Navigation Home page Contents Forum Maximize Search Comment Mail me Author Introduction Sources of information Brecht as a theatre practitioner Brechts plays The early period The propaganda plays The plays of Brechts maturity Brechts dramatic theories The background to the theory The epic theatre The Verfremdungseffekt The construction of the plays Brechts theory of acting The Gestus Nonliterary elements Set and lighting Rehearsal The survival of empathy The failed revolutionary Brechts success A Brecht dictionary Specimen exam questions Introduction This study guide is intended for students in the UK taking examinations in English literature drama or theatre arts at GCE Advanced A2 and Advanced Supplementary AS level It may also be of general interest to students of modern theatre in general and the work of Bertolt Brecht in particular Please use the hyperlinks in the table above to navigate this page If you have any comments or suggestions to make about this guide please contact me This guide is written to support your study of Brecht as a theatre practitioner You should make sure as far as possible that you connect the theory of drama with real plays which you have seen in performance The explanation of Brechts dramatic theory summarizes broadly the ideas expressed by Martin Esslin Sources of information The best general account of Brechts work is Martin Esslins A Choice of Evils Methuen ISBN 0413547507 currently out of print Brechts own writings on the theatre are available in a collection edited by John Willett Brecht on Theatre Methuen ISBN 041338800X English translations of Brechts plays are available from the same publishers Willetts Methuen translations are closer to sense of the German originals than Eric Bentleys Penguin versions Bentleys versions are more literary but seem dated and far less suitable for theatre performance than the translations by Willett perhaps because Willett has shown more respect to the original work of Brecht Click on the links below to buy these books Click here to buy Brecht on Theatre Click here to buy A Choice of Evils Brecht as a theatre practitioner Brecht was both playwright and producerdirector of his own and others plays He also wrote extensively on dramatic theory You should explain his theory in terms of his practice in writing and production You may be confused if you assume that the theory matches the reality of the plays in production The theory arising from a Marxist notion of drama as a vehicle for rational didacticism describes theatre as Brecht in a sense wished it to become This theory is only partly realised in his own work Brecht would say that this is the result of the theatres and societys Brechts plays Brechts work can be considered in three stages The early period The important works are Trommeln in der Nacht Drums in the Night 1918 Mann ist Mann Man is Man 19245 Die Dreigroschenoper The Threepenny Opera 1928 and Mahagonny The Rise and Fall of the Town of Mahagonny 19289 The plays are humorous in a rather bleak and cynical way and present social and political questions attacking bourgeois values Technically the plays are for their time innovative the bourgeois convention of the fourth wall is rejected stories are improbable settings exotic songs serve as commentary on action The Threepenny Opera was intended to lampoon send up or ridicule the conventional sentimental musical The public lapped up the mock sentiment and missed the humour Brecht had achieved commercial success but for reasons which could not please him The propaganda plays The Lehrstücke are short parabolic pieces written between 1928 and 1930 Der Flug des Lindberghs Der Ozeanflug The Flight of Lindbergh the Ocean Flight Das Badener Lehrstück vom Einverständnis The Bavarian Parable Play of Understanding Der Jasager The YesSayer Der Neinsager The NoSayer Die Massnahme The Measures Taken and Die Ausnahme und die Regel The Exception and the Rule These plays written to instruct children are not attractive to audiences Their simplicity and didacticism makes them austere to the point of severity They are interesting as theatrical treatments of ideological questions but are rarely performed now Der Ozeanflug broadcast as a radio play was produced without the reading of the main part which was to be spoken by the audience who were supplied with scripts There are also three longer propaganda plays Die Heilige Johanna der Schlachthöfe Saint Joan of the Slaughterhouses This parodies variously Shakespeare Schiller and Goethe It contains many devices of what Brecht called Epic theatre such as a loudspeaker announcing political events of the time or projection of captions commenting on the drama Die Mutter The Mother This deals explicitly and didactically with political revolution written in a restrained puritanical style Die Rundköpfe und die Spitzköpfe The Roundheads and the Peakheads This is a strange play which takes its plot from Shakespeares Measure for Measure but presents also Hitlers theory of inferior and superior races via the Peakheads and the Roundheads the latter being the master race The plays of Brechts maturity Brechts output was huge Esslin lists fortynine stage works which includes operas adaptations and interludes But four of the later plays stand out Mutter Courage und Ihre Kinder Mother Courage and her Children first performed 1941 Leben des Galilei Life of Galileo 1943 Der Gute Mensch von Sezuan The Good Person of Sezuan 1943 and Der Kaukasische Kreidekreis The Caucasian ChalkCircle performed in English 1947 in German not till 1954 In the first two we see episodic narrative theatre each scene prefaced by a caption indicating what happens in performance these could be displayed or read out In the third scenes presenting the action are followed by interludes in which actors stand back from their roles and comment on the actions of the characters In The Caucasian ChalkCircle Brecht uses a play within the play in order to resolve the conflict of two groups of peasants who wish to farm a valley a play is presented by singer musicians and actors The singer and musicians stand outside the drama of Grusche Azdak Simon and Natella and provide both narrative and commentary Brechts dramatic theories The background to the theory Brechts special lexicon theatrical jargon may be confusing He invented a complex language to describe essentially straightforward ideas this lexicon includes such terms as epictheatre nonAristotelian drama alienation effect Verfremdungseffekt and so on For an explanation of these terms see the dictionary elsewhere on this page Go to the short Brecht dictionary While his plays are mostly very clear and fluent Brechts own theorizing is not so simple Brecht is less novel than he is supposed to be His drama owes much to a wide range of theatrical conventions Elizabethan Chinese Japanese Indian Greek idea of Chorus Austrian and Bavarian folkplays techniques of clowns and fairground entertainers Brechts theory never arrived at a fixed and final view His ideas changed developed mellowed especially because of practice in real works on stage Much of his theory was explanation after the writing of the plays not the bases on which these were written And in the writing of plays for real performance Brechts sense of what works is always paramount In part it was the things against which he reacted that determined Brechts theories and his overstatements Among these were bourgeois theatre the fourth wall anything which precludes thought excites emotion or reinforces capitalist values Brecht disliked the twin clichés of heavily bombastic classics Shakespeare Schiller Goethe and of naturalism in melodrama or drawingroom This is a 19th century development which had ossified into an invariable norm Naturalism was developed and perfected by such as Stanislavsky and Harley GranvilleBarker Against this reaction had already begun by the 1920s Naturalism could go no farther so new types of theatre arose poetic drama satire expressionism types not people political theatre Brecht had been influenced by expressionism and had collaborated with Erwin Piscator father of political theatre and himself ready to experiment with new technique Convinced that theatre must be an agent of social and political change he sought a suitable form of theatre Having found it he described it as Epic theatre Today when human character must be understood as the totality of all social conditions the epic form is the only one that can comprehend all the processes which could serve the drama as materials for a fully representative picture of the world Brechts comment 1931 in The Threepenny Opera The epic theatre the epic poet presents the event as totally past while the dramatic poet presents it as totally present The epic invites calm detached contemplation and judgement the dramatic overwhelms reason with passion and emotion the spectator sharing the actors experiences Brechts objection to Aristotelian theatre was an objection to Goethes and Schillers interpretation of it an objection to catharsis by terror and pity identification with the actors illusion the attempt to represent the present event Brechts idea of epic is informed by the ideas of Goethe and Schiller regarding the mood and character of epic poetry this is a rational calm detachment to which Brecht aspires as a playwright Brecht criticises what he calls Culinary theatre This is theatre which merely gives an experience mental refreshment as a meal is a bodily restorative Brecht despises theatre which provides mental foodstuffs but makes no difference to audience He believes that the audience should be made not to feel but to think Note that Brecht supposes these two to be in opposition to each other but this need not be so Shakespeare at his best can challenge the head and the heart Dramatic theatre presents events from the heros viewpoint distorting judgement and as happening now preventing calm detachment To counter this the illusion must be broken Theatre must do this continually And therefore the audience must be made aware that events are not present events happening now but past events being represented as narrative with commentary provided to encourage our own reflection This is not unlike the experience of reading a book with critical notes in the margin or as if a novelist supplied his own comment on a page facing that bearing the narrative Some modern antinovelists have done this The audience is intended to sit back relax hence Brechts wish for smoking and reflect as did hearers of bards in classical Greece or AngloSaxon England The theatre of illusion creates a spurious present pretending things are happening now But the epic theatre is historical the audience is continually reminded that epic theatre gives a report of events The Verfremdungseffekt Veffekt To discourage audience from identifying with character and so losing detachment the action must continually be made strange alien remote separate To do this the director must use any devices that preserve or establish this distancing While the general use of these is called the Veffekt when any such device is employed successfully Brecht calls the result a Veffekt This is Brechts explanation of how the device works A child whose mother remarries seeing her as wife not just mother or whose teacher is prosecuted seeing him in relation to criminal law experiences a Veffekt These are examples from Brechts own plays In Life of Galileo a long and profound speech by the unheroic protagonist is followed by the bathetic observation Now I must eat This shows the weakness of the man against the strength of the inventor In The Caucasian Chalk Circle when Grusche ponders whether or not to take the abandoned baby her dilemma is voiced by the Chorus while she enacts a dumb show In The Good Person of Sezuan the frequent asides to the audience also achieve a Veffekt The construction of the plays In order to achieve unity of action to build suspense and sustain its naturalistic illusion the dramatic play must be taut well made and leading to a climax of catharsis The epic play is more free Suspense is not needed and the whole can be loosely knit and episodic each part making sense on its own The later mature plays do lead to some definite end Mother Courages loss of all her children Azdaks judgement in favour of Grusche or the nonsolution of the gods to ShenTes problem But we can isolate episodes that stand alone Mother Courage being the most simply episodic of the later plays In an earlier piece Fear and Misery of the Third Reich Furcht und Elend des Dritten Reiches 193437 this episodic structure is much more marked The play is in fact a series of related sketches on the theme suggested by the plays title The work started off as five playlets became eight then nineteen grew to twentyseven and was at last cut to twentyfour In performance one could and perhaps should present a selection from the total without harm to the works integrity Brechts theory of acting Brechts view is that actor should not impersonate but narrate actions of another person as if quoting facial gesture and movement The Brechtian style of acting is acting in quotation marks Brecht uses the example of an accidenteyewitness To show bystanders what happened he may imitate say the victims gait but will only quote what is relevant and necessary to his explanation Moreover the actor remains free to comment on what he shows One of the visitors to this site a student teacher tested this idea with other students I wanted to let you know that I used the demonstrating of an accident as a rehearsal technique during my peer teaching episode and it worked very well I started off with an overview of Brecht and his theories and then moved on to the rehearsal technique I had prepared an example of an accident for people to demonstrate if not enough people had witnessed one However lots of people had witnessed accidents and they split into groups to demonstrate them The discussion at the end showed that they understood its relevanceAfterwards I had many people say that they had Georgie Sugg University of Exeter As the audience is not to be allowed to identify with character so too the actor is not to identify with him or her Brecht agrees with Stanislavsky that if the actor believes he is Lear the audience will also believe it and share his emotions But unlike Stanislavsky he does not wish this to happen As he does not wish to put the audience into a trance just so the actor must keep himself free from this state he must be relaxed not letting muscles be tense Even if playing someone who is possessed the actor must not appear possessed Brecht is opposed to frenetic and convulsive intensity on the stage The Brechtian actor must always be in control of his emotions Brecht sees the actors task as greater than Stanislavskys merging of character and actor This is one important element but it must be complemented by implied comment on the characters actions The actor must show how these are wise or foolish and express say pity or disdain The actor must show that he foresees where a characters actions will lead and that his course of action is only one among many possibilities Since the actor should show the audience that he has chosen one action as opposed to another he must be aware of the presence of the audience not as in Stanislavskys ideal wrapped up in himself and oblivious of audience Finally there is to be nothing improvised in his delivery the actors performance should be the delivery of a finished product This theory is not as complicated as it appears in the Victorian melodrama the actor plays the villain in just such a critical way the audience sees that the actor disapproves of the character there is no identification of one with the other there is awareness and enjoyment of the skill in showing villainy the actor shows that the villain could choose an alternative course of action and that he will come to a bad end In the theatre of illusion the actor explores the character trying to merge with him Only then does he react to other characters In the Brechtian theatre the characters inner life is of no importance save in its effect on outward action Brecht does not portray human nature in the individual but human relations The story is the point of interest not the characters The story is the sequence of events that is the social experiment allowing the interplay of social forces from which the plays lesson emerges The Gestus This is Brechts term for that which expresses basic human attitudes not merely gesture but all signs of social relations department intonation facial expression The Stanislavskian actor is to work at identifying with the character he or she portrays The Brechtian actor is to work at expressing social attitudes in clear and stylized ways So when ShenTe becomes ShuiTa she moves in a different manner Brecht wished to embody the Gestus in the dialogue as if to compel the right stance movement and intonation By subtle use of rhythm pause parallelism and counterpointing Brecht creates a gestic language The songs are yet more clearly gestic As street singers make clear their attitudes with overt grand but simple gestures so in delivering songs the Brechtian actor aims to produce clarity in expressing a basic attitude such as despair defiance or submission Instead of the seamless continuity of the naturalistic theatre the illusion of natural disorder Brecht wishes to break up the story into distinct episodes each of which presents in a clear and ordered manner a central basic action All that appears in the scene is designed to show the significance of the basic Gestus We see how this works in Mother Courage Each scene is prefaced by a caption telling the audience what is to be the important event in such a way as to suggest the proper attitude for the audience to adopt to it for instance Scene 3 She manages to save her daughter likewise her covered cart but her honest son is killed The words in red express the playwrights view of how we should interpret the scene Courages saving her business at the expense of her son is meant to prove how contemptible our actions are made by war Nonliterary elements décor music and choreography These are no longer auxiliaries to text reinforcing it they stand alone or in opposition Songs are not used to heighten emotion at moments of climax they serve as commentaries generally leading to a Veffekt thus lyrics may be wry and humorous melodies may be jazzinfluenced jerky and unromantic or songs may satirize popular sentiment There is great irony in the way the public at large missed the satire in The Threepenny Opera and the songs such as Mackie MesserMack the Knife became popular classics though Brecht had intended them as sendups Stage designers no longer tied to illusion can supply nonrealistic extra decor to provide background material in Galileo projections of maps documents and Renaissance art works in Mother Courage and Her Children captions of celebrated events of the Thirty Years War and a statement of what is to happen next on stage to Mother Courage In the first production of Mahagonny a scene in which a glutton eats himself to death was enacted before a backdrop showing a portrait of him in the act of eating so the episode is shown twice The visual and musical Veffekt has an antihypnotic quality music is not as in Wagner a narcotic reinforcing the stage illusion For Brecht the music and the action should each make the other appear strange It may be that Brechts dislike of Wagnerian opera is not wholly rational but made on political grounds Wagner being associated with German nationalism and the myths of Germanys heroic origin and of Germanic racial purity The result of the Veffekt is a contrast in dramatic theatre the spectator is moved but has a crushing sense of inevitability and of his own helplessness in the epic theatre one sees things as if different and so one may try to make things different in the real world If things can be seen to be changed then one can attempt to bring about change Brechts belief is that theatre can show how the suffering of those on stage could be avoided His illogically consistent Marxism leads him to believe all not some human evil to result from unjust social institutions The plays show how society could be different if attitudes regarded as sound and unalterable could be changed This is usually done obliquely by parallels which are historical as in Mother Courage and Galileo allegorical as in Mahagonny or pseudoforeign as in The Good Person of Sezuan So the clear inadequacy of the final words of the gods in The Good Person of Sezuan makes it clear that to be good and poor all the time is impossible The real solution is not for Shen Te to become Shui Ta but for wealth to be shared so that the poor are not forced to destroy each other to survive Set and lighting Brecht believed the stage should be brightly lit at all times special effects to create mood were not allowed Logically he could have allowed it if accompanied by some device to draw attention to it such as a statement from a character The sources of light should be plainly visible just as those over a boxingring Brechts comparison The curtain is to be used for the display of titles captions or comments Placards may be placed in the auditorium bearing instructions such as Dont stare so romantically from Drums in the Night The set behind the curtain is suggestive not realistic that is to say while very authentic props may be used as say Mother Courages handcart there will be no elaborate arrangement of these in a naturalistic stage set The music too must have a visible source musicians may even be on the stage Interruptions for songs are announced or indicated by projection of a title or flags and trumpets will descend from the flies Rehearsal Brecht made actors turn their lines into third person narrative Actions given in stage directions are narrated Then X entered After a few silent compliments he sat down on the sofa Dialogue spoken in performance in the present tense becomes reported speech For example Has your excellency seen the new dancing master becomes He asked whether Madame had seen the new dancingmaster Brecht would include in the text spoken in rehearsal all stage directions He went so far as to write what he called practice scenes These were meant to cast new light on wellknown scenes by use of ironic parallels He wrote too what he called bridge scenes to be interpolated in the text in rehearsal but omitted in performance But as these were written for classics that he never produced their value is questionable Oddly for one who wrote copious theoretical explanations Brecht rarely referred to his theory during rehearsal though some of his resulting practice was obviously familiar to the actors say the translation into narrative Brecht claimed that full application of his theory was impossible in the present state of the theatre As a result many of the actors of the Berliner Ensemble when questioned seemed uncertain what was Brechts preferred style of acting The survival of empathy Brecht wrongly equated empathy without which no audience will be interested in the stage action with illusion which is not at all necessary and comparatively novel being a feature of naturalistic drama For feelings that overwhelm the audience Brecht wished to substitute reason Because naturalistic theatre aroused excessive emotion and ignored reason Brecht supposed these two reason and empathy to be mutally exclusive Yet in Greek tragedy or the plays of Shakespeare both are active The problem is not empathy as such but the degree and kind of empathy aroused As a playwright Brechts sense of what works led to the writing of scenes where the audiences empathy for the characters on stage is considerable the heroic selfsacrifice of the dumb Kattrin in Mother Courage is a notorious instance Martin Esslin A Choice of Evils p 131 points out the psychological flaw in Brechts reasoning Without identification and empathy each person would be irrevocably imprisoned within himself Esslin duly points out that his use of the Veffekt shows how conscious Brecht was of the audiences tendency to identification He did not eliminate it but modified and weakened it Esslin suggests that this is the particular genius of Brechts theatre the partial failure of Verfremdung this creates a tension between the authors intention and our tendency to identification We are at the same time able to feel sympathy for a character while our reason leads us to condemn him or her roundly In his theoretical attack upon romanticism and emotion Brecht claims to be the advocate of reason Yet in his writing of plays Brecht time and again creates scenes that move the audience in spite of the distancing devices Because he seems genuinely to believe that his work is free of strong emotion Brecht makes no effort to suppress or conceal this element And because our sympathy is continually rebuffed when emotion manages to take hold of the audience it may be all the stronger for that The failed revolutionary Brecht hoped in his plays to show the utter rottenness of bourgeois capitalist society His belief was that the audience would see that a new society must replace the old and that only Marxist society could deliver justice and that this social change was inevitable but that his task was to help usher it in Brecht for all his insistence on reason was here quite irrational in his theory His plays could lead audiences to many other kinds of conclusion And to Brechts great dismay they did The masses were not roused to revolutionary fervour indeed the masses did not flock to any of Brechts plays save the Threepenny Opera the irony of which was wholly missed and which was accepted as a happy sentimental musical of the kind Brecht was hoping to parody The political allegory was undetected by the audience While Germany descended into Nazism Brecht fled to the west The wouldbe man of the people became the favourite of western liberal intellectuals After the war Brecht was able to work freely in East Germany to which he returned But he was never wholly accepted by the communist establishment which saw better than he did that his work might provoke thoughts dangerous to Marxism Moreover as the Russian establishment had fostered the Stanislavskian tradition after Lenin came to power it had become the dominant form of theatre in the Eastern bloc Nonnaturalistic theatre might therefore be seen as the work Brechts success Brechts break with naturalism was not so much a novelty as a return to earlier conventions Bamber Gascoigne TwentiethCentury Drama p124 notes the use of alienation in Greek Tragedy Mediaeval Mystery plays Japanese Noh plays and Jacobean drama Characters address the audience and introduce themselves in Shakespeare as do Trinculo in The Tempest or the porter in Macbeth Brechts perhaps exaggerated denunciation of empathy was an understandable reaction to bourgeois naturalism The classic tragedy where empathy is evoked but reason can be exercised or the neoclassical drama of Corneille and Racine in which decorum is always preserved are not so far from Brechts drama Racine in his preface to Bajazet also stresses the importance of distancing Brechts success was in freeing theatre from the limitations of naturalist drama What Brecht has called fourthwall theatre was confined to a narrow range of subjects and any one play to remain naturalistic could not range widely in the scenes depicted While some playwrights have accepted particular Brechtian techniques his general effect to cause writers to seek new conventions of representing human experience is more important Some writers such as Robert Bolt in A Man for All Seasons are openly Brechtian while others may use some of Brechts techniques without being aware of their provenance We find the use of narrator or commentator as gobetween for audience and characters and creator of distancing effects in work by many playwrights such as Peter Shaffer Martin Cruz in The Royal Hunt of the Sun Arthur Miller Alfieri in A View from the Bridge and Robert Bolt the Common Man in A Man for All Seasons A less successful Brechtian device in the latter play appears when Thomas Cromwell sings an ironical song about the ship of state but this jars with the otherwise unironic manner of the play and the main characters archaicnaturalistic speech Presumably writerdirectors like those of the National Theatre of Brent whose two actors change rôles to enact or show the Zulu War and use their audience to help with crowd scenes could also claim Brecht as their theatrical father Shaffers The Royal Hunt of the Sun is close to Brechts own Epic Theatre like Galileo it is set in a historical period in which the church exercised great power it is a series of episodes it is narrated and so shown to be in the past by a character who stands beside his younger self it uses music and song though the singer remains in character The play also shows the injustice of the social system and the need for change imperialism love of money and the evils of institutional theocracy are all laid bare Curiously enough towards the end of his life Brecht accepted that his theory of Epic theatre was too formal and inadequate to show societys productivity and capacity for change but Brecht felt unable to replace the theory with a better one In effect he was conceding that the theory is often less adequate than the practice the plays as interpreted by Brechts company In such cases the practice must stand until a better theory emerges In a sense Brechts critics have so refined the theory A Brecht dictionary Acting alienation effect Aristotelian Berliner Ensemble captions Cas culinary didactic distantation dramatic epic theatre expressionism fourth wall Gestus Kleines Organon für das Theater Laughton Lehrstücke lighting Messingkauf model books music Neher Piscator rehearsal Schiffbauerdamm Verfremdungseffekt Weigel Zoff This is a glossary of terms which are peculiar to Brecht or which in his writing on theatre he interprets in nonstandard ways Acting Brecht describes his theory fully Brecht on Theatre section 31 the actor is to show not to be Esslin calls this acting in quotation marks Alienation effect An unfortunate mistranslation of Verfremdungseffekt which has even more unfortunately stuck Aristotelian Brechts term for the kind of theatre written by Schiller 17591805 and Goethe 17491832 following the description of dramatic theatre in Aristotles Poetics Brecht called his epic theatre nicht Aristotelisches nonAristotelian Aristotle of course was not a dramatist and wrote some time after the golden age of classical theatre Berliner ensemble A theatre company formed by Brecht in East Berlin in 1949 This enabled Brecht to produce plays precisely as he wished State subsidies allowed very thorough rehearsal There were no stars save perhaps Brecht and his wife Helene Weigel Captions A device used by Erwin Piscator and subsequently by Brecht Events about to be shown are described in large letters on placards for the audience to see Cas Nickname of Caspar Neher Culinary Brechts term for plays usually of the Aristotelian kind which provide sating of the emotions Culinary theatre makes the audience satisfied and inert Brecht wishes the theatre to provoke social change Didactic See Lehrstücke Distantation A fairly accurate if not very idiomatic translation of Verfremdung Dramatic The kind of plays written by Goethe and Schiller but disliked by Brecht Epic theatre Brechts term for what theatre should be an ideal to which his own plays were aspiring The Epic theatre is a kind of drama which will require wholly new styles of acting and methods of production The Epic theatre can be reduced to a number of distinctive features or techniques acting technique the veffekt the Gestus and so on Expressionism A kind of theatre developed by August Strindberg as a way of expressing states of mind It uses symbolism unrealistic speech and nonnaturalistic sequences of time place and action Brechts early plays have some of these qualities Its freedom from naturalistic conventions is retained in the Epic theatre Fourth wall Naturalistic plays purport to depict life precisely as it appears Thus a typical stage set will look exactly like an ordinary room with one wall that nearest the viewer removed the fourth wall is the missing one the first three are those we see Gestus Everything an actor does in terms of gesture stance what we now call bodylanguage intonation in order to show the significance of a scene Brecht believed that it might be possible eventually to develop a form of dialogue that compelled the actor to display the correct Gestus In the meantime this was to be achieved by the director and by keeping detailed records Model Books of exemplary performances Kleines Organon für das Theater Little Organon for the Theatre One of Brechts two extended theoretical works on the theatre 1948 the original Organon was a work by Aristotle on dialects and logic Laughton Charles A distinguished English actor admired by Brecht Laughton collaborated with Brecht in producting an English version of Galileo in which he was to play the lead Laughton directed by Joseph Losey played the part in Beverly Hills in 1947 but the play was too unconventional to be wellreceived by the American audience Lehrstücke Teaching or didactic plays As the name implies these are not plays to entertain an audience but to educate actors and audience alike To involve the audience it may be required that they participate in the radioplay Der Ozeanflug the lead rôle is to be read from a script by each listener at home What the plays teach is negatively the wrongness of bourgeois social morality and positively the rightness and inevitability of Marxist morality Lighting In the Epic theatre the sources of light should be visible at all times as they are say in a boxing ring Brechts comparison Lighting should be uniformly bright effects of colour and dimming are not to be allowed This is partly explicable in terms of Brechts taste for simplicity and austerity partly in terms of his desire to avoid creating emotional effects Messingkauf der The Buying of Brass Brechts first unfinished theoretical work on the theatre a series of Platonic dialogues poems and short scenes as examples 193751 Model books Exemplary productions of Epic plays were to be recorded in minute detail in every phase Model books would contain photographs of each stage of production and copious notes Five books were published The plays treated not only Brechts include Galileo Mother Courage twice and The Mother Music Brechts plays make extensive use of music in a tremendous variety of styles He secured the services of distinguished composers such as Weill Hindemith Eisler and Dessau Music at first was used to break the illusion of reality merely by bringing variety Later Brecht evolved the theory that whereas conventionally as in Wagner music was a narcotic reinforcing emotion in the Epic theatre it should provoke thought dispel illusion and drive out emotion This led to the idea of gestic music music which would inform the audience about the right intellectual response to events depicted in the drama Neher Caspar Schoolfriend of Brecht who later became an eminent painter and stage designer Neher designed sets for Brechts productions NichtAristotelischNonAristotelian See Aristotelian Piscator Erwin Marxist playwright and director originator of political theatre Piscator and Brecht collaborated on productions but never of Brechts own plays Many of the familiar devices of the epic theatre captions statistics projection of images musical numbers narrators were employed by Piscator and adopted by Brecht The term epic drama was first in modern times used of Piscators production of Fahnen Flags by Alfons Paquet Piscator also gave Brecht the idea of using theatre as an instrument of social change but in Brecht more artistic and poetic elements appear Rehearsal In the epic theatre rehearsal might require presenting a scene from a play other than that to be produced in order to understand a relationship Speeches were also in rehearsal delivered in the third person with narrative links or transformed into reported speech with stage directions also converted into description or narrative This was supposed to help the actor relax be aware of the audience not lost in his character have muscular control and eventually deliver a perfect product Schiffbauerdamm Theater am Theatre on the Schiffbauerdamm In 1928 The Threepenny Opera opened here Years later 1954 the renovated theatre in a now divided city was given by the East German state to the Berliner Ensemble Veffekt Abbreviation of Verfremdungseffekt Verfremdungseffekt the Translated badly as Alienationeffect and awkwardly as Distantationeffect More accurately it is the effect that makes things seem strange or different The term refers to the use of various devices to make things appear in a new light so we consider them with intellectual objectivity robbed of their conventional outward appearance Verfremdungseffekt a When something is presented in a strange or surprising manner and we see it afresh a Verfremdungseffekt has been achieved Brecht gives the example of a child whose widowed mother remarries seeing her for the first time as a wife In the plays a Veffekt may be produced by the comment of a chorus figure the Singer or Wang or in ordinary dialogue as in Galileos now I must eat suddenly he is seen not as the great scientific innovator but an ordinary hungry man Weigel Helene Brechts Austrian second wife the leading Germanspeaking stage actress of her time In 1927 she played the female lead in Mann ist Mann In 1949 she played the lead in Mother Courage in Berlin and in 1951 did the same for The Mother In 1949 she also became director of the Berliner ensemble Zoff Marianne Brechts first wife 192227 Specimen exam questions Brecht advised his actors to demonstrate the character to an audience Discuss what Brecht meant by this and how he expected it to be achieved What did Brecht mean by reality in the theatre and how did he seek to achieve it through his production methods All theatre practitioners seek to affect the audience in some way Compare the means by which Brecht and any one other practitioner hoped to achieve this aim Theatre should involve both the emotions and the intellect Discuss this idea with reference to the work of Brecht and any other theatre practitioners Show how the working methods of Brecht and any other theatre practitioner might be useful to a director DfEE Standards Site BBC Education BBC Educations Bookcase site BBC revision site Public Broadcasting Service Public Broadcasting Service Arts site European Virtual School Virtual Library AcademicInfo 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O O O O O O O O O O O O O O O O O O B I O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B I O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B I O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B I O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B I O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O 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O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O 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O O O O O O O O O O O O O O O O O O O O O O O B I O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B I O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O

bertolt brecht
theatre practitioner
martin esslin


Gas and Plumbing Tests Free online exam revision tests for Plumbing Level 2 and 3 ACS Gas Safe mock exam Plumbing Principles online test Standards and Regulations materials and their properties units and measurement capillary action and siphonage principles of electricity Plumbing Processes online test Using hand tools cutting using power tools bending measuring jointing and marking out fixing Cold Water online test Water fittings design preventing of cross connection backflow prevention coldwater services legislation Central Heating online test Specifications controls design heatloss calculation radiator sizing Electrics and Wiring online test Fuses bonding cables central heating wiring testing electrical systems ACS Gas Appliances online test Boilers cookers space heaters gas hobs water heaters gas fires Unvented HWSS online test Expansion vessel tundish immersion heater temperature and pressure relief valve pressure reducing valve Hot Water online test Domestic hot water use sizing hot water demands heater storage sizing choosing the type of hot water system Working Relationships online test Plumbing organisations plans documents constraction team limited companies Sanitation online test Waste traps guttering main stack toilets sinks wash basins baths stub stack ACS Gas Safety online test Gas Regs pipework controls meters testing unsafe situations combustion flues ventilation gas rate Vew Chart current rating of achivements in this test online

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Quality and Technical Department Quality is is of paramount importance Uren Food Group understands that quality is paramount It is our to meet or exceed our obligations under current legislation in respect to food safety and ethical supply Management and staff are committed to give our customers confidence in all our products and services For a copy of our BRC certificate please click here For technical and quality enquiries please email us Quality is Paramount Uren Food Group understands that quality is paramount As such Uren Food Groups dedicated and experienced quality team combined with established longterm relationships with producers and processors can offer and oversee all aspects of technical and quality matters from source to finished product Customer Focus With over a century of product knowledge Our Technical Department have the capability and the resources to complete ingredient and supplier questionnaires on behalf of customers Working with customers in product development innovation and renovation projects Testing and Control Our Technical Department is able to provide certificates of conformance or analysis on request All analyses are undertaken at laboratories which are accredited to ISO 17025 standards Standard testing includes pesticides heavy metals microbiology nutritional and virology Supply Chain Management All processors are approved through audit Uren Food Group holds quality and technical information relating to its supply base These are regularly reviewed and updated We operate an internal management system which covers product quality from source through the upstream supply chain to the customer Continuous Improvement We operate a program of continuous improvement in line with the requirements of BRC Global Standard for Agents Brokers to ensure that Uren Food Group meets its own as well as its customers requirements All technical enquiries and issues are managed by the Technical department Best practice at all timee Ethical Organics Ethical trade is the assumption of responsibility of retailers and suppliers to improve the working conditions of the disadvantaged people in its supply chains To download our Soil Association certificate To download our FLO certificate

B I I I O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O


Stutsman County Correctional Center ND Jail Roster Lookup Inmates in Stutsman County North Dakota Results May Include Arrests Charges Mugshot StatueORI Last Name First Name Middle Name Date of Birth Sex Race Booking DateTime Description of Charges Stutsman County Sheriff Overview Stutsman County is located in the east of North Dakota USA where the total population is 21120 Here the county seat is Jamestown and this county was established by the 187273 territorial legislature Stutsman County was named after Enos Stutsman He was a powerful politician of early days of Dakota Territory This county has a total area of 2298 square miles and the zip codes of this county are 58420 58472 58467 58424 58475 58426 58476 58481 58483 58486 58492 58442 58497 58496 58454 58401 and 58455 Sheriff Chad Kaiser is the leading lawman in the county who is responsible for keeping the county safe He can be contacted through the following details Stutsman County Law Enforcement Center 205 6th St SE Jamestown Phone 701 2516200 Inmate Search in Stutsman County Correctional Center Stutsman County Correctional Center maintains an online inmate roster list where you can see the list of the detainees The jail administration updates this list regularly to make sure the inmates are listed accordingly Stutsman County Inmate Roster Important Jail Policies and Procedures The following are the visitation policies at Stutsman County Correctional Center All visitors must take appointment prior to being listed as an Approved Visitor They must communicate with their inmate and inmates must provide the names of potential visitors Each inmate is allowed a specific amount of visitation sessions per week Visitors must submit a valid photo ID as a proof of identification Any visitor under probation or parole would face a denial of visitation If you wish to communicate with your inmate you can send mail or letter via the US Mail When writing an inmate mail be sure to include the following mailing address Name of the Inmate Stutsman County Law Enforcement Center 205 6th St SE Jamestown All incoming or outgoing mail would be opened and checked for a contraband Sex Offender Search and Lookup You will find relevant information regarding all registered sex offenders by accessing either national or statebased sex offender database All these people have been charged with a sexual offense against a minor or a victim A sex offender is someone who has been convicted of or has pleaded guilty to a sex crime including rape molestation child pornography and sex trafficking A sex crime is an illegal act which refers to violent conduct from one person against another You can access the sex offender registry at Stutsman County Law Enforcement Center by going through the following link North Dakota Sex Offender Registry The search result will display the last known addresses of the sex offenders you are looking for You have to accept a disclosure to access the database Bail and Bondsman When an offender is taken into custody the court will schedule a bail hearing where the severity of the crime is determined An offender who is on trial will appear before a magistrate The magistrate will order release from police custody on the persons personal recognizance or on the execution of cash or surety bond However if the magistrate assumes that an unconditional release will not ensure the future appearance of the person the magistrate will deny a bail opportunity For more information please visit the Supreme Court Website or talk to an attorney httpwwwndcourtsgov Show More Stutsman County Jail Statistics Number of Persons Confined 79 Avg Daily Population 80 Name of new facility not applicable Full time payroll 21 Full time total employees 21 Total salaries and wages not applicable Other operating expenditures not applicable Total construction costs not applicable Equipment furnishings etc not applicable Year of original construction not applicable Year of major renovation not applicable Name of new facility not applicable Address 205 SIXTH STREET SE JAMESTOWN ND 58401 Stutsman County Unemployment and Median Household Income Civilian Labor Force Annual Average 2016 11150 Number Employed Annual Average 2016 10869 Number Unemployed Annual Average 2016 281 Unemployment Rate 2016 25 Median Household Income Annual Average 2015 54925 Sources Unemployment Bureau of Labor Statistics LAUS data Median Household Income Census Bureau SAIPE data Rural Classifications USDA Economic Research Service Stutsman County Poverty Data Estimate of People of All Ages In Poverty 2014 2224 Estimate Percentage of People of All Ages In Poverty 2015 114 Source US Census Bureau Modelbased Small Area Income Poverty Estimates SAIPE Please Share Your Experiences Visiting Or Staying In This Facility Sorry the browser you are using is not currently supported Disqus actively supports the following browsers Firefox Chrome Internet Explorer 11 Safari

B O O O O O O O O O B O B I O O O O O O O O O O O O O O O O O O O O O O O B O O O B O O O O O O O B I O O O O O O O O O O O O O O O O O O O O O O O B O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O B O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O B I O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O


La Ultima Hora Mata S2 episode 13 Aired on August 31 2017 Warning Recap contains spoilers El Santos warning El Santos little angel has found Teresa in Texas Her mission is making Teresa pay the money she owes the Bolivian drug lord With a dying man hanging from a pole the demonic girl says This is what happens to those who dont obey El Santos will Then she gives Teresa only a few hours to fulfill her compromise About Isabella Epifanio and Camila are together in Culiacan and they are having an argument over Isabellas kidnapping Whos to blame for what happened Suddenly Pedro Jiménez their daughters kidnapper calls Epifanio demanding the ransom The governor offers only 2 million upfront but Pedro is adamant 10 million or nothing However Camila will find a clue of her daughters whereabouts in the video Pedro recorded of her Crying and desperate Isabella mentions the word new several times but this apparently random comment is her way to reveal she is in a location called Punto Nuevo New Point Now that Camila and Epifanio This is not cocaine Meanwhile Teresa and Pote meet with Devon Finch to receive the payment for the cocaine they gave him but instead he gives them some bad news the cocaine they stole from Camila Vargas is actually lactose powder Teresa knows nothing about this but her first suspect is Big T and his gang Immediately she sets an appointment with him in an abandoned amusement park When Teresa gets there Big T is already waiting for her Pote is with Teresa who holds Traviesa Big Ts niece pointing a gun at her Teresa accuses the gang leader of switching the product but Visions of El Santo Pote takes Teresa to see El Santos little angel again So in the back of a store of religious paraphernalia they lay Teresa on a table and a silent healer gives her a mysterious preparation while her little angel tattoos something in Teresas arm Immediately Teresa falls into a dream where she finds her future self the Queen of the South asking her to be strong She also finds El Santo who is leading a ritual around her To live is to die and to die is to begin again he says Then he baptizes Teresa inside the dream which Saving Isabella Pedro Jiménez sets an encounter with Epifanio to receive the ransom he was demanding The governor agrees to deliver the money in a private airport where two of Pedros men are waiting for him Epifanio shows up with Camila and 10 million in bags As soon as the sicarios get the money Epifanio takes his gun and shoots them As this happens James enters Pedros hideout in Punto Nuevo and rescues Isabella and Quique Jiménez Pedro escaped but not for long Later Isabella meets her parents at the airport where her father killed Pedros men The Vargas family is finally The end of the governor As shes crossing the border Teresa calls Güero to ask him for help to confront Epifanio and Camila So before their departure Güero killed the pilot and took his place in secret to fly to a certain point where Teresa will be waiting When the plane lands Güero exits the cockpit pointing a gun at the passengers Only then they understand whats going on While Isabella and James stay in the plane with Güero Camila and Epifanio get out to meet Teresa and Pote First thing Teresa says is she doesnt want to harm anyone shes there to make a Güero and James While all this was happening James escaped from the plane and Güero went after him All of a sudden James stops running and turns his back to dare Güero to kill him right there Im done with Camila he says and he adds he holds no grudge against Teresa I would never hurt Teresa like you did James says before he turns his back and slowly walks away from Güero who sees him leave speechless The last voyage Teresa pays El Santo with the help of King George but her life is still in danger Camila Vargas has sworn she will find her at all costs James may not be on her side anymore but she has found a new hounddog in coronel Cortez He had been aiding Pedro Jiménez in Isabellas kidnapping but after Epifanios death he offers himself as Camilas new henchman For her its difficult to trust him but Cortez gives her a good faith gift Pedro Jiménez himself a soonto bedead man Teresas enemies are still standing but instead of engaging in a bloody Veronica Falcón stars as Caamila Vargas in Queen of the South season 2 episode 13 La Ultima Hora Mata La Ultima Hora Mata 1 of 10 Veronica Falcón stars as Camila Vargas in Queen of the South season 2 episode 13 La Ultima Hora Mata La Ultima Hora Mata 2 of 10 Veronica Falcón and Joaquim de Almeida star as Camila Vargas and Epifanio Vargas in Queen of the South season 2 episode 13 La Ultima Hora Mata La Ultima Hora Mata 3 of 10 Yancey Arias Veronica Falcón and Sandy Valles star as Colonel Cortez Camila Vargas and Isabela Vargas in Queen of the South season 2 episode 13 La Ultima Hora Mata La Ultima Hora Mata 4 of 10 Jamie Hector stars as Devon Finch in Queen of the South season 2 episode 13 La Ultima Hora Mata La Ultima Hora Mata 5 of 10 Peter Gadiot stars as James in Queen of the South season 2 episode 13 La Ultima Hora Mata La Ultima Hora Mata 6 of 10 Hemky Madera stars as Pote Galvez in Queen of the South season 2 episode 13 La Ultima Hora Mata La Ultima Hora Mata 7 of 10 Steven Bauer stars as El Santo in Queen of the South season 2 episode 13 La Ultima Hora Mata La Ultima Hora Mata 8 of 10 Alice Braga stars as Teresa Mendoza in Queen of the South season 2 episode 13 La Ultima Hora Mata La Ultima Hora Mata 9 of 10 Alice Braga stars as Teresa Mendoza in Queen of the South season 2 episode 13 La Ultima Hora Mata La Ultima Hora Mata 10 of 10 Share this image S2 Episode 12

B I I I O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B I I I B I I I O O O O O O O O O O O O O O O O O O B I I I B I I I O O O O O O O O O O O O O O O O O O O O O O O O O B I I I B I I I O O O O O O O O O O O O O O O O O O O O O O O O O O O O B I I I B I I I O O O O O O O O O O O O O O O O O O B I I I B I I I O O O O O O O O O O O O O O O O O B I I I B I I I O O O O O O O O O O O O O O O O O O B I I I B I I I O O O O O O O O O O O O O O O O O O B I I I B I I I O O O O O O O O O O O O O O O O O O B I I I B I I I O O O O O O O O O O O O O O O O O O B I I I B I I I O O O O O O O O O


VinylMaster Downloads If you would like to try before you buy please click existing customers only Please enter your Product Serial Number PSN and your download links will become available

B O O O O O O O O O O O O O O O O O O B I I O O O O O O O O


Aug

AM

Post

Posts

Joined

Hello

would

like

the

user

to

click

a

button

on

a

form

which

will

open

a

File

Explorer

dialog

box

The

user

would

then

select

the

CSV

file

and

click

open

which

would

then

append

the

CSV

file

to

the

bottom

of

an

existing

table

At

the

same

time

I

would

like

the

code

to

determine

based

on

a

date

field

which

records

are

months

old

or

older

from

today

and

delete

these

records

How

do

I

open

the

File

Explorer

window

programatically

Can

someone

provide

an

example

of

basic

code

to

delete

the

records

older

than

months

from

today

Some

basics

on

my

DB

I

have

two

tables

tblReferrals

tblSales

These

two

tables

are

poulated

by

two

exported

CSV

files

from

a

party

program

I

have

forms

frmMain

Switchboard

type

form

buttons

Run

Reports

Enter

Admin

Area

frmReportCriteria

Allows

the

user

to

choose

the

criteria

to

run

reports

by

By

date

by

Referrer

by

Campaign

frmAdmin

Password

protected

Import

files

from

here

Any

help

would

be

greatly

appreciated

Thank

you

in

advance

datAdrenaline

Aug

AM

Post

UtterAccess

Editor

Posts

Joined

From

Northern

Virginia

USA

For

more

the

path

to

procede

is

determined

by

the

structure

of

your

CSVs

You

see

you

can

create

a

Query

Object

that

opens

your

CSV

direct

and

create

an

APPEND

query

that

uses

the

query

that

is

tied

to

the

CSV

or

if

your

CSV

is

irregular

then

a

different

approach

is

taken

with

importing

the

data

so

can

you

post

like

the

first

rows

of

each

CSV

Doug

Steele

Aug

AM

Post

UtterAccess

VIP

Posts

Joined

From

St

Catharines

ON

Canada

See

Call

the

standard

Windows

File

OpenSave

dialog

box

at

The

Access

Web

for

a

solution

to

question

For

question

the

SQL

will

be

something

like

DELETE

FROM

MyTable

WHERE

MyDateField

DateAddm

Date

You

can

use

the

TransferText

method

to

append

the

file

to

your

table

but

note

that

the

concept

of

bottom

of

an

existing

table

really

doesnt

have

any

meaning

in

relational

databases

The

DBMS

puts

the

data

wherever

it

thinks

is

the

best

place

to

store

it

The

only

way

to

be

certain

of

the

order

of

records

is

to

use

a

query

with

an

appropriate

ORDER

BY

clause

Aug

AM

Post

Posts

Joined

Sureno

problem

I

have

attached

the

two

sample

files

Also

the

imported

file

is

the

same

name

every

time

Basically

it

just

overwrites

the

previously

saved

file

Attached

Files

SampleDatazip

Number

of

downloads

Aug

AM

Post

Posts

Joined

Ok

just

so

I

can

wrap

my

brain

around

this

can

create

a

QryImportSales

and

QryImportReferrals

and

in

these

queries

import

the

CSV

files

then

I

would

make

a

separate

query

to

APPEND

the

results

of

this

query

to

each

table

What

query

statement

will

open

the

CSV

file

and

is

there

any

syntax

used

to

Access

to

open

it

as

Comma

Delimited

datAdrenaline

Aug

PM

Post

UtterAccess

Editor

Posts

Joined

From

Northern

Virginia

USA

Actually

you

can

do

it

in

one

step

an

APPEND

query

but

for

starters

lets

first

create

a

SELECT

query

that

opens

your

CSV

use

an

SQL

statement

like

this

CODE

SELECT

FROM

Text

FMTDelimited

HDRYES

DATABASECDocuments

And

Where

TRADE

DATE

Is

Not

Note

the

full

path

and

file

name

will

have

to

be

change

to

match

your

situation

Notice

that

I

set

a

criteria

on

TRADE

DATE

that

is

simply

because

the

CSV

has

some

rows

in

it

and

most

are

blank

so

the

criteria

was

added

to

filter

those

out

Now

if

you

SAVE

this

SQL

statement

in

a

Query

Object

MS

Access

will

Optimize

it

and

will

likely

change

the

statement

to

this

note

the

file

name

CODE

SELECT

FROM

Text

FMTDelimited

HDRYES

DATABASECDocuments

And

Where

TRADE

DATE

Is

Not

But

if

you

DONT

make

changes

to

the

string

your

query

will

execute

fine

because

it

runs

the

optimized

version

However

if

you

change

the

SQL

statement

then

be

sure

to

encompass

the

CSV

back

into

the

brackets

that

identify

the

file

name

If

you

remove

the

special

characters

from

the

file

name

then

you

can

probly

let

Access

do

as

it

wishes

with

the

brackets

for

example

CODE

SELECT

FROM

Text

FMTDelimited

HDRYES

DATABASECDocuments

And

SettingsspauldbDesktopTransactionscsv

Where

TRADE

DATE

Is

Not

Works

great

and

you

can

edit

the

SQL

with

out

concern

and

so

does

the

file

name

the

hyphens

are

Special

Characters

and

thus

require

the

brackets

around

the

filename

Now

if

you

can

get

your

SELECT

query

to

work

you

can

likely

get

an

APPEND

query

to

work

as

well

with

a

SQL

statment

that

looks

something

like

this

CODE

INSERT

INTO

tblSomeTable

TRADE

DATE

REP

REPID

ACCOUNTPOLICY

CUSTOMER

REP

COMPANY

PRODUCT

NAME

QUANTITY

FACE

AMOUNT

GROSS

COMMISSION

CUSTOMER

SSN

SELECT

TRADE

DATE

REP

REPID

ACCOUNTPOLICY

CUSTOMER

REP

COMPANY

PRODUCT

NAME

QUANTITY

FACE

AMOUNT

GROSS

COMMISSION

CUSTOMER

SSN

FROM

Text

FMTDelimited

HDRYES

DATABASECDocuments

And

WHERE

TRADE

DATE

Is

Not

Note

all

line

breaks

added

for

clarity

Then

there

is

not

need

for

a

separate

SELECT

query

so

you

have

the

APPEND

from

CSV

taken

care

of

with

ONE

query

object

Note

that

you

may

have

to

adjust

the

destination

field

names

and

such

plus

take

note

at

the

field

names

returned

buy

the

SELECT

query

Do

you

see

how

REP

COMPANY

got

changed

to

REP

COMPANY

be

sure

to

know

what

you

are

getting

anyway

the

general

structure

is

there

Also

since

you

have

a

couple

of

things

to

do

for

this

whole

process

I

personally

would

not

even

create

the

APPEND

query

object

I

would

just

do

it

all

in

VBA

CODE

Public

Sub

MaintainTransactionData

Dim

db

As

DAODatabase

Dim

strSQL

As

String

Set

a

reference

to

the

current

db

Set

db

CurrentDb

Delete

old

data

in

the

table

strSQL

DELETE

FROM

tblSomeTable

WHERE

TRADE

DATE

FormatDateAddm

Date

yyyymmdd

dbExecute

strSQL

dbFailOnError

Append

from

CSV

strSQL

INSERT

INTO

tblSomeTable

TRADE

DATE

REP

REPID

ACCOUNTPOLICY

CUSTOMER

REP

COMPANY

PRODUCT

NAME

QUANTITY

FACE

AMOUNT

GROSS

COMMISSION

CUSTOMER

SSN

SELECT

TRADE

DATE

REP

REPID

ACCOUNTPOLICY

CUSTOMER

REP

COMPANY

PRODUCT

NAME

QUANTITY

FACE

AMOUNT

GROSS

COMMISSION

CUSTOMER

SSN

FROM

DATABASECDocuments

And

Settingsspauldb

WHERE

TRADE

DATE

Is

Not

dbExecute

strSQL

dbFailOnError

End

Sub

Note

AIR

CODE

also

if

code

appears

dblspaced

its

not

intended

to

be

sometimes

browsers

will

do

that

Also

with

this

you

can

then

apply

it

for

use

with

your

other

CSV

Also

you

can

use

Dougs

link

if

you

want

to

point

to

a

file

to

get

the

file

name

then

just

integrate

that

into

your

procedure

Does

that

help

Aug

PM

Post

Posts

Joined

WOWThis

was

some

great

reading

I

wonder

if

that

makes

me

a

computer

geek

I

am

thinking

I

may

do

this

via

code

as

it

seems

to

be

easier

to

implement

and

maintain

if

I

have

to

expand

this

to

pull

from

different

files

Just

one

question

Where

you

say

WHERE

TRADE

DATE

FormatDateAddm

Date

yyyymmdd

Isnt

this

going

to

delete

any

records

that

are

Less

Than

monts

prior

to

today

rather

than

any

records

outside

the

month

window

Aug

PM

Post

Posts

Joined

Also

whats

with

all

the

quotes

in

the

final

VBA

code

Is

that

needed

tried

this

code

and

VB

treats

the

quotes

as

comment

fields

datAdrenaline

Aug

PM

Post

UtterAccess

Editor

Posts

Joined

From

Northern

Virginia

USA

Hello

You

asked

Isnt

this

going

to

delete

any

records

that

are

Less

Than

monts

prior

to

today

My

answer

That

is

exactly

what

you

specified

with

this

At

the

same

time

I

would

like

the

code

to

determine

based

on

a

date

field

which

records

are

months

old

or

older

from

today

and

delete

these

records

You

asked

I

tried

this

code

and

VB

treats

the

quotes

as

comment

fields

My

answer

Then

it

is

my

contention

that

code

is

entered

incorrectly

IMG

httpwwwutteraccesscomforumstyle_emoticonsdefaultdazedgif

Can

you

copypaste

your

code

so

I

can

see

it

You

asked

Also

whats

with

all

the

quotes

in

the

final

VBA

code

Is

that

needed

My

Answer

Yes

you

are

building

a

SQL

statements

which

are

strings

And

my

code

is

concatenating

strings

to

gether

thus

the

ampersand

and

the

line

continuation

character

of

to

continue

the

string

building

on

to

the

next

line

of

code

Aug

AM

Post

Posts

Joined

Can

anyone

help

a

bit

on

how

to

actually

call

this

code

Do

I

creade

a

module

and

call

the

module

on

the

click

event

of

a

File

Explorer

button

fritz

Nov

AM

Post

Posts

Joined

From

Dana

Point

CA

Brent

Very

slick

uestion

if

I

may

how

may

one

handle

csv

fields

which

dont

have

field

names

Im

importing

AR

records

from

QuickBooks

where

the

first

field

name

is

blank

followed

by

Type

Date

Num

PO

Name

Terms

Due

Date

Open

Balance

I

want

to

use

a

statement

like

CODE

WHERE

blank

Is

Thanks

Harry

datAdrenaline

Dec

AM

Post

UtterAccess

Editor

Posts

Joined

From

Northern

Virginia

USA

Hello

Harry

If

the

CSV

does

not

have

headers

change

the

HDR

parameter

to

HDRNO

then

your

fields

will

be

labeled

etc

CODE

SELECT

FROM

Text

FMTDelimited

HDRNO

DATABASECSomePathTransactionscsv

Where

Is

Not

you

can

alias

generated

field

names

if

you

wish

fritz

Dec

AM

Post

Posts

Joined

From

Dana

Point

CA

I

see

how

that

works

but

what

if

only

one

field

is

not

labled

Doing

a

manual

import

the

wizard

calls

it

Is

there

some

way

to

reference

it

in

code

H

datAdrenaline

Dec

PM

Post

UtterAccess

Editor

Posts

Joined

From

Northern

Virginia

USA

Hello

Harry

Is

there

any

chance

you

can

post

the

CSV

or

a

small

portion

of

it

that

would

be

helpful

then

I

may

be

able

to

post

a

sample

db

datAdrenaline

Dec

PM

Post

UtterAccess

Editor

Posts

Joined

From

Northern

Virginia

USA

Hey

Harry

When

I

use

this

SQL

statement

I

think

it

returns

what

you

are

after

CODE

SELECT

FROM

WHERE

NoName

Is

So

the

nonlabeled

field

recieved

the

alias

of

NoName

Also

please

note

that

the

dot

is

not

a

valid

character

for

a

field

name

so

the

Text

driver

coerced

P

O

into

P

O

Do

take

note

that

the

file

location

I

used

will

most

likely

not

match

yours

If

this

does

not

help

you

you

may

want

to

take

a

look

at

opening

the

file

directly

then

stripping

out

what

you

dont

want

then

opening

the

resultant

CSV

with

an

SQL

Check

out

CleanCSV

and

StripHeaders

for

some

ideas

on

striping

unwanted

rows

of

data

from

a

CSV

datAdrenaline

Dec

PM

Post

UtterAccess

Editor

Posts

Joined

From

Northern

Virginia

USA

ello

I

am

sorry

your

last

post

seems

to

have

gotten

lost

in

the

suffle

Are

you

still

having

issues

or

have

you

been

able

to

sort

out

where

to

put

your

code

amitr

Aug

AM

Post

Posts

Joined

From

Delhi

India

Hi

all

above

I

am

using

the

given

query

for

importing

csv

to

mdb

table

but

i

am

getting

an

error

Cxyzcsv

is

not

a

valid

path

or

file

FYI

i

am

using

a

dialog

box

from

which

user

selects

a

csv

file

whose

name

is

xyzabcfixed

and

then

that

file

will

have

to

get

imported

to

mdb

My

code

looks

like

this

Insert

into

SELECT

FROM

Please

help

me

out

I

know

there

is

a

very

minor

mistake

while

using

database

using

fdialog

but

i

dont

know

how

to

use

double

quotes

and

single

quotes

Any

help

will

be

higly

appreciated

Please

reply

asap

Regards

Amit

Ranjan

datAdrenaline

Sep

PM

Post

UtterAccess

Editor

Posts

Joined

From

Northern

Virginia

USA

A

fuller

block

of

your

code

would

be

very

helpful

as

you

have

it

now

I

am

unsure

about

your

string

creation

process

For

example

fDialoginitialFileName

it

seems

to

return

the

FullPath

and

Name

of

the

file

so

in

your

concatenation

you

are

concatenating

too

much

to

the

DATABASE

parameter

The

DATABASExxx

parameter

should

only

be

the

file

PATH

In

addition

your

dblquotes

are

not

balanced

but

I

figured

that

was

a

copypaste

error

amitr

Sep

AM

Post

Posts

Joined

From

Delhi

India

Thanks

Brent

thanks

afor

reply

It

is

fixed

now

IMG

amitr

Sep

AM

Post

Posts

Joined

From

Delhi

India

Hi

all

First

of

all

Thanks

to

Brent

and

Steele

for

achieveing

import

and

exportu

rock

IMG

httpwwwutteraccesscomforumstyle_emoticonsdefaultnotworthygif

o

o

IMG

httpwwwutteraccesscomforumstyle_emoticonsdefaultthumbupgif

I

need

more

help

from

you

guys

on

my

automation

I

need

to

iterate

and

insert

each

row

one

by

one

This

is

why

because

to

avoid

redundancy

If

there

is

any

existing

record

then

new

record

that

is

to

be

import

will

be

marked

as

ExistingDuplicate

or

whatever

and

the

insert

process

will

skip

to

next

row

I

need

more

flexibility

while

inserting

if

possible

in

case

of

duplicacy

app

will

ask

user

whether

he

want

to

Update

the

colliding

row

or

insert

it

as

a

new

row

I

need

to

match

the

row

on

the

basis

of

Columns

FirstName

LastName

and

DOB

all

columns

are

of

type

text

Why

we

are

not

using

PK

This

is

why

becuase

import

export

can

be

carried

out

on

various

machines

and

on

all

machine

PK

might

be

different

so

currently

we

are

considering

only

these

fields

So

you

pplz

are

requested

to

Help

me

ASAP

Thanks

in

advance

O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B I O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B I O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B I O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O


Home News Events About Us Contact Us Contracts Bylaws Safety Health Care Negotiations Food Pantry Info Forms Jobs Political Local 175 is located at 2307 Embury Park Road Dayton Ohio Affiliated with the Utility Workers Union of America AFLCIO Local 175 is the sole and exclusive representative of the bargaining unit employees employed by Dayton Power and Light Company DPL and Vectren Energy Delivery of Ohio VEDO Local 175 became a chartered union June 17 1941 under the UWOC Utility Workers Organizing Committee The UWOC was later renamed the Utility Workers Union of America UWUA Message From President Greg Adams The biggest asset of any union is its members YOU are Local 175 Your voice when united with your union brothers and sisters is the strength of this organization When we are united as a union we can accomplish a lot proven by the past seven years We will work together to make the years to come ones of growth and strength for Local 175 Utility Workers Union of America The Executive Board continues to work on a daily basis to provide the members with the best representation they can offer Im proud of the Executive Board they are an asset to me as President and to you the membership Upcoming Meeting Dates January 11 2018 Union Hall February 8 2018 South Power March 8 2018 Union Hall May 10 2018 Union Hall June 14 2018 South Power August 9 2018 Union Hall September 13 2018 South Power October 11 2018 Union Hall November 8 2018 Union Hall

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Such a trooper has the best attitude and is a doll I truly hope I have the pleasure to work with her again Jasi Cotton Lanier stunt coordinator WALKING DEAD FURIOUS 7 INSURGENT Valerie Perez is the kind of screen presence that not only makes the jaw drop from her sheer beauty but her wisdom as a seasoned actress goes far beyond many of her peers Working opposite her oncamera is an honor that is difficult to match Doug Jones star of SHAPE OF WATER STAR TREK DISCOVERY FALLING SKIES PANS LABYRINTH HELLBOY Wonderful actress full of range and surprises and you cant take your eyes off her Sam Anderson actor LOST JUSTIFIED FORREST GUMP director ROAD THEATRE COMPANY They dont come any prettier or nicer Adam Hughes artist MARVEL DC COMICS DARK HORSE Valerie Perez is the most fun to collaborate with

O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B I O O O O B I O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B I O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O B I O O O O O O O

valerie perez
screen presence
doug jones