular for the park. This fireworks spectacular is operated from the discontinuation of the first show, and runs until the time the new show is set to debut at the park.

Magic Kingdom.

The Magic Kingdom version of the show has changed so much over the years. The show now inherits pyrotechnics from other spectaculars such as Once Upon a Time, Wishes and more. This fireworks spectacular used to be in Mickey's Not So Scary Halloween Party for a single year, but it can still be seen during the New Year's Eve special events. The spectacular is presented to the park four times every year from December 30, to January 1. The first performance is at 7:00 PM while the second performance is at 11:50 PM. Until 2017, the 7:00 PM performance of the show was actually Holiday Wishes instead of Fantasy in the Sky but it still has the big New Year's Eve finale.

Soundtrack.

The soundtrack for the Magic Kingdom 1990s version was released on two official albums:  The soundtrack for the Disneyland Paris version was released on:

Show soundtrack.

Tokyo Disneyland Special Version (2001).

Script.

Before "A Dream is a Wish Your Heart Makes" the script introduces the show by saying  Before "Zip-A-Dee-Doo-Dah" the script introduces the finale of Fantasy in the sky by saying these words:  Before "Tokyo DisneySea Medley" the script introduces the show by saying these words:

Fantasy in the Sky was the first fireworks performance at Disneyland in Anaheim, California, beginning in 1958 and running until 1996 (with short engagements in 2004 and early 2015). The show also appeared at the Magic Kingdom in Lake Buena Vista, Florida from 1971 until 2003, at Tokyo Disneyland in Urayasu, Chiba, Japan from 1983 until 1988 (with engagements from 1995 until 1997, and again from 2001 until 2003) and at Disneyland Paris from 1993 to 2005 in Marne-la-Vallee, France.


Early life.

Crouse was born in New York City, the daughter of Anna (née Erskine; 1916–2014) and Russel Crouse, a playwright. Her maternal grandparents were author and educator John Erskine and his wife Pauline Ives. Lindsay Ann Crouse's full name is an intentional tribute to the Broadway writing partnership of Lindsay and Crouse, which consisted of her father and his writing partner, Howard Lindsay. The two wrote much of "The Sound of Music". Their 1946 play "State of the Union" won that year's Pulitzer Prize for Drama. Their last collaboration was "Mr. President" in 1962. "In our family, the work ethic was held up as some kind of byword," Crouse says. "At any hour, somebody's typewriter was going."

Acting career.

After graduating from the Chapin School in 1966 and Radcliffe College in 1970, Crouse began her performing career as a modern and jazz dancer, but she soon switched to acting and made her Broadway debut in "Much Ado About Nothing" in 1972. She received her acting training at HB Studio in New York City.  Crouse's film career began in 1976, with small roles in television and theatrical movies. In 1977, she appeared as Lily Braden, the discontented wife of hockey player Ned Braden in "Slap Shot". Crouse was nominated for an Academy Award for Best Supporting Actress for her role in the 1984 movie "Places in the Heart". Among her films was a starring role in "House of Games", the 1987 film directed and written by her then-husband David Mamet, in which she plays Margaret Ford, a psychiatrist who is intrigued by the art of the con. "It's always hard to be directed by someone who's close to you," Crouse says. "Because everybody needs to go home and complain about the director. Everybody."  Crouse has appeared in featured and guest roles in a number of television series. Notable roles include a recurring portrayal of Kate McBride, a lesbian police officer on "Hill Street Blues" during its sixth season in 1986. This was the first lesbian recurring character on a major network. Crouse is also known for her role in the fourth season of "Buffy the Vampire Slayer", where she was a recurring supporting cast member playing Professor Maggie Walsh. Crouse has also guest-starred on "Alias", "", "Columbo", "Criminal Minds", "Law & Order", "ER", "Millennium", and "NYPD Blue".  In recent years, Crouse has concentrated on the theater. "Once you get your driver's license, you end your film career," says Crouse. "Look at my generation. Great actresses like Glenn Close and Susan Sarandon—there's nothing written for anyone over a certain age." In 2007, Crouse opened a revival of "The Belle of Amherst", a one-woman show about the life of poet Emily Dickinson, at the Gloucester Stage in Gloucester, Massachusetts. "You can't stop and recite something," says Crouse. "You have to keep the poetry very, very active, which is pretty easy with Dickinson. She was striving so hard to understand what life was about. It's very dramatic poetry in that way.  Crouse appeared in Lee Blessing's "Going to St. Ives" with the Gloucester Stage Company during the summer of 2008 and provided the narration for "Virginia Lee Burton: A Sense of Place", a documentary film about Virginia Lee Burton.

Personal life.

Crouse married playwright David Mamet in 1977. The two had met during the production on "Slap Shot". John Lahr writes in his book "Show and Tell: New Yorker Profiles" that when Mamet married Crouse in 1977, he "married into show business aristocracy". Lahr also writes that Mamet got his first screenwriting assignment through Crouse. Crouse was on her way to audition for Bob Rafelson's 1981 remake of "The Postman Always Rings Twice" and Mamet told Crouse to tell Rafelson that "he was a fool if he didn't hire me to write the screenplay." Although Mamet was joking, Crouse did it and Rafelson called Mamet; when the director asked why he should hire him for the screenplay, Mamet replied: "Because I'll give you a good screenplay or a sincere apology." Mamet got the job. She and Mamet divorced in 1990. Their marriage produced two daughters, Willa and Zosia Mamet.  Crouse's brother is Timothy Crouse, author of "The Boys on the Bus" about political journalism during the 1972 presidential campaign. Timothy Crouse also co-authored a new libretto for the musical "Anything Goes" with John Weidman that opened at the Vivian Beaumont Theater on Broadway on October 19, 1987, and ran for 784 performances.

Buddhist beliefs.

Crouse is a Buddhist and a direct student of Sumati Marut. In 2005, she organized an annual Buddhist educational program, originally held at the Windhover Center for the Performing Arts in Rockport, Massachusetts, and then in 2010 moved to The Governor's Academy in Byfield, Massachusetts. "[Buddhism] is not an exclusive club. It has something to offer everyone at all levels," says Crouse. "Buddhism is dynamic and has captured the interests of Americans. Even our quantum physics validate[s] ideas the Buddha taught 2,500 years ago."

Lindsay Ann Crouse (born May 12, 1948) is an American actress. She made her Broadway debut in the 1972 revival of "Much Ado About Nothing" and appeared in her first film in 1976 in "All the President's Men". For her role in the 1984 film "Places in the Heart", she received an Academy Award nomination for Best Supporting Actress. Her other films include "Slap Shot" (1977), "Between the Lines" (1977), "The Verdict" (1982), "Prefontaine" (1997), and "The Insider" (1999). She also had a leading role in the 1987 film "House of Games", which was directed by her then-husband David Mamet. In 1996, she received a Daytime Emmy Award nomination for "Between Mother and Daughter", an episode of "CBS Schoolbreak Special". She is also a Grammy Award nominee.


University Gallery.

The University Gallery, housed in the "Old College" building on the north campus, contains more than 10,000 works. One feature of the collection is its extensive holdings of vintage and contemporary photographs, including comprehensive surveys of the works of Gertrude Käsebier and Clarence Hudson White. Other notable collections include Pre-Columbian and Native American ceramics from the Moche and Pueblo cultures; and a number American prints and drawings from the 19th century to the present.  In 2007 the University Gallery took charge of the University of Delaware collection with notable works by Howard Pyle, Stanley Arthurs, Frank Schoonover and N. C. Wyeth of the Brandywine School.

Mechanical Hall.

The Mechanical Hall was renovated in 2004 to house the Paul R. Jones Collection of African American Art, donated by Atlanta, Georgia art collector Paul R. Jones. Jones' gift of several hundred important works from his personal collection was the outgrowth of a relationship that University of Delaware professor William Homer established in the early 1990s. The University Gallery mounted an exhibition of artwork from his collection in 1993. After negotiations regarding the conservation of the work and its pedagogical use, including outreach to Historically black colleges and universities, Jones effected the gift in 2001.  The Jones collection is considered the most comprehensive collection of 18th, 19th and 20th century African American art and includes important works by Kofi Bailey, Romare Bearden, Selma Burke, Elizabeth Catlett, Robert Colescott, David Driskell, David Hammons, Lonnie Holley, Wifredo Lam, Jacob Lawrence, Hughie Lee-Smith, Edward L. Loper, Sr., Eugene J. Martin and P. H. Polk.

Mineralogical Museum.

The Mineralogical Museum was created in 1964 with the gift of Irénée du Pont's personal collection of mineral specimens, which he had acquired from George Frederick Kunz in 1919.  The collection, which now resides in Penny Hall, includes numerous examples of minerals from exhausted mines, including a tourmaline from the Himalaya Mine in San Diego, California and copper ore from the Quincy Mine on Keweenaw Peninsula in Michigan.

The University Museums at the University of Delaware is the collective name for the University of Delaware's collections of American art, minerals, and Pre-Columbian ceramics.


Darboux frame of an embedded curve.

Let "S" be an oriented surface in three-dimensional Euclidean space E. The construction of Darboux frames on "S" first considers frames moving along a curve in "S", and then specializes when the curves move in the direction of the principal curvatures.

Definition.

At each point of an oriented surface, one may attach a unit normal vector in a unique way, as soon as an orientation has been chosen for the normal at any particular fixed point. If is a curve in, parametrized by arc length, then the Darboux frame of is defined by The triple defines a positively oriented orthonormal basis attached to each point of the curve: a natural moving frame along the embedded curve.

Geodesic curvature, normal curvature, and relative torsion.

Note that a Darboux frame for a curve does not yield a natural moving frame on the surface, since it still depends on an initial choice of tangent vector. To obtain a moving frame on the surface, we first compare the Darboux frame of γ with its Frenet–Serret frame. Let  Since the tangent vectors are the same in both cases, there is a unique angle α such that a rotation in the plane of N and B produces the pair t and u:  Taking a differential, and applying the Frenet–Serret formulas yields  where:

Darboux frame on a surface.

This section specializes the case of the Darboux frame on a curve to the case when the curve is a principal curve of the surface (a "line of curvature"). In that case, since the principal curves are canonically associated to a surface at all non-umbilic points, the Darboux frame is a canonical moving frame.

The trihedron.

The introduction of the trihedron (or "trièdre"), an invention of Darboux, allows for a conceptual simplification of the problem of moving frames on curves and surfaces by treating the coordinates of the point on the curve and the frame vectors in a uniform manner. A trihedron consists of a point P in Euclidean space, and three orthonormal vectors e, e, and e based at the point P. A moving trihedron is a trihedron whose components depend on one or more parameters. For example, a trihedron moves along a curve if the point P depends on a single parameter "s", and P("s") traces out the curve. Similarly, if P("s","t") depends on a pair of parameters, then this traces out a surface.  A trihedron is said to be adapted to a surface if P always lies on the surface and e is the oriented unit normal to the surface at P. In the case of the Darboux frame along an embedded curve, the quadruple  defines a tetrahedron adapted to the surface into which the curve is embedded.  In terms of this trihedron, the structural equations read

Change of frame.

Suppose that any other adapted trihedron is given for the embedded curve. Since, by definition, P remains the same point on the curve as for the Darboux trihedron, and e = u is the unit normal, this new trihedron is related to the Darboux trihedron by a rotation of the form  where θ = θ("s") is a function of "s". Taking a differential and applying the Darboux equation yields  where the (ω,ω) are functions of "s", satisfying

Structure equations.

The Poincaré lemma, applied to each double differential ddP, dde, yields the following Cartan structure equations. From ddP = 0,  From dde = 0, The latter are the Gauss–Codazzi equations for the surface, expressed in the language of differential forms.

Principal curves.

Consider the second fundamental form of "S". This is the symmetric 2-form on "S" given by By the spectral theorem, there is some choice of frame (e) in which ("ii") is a diagonal matrix. The eigenvalues are the principal curvatures of the surface. A diagonalizing frame a, a, a consists of the normal vector a, and two principal directions a and a. This is called a Darboux frame on the surface. The frame is canonically defined (by an ordering on the eigenvalues, for instance) away from the umbilics of the surface.

Moving frames.

The Darboux frame is an example of a natural moving frame defined on a surface. With slight modifications, the notion of a moving frame can be generalized to a hypersurface in an "n"-dimensional Euclidean space, or indeed any embedded submanifold. This generalization is among the many contributions of Élie Cartan to the method of moving frames.

Frames on Euclidean space.

A (Euclidean) frame on the Euclidean space E is a higher-dimensional analog of the trihedron. It is defined to be an ("n" + 1)-tuple of vectors drawn from E, ("v"; "f",..., "f"), where: Let "F"("n") be the ensemble of all Euclidean frames. The Euclidean group acts on "F"("n") as follows. Let φ ∈ Euc("n") be an element of the Euclidean group decomposing as where "A" is an orthogonal transformation and "x" is a translation. Then, on a frame, Geometrically, the affine group moves the origin in the usual way, and it acts via a rotation on the orthogonal basis vectors since these are "attached" to the particular choice of origin. This is an effective and transitive group action, so "F"("n") is a principal homogeneous space of Euc("n").

Structure equations.

Define the following system of functions "F"("n") → E:  The projection operator "P" is of special significance. The inverse image of a point "P"("v") consists of all orthonormal bases with basepoint at "v". In particular, "P" : "F"("n") → E presents "F"("n") as a principal bundle whose structure group is the orthogonal group O("n"). (In fact this principal bundle is just the tautological bundle of the homogeneous space "F"("n") → "F"("n")/O("n") = E.)  The exterior derivative of "P" (regarded as a vector-valued differential form) decomposes uniquely as  for some system of scalar valued one-forms ω. Similarly, there is an "n" × "n" matrix of one-forms (ω) such that  Since the "e" are orthonormal under the inner product of Euclidean space, the matrix of 1-forms ω is skew-symmetric. In particular it is determined uniquely by its upper-triangular part (ω | "i" < "j"). The system of "n"("n" + 1)/2 one-forms (ω, ω ("i"<"j")) gives an absolute parallelism of "F"("n"), since the coordinate differentials can each be expressed in terms of them. Under the action of the Euclidean group, these forms transform as follows. Let φ be the Euclidean transformation consisting of a translation "v" and rotation matrix ("A"). Then the following are readily checked by the invariance of the exterior derivative under pullback:  Furthermore, by the Poincaré lemma, one has the following structure equations

Adapted frames and the Gauss–Codazzi equations.

Let φ : "M" → E be an embedding of a "p"-dimensional smooth manifold into a Euclidean space. The space of adapted frames on "M", denoted here by "F"("M") is the collection of tuples ("x"; "f"...,"f") where "x" ∈ "M", and the "f" form an orthonormal basis of E such that "f"...,"f" are tangent to φ("M") at φ("v").  Several examples of adapted frames have already been considered. The first vector T of the Frenet–Serret frame (T, N, B) is tangent to a curve, and all three vectors are mutually orthonormal. Similarly, the Darboux frame on a surface is an orthonormal frame whose first two vectors are tangent to the surface. Adapted frames are useful because the invariant forms (ω,ω) pullback along φ, and the structural equations are preserved under this pullback. Consequently, the resulting system of forms yields structural information about how "M" is situated inside Euclidean space. In the case of the Frenet–Serret frame, the structural equations are precisely the Frenet–Serret formulas, and these serve to classify curves completely up to Euclidean motions. The general case is analogous: the structural equations for an adapted system of frames classifies arbitrary embedded submanifolds up to a Euclidean motion.  In detail, the projection π : "F"("M") → "M" given by π("x"; "f") = "x" gives "F"("M") the structure of a principal bundle on "M" (the structure group for the bundle is O("p") × O("n" − "p").) This principal bundle embeds into the bundle of Euclidean frames "F"("n") by φ("v";"f") := (φ("v");"f") ∈ "F"("n"). Hence it is possible to define the pullbacks of the invariant forms from "F"("n"): Since the exterior derivative is equivariant under pullbacks, the following structural equations hold  Furthermore, because some of the frame vectors "f"..."f" are tangent to "M" while the others are normal, the structure equations naturally split into their tangential and normal contributions. Let the lowercase Latin indices "a","b","c" range from 1 to "p" (i.e., the tangential indices) and the Greek indices μ, γ range from "p"+1 to "n" (i.e., the normal indices). The first observation is that  since these forms generate the submanifold φ("M") (in the sense of the Frobenius integration theorem.)  The first set of structural equations now becomes  Of these, the latter implies by Cartan's lemma that  where "s" is "symmetric" on "a" and "b" (the second fundamental forms of φ("M")). Hence, equations (1) are the Gauss formulas (see Gauss–Codazzi equations). In particular, θ is the connection form for the Levi-Civita connection on "M".  The second structural equations also split into the following  The first equation is the Gauss equation which expresses the curvature form Ω of "M" in terms of the second fundamental form. The second is the Codazzi–Mainardi equation which expresses the covariant derivatives of the second fundamental form in terms of the normal connection. The third is the Ricci equation.

In the differential geometry of surfaces, a Darboux frame is a natural moving frame constructed on a surface. It is the analog of the Frenet–Serret frame as applied to surface geometry. A Darboux frame exists at any non-umbilic point of a surface embedded in Euclidean space. It is named after French mathematician Jean Gaston Darboux.


Sociohistorical context.

The Theatre du Soleil was founded as a theatre collective in 1964, in the midst of cultural turmoil that was sweeping the western world. With the capitalist west and the Communist east locked in the midst of the Cold War, nuclear warfare was imminent while the whole of Europe was slowly recovering from the destruction of World War II. In 1965 Charles de Gaulle was re-elected President of France in the first election with direct popular vote for the office. The year 1968, a watershed for protests and turmoil around the world, was characterized by rebellion against conventional culture, huge political demonstrations, and labor strikes in France involving 11 million workers, students, and far-left politicians. It was in the middle of this period of uncertainty, changing cultural attitudes, and disillusionment that Mnouchkine, a student in land, started Le Theatre du Soleil with her peers who were interested in creating original theatre.

Timeline.

1964: Le Theatre du Soleil is established  1964–65: "Les Petits Bourgeois" presented at Théâtre Mouffetard  1965–66: "Capitaine Fracasse" presented at the Theater Récamier  1967: "La Cuisine" presented at Cirque de Montmartre  1968: "Le Songe d'une Nuit d'Ete (A Midsummer's Night's Dream)" "L'Arbre Sorcier, Jerome et la Tortue"  1969–70: "Les Clowns" presented at Festival d'Avignon, Piccolo Teatro de Milan  1970–1971: Le Theatre du Soleil moves to their permanent base, la Cartoucherie, a former munitions factory on the outskirts of Paris  "1789" opens in La Cartoucherie.  1974: Film version of "1789" released  1975: "L'Age d'Or"  1976–77: "Don Juan"  1978 "Molière," film directed by Ariane Mnouchkine and starring Philippe Caubère, presents the biography of Moliere. It was in competition for the Palme d'Or at Cannes in 1978.  1979–80: "Mephisto, Le Roman d'une Carriere"  1981–84: Translated works of Shakespeare are presented in cycles, including "Richard II" and "Henry IV" Parts 1 and 2  1985–86: "L'Histoire Terrible Mais Inachevee de Norodom Sihanouk, Roi du Cambodge"  1987–88: "L'Indiade ou L'Inde de leurs Reves"  1989: Film version of "La Nuit Miraculeuse"  1990–93: Cycle "Les Atrides" (including "Ipighenie a Aulis, Agamemnon, Les Choephores", and "Les Eumenides")  1993: "L'Inde, de Pere en Fils, de Mere en Fille"  1994: "La Ville perjure ou le Reveil des Erinyes"  1996–97: Film "Au Soleil Meme la Nuit"  1997–98: " Et Soudain des Nuits d'Eveil" "Tout est Bien qui Finit Bien"  1999–2002: "La Ville Parjure ou le Reveil des Erinyes" "Tambours sur la Digue"  2003–2006: "Le Dernier Caravanserail (Odyssees)" " Le Fleuve Cruel" "Origines et Destins"  2007–2009: "Les Ephemeres"  2008 : Film "L'Aventure du Theatre du Soleil"  2010–2011: "Les Naufrages du Fol Espoir" (reached 200th performance in February 2011)  March 19–22 – Japanese kyogen troupe, hosted by Le Theatre du Soleil at La Cartoucherie, performs traditional kyogen pieces and an adaptation of Shakespeare's "The Comedy of Errors"  May 4 – Company tour begins in Nantes  2014-2015: "Macbeth"  2016-2019: "Une Chambre en Inde" (A Room in India, performed in New York City in December 2017, at the Park Avenue Armory  2018: Kanata (directed by Robert Lepage, with the troupe of Théâtre du Soleil)

Mission and philosophy.

Founded by Ariane Mnouchkine, The Theatre du Soleil was founded in the 1960s as a reaction against traditional theatrical institutions in France. Although they have never presented a formalized mission statement, from their inception they have been characterized by a commitment to long-term collaborative rehearsal processes; the merging of a wide variety of art forms both Western and non-Western, including music, dance, and puppetry; actively communicating and mingling with their audiences; and maintaining a large, hierarchy-free company that lives together and equally shares the work of creating their productions. Company members describe working for the Theatre du Soleil as "a style of life", while a reviewer for "The New York Times" said of their production "Les Ephemeres": "The aim here is not to shape life into taut dramatic form but to present lived experience intimately and without evidence of artists' interpretation and manipulation." Mnouchkine summarized the philosophy of the organization as "Theatre du Soleil is the dream of living, working, being happy and searching for beauty and for goodness....It's trying to live for higher purposes, not for richness. It's very simple, really."  The company's productions have included both re-imaginings of classics of Western theatre such as Shakespeare's "Richard II" and Moliere's "Tartuffe", but the company is equally well known for their original works. The collective, consisting of 70 members as of July 2009, takes the concept and direction for their original productions from founder Ariane Mnouchkine, and works together in a collaborative rehearsal process that stretches out over many months to create a finished performance event. For example, their six-hour-long 2005 production "Le Dernier Caravansérail (Odyssées)" was based on a compilation of letters and interviews collected by Mnouchkine and her colleagues from refugee camps from around the world, while "Les Ephemeres" in 2009 was based on nine months of improvisations stemming from Mnouchkine's question: What would you do if you found out that all of humanity would die out within three months?  At other times, they provocatively, directly comment on contemporary events, such as their production of Tartuffe in which the title character was presented as an Islamic zealot at a time when there was a movement in France against foreign immigration. They have drawn inspiration from non-Western cultures, such as when they used bunraku-style puppetry in their production "Tambours sur la Digue." The company's emphasis on movement and physical theatre is in part due to Mnouchkine's study under Jacques Lecoq. Their performances also frequently feature direct contact between the actors and the audience members, whether through a dressing and makeup area that is open to the public's view or lunch for both actors and audience served at intermission. Beyond their production process, part of the company's philosophy includes communal living and a complete lack of hierarchy for every member of the organization. All employees, whether actors, administrators, or technicians, are paid the exact same wage, and must sometimes go without a salary for months when the company is not performing and earning income. The company lives together in shared housing and equally shares the work of cooking, cleaning, and otherwise maintaining their living space. In addition, all performers do technical work on productions, such as maintaining moving set pieces for "Les Ephemeres".

Major works.

The Theatre du Soleil's premiere performance was in 1964–65 with "Les Petits Bourgeois". The company's first widely recognized production was in 1967 with Arnold Wesker's 1957 play "The Kitchen". They continued on to form a theatre collective and produce their first major success "1789", a show about the French Revolution. Their performance suggested "the Revolution was subverted by those more concerned about property than justice". Another of the company's most famous works was "Les Atrides". This was made up of Euripides' "Iphigenia at Aulis" and Aeschylus' "The Oresteia". The production took over two years to mount, played in numerous countries including the United States and Germany, and integrated several forms of Asian dance and drama. In 2005, Le Theatre du Soleil presented "Le Dernier Caravanserail (Odyssees)" or "The Last Caravansary (Odysseys)."  One of the company's most recent major works was their production of "Les Ephemeres" created and directed by Ariane Mnouchkine. The show premiered at the 2009 Lincoln Center Festival. "Les Ephemeres" is centered on the river of time with its events both past and present. The Village Voice characterized the show's theme as "To go with the flow, to accept the fact that time is the great devastator. "Tout passe, tout casse, tout basse", says a French proverb: Everything passes, everything breaks, everything sinks." The performance is split in two three-and-a-half-hour-long sections with the full run time just over seven hours long.

Major players.

While Ariane Mnouchkine, acknowledged as the founder of the troupe, regularly acts as the company's concept creator and director, a number of her fellow students were also her collaborators in the initial founding of the company, including: Senior members such as Mnouchkine are not given preferential treatment. Mnouchkine, for example, refused to be interviewed alone for a "New York Times" article, although individuals such as Helene Cixous (playwright) and Jean-Jacques Lemetre (composer and musician) repeatedly fulfill specific production roles and have done so for many years.

Le Théâtre du Soleil (, "The Theater of the Sun") is a Parisian avant-garde stage ensemble founded by Ariane Mnouchkine, Philippe Léotard and fellow students of the "L'École Internationale de Théâtre Jacques Lecoq" in 1964 as a collective of theatre artists. Le Théâtre du Soleil is located at La Cartoucherie, a former munitions factory in the Vincennes area of eastern Paris. The company creates new theatrical works using a devising process based on utilizing physical theatre and improvisation.