texts:
<mask> (born <mask>; 1 November 1972) is an Australian actress, producer, singer, and songwriter. Known for her work in television and independent films, she has received various accolades throughout her career, including a Golden Globe Award and a Primetime Emmy Award, in addition to nominations for an Academy Award, a Tony Award, and two British Academy Film Awards. After making her film debut in Spotswood (1992) and being nominated for the AACTA Award for Best Actress in a Supporting Role, her breakthrough role came in the comedy-drama Muriel's Wedding (1994), which earned her a Golden Globe Award nomination and won her the AACTA Award for Best Actress in a Leading Role. <mask> achieved greater international recognition for her role in the psychological thriller film The Sixth Sense (1999), and was nominated for the Academy Award for Best Supporting Actress. She received BAFTA Award nominations for her performances in the romantic comedy About a Boy (2002) and the comedy-drama Little Miss Sunshine (2006). <mask>'s films include diverse genres, such as the period comedy Emma (1996), the action thriller Shaft (2000), the period drama The Hours (2002), the romantic drama Japanese Story (2003), the comedies In Her Shoes (2005) and The Way, Way Back (2013), the horror films Krampus (2015) and Hereditary (2018), and the mystery film Knives Out (2019). Her Broadway performances include the lead role in The Wild Party (2000), which earned her a Tony Award nomination.In television, she starred in the Showtime comedy-drama series United States of Tara (2008–2011) and the Netflix drama miniseries Unbelievable (2019). For the former, she won a Primetime Emmy Award and a Golden Globe Award. She has won five AACTA Awards, from eight nominations. <mask> married Dave Galafassi, drummer of the band Gelbison, in January 2003. The couple have two children together. As the lead singer of <mask> & the Finish, she wrote all 11 tracks of their sole album, Beautiful Awkward Pictures (2006). The band toured Australia, but have not performed nor released any new material after 2007.In 2017, <mask> and Jen Turner co-founded the film production company Vocab Films. Early life
<mask> was born on 1 November 1972, the eldest of three children; she has two younger brothers. She was raised in the Sydney suburb of Glebe until the age of six, then in Blacktown. Her father Bob Collett was a truck driver, while her mother Judy (née Cook) was a customer-service representative. <mask> later learned on an episode of Who Do You Think You Are? that Bob was possibly born as a result of his mother Norma (née McWhinney) having an extramarital affair with a US Navy chief petty officer stationed in Australia during and after World War II. Norma and her husband (Harold "Stanley" Collett) were going through a divorce, and Bob's DNA test determined that Stanley was not his biological father.Despite an appeal made to the public in August 2015, her biological grandfather's name is not known. <mask> has described her family as "[not] the most communicative" but has said that despite her parents' lack of money, they were supportive and made their children feel cared for. She has fond memories of growing up in Blacktown, where she and her mother watched Saturday afternoon movie matinees presented by Bill Collins. She described her younger self as having "crazy" amounts of confidence. When she was 11, <mask> believed she had appendicitis and convinced her doctors: she was taken to an emergency department and had the appendix removed. As a student at Blacktown Girls High School, her favourite activities included netball, tap dancing and swimming. She took part in local singing competitions.Her ambition was to perform in musicals, as she loved to sing and dance. <mask>'s first acting role was a high school performance of Godspell at the age of 14; she auditioned by singing Whitney Houston's "Saving All My Love for You". She decided to become an actor the following year, and was influenced by Geoffrey Rush's stage performance in The Diary of a Madman (July–August 1989). In 1989, with her parents' approval, she transferred to the Australian Theatre for Young People, later explaining, "I was 16. And it's not like I wasn't good at school, or I didn't enjoy it, I did. I just loved acting more. I don't regret that decision, but I can't believe I made it."The actor returned the extra "e" at the end of her surname which Stanley Collett had removed as it sounded better for a stage name. She started at National Institute of Dramatic Art (NIDA) in early 1991, but left after 18 months to appear as Sonya in Uncle Vanya (August–September 1992), directed by Neil Armfield, alongside Rush in the title role. Career

1990–1999: Early work and breakthrough
<mask> made her television debut in 1988 on a comedy, variety show Blah Blah Blah as a singer. Her first acting role was in 1990, a guest appearance as Tracy, on the Seven Network drama series A Country Practice Season 10, Episode 31, "The Sting: Part 1". Her first professional theatre role was as Debbie in Operation Holy Mountain in May of that year at Q Theatre, Penrith. Frank Barnes of Journal of the N.S.W Public School Teachers Federation noticed, "<mask> [is] simply amazing in her professional debut as the girl with cerebral palsy." She joined the Sydney Theatre Company and, from December 1990 to February 1991, appeared in A Little Night Music at the Drama Theatre, Sydney Opera House.She performed Cordelia in King Lear (March 1994) and was also in stage productions at the Belvoir Street Theatre, directed by Rush. In 1992, she made her feature film debut in the ensemble comedy-drama Spotswood (known in the US as The Efficiency Expert), which starred Anthony Hopkins and included a then-newcomer Russell Crowe. She played Wendy, a factory worker who harbours a secret attraction towards fellow worker Carey (Ben Mendelsohn). Filmnews Peter Galvin observed, "it's here that the film finds real warmth, vigour, and pain, all contained in [her] expressive face; she's terrific and so is Mendelsohn simply because we believe them." Andrew Urban of Urban Cinephile felt that, "[she] has a lovely role and does it with minimalist excellence." For the performance, she earned her first AACTA Award nomination, for Best Supporting Actress. Between auditions for roles, she worked part-time delivering pizzas and selling jeans.In 1992, her agent alerted her to a proposed film project with a good role; a year later Muriel's Wedding (1994) was financed and started casting in June 1993. Although the actor auditioned on the first day, she did not win the role until three months later. In preparation for portraying Muriel, the actor gained  in 7 weeks. The film was a critical and commercial success, grossing US$15.2 million on a budget of US$9 million. James Berardinelli of Reelviews called her "vibrant and energetic," while Peter Stack of the San Francisco Chronicle opined that <mask> played the lead role with "disarming earnestness." She received her first Golden Globe Award nomination, for Best Actress and won the AACTA Award for Best Actress. In 1996, she had parts in three critically acclaimed films.In the comedy-drama Così, which reunited her with Muriel's Wedding castmate Rachel Griffiths, she played an actor recovering from drug addiction. David Stratton of Variety magazine said <mask> "[gave] a terrific performance." In the drama Lilian's Story she played an eccentric woman sent to a mental asylum in her youth. Stratton found her to be "poignant" and took note of her range and depth. She won her second AACTA Award, this time for Best Actress in a Supporting Role. In the period comedy Emma, an adaptation of Jane Austen's novel of the same name, she played Harriet Smith, a close friend of the titular character. Originally dismissive of Austen's works, she found Emma to be "warm and witty and clever."Jane Ganahl of San Francisco Chronicle wrote, "[Harriet was] played with heartbreaking empathy... desperately trying to meet Mr. Right – so awkwardly you fear she'll slip on a banana peel." She starred alongside Lisa Kudrow, Parker Posey and Alanna Ubach in Clockwatchers (1997) which depicted the lives of four friends working in an office. Dustin Putman of TheFilmFile called it a "jewel of a film" and praised the performances of the cast, particularly <mask> whom he referred to as "outstanding." For her supporting role as Michelle in The Boys (1998) she won her third AACTA Award. Although Velvet Goldmine (1998), returned less than half its production budget at the box office, Metacritic reports a 65% score based on 25 critics, indicating "generally favorable reviews." It grew in stature after its release to become a cult film.<mask> credited it with revitalising her passion for acting as it had freed her from distress she had been facing. Her next film, 8½ Women (1999) was not as well received: Metacritic gave it a "generally unfavorable" score of 36%. 1999–2004: The Sixth Sense and Broadway

When <mask> received M. Night Shyamalan's script for The Sixth Sense (1999), she feared it would be a "formulaic Hollywood action drama." However, she was moved by the story and agreed to audition, winning the role over other actors, including Marisa Tomei. She portrayed Lynn Sear, a mother struggling to raise her son Cole (Haley Joel Osment) who communicates with ghosts. Gary Thompson of The Philadelphia Inquirer observed, "the scene in the car when [Cole] divulges his secret is so riveting... and it's so well-acted by Osment and <mask>." He added, "she'd become the greatest screen weeper of her generation."The Sixth Sense grossed US$670 million on a budget of US$40 million and became the second-highest-grossing film of 1999. It gathered six Academy Award nominations including <mask>'s for Best Supporting Actress. She reflected, "There was some definite feeling we all had that it was going to somehow be special. [... It] did really well and has been loved by a lot of people." In 2000 she made her Broadway debut with a leading role in The Wild Party, playing Queenie, a masochistic showgirl who hosts a lavish party with her husband. Originally written for Vanessa Williams, it went to <mask> after the former was unavailable.Charles Isherwood felt under-whelmed by the musical and the actor's performance, "[<mask>'s] Queenie is flat and one-dimensional; she doesn't convey the warmth that invites emotional investment." Ben Brantley of The New York Times differed, "Ms. <mask>... gives the evening's most fully realized performance," but criticised the lack of chemistry with Yancey Arias. She was nominated for the Tony Award for Best Leading Actress in a Musical. <mask> turned down the title role in Bridget Jones's Diary due to her Broadway commitments. She followed with a supporting role in the action thriller Shaft (2000). The film received "mixed or average reviews," and grossed US$107.2 million on a budget of US$46 million. Kam Williams of African American Literature Book Club noticed, "<mask> lends the film some convincing and welcome dramatic weight as the frightened, conflicted Diane."However, John Patterson of The Guardian rated it as a "career low" for her. In 2001 she appeared in the HBO TV movie Dinner with Friends and played Beth, a middle-aged woman who struggles with her husband leaving her for another woman. Steven Oxman of Variety said that she was "well suited" to her role, while Bruce Fetts of Entertainment Weekly praised her "flawless" American accent. The show earned a nomination for the Primetime Emmy Award for Outstanding Television Movie. In 2002 she had a supporting role in The Hours, based on the novel of the same name, playing Kitty, a woman who plans to undergo surgery for her infertility. John Patterson felt she gave an "utterly convincing small-scale emotional meltdown born of suburban sadness and sexual self-repression." The film received positive reviews and was nominated for the Academy Award for Best Picture.In About a Boy (2002) she portrayed a woman with depression who attempts to commit suicide. Daniel Saney of Digital Spy said that she was "as impressive as ever" while Sheila Johnston of Screen Daily praised her "powerful presence." She was nominated for the BAFTA Award for Best Actress in a Supporting Role and won the Boston Society of Film Critics Award for Best Supporting Actress for both 2002 performances. <mask> played the lead role in Japanese Story (2003) as Sandy an Australian geologist who develops an intense relationship with a Japanese businessman. It was screened at the 2003 Cannes Film Festival. The performance led to reviewers welcoming her return to lead roles: the first since Muriel's Wedding. John Patterson wrote that she gave a "shattering performance, masterfully controlled and detailed, and all the proof her fans ever needed of her special brilliance."Richard Porton of the Chicago Reader remarked, "[her] pitch-perfect performance and the stunning evocation of the forbidding and beautiful outback make this film unexpectedly rewarding." Critics praised her emotional range, with some regarding the performance to be the best of her career. She won her fourth AACTA Award statuette for her portrayal of Sandy Edwards in Japanese Story. Her two releases of 2004, The Last Shot and Connie and Carla, were rated as having "mixed or average reviews" by Metacritic. 2005–2011: Supporting roles and United States of <mask>'s only film in 2005, In Her Shoes, was a comedy-drama about the relationship between two sisters (Rose and Maggie Feller) and their estranged grandmother, co-starring Cameron Diaz and Shirley MacLaine. Based on the 2002 novel of the same name by Jennifer Weiner, the film received "mixed or average" reviews from critics, and was a moderate independent success, earning US$82.2 million worldwide. She was subsequently nominated for a Satellite Award for Best Actress for her performance of Rose, a successful-but-lonely lawyer with low self-esteem, which Mick LaSalle of the San Francisco Chronicle noticed, "As usual, [her] face is a fine-tuned transmitter of her emotions, moment by moment, and she becomes the locus of audience feeling."In 2006 the artist starred in Little Miss Sunshine, a comedy-drama road movie about a family's trip to a children's beauty pageant. It premiered at the Sundance Film Festival in January of that year, and its distribution rights were bought by Fox Searchlight Pictures for one of the biggest deals in the history of the festival. Sharon Waxman of The New York Times called her "funny and believable", while Stella Papamichael of BBC felt that she was "underused." The film received critical acclaim, resulting in her second BAFTA and Golden Globe nominations. It grossed US$100.5 million worldwide and became one of the most successful independent films of the mid-2000s. Also in that year the actor took supporting roles in the thrillers The Night Listener and The Dead Girl. The latter was released to "generally favorable" reviews, while The Night Listener was higher earning with a revenue of US$10.5 million.In her first television engagement in five years, the HBO-BBC joint miniseries Tsunami: The Aftermath (2006), she played an Australian government employee who tries to cope with the events

masks:
Toni Collette Galafassi
Toni Collett
Collette
Collette
Collette
Toni Collette
Collette
Toni Collett
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Tara Collette


type: original

texts:
 following the 2004 Indian Ocean earthquake and the resulting tsunami in Thailand. The film received mixed reviews from critics. Robert Bianco of USA Today said that it was, "inexcusably tasteless, tone deaf... and dull", and Brian Lowry of Variety remarked that the film, "[grasps] for higher ground that it never reaches." Despite this, praise was given to the performances of the cast. For her role, <mask> earned her first Primetime Emmy nomination and third Golden Globe nomination. At a ceremony in August 2006, <mask> inducted Helen Reddy into the Australian Recording Industry Association (ARIA) Hall of Fame and described her song, "I Am Woman" (1971) as "timeless." After working as a juror at the 2007 Cannes Film Festival, she starred in two releases of 2007, Towelhead and Evening.They received "mixed or average reviews." Kelly Vance of East Bay Express, called Towelhead "one of the most intelligent films of the year" and praised the artist's performance. In her review of Evening, Putman called it "flawed in more ways than one" but lauded her for "[enlivening] her scenes with pathos." In 2008 she played a small role in Hey, Hey, It's Esther Blueburger, and also served as an executive producer. Her scenes were shot in a week. The film received tepid reviews and failed to recoup its $6 million budget. Bernadete McNulty, writing for The Daily Telegraph, wrote, "[her] presence may have got this Australian debut from writer/director Cathy Randall off the ground [but] her slight role is insufficient to make it fly the distance."Her other 2008 film, The Black Balloon, was better received, for which she was also co-executive producer. Frank Hatherley of Screen Daily praised the film and her acting, "[she] gives another of her warm, full-blooded portraits" and Roger Ebert venerated her performance as being the heart of the film. She won her fifth AACTA Award for the role of Maggie Mollison in The Black Balloon. In 2008, <mask> accepted the leading role in the Showtime TV comedy-drama series, United States of Tara. Created by Steven Spielberg and Diablo Cody, it revolves around Tara Gregson, a wife and mother of two, who has dissociative identity disorder, and is coping with alternate personalities. She was given the leading role by Spielberg without auditioning. In the role, she portrayed multiple characters and found that it required more preparation than she normally did.However, after she understood the characters better, she found it easier to play them. The show was originally planned for a twelve-episode season, but was renewed for a second and third season after it gave the network its highest ratings since 2004. The series and her performance received "generally favorable reviews." Tim Goodman of the San Francisco Chronicle called her a "tour de force", and Ariana Bacle of Entertainment Weekly praised the actor's "flawless" transition between personalities that felt so "insanely distinct" that they could have each been a different actor. <mask> won both the Primetime Emmy Award for Outstanding Lead Actress in a Comedy Series and the Golden Globe for Best Actress in a TV Comedy in 2009 and was nominated for both again in the following year. Also in 2009 she lent her voice to the critically acclaimed stop-motion dramedy Mary and Max. <mask> was originally set to star in 2009's Away We Go, but dropped out due to scheduling conflicts.She then starred as a single mother of a precocious child in Jesus Henry Christ (2011). The film received "mixed or average reviews"; James Plath of Movie Metropolis called her "terrific" but John DeFore of The Hollywood Reporter felt that she was severely underutilised. She later had a supporting role in the horror-comedy Fright Night (2011). The film reunited her with filmmaker Craig Gillespie who had directed her in several episodes of United States of Tara. Debbie Lynn Elias of Behind the Lens called her "pitchfork perfect" while Emmet Asher-Perrin of Tor.com said that she was "charming as always." The film received "generally favorable reviews," and was a commercial success grossing US$40.5 million on a US$30 million budget. 2012–2017: Independent films and Broadway return
<mask>'s first release of 2012 was the independent comedy-drama Mental.She played Shaz, a hitchhiker who is hired as a nanny to take care of five mentally ill sisters. Despite giving the film a negative review, Gary Goldstein of the Los Angeles Times said that the actor "rips into her woolly role as if channeling a leftover personality from her United States of Tara days." Luke Buckmaster of Crikey called her "charismatic and all-inhabiting." She received her third AACTA Award for Best Actress nomination for the role. Later in the year, she played Peggy, a supporting role in the biographical drama, Hitchcock. Deborah Ross, writing for The Spectator, provided an unenthusiastic review and wrote, "[Hitchcock] wastes many of its cast members - particularly <mask>." In 2013 <mask> earned critical acclaim for her work in the independent film The Way, Way Back, opposite Steve Carell and Sam Rockwell, and in Enough Said, with Julia Louis-Dreyfus and James Gandolfini.For The Way, Way Back, she received positive reviews: Andrew O'Hehir of Salon magazine praised her "brilliant, understated performance;" Peter Travers of Rolling Stone noticed her star quality; Berardinelli described her adaptability and said that she gives a performance far and above what the role required. Her performance in Enough Said was also well received; Katie Smith-Wong of FlickFeast praised her for bringing humour to the film but Joseph Walsh of CinVue said that she was underused. Later that year, <mask> starred in the CBS TV drama, Hostages, which received reviews that were generally favourable, but weak ratings. RedEyes Curt Wagner was fascinated by her performance, while Verne Gay of Newsday felt she was "superb," and USA Todays Bianco as "nuanced" and "grounded." The series aired for fifteen episodes and, due to a combination of low ratings and a closed narrative, did not return for a second season. In the comedy-drama Lucky Them (2013), which debuted at the Toronto International Film Festival, <mask> portrayed Ellie Klug, a music critic assigned to write about a disappeared musician and childhood sweetheart, and tasked herself to track him down. She took on the role because she felt the script had a realistic and in-depth approach to topics like self-sufficiency and self-realization.She later said that, out of all the roles she had played, Ellie resembled her the most. The film earned "generally favorable reviews", with praise for her performance. David Rooney of The Hollywood Reporter wrote that it was "centered by smart, soulful work by the wonderful <mask>" and that she played her character "with warmth, realness and emotional transparency that make you stay with her even when she's pushing people away." The film also screened at the Tribeca Film Festival, where Joe Bendel of Libertas Film Magazine ranked her performance as the fourth-best of the festival. Upon release, Mike D'Angelo of The Dissolve wrote that she "is capable of anything." After a 14-year absence, <mask> returned to Broadway in 2014, starring as Jennifer Jones in Will Eno's play The Realistic Joneses alongside co-stars Marisa Tomei, Michael C. Hall, and Tracy Letts. The play examines a couple who project their insecurities and fears onto their next-door neighbors with the same last name.The play opened to positive reviews, with the actor and the entire cast earning high praise. Charles Isherwood from The New York Times wrote that "Ms. <mask> exudes a touching, exasperated dignity as Jennifer." Varietys Marilyn Stasio called her work "terribly funny," while Rooney of The Hollywood Reporter claimed, "<mask>, whose naturalness can cut through even the very deliberate theatrical artifice of Eno's dialogue and scene construction, anchors the play with her somber restraint and deadpan delivery." The New York Posts Elisabeth Vincentelli, who was more critical of the play, highlighted her performance: "[she] does some heavy lifting to fill in Eno's blanks. You can read deep sadness in the wide planes of her expressive face, in her lost, unfocused eyes." The artist and her co-stars won a Drama Desk Special Award for Best Ensemble Performance. In 2014, <mask> appeared in three comedy films, Tammy, A Long Way Down and Hector and the Search for Happiness.All three are rated as having "generally unfavorable reviews" by Metacritic. Also in that year she provided the voice to Lady Portley-Rind in the animation The Boxtrolls. She starred as Milly, opposite Drew Barrymore as Jess, in the comedy-drama Miss You Already (2015), about two women whose friendship is tested when Jess starts a family while Milly falls ill. It premiered at the Toronto International Film Festival, and Metacritic rated it at 59% indicating "mixed or average reviews." Billy Goodykoontz of The Arizona Republic asserted that "[her] work is so compulsively watchable that Miss You Already is worth a watch for that reason alone." <mask> then played the matriarch of a dysfunctional family in the horror film Krampus (also 2015), which was a commercial success, grossing $61.5 million against a budget of $15 million. Her sole release of 2016 was the crime thriller Imperium, opposite Daniel Radcliffe, she portrayed Angela Zamparo, an FBI analyst targeting a white supremacist group.Despite its limited release, the film garnered positive reviews, with Gary Goldstein of the Los Angeles Times calling it "impressively dimensional...tense, gripping and disturbing," and found her to be "excellent" as Radcliffe's character's supervisor. In 2017, <mask> appeared in several films: to varying degrees of success. The action film, XXX: Return of Xander Cage, starring Vin Diesel, was a commercial success, grossing $346.1 million and earned mixed reviews, though Mick LaSalle of the San Francisco Chronicle praised her for "embrac[ing] the cold-blooded extremes of her role" as a CIA operative. Her next two films, the war drama The Yellow Birds and the comedy Fun Mom Dinner, premiered at the Sundance Film Festival. Although both of these gathered "mixed or average reviews," the actor's work was appreciated, particularly in the former, with the Los Angeles Times critic taking note of how she, and co-star Jennifer Aniston, "deliver uniformly naturalistic performances." She was also in the action-thriller Unlocked, and the comedies Madame and Please Stand By, all of which received "mixed or average reviews" according to Metacritic. The mystery drama Jasper Jones (2017) was better received—obtaining 77% at Rotten Tomatoes.Sandra Hall of The Sydney Morning Herald praised her emotional range and James Douglas, writing for The Guardian, said that she was "impossibly vivacious as always." Richard Kuipers of Variety eulogized the artist's climactic monologue in which her character laments her discontent, calling her "positively electrifying." Also in that year, she formed the production company Vocab Films, with her US-based talent manager Jen Turner. She had previously worked as executive producer for the films she appeared in, Like Minds (2006), The Black Balloon, and Hey, Hey, It's Esther Blueburger (both 2008). Vocab Film's first project is The Best of Adam Sharp (2016), a novel by fellow Australian, Graeme Simsion. <mask> is set to play the female lead role, Angelina Brown, who is described by Anita Busch of Deadline as, "an intelligent and strong-willed woman... who taught [Adam] what it meant to find—and then lose—love." Another project is Julia Dahl's novel, Invisible City, a co-production with RadicalMedia, for a TV murder mystery with the actor also serving as a script writer for the pilot episode.She explained her motivation, "it's about fighting for personal freedom and living an authentic life. It couldn't be a more relevant time to tell this story about acceptance and integration, or lack thereof. These complex female characters are honest, flawed, and inspiring. We can always use more of those." 2018–present: Mainstream films and continued acclaim
In 2018, <mask> gave what some critics considered to be one of her best performances in the horror film Hereditary, in which she played Annie Graham, the matriarch of a family haunted by the supernatural following the death of her mother. She was initially reluctant to take on the role, but became convinced by the script's grounded approach and its exploration of grief and loss. She considered it to be the most difficult of her career: in an interview with Vultures Rachel Handler she reflected, "There was no easy moment in this movie...I was shooting 14-take scenes, talking about great loss and difficulty in relating to my family." The film premiered at the Sundance Film Festival to critical acclaim, and it became A24's highest-grossing film, earning US$80.2 million Chris Nashawaty of Entertainment Weekly praised her for "real dramatic power and force," while Michael Phillips of the Chicago Tribune complimented her "fierce performance with a human pulse." She won the Gotham Independent Film Award for Best Actress and was nominated for the Independent Spirit Award for Best Female Lead for her performance. She starred in Wanderlust (2018), a BBC One drama series about the troubled relationship between <mask>'s character, Joy Richards, a therapist, and her husband. It was her first lead role in TV series since Hostages. She also served as an associate producer on the series. Ben Travers of IndieWire wrote "[she guides] the [series] through turbulent emotional seas with assurance" and Jen Chaney of Vulture remarked that the show was worth watching solely for her performance.Also that year, she appeared in the critically acclaimed comedy Hearts Beat Loud, which also premiered at Sundance. Peter Bradshaw called it "a likable heartwarmer" and praised the actor for "[giving the] film some sinew in her supporting role." That following year, <mask> returned to the horror genre in Dan Gilroy's Velvet Buzzsaw (2019), alongside Jake Gyllenhaal and Rene Russo. Partly a satire about the art world, it premiered at the Sundance Film Festival to polarising reactions. Chicago Sun-Times Richard Roeper gave it a positive review, "[she is] as good as we’d expect [her] to be." She played a supporting role as Joni Thrombey in Rian Johnson's critically acclaimed mystery thriller Knives Out, alongside an ensemble cast including Daniel Craig, Ana de Armas, Jamie Lee Curtis, Michael Shannon, and Christopher Plummer. It premiered at the Toronto International Film Festival and was a commercial success, grossing US$311.3 million.Critics highlighted the performances of the cast: Joe Morgenstern wrote that <mask> "nails her character’s style with elan" and David Rooney considered her to be "divine as a deeply sincere phony." In 2019, <mask> took on the role of a detective, Grace Rasmussen, investigating a troubling rape case, with Merritt Wever and Kaitlyn Dever, in the Netflix miniseries Unbelievable. She had accepted it prior to reading the script, finding the topic "important and so meaningful." She prepared for the role by having a female cop on set who helped her with such particulars as where to place badges and guns

masks:
Collette
Collette
Collette
Collette
Collette
Collette
Toni Collette
Collette
Collette
Collette
Toni Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette


texts:
 and how to stage a medical examination with a rape victim. It had been seen by over 32 million people making it one of Netflix's highest viewed TV series. The artist received acclaim for her performance and several critics praised her chemistry with Wever: Jen Chaney of New York wrote, "Wever and <mask> both create fully authentic women who ooze integrity but also have enough insecurities and make enough mistakes to seem like actual human beings". For her performance, she received nominations for a Golden Globe Award and a Primetime Emmy Award, and won the Critics' Choice Television Award for Best Supporting Actress in a Movie/Miniseries.In 2020, she took on a leading role in the drama film Dream Horse, playing a middle-aged South Wales native who decides to train a racehorse. Dennis Harvey of Variety praised her for "easily [carrying] the film’s emotional weight." She appeared in Charlie Kaufman's psychological thriller film I'm Thinking of Ending Things, which was released on Netflix in September 2020. In 2021, she had lead roles in the science fiction thriller film Stowaway, and Guillermo del Toro's neo-noir thriller film Nightmare Alley. <mask> is also set to star in the Netflix thriller series Pieces of Her and the HBO Max limited series The Staircase. Music career
Despite cherishing music and singing at a young age, <mask> had stopped in the mid-1990s and explained, "[Singing] comes from a very personal place. It's your voice... and it's only in the last couple of years I felt comfortable in myself singing."In 1996 she sang three cover versions for the soundtrack of the film, Cosi: "Don't Dream It's Over" (originally by Crowded House), "Stand By Me" (Ben E. King) and "Throw Your Arms Around Me" (Hunters & Collectors). In 2000 she recorded nine tracks for the cast album, The Wild Party, for the eponymous Broadway musical. Elyse Sommer of CurtainUp, in a review of the musical, wrote that she was a "topnotch singer" and particularly praised her rendition of "People Like Us". For the soundtrack of Connie and Carla (2004), <mask>, and her co-star Nia Vardalos, recorded duets of several show tunes including, "I'm Gonna Wash That Man Right Outa My Hair", "Maybe This Time" and "Cabaret". David Haviland of Eye for Film praised the renditions, "The musical numbers are a camp triumph." She sang the track, "Sunday Morning", for the album Summertown by Deborah Conway and Willy Zygier. She has also performed songs for soundtracks of About a Boy, A Long Way Down, Miss You Already and Hearts Beat Loud.<mask> has been writing her own songs since early teens. In 2006 with encouragement of her husband Dave Galafassi on drums (ex-Gelbison), she formed <mask> & the Finish in Sydney. Also joining the band were Amanda Brown on keyboards, Glenn Richards on guitar, David Lane on piano and keyboards and Pete Farley on bass guitar. Their first gig was at The Basement, Sydney, "I was completely petrified and I think once I got that out of the way, I have just been enjoying it... In the acting, the film world, they try to hide things from actors, keep them cushioned. So I am really enjoying getting my hands dirty." On 9 October 2006 the band released their debut album, Beautiful Awkward Pictures, on Hoola Hoop Records.Using her personal life as an inspiration, she wrote all eleven tracks under her married name, <mask>-Galafassi. It was recorded in two weeks: <mask> co-produced with Zygier. Eclectic of Sputnikmusic gave it a positive review, "<mask>'s subdued vocals aren't perfect, but they're close enough to love all the same." He did, however, rebuke the lyrics of some tracks remarking that they had "some stunningly bad lines." The album produced two singles, "Beautiful Awkward Pictures" (September 2006) and "Look Up" (March 2007). The latter reached the ARIA Singles Chart top 100. She appeared on the Australian TV show Cool Aid and performed "Look Up".In July 2007 <mask> & the Finish headlined the Sydney show of Live Earth, singing a cover of T. Rex's "Children of the Revolution". They toured Australia, but have not performed nor released any new material after 2007. In 2012 she expressed her desire to make another album, but said she found it difficult to find enough time to commit to that project. Humanitarian work
<mask> supports various charities including Doctors Without Borders, Amnesty International and Feeding America. She expressed her support for PETA and, in July 2005, wrote a letter to then Australian Prime Minister John Howard, asking him to ban the practice of mulesing and the live export of sheep. Later that month, after speaking to sheep farmers, she reneged on supporting PETA's campaign against mulesing: "The issue is not as black and white as was previously presented to me. I was given to understand that there were 'effective and humane alternatives to prevent fly strike' and they are 'currently available.'I am now aware that there are no simple alternatives available to farmers at this time." In 2009, the actor auctioned off T-shirts of her own design to raise money for various charities. <mask> along with Drew Barrymore and Catherine Hardwicke, who all worked together on Miss You Already, wore pink ribbons to support Breast Cancer Awareness Month in October 2014. She has raised money for OzHarvest, an organisation which collects excess food from Australian restaurants and redistributes it to the homeless. She sold some of her personal items for an auction to raise money for the charity Cure Our Kids, which is dedicated to raising money for the oncology unit at The Children's Hospital at Westmead. In 2010, she was part of the host committee to hold the third annual Go Go Gala which will benefit the GO Campaign which seeks to help orphans and vulnerable children throughout the world. She took part in the promotion of the documentary The Lazarus Effect (2010), being featured in a small clip which sought to raise awareness of the positive impact of free antiretroviral drug therapy for those living with HIV in Africa.In 2012, <mask> has contributed an exclusive blog on the fight against hunger and a call to action for Giving Tuesday and the holiday season to the Huffington Post. In 2014, she was appointed as a global ambassador for Concern Worldwide. She made her first field visit with Concern to Haiti where she met families who, together with Concern, are working to break the cycle of extreme poverty. She had previously raised money for Concern's global campaign to fight hunger and malnutrition. She has taken part in multiple Public Service Announcements by Concern requesting the viewers to donate to Concern's various campaigns. In 2017, she attended the 25th Annual Elton John AIDS Foundation Academy Award Party which seeks to raise money to support innovative HIV prevention, education programs and direct care and support services to people living with HIV. She has expressed her support for the Me Too movement.Artistry

<mask> is described by Toby Creswell and Samantha Trenoweth in their book, 1001 Australians You Should Know (2006), "she proved her abilities as a serious actress in Rowan Woods' 1998 film The Boys and again in the big budget international hits The Sixth Sense and About a Boy." Sharon Waxman of The New York Times wrote that the artist often embraces characters who are pathetic, insecure or otherwise unattractive. However, the actor said she detests playing such characters, "If I keep perpetuating that image of myself — that of a downtrodden person — that's the only roles I'll get. And I'm getting tired of playing those roles." Despite achieving stardom early in her career with The Sixth Sense, she rarely acted in commerce-driven pictures. She prefers working in independent films over blockbusters where the latter prioritize box-office success over telling a story. Several journalists noted her gravitation towards playing dissatisfied and slightly neurotic mothers.When asked about being typecast in such roles, <mask> replied, "All people are different. All women are different. A lot of women haven't had children but it doesn't change the fact that they're individuals and have some kind of individuality and spark about them." <mask> listed Geoffrey Rush as one of her influences and remembered seeing him in The Diary of a Madman (1989): "When I watched him in that, it was like being in church, I had a full-on spiritual awakening. I even wrote him this letter – I don't remember what it said, but it was very complimentary." She does not find it difficult to detach herself from her roles, but reflected that after doing several heavy thematic films she, "[started] to find things were accumulating. I had to figure out a way to kind of shake it off.So I am figuring that out." When asked how she decides to play her characters, she replied, "When I look at a character, I never look at the size of the role. I always look at the whole person, no matter how much they're featured in the movie." She dislikes working with dialect coaches when preparing for an accent, as they usually make her feel self-conscious. Although she has gained weight to play characters in previous films, she dislikes doing so, and after filming In Her Shoes, said that she would never do so again. Brie Larson, who starred with <mask> in United States of Tara, has cited her as an inspiration and praised her for being able to "disappear" into her roles. Greg Kinnear, her co-star in Dinner with Friends and Little Miss Sunshine, called her "gifted" and commended her for being able to communicate without dialogue.In an analysis of <mask>'s acting style, Rilla Kingston compared her to character actress Thelma Ritter who was widely critically acclaimed for her supporting roles, and repeatedly typecast as the female comic second. Kingston took note of her use of physicality to convey her characters' emotions as in Emma and United States of Tara. She remarked that <mask>'s acting method references the components of Stanislavski's System of Acting. In studying her typecasting as mothers, Kingston wrote, "[<mask>] selectively chooses roles of women and mothers which she can portray in ways that are multidimensional and different from another." She also wrote that the actor makes conscious efforts to break from the typecasting, with leading roles in films like Miss You Already and Lucky Them. At the end of her analysis, Kingston concluded, "<mask> truly is a chameleon in both the versatility of her acting style and in the kind of roles she is willing to approach with a physicality-based method." <mask> is particularly known for her expressive and highly malleable face, distinctive versatility, physical transformations and accents.<mask>'s versatility as a performer is unique in that despite playing a wide range of characters with vastly different personalities and nuances they're usually portrayed through the medium of a mother character and they often deal with issues relating to motherhood. Personal life
In her twenties she found it difficult to adapt to being in the media spotlight and, as a result, struggled with bulimia and panic attacks. The panic attacks lasted eight months, she described having pains in her chest, blurred vision and profuse sweating. During this period she travelled extensively, shaved her head five times (once for a film role) and bought a flat in Brixton, London. Her aim was to "explore different ideas and just look at life and try to understand it." She left the Brixton flat after a few months because she saw a man "getting his head bashed in with a pole 30 metres away." <mask> dated her Velvet Goldmine co-star, Jonathan Rhys Meyers, for about a year ( 1997) before ending their relationship and described it as "hedonistic, drunken and probably dangerous."When asked about her faith, she remarked: "We're all spiritual... I'm not Buddhist but I am drawn to it because it seems the most beneficial of organised religions, and the most compassionate. It's an ongoing journey." She met musician Dave Galafassi at a 2002 album launch for his then-band Gelbison. The couple married in a traditional Buddhist ceremony on 11 January 2003. The couple have a daughter, Sage Florence, born on 9 January 2008, and a son, Arlo Robert, born on 22 April 2011. She has said that she is an avid camper and enjoys meditating.They lived in Sydney in the 2000s before moving to Los Angeles. The family returned to Sydney in 2019. Discography

 <mask> & the Finish: Beautiful Awkward Pictures (2006) – Hoola Hoop Records/MGM (HOOLAHOOP002)

Other appearances
 "Best Friend", "Finale: The Wild Party", "People Like Us" (by <mask> and Yancey Arias), "Queenie Was a Blonde", "This Is What It Is", "Welcome to My Party", "Wild Party" from The Wild Party: A Decca Original Broadway Cast Album (soundtrack album, 2000) – Decca Broadway/Universal Music Group (012 159 003–2)
 "Airport Medley: Oklahoma / Superstar / Papa Can You Hear Me? / Memory", "Let Me Entertain You", "Maybe This Time", "Don't Rain on My Parade", "Medley: Everything's Alright / Don't Cry for Me", "I'm Gonna Wash That Man Right Outa My Hair", "There Is Nothing Like a Dame", "Cabaret" (all by Nia Vardalos and <mask>) from Connie and Carla: Music from the Motion Picture (2004) Epic Records (5178262000, EK 92430)
 "Hello Halo (Cooper Todd Remix)" (by David Galafassi, <mask>, Nathan Cooper, Benjamin Todd) from Miss You Already (Original Motion Picture Soundtrack) (2015) – Sony Classical

Filmography

Awards and nominations

Among her numerous accolades, <mask> received five AACTA Awards from eight nominations, a Golden Globe Award from six nominations, a Primetime Emmy Award from four nominations, and a Screen Actors Guild Award from four nominations. She also received nominations for two British Academy Film Awards and the Academy Award for Best Supporting Actress. For her performance in Muriel's Wedding (1994), Collette received her first Golden Globe Award nomination. For her role in The Sixth Sense (1999), she was nominated for the Academy Award for Best Supporting Actress.She went on to earn BAFTA Award nominations for About a Boy (2002) and Little Miss Sunshine (2006). <mask> earned further acclaim for the comedy-drama series United States of Tara (2008–2011), for which she received a Primetime Emmy Award and a Golden Globe Award. For her performance in the acclaimed miniseries Unbelievable (2019), she earned a Critics' Choice Television Award and garnered further Golden Globe Award and Primetime Emmy Award nominations. References

External links

 <mask> at Emmys.com

1972 births
20th-century Australian actresses
21st-century Australian actresses
Actresses from Sydney
Australian film actresses
Australian stage actresses
Australian television actresses
Australian expatriates in the United States
Australian people of American descent
Best Musical or Comedy Actress Golden Globe (television) winners
Living people
National Institute of Dramatic Art alumni
Outstanding Performance by a Cast in a Motion Picture Screen Actors Guild Award winners
Outstanding Performance by a Lead Actress in a Comedy Series Primetime Emmy Award winners
Best Actress AACTA Award winners
Best Supporting Actress AACTA Award winners
21st-century Australian singers
21st-century Australian women singers
Theatre World Award

masks:
Collette
Collette
Collette
Collette
Collette
Toni Collette
Toni Collette
Collette
Collette
Toni Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Collette
Toni Collette
Toni Collette
Toni Collette
Toni Collette
Collette
Collette
Toni Collette


texts:
<mask> (1905–1951) was an American ballerina, choreographer, ballet teacher, and director. She founded the Philadelphia Ballet (originally the Littlefield Ballet) in Philadelphia, Pennsylvania in 1935. It was the first American ballet company to tour Europe and the first to present a full-length (or three-act plus prologue) version of The Sleeping Beauty in the United States. In addition to producing American-themed ballets such as Barn Dance, Terminal,  Cafe Society and Ladies' Better Dresses, <mask> choreographed Broadway musicals and Sonja Henie's professional ice skating shows. She was among the first class of inductees (1987) into the National Museum of Dance’s Hall of Fame. Childhood

<mask> was born in a Philadelphia rowhouse in 1905 to James H<mask> and <mask> (also known as "Mommie"). Her father was a native of Maine who worked for the YMCA and later founded a newsreel business.Her mother was raised by her German immigrant grandmother and studied piano at a local conservatory. <mask> had three younger siblings: Jimmie (b. 1910), Dorothie (b. 1912), and Carl (b. 1915). In 1908, Mommie began giving three-year-old <mask> and neighborhood children dancing lessons at a West Philadelphia YMCA. In addition, she managed a "kiddie" opera troupe along with her husband.Actress and singer Jeanette MacDonald and Ziegfeld Follies star Ann Pennington were members of this troupe as young girls. As a preteen, <mask> studied with C. Ellwood Carpenter, a third-generation member of a famous family of Philadelphia dancing masters. Under Carpenter's tutelage, <mask> performed in stand-alone ballets and semi-professional opera performances. Carpenter also had a studio on the Ocean City, New Jersey, boardwalk, and <mask> took classes with him there during summers when her father worked as a lifeguard. After the <mask> family moved from Philadelphia to suburban Llanerch, Mommie opened a dance studio on the second floor of the Llanerch Firehouse. While Mommie nurtured her children's interest in music and dance, <mask>'s father encouraged their natural athleticism. He taught them horsemanship and acrobatic stunts, and coached Carl in long-distance swimming.Both of <mask>'s parents were gregarious and fun-loving, and the family was known to be sociable and close-knit. Early career

At age 15, <mask> was spotted by impresario Florenz Ziegfeld as she danced in the Philadelphia Junior League's presentation of Why Not? He offered her a role in his Broadway hit Sally, and she moved to New York to join the show in the fall of 1920. <mask> danced in various Ziegfeld productions for the next five years, eventually assuming solo roles and even a singing part. She appeared in the Follies, Annie Dear, and Louie the 14th. While in New York, she studied ballet with Luigi Albertieri and Ivan Tarasoff, becoming familiar with both Italian and Russian techniques. While <mask> was away, Mommie was hired to teach and stage recitals for the Philadelphia Music Club, an amateur women's musical group.This led to her appointment as ballet mistress for the Philadelphia Civic Opera and later the Philadelphia Grand Opera. <mask> returned to Philadelphia from New York to dance lead roles for her mother. She also choreographed ballets and opera divertissements under her mother's name. By this time, Mommie's dancing studio had evolved into the full-fledged Littlefield School, and the Littlefields used their advanced students in their productions. They also hired several men, including William Dollar, to teach and perform. Zelda Fitzgerald, wife of novelist F. Scott Fitzgerald, studied with <mask> in 1927 and wrote a short story about her. The story was never published and the manuscript was subsequently lost.In the late 1920s and early 1930s, <mask> staged prologues and line shows at movie palaces around the city, including at the opulent Stanley and Mastbaum theaters. During this period, she traveled to Paris almost annually to train with Russian expatriate teachers, particularly Lubov Egorova. Mommie and <mask>'s sister, Dorothie, who was also a dancer, often accompanied her. In Paris, <mask> became friendly with Lucienne Lamballe, the etoile of the Paris Opera ballet, and George Balanchine, the Russian choreographer and eventual founder of the New York City Ballet. In 1932, <mask> choreographed her first attributed work, called H.P. (Horsepower). Composed by Carlos Chavez and designed by Mexican muralist Diego Rivera, it concerned the relationship between the United States and Mexico, a fashionable subject at the time.It drew a glittering audience and enormous publicity but didn't fare well with the critics and was never repeated. Mid-career/Philadelphia Ballet

After a brief stint as ballet mistress at New York's Roxy Theatre, <mask> returned home and married Philadelphia lawyer/socialite Philip Ludwell Leidy. With Leidy's financial support, she started organizing a professional ballet troupe, which had long been a dream of hers. In the meantime, her friend Balanchine had arrived in New York from Europe to establish a school and company under the sponsorship of Lincoln Kirstein. Balanchine needed dancers and visited the Littlefield School to hold auditions, eventually offering scholarships to a half dozen of Littlefield's best students. These girls left for New York, accompanied by <mask>'s sister, Dorothie, whom Balanchine hired to teach, dance, and serve as ballet mistress for his incipient School of American Ballet and first company, called the American Ballet. Despite the loss of these dancers, <mask> followed through with her own plans to form a troupe.The Littlefield Ballet gave its inaugural performance at Haverford High School on October 25, 1935. Two months later, <mask> changed the company's name to the Philadelphia Ballet. She served as its director, choreographer, and premiere danseuse,  while Dorothie (who had left Balanchine's employ to help her sister) and <mask>'s brother Carl, who had been convinced by Mommie to learn dancing, joined as soloists. Mommie was the company's rehearsal pianist and musical director. Most of the company's dancers were Philadelphia teenagers who had studied at the Littlefield School. During the Philadelphia Ballet's six-year existence, it presented a wide range of works: a three-act Sleeping Beauty and a three-act Daphnis and Chloe; ballets with American subjects and music such as Barn Dance, Terminal, Cafe Society, and Ladies' Better Dresses; one-act narrative pieces such as The Minstrel, The Snow Maiden,  and Viennese Waltz; a plotless one act called Classical Suite to music by Johann Sebastian Bach; an annual Christmas Die Puppenfee; and historical pageants such as The Rising Sun and Let the Righteous Be Glad. Although <mask> choreographed most of the company's repertoire, she also presented works by other choreographers including her Russian ballet master Alexis Dolinoff and modern dancer Lasar Galpern.<mask> was an excellent ballerina herself, known for her clean unmannered style. "Ethereal" was the word most often used to describe her dancing. Dorothie, on the other hand, was a lyrical, athletic ballerina with great technical capabilities. Dorothie's former student, Barbara Weisberger. who later founded the Pennsylvania Ballet, remarked: "There was nothing Dorothie could not do." Carl was naturally gifted and shone in both classical and comic roles. Besides <mask> and her siblings, the Philadelphia Ballet's leading dancers included Dolinoff, Thomas Cannon, Karen Conrad, Joan McCracken, Miriam Golden, Dania Krupska, and Norma Gentner.Conrad and Golden eventually left the company to become original members of Ballet Theatre (later American Ballet Theatre). The Philadelphia Ballet was the first classical ballet company to tour Europe. In the spring and summer of 1937, the company performed to critical and audience acclaim in Paris, Brussels, London, and Deauville, France. Littlefield's American-themed works Barn Dance and Terminal proved especially popular with European audiences. Esteemed British critic Arnold Haskell declared that <mask>'s "Barn Dance [was] the first chapter in the history of American Ballet." Indeed, Barn Dance was the first highly successful and widely seen work of "ballet Americana," in which the theme, designs, music, and dancers were entirely American or American made. Following the European tour, the company reverted to its original name—the Littlefield Ballet—to dance for three seasons in Chicago as the resident troupe of the Chicago Civic Opera Company.It also undertook an eight-week domestic tour in early 1941, performing in college towns and at the Ohio State Fair. The company disbanded soon after the bombing of Pearl Harbor, when many of Littlefield's male dancers enlisted in the American military. Late career

Even before <mask> disbanded her company, she had been pursuing commercial work. Her most ambitious and widely seen undertaking was American Jubilee, an historical pageant at the 1940 New York World's Fair that featured a 350-member cast of singers, actors, and dancers. It was performed multiple times each day for 24 weeks in an outdoor arena. Its most innovative routine, “My Bicycle Girl,” featured 75 men and women riding bicycles “with extended limbs and elevation assisted by the use of pedals and handlebars, and in elaborate ground maneuvers.”  Kirstein praised the routine as a “clear if complex blending of human anatomy, solid geometry, and acrobatics offered as a symbolic demonstration of manners.”

Throughout the 1940s, <mask> also choreographed Broadway musicals, including Hold onto Your Hats, Crazy with the Heat, Follow the Girls, The Firebrand of Florence, and Sweethearts. In addition, she choreographed ice-skating shows for Broadway's Center Theatre (which had converted its stage into a permanent ice rink) and for Sonja Henie's touring Hollywood Ice Revues.Although <mask> never learned to skate, she understood how to apply a dancer's sensibility to skating. The hard-to-please Henie trusted her implicitly. Toward the end of her life, <mask> entered the field of television, staging skits for Jimmy Durante's Four-Star Revue, a variety show broadcast live by NBC. She saw a future for herself in the burgeoning television industry as well as in directing and producing on Broadway, but cancer took her life prematurely at age 46. Personal life

Among her family, friends, and close associates, <mask> was warm, funny, and down to earth, while in professional situations she maintained her distance and radiated authority. With her blue eyes, platinum blonde hair, fine jewelry and well-tailored clothes (including an ever-present floor-length fur coat), she cut a glamorous figure. In 1940, she was named one of the country's "Ten Best-Dressed Women."Young dancers often claimed her as their role model. <mask> was musically adept, able to read scores and conduct orchestras during rehearsals when necessary. Although she never graduated from high school, she was well read and informed about current events. She was politically conservative, unlike many of her colleagues in the dance world. She was a Francophile and could speak French fluently. The Littlefields remained unusually close into adulthood. <mask>'s brother Jimmie was the only sibling not to dance professionally.A musician like his mother, he formed and directed a nightclub orchestra and published his own songs, some of which were used in his older sister's ice shows at Centre Theatre. He later married a Philadelphia widow and moved with her to a farm on the Potomac River near Montross, Virginia. <mask> bought a bungalow nearby and the extended family often retreated to the area to be together and relax. Jimmie died at the farm at age 37 after moving hay on an extremely hot day. As for the other family members: Dorothie married twice and had one daughter before succumbing to a heart attack at age 43. Carl became a highly decorated pilot in World War II. He later married Lois Girard, had three children, and moved to California to work in the airline industry.He died in 1966. <mask>'s father had died in 1934, while Mommie died in 1957 at age 75, having outlived three of her four children. <mask> and Philip Leidy separated around 1940 and divorced amicably in 1946. He had developed a progressive neurological disease that necessitated a wheelchair and didn't want his ambitious wife to feel obligated to nurse him. After their divorce, Leidy remained close to the Littlefields and continued to handle their legal affairs. In 1947, <mask> married Sterling Noel, a newspaper editor and novelist, whose most successful book was entitled I Killed Stalin. The couple lived in a penthouse apartment overlooking the East River in New York and socialized frequently with theatrical and literary friends.Besides her two husbands, <mask> was romantically linked at different points in her life with singer/actor Nelson Eddy, ice skater Jimmy Caesar, and German emigre composer Kurt Weill. <mask> developed breast cancer and died in November 1951, having just completed work on the 1951-52 edition of Sonja Henie's Hollywood Ice Revue. She is buried in Philadelphia's Chelten Hills Cemetery. Legacy

While <mask> is best remembered for producing ballet Americana, she worked successfully in a wide variety of dance genres, including movie palace stage shows, Broadway musicals, stadium pageants, ice-skating routines, and television skits. Critic Walter Terry summarized her versatility: “<mask> is becoming a theater figure of the first rank, a girl who is leaving her mark in the revue, in the ballet and on ice.”  Her legacy as a teacher is less well known but equally as important. The dancer/choreographers with whom she is most often compared—Ruth Page, for example—never ran a school on the scale that she did. (Nor did they dance as well.)Littlefield's protegees were foundational to the two most influential ballet companies that exist in America today: the New York City Ballet and American Ballet Theatre. In May 2010, the Philadelphia Sinfonia youth orchestra gave a rousing, multi-media performance of Cafe Society at Philadelphia's Kimmel Center. The performance combined the Ferde Grofe ballet music Littlefield had commissioned with critic Ann Barzel's film footage and still photographs. References

Resources

 Aloff, Mindy. “In Philadelphia: The Littlefield Ballet Lives for an Afternoon- Ferde Grofé’s Café Society.” Explore Dance, Last modified May 2, 2010. http://www.exploredance.com/article.htm?id=3005
 “<mask> (1905-1951)”. National Museum of Dance. Accessed March 20, 2015. https://web.archive.org/web/20110719063324/http://www.dancemuseum.org/hall_of_fame/<mask>.html
 Friedler, Sharon E., and Glazer, Susan B..Dancing Female: Lives and Issues of Women in Contemporary Dance. Hoboken: Taylor and Francis, 2014. Liebman, Elizabeth A. “<mask>’s Bicycle Ballet and the 1940 World’s Fair.” Dance Chronicle 36 no. 3 (2013): 326-351. Accessed March 26, 2015. http://www.tandfonline.com/doi/full/10.1080/01472526.2013.834539
 Skeel, Sharon. <mask>: A Life in Dance.New York: Oxford University Press, 2020; www.catherinelittlefield.com

American ballerinas
Ballet choreographers
1951 deaths
1908 births
20th-century American women
20th-century American ballet dancers

masks:
Catherine Littlefield
Littlefield
Littlefield
. Littlefield
Caroline Doebele Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Littlefield
Catherine Littlefield
Catherine Littlefield
Catherine Littlefield
Catherine Littlefield
Catherine Littlefield


texts:
<mask>,   born <mask> (23 August 1977) (Hebrew: נחום נחמיה פבזנר), was an influential sculptor, theorist, and key figure in Russia's post-Revolution avant-garde and the subsequent development of twentieth-century sculpture. His work combined geometric abstraction with a dynamic organization of form in small reliefs and constructions, monumental public sculpture and pioneering kinetic works that assimilated new materials such as nylon, wire, lucite and semi-transparent materials, glass and metal. Responding to the scientific and political revolutions of his age, <mask> led an eventful and peripatetic life, moving to Berlin, Paris, Oslo, Moscow, London, and finally the United States, and within the circles of the major avant-garde movements of the day, including Cubism, Futurism, Constructivism, the Bauhaus, de Stijl and the Abstraction-Création group. Two preoccupations, unique to Gabo, were his interest in representing negative space—"released from any closed volume" or mass—and time. He famously explored the former idea in his Linear Construction works (1942-1971)—used nylon filament to create voids or interior spaces as "concrete" as the elements of solid mass—and the latter in his pioneering work, Kinetic Sculpture (Standing Waves) (1920), often considered the first kinetic work of art. <mask> elaborated many of his ideas in the Constructivist Realistic Manifesto, which he issued with his brother, sculptor Antoine Pevsner as a handbill accompanying their 1920 open-air exhibition in Moscow. In it, he sought to move past Cubism and Futurism, renouncing what he saw as the static, decorative use of color, line, volume and solid mass in favor of a new element he called "the kinetic rhythms (…) the basic forms of our perception of real time."<mask> held a utopian belief in the power of sculpture—specifically abstract, Constructivist sculpture—to express human experience and spirituality in tune with modernity, social progress, and advances in science and technology. After working on a smaller scale in England during the war years (1936-1946), <mask> moved to the United States, where he received several public sculpture commissions, only some of which he completed. These include Constructie, a  commemorative monument in front of the Bijenkorf Department Store (1954, unveiled in 1957) in Rotterdam, and Revolving Torsion, a large fountain outside St Thomas Hospital in London. The Tate Gallery, London held a major retrospective of <mask>'s work in 1966 and holds many key works in its collection, as do the Museum of Modern Art and Guggenheim Museum in New York. Work by <mask> is also included at Rockefeller Center in New York City and The Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, New York, US. Early life and education
<mask> grew up in a Jewish family of six children in the provincial Russian town of Bryansk, where his father Boris (Berko) Pevsner worked as an engineer. His older brother was fellow Constructivist artist Antoine Pevsner; Gabo changed his name to avoid confusion with him.<mask> was a fluent speaker and writer in German, French, and English in addition to his native Russian. His command of several languages contributed greatly to his mobility during his career. “As in thought, so in feeling, a vague communication is no communication at all," <mask> once remarked. After school in Kursk, <mask> entered Munich University in 1910, first studying  medicine, then the natural sciences, and attended art history lectures by Heinrich Wölfflin. In 1912 <mask> transferred to an engineering school in Munich where he discovered abstract art and met Wassily Kandinsky and in 1913-14 joined his brother Antoine (who by then was an established painter) in Paris. <mask>'s engineering training was key to the development of his sculptural work that often used machined elements. During this time he won acclamations by many critics and awards like the $1000 Mr and Mrs Frank G. Logan Art Institute Prize at the annual Chicago and Vicinity exhibition of 1954.Constructivism

After the outbreak of war, <mask> moved first to Copenhagen then Oslo with his older brother Alexei, making his first constructions under the name Naum <mask> in 1915. These earliest constructions originally in cardboard or wood were figurative such as the Head No.2 in the Tate collection. He moved back to Russia in 1917, to become involved in politics and art, spending five years in Moscow with his brother Antoine. <mask> contributed to the Agit-prop open air exhibitions and taught at 'VKhUTEMAS' the Higher Art and Technical Workshop, with Tatlin, Kandinsky and Rodchenko. During this period the reliefs and construction became more geometric and <mask> began to experiment with kinetic sculpture though the majority of the work was lost or destroyed. <mask>'s designs had become increasingly monumental but there was little opportunity to apply them; as he commented, "It was the height of civil war, hunger and disorder in Russia. To find any part of machinery … was next to impossible".Gabo wrote and issued jointly with Antoine Pevsner in August 1920 a "Realistic Manifesto" proclaiming the tenets of pure Constructivism – the first time that the term was used. In the manifesto <mask> criticized Cubism and Futurism as not becoming fully abstract arts and stated that the spiritual experience was the root of artistic production. <mask> and Pevsner promoted the manifesto by staging an exhibition on a bandstand on Tverskoy Boulevard in Moscow and posted the manifesto on hoardings around the city. In Germany <mask> came into contact with the artists of the de Stijl and taught at the Bauhaus in 1928. During this period he realised a design for a fountain in Dresden (since destroyed). <mask> and Antoine Pevsner had a joint exhibition at the Galerie Percier, Paris in 1924 and the pair designed the set and costumes for Diaghilev's ballet La Chatte (1926) that toured in Paris and London. To escape the rise of the Nazis in Germany the pair stayed in Paris in 1932–35 as members of the Abstraction-Creation group with Piet Mondrian.<mask> visited London in 1935, and settled in 1936, where he found a "spirit of optimism and sympathy for his position as an abstract artist". At the outbreak of World War II he followed his friends Barbara Hepworth and Ben Nicholson to St Ives in Cornwall, where he stayed initially with the art critic Adrian Stokes and his wife Margaret Mellis. While in Cornwall he continued to work, albeit on a smaller scale. His influence was important to the development of modernism within St Ives, and it can be seen most conspicuously in the paintings and constructions of John Wells and Peter Lanyon, both of whom developed a softer more pastoral form of Constructivism. In 1946 <mask> and his wife and daughter emigrated to the United States, where they resided first in Woodbury, and later in Middlebury, Connecticut. <mask> died in Waterbury, Connecticut, in 1977. Gabo's theory of art

The essence of Gabo's art was the exploration of space, which he believed could be done without having to depict mass.His earliest constructions such as Head No.2 were formal experiments in depicting the volume of a figure without carrying its mass. <mask>'s other concern as described in the Realistic Manifesto was that art needed to exist actively in four dimensions including time. <mask>'s formative years were in Munich, where he was inspired by and actively participated in the artistic, scientific, and philosophical debates of the early years of the 20th century. Because of his involvement in these intellectual debates, <mask> became a leading figure in Moscow’s avant garde, in post-Revolution Russia. It was in Munich that Gabo attended the lectures of art historian Heinrich Wölfflin and gained knowledge of the ideas of Einstein and his fellow innovators of scientific theory, as well as the philosopher Henri Bergson. As a student of medicine, natural science and engineering, his understanding of the order present in the natural world mystically links all creation in the universe. Just before the onset of the First World War in 1914, <mask> discovered contemporary art, by reading Kandinsky’s Concerning the Spiritual in Art, which asserted the principles of abstract art.<mask>’s vision is imaginative and passionate. Over the years his exhibitions have generated immense enthusiasm because of the emotional power present in his sculpture. <mask> described himself as "making images to communicate my feelings of the world." In his work, <mask> used time and space as construction elements and in them solid matter unfolds and becomes beautifully surreal and otherworldly. His sculptures initiate a connection between what is tangible and intangible, between what is simplistic in its reality and the unlimited possibilities of intuitive imagination. Imaginative as <mask> was, his practicality lent itself to the conception and production of his works. He devised systems of construction which were not only used for his elegantly elaborate sculptures but were viable for architecture as well.He was also innovative in his works, using a wide variety of materials including the earliest plastics, fishing line, bronze, sheets of Perspex, and boulders. He sometimes even used motors to move the sculpture. Caroline Collier, an authority on Gabo’s work, said, "The real stuff of Gabo’s art is not his physical materials, but his perception of space, time and movement. In the calmness at the ‘still centre’ of even his smallest works, we sense the vastness of space, the enormity of his conception, time as continuous growth." In fact, the element of movement in <mask>’s sculpture is connected to a strong rhythm, more implicit and deeper than the chaotic patterns of life itself. The exactness of form leads the viewer to imagine journeying into, through, over and around his sculptures. <mask> wrote his Realistic Manifesto, in which he ascribed his philosophy for his constructive art and his joy at the opportunities opened up by the Russian Revolution.<mask> saw the Revolution as the beginning of a renewal of human values. Five thousand copies of the manifesto tract were displayed in Moscow streets in 1920. <mask> had lived through a revolution and two world wars; he was also Jewish and had fled Nazi Germany. <mask>’s acute awareness of turmoil sought out solace in the peacefulness that was so fully realized in his “ideal” art forms. It was in his sculpture that he evaded all the chaos, violence, and despair he had survived. Gabo chose to look past all that was dark in his life, creating sculptures that though fragile are balanced so as to give us a sense of the constructions delicately holding turmoil at bay. Printmaking
<mask> began printmaking in 1950, when he was persuaded to try out the medium by William Ivins, a former curator of prints at the Metropolitan Museum of Modern Art, New York.His first print was a wood engraving in a section of wood taken from a piece of furniture and printed onto a piece of toilet paper. He went on to produce a significant and varied body of graphic work, including much more elaborate and lyrical compositions, until his death in 1977. Rejecting the traditional notion that prints should be made in editions of identical impressions, <mask> instead preferred to use the monoprint format as a vehicle for artistic experimentation. Art conservation challenges
<mask> pioneered the use of plastics, such as cellulose acetate, in his sculptures. The Tate Gallery in London, which has the world's largest collection of his early works, is battling their chemical degradation. They have commissioned replicas of some sculptures to preserve a visual record of their appearances. Writings
 Of Divers Arts (1962).New York: Faber and Faber. See also
 List of Russian artists

References

External links

<mask> <mask> at the Tate Gallery Archive
<mask> <mask> at the Nasher Sculpture Center
Naum Gabo Papers. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library. 1890 births
1977 deaths
People from Bryansk
People from Oryol Governorate
Russian Jews
Modern sculptors
Russian avant-garde
Honorary Knights Commander of the Order of the British Empire
Vkhutemas faculty
Constructivism (art)
Jewish sculptors
20th-century Russian sculptors
20th-century male artists
Russian male sculptors

masks:
Naum Gabo
Naum Neemia Pevsner
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Gabo
Naum
Gabo
Naum
Gabo


texts:
<mask> (; 20 November 1930 – 1 October 2008) was a Chinese-born Taiwanese composer. Yen was born in Nanjing, China, and was educated in National Taiwan Normal University, Mannes College, City University of New York, and University of Pennsylvania. He received Taiwan's  in 1993 and 1998. As a pupil of William Jay Sydeman, Mario Davidovsky, George Rochberg and George Crumb, <mask> was well known of his atonal writings combining counterpoint skills. George Rochberg commented that <mask>'s music "has a unique scent". <mask> wrote in his article "My Artistic Journey" that he wished to write "music praising mother nature's great beauty and powers." During 1967–2008, <mask> wrote 6 solo instrumental works, 70+ chamber ensemble works (excluding art songs), 5 Chinese chamber works, 16 orchestral works, 1 Chinese orchestra piece, and 11 art songs.Among these works, there was a repeated theme about the sound of bell, which <mask> always remembered from his childhood in the Jiangnan region of China. Two biographies were published in Taiwan, <mask>n: A Cold Fire of Music, written by Taiwanese poet Chen Li (陳黎) in 1997 and A Poetic Journey of Nostalgia, by Canadian-Taiwanese composer Shyh-ji Chew () and Taiwanese composer Janet Jieru Chen () in 2004, both published by Taiwan's China Times Publishing Co. Digitalization data of <mask>'s art song manuscripts and analytic entries are available at Nation Music Archive and Taiwan Music Center of the National Center for Traditional Arts, Taipei, Taiwan. <mask> died in Taipei, Taiwan. Soochow University (Taipei, Taiwan), where he taught music composition and counterpoint for 30 years, has a memorial room and a growing collection of <mask>'s manuscripts. <mask>'s music could be heard in albums published by Music Forum, International Society for Contemporary Music-Taiwan Section, Asian Composers League – Taiwanese Composers Association and National Taiwan Symphony Orchestra. His parents were Gan <mask> (), and Bi-cheng Wang (). 1937(7y)
When Sino-Japanese War began, the <mask>'s fled to Jiangxi and Sichuan.Yen grew up in Sichuan, where he entered the Christian Shengguang Elementary and Junior High Schools till he was 15 years old. 1945(15y)
Sino-Japanese War ended and Yen returned to Nanjing. He graduated from junior high school and then entered Soochow's Shengguang Senior High School. 1946(16y)
Education was suspended due to Malignant Malaria and Gastric ulcer. 1947(17y)
Applied Nanjing Conservatory of Music in summer but was rejected. He returned to Shengguang Senior High School and started from the first year. 1948(18y)
Applied Nanjing Conservatory of Music for the second time, and failed again.1949(19y)
Visited Taiwan for the first time in life, but returned to Shanghai shortly and then went to Taiwan again. Entered National Taiwan Normal University Department of Music
1953(23y)
Finished all courses of college, and started a one-year internship in Taoyuan School of Agriculture. 1954(24y)
Graduated from NTNU with Bachelor of Arts. Started one-year military service. 1955(25y)
Studied harmony and counterpoint with composer Er-hua Hsiao(蕭而化) while teaching in Taipei Municipal Jianguo High School’s night division. 1958(28y)
Taught harmony and counterpoint in Taiwan’s National Arts School (today’s National Taiwan University of Arts) till 1962. Exploration (U.S.Era)

1963(33y)
Traveled on a cargo ship in summer to the U.S for further studies. Entered Northeast Missouri State University for Master of Music Education program. 1965(35y)
Gave up master’s degree and entered New York’s Mannes College of Music, started from undergraduate program, where he majored in music composition, studying with William Sydeman
1966(36y)
Hospitalized due to Gastrorrhagia, received stomach surgery in Columbia University Hospital. 1967(37y)
Presented his first music composition, Septet for flute, clarinet, trumpet, horn, cello and two percussion parts. 1971(41y)
Graduated from Mannes College of Miusic. 1972(42y)
Entered City College of New York to study music composition and electronic music with Mario Davidovsky, at the same time worked in Seesaw Music Corp. Started writing song Long Tao Sha with lyrics by an American poet, which was re-written in 1976 with Lee Houchu (李後主)’s poem.This is the first work in <mask>’s Ancient Chanting Series. 1976(46y)
Invited by colleague composer  () to teach in Taiwan's Soochow University's Music Department as a visiting professor for one year. 1977(47y)
Entered University of Pennsylvania graduate program, studying with George Rochberg and George Crumb. 1979(49y)
Received a master's degree from U.Penn. In the same year, he returned to Taiwan and taught at Soochow University Music Department as a lecturer. Reflection and Heart-Searching

1988(58y)
Received Taiwan's Golden Tripod Awards with the publication of his Piano Four-Hand, recorded by Lina Yeh and Rolf-Peter Wille. 1993(63y)
Received Taiwan's Miniarey of Education's 18th National Award for Arts of Taiwan with his Fantasy for Orchestra I – Sea Winds and a Singing Voice.1994(64y)
Presented works at Taipei Theater in New York on September 4 with fellow Taiwanese composers. 1995(65y)
 Beyond the Smoke/A Bird Flies By-<mask>n’s Musical World, a concert featuring <mask> <mask>'s music, was held in Taiwan's National Concert Hall on October 26, presented by Contemporary Chamber Orchestra Taipei, conducted by Chun-Fung Lee(). 1996(66y)
Retired from Soochow University and continued to teach as an associate professor. Maturity and Freedom

1998(68y)
Received Taiwan's Second National Arts and Cultural Medal. 1999(69y)
In Forum of <mask> Yen’s Music on June 6 at Music Forum Musique Theatre, his Septet, Long Tao Sha, Duet for Flute and Piano, Moon, A Postcard for Messiaen, and Piano Prelude were performed. 2000(70y)
Concert Parnassus from <mask>n featuring Yen’s 10 art songs was held to celebrate his 70th birthday on January 5, performed by Contemporary Chamber Orchestra Taipei, conducted by Chun-Fung Lee. 2002(72y)
Received the honor of Chair Professor of Soochow University.2003(73y)
Received TECO Award’s Music Composition Medal. Song Album of Yen Lu, which contains Four Luofu Songs, Tower in the Woods, and Furniture Music, was published in March, sponsored by Department of Cultural Affairs of Taipei. Tower in the Woods were performed and discussed in Contemporary Music Forum of Yen Lu’s Music at Music Forum Musique Theatre. 2004(74y)
Presented My Artistic Journey in Ethno Music Composition Forum in March. 2005(75y)
Yen Lu 75 th Birthday Concert was held on November 20th at Music Forum's Recital Hall, in which Four Preludes for Piano (1979), Piano Four-Hand (1987), Two Preludes for Piano (1999), Impromptu for Piano (2005), and Song for Cello (1997) were presented along with students’ music compositions as gifts. Pianists Daming Zhu (諸大明), Lina Yeh (), Rolf-Peter Wille, Mei-Ya Lo () Hsin-Jung Hsieh (), and cellist Hsien-Liang Lien () joined this concert. 2007(77y)
Married for the first time in life, with Ms. Ya-shih (a.k.a.Alice, Su-Chih, Shih-Ya) Cherng. Diagnosed with oral cancer by the end of 2007. 2008(78y)
Died of oral cancer on October 1. References

20th-century classical composers
21st-century classical composers
Taiwanese classical composers
National Taiwan University alumni
Mannes School of Music alumni
City College of New York alumni
University of Pennsylvania alumni
1930 births
2008 deaths
Musicians from Nanjing
Male classical composers
20th-century male musicians
21st-century male musicians

masks:
Lu Yen
Lu
Lu
Lu
Lu
Lu
Lu Ye
Lu
Lu
Lu
Lu
Lu
Lu
Lu
Lu Ye
Yen
Lu
Lu
Lu Ye


texts:
<mask> (born October 2, 1980) is a Canadian trampoline gymnast. She won a bronze medal at the 2000 Summer Olympics in the individual event. She won a gold medal at the 2003 Trampoline World Championships in Hannover, Germany in the same event and a bronze in the team event. At the 2004 Summer Olympics and 2008 Summer Olympics, she won a silver medal in the individual event. <mask> was born in Toronto and grew up in North York, Ontario. She began trampolining at age 11, and is a student at York University. She is a member of the Skyriders Trampoline Place and is coached by Dave Ross.Following the Lake Placid and Quebec City World Cup competitions that took place in April 2007, the FIG World Rankings were updated. The women's ranking saw four time World Champion and five time World Cup Final winner Irina Karavaeva of Russia retake top place from <mask> in Women's Individual Trampoline after Karavaeva won the gold medal at both of the World Cups. <mask> and her partner, Rosannagh MacLennan, were ranked first in Women's Synchronised Trampoline following their two winning performances in 2007. Career
After winning the Canadian National Trampoline Championships seven years in a row, <mask> made an error in her second routine (of three) and came in 6th place in the 2005 finals on June 1, 2005. She was beaten by her partner in synchronized trampoline, Rosannagh MacLennan. Later in June, she competed in the Trampoline World Cup and came in 3rd in the individual competition and won gold in synchronized trampoline with Rosannagh MacLennan. In September 2005 at the Trampoline World Championships in Eindhoven, Netherlands, the pair came 2nd in synchronized trampoline and <mask> came 6th in the individual event.In the 2006 Canadian National Trampoline championships in Quebec City, <mask> regained her title beating MacLennan into second place, on May 20, 2006. On November 25, 2006, <mask> won both the Individual gold medal and, with MacLennan, the synchronized gold medal at the Trampoline and Tumbling World Cup Final competition in Birmingham. In April 2007 at the Lake Placid Trampoline World Cup, the <mask> and MacLennan achieved a new female synchronised trampoline routine world record for difficulty with a DD of 14.20. At the 2007 Canadian Trampoline Championships in Regina, Saskatchewan, <mask> took first place, edging out MacLennan by 2.5 points with a score of 106.90 in the Women's Senior Individual trampoline category. In the category of synchronized trampoline, <mask> and MacLennan won the gold with a score of 131.70. On November 3, 2007, at the 2007 Trampoline World Championships in Quebec City, <mask> and MacLennan won the synchronised event, maintaining their unbroken string of nine first-place finishes in World Cup and World Championships. In the individual final, <mask> did not complete her routine and finished in 8th place.However, her and MacLennan's rankings in the preliminary round earned two women's places at the 2008 Olympic Games for Canada. On June 7, 2008, <mask> won her 10th Senior Women's Trampoline Canadian Championship in Calgary, beating MacLennan into second place. Both women, however, with Jason Burnett were named to compete for Canada at the 2008 Summer Olympics in Beijing. <mask> qualified for the finals in 4th place, and on August 18, 2008, she won a silver medal in the women's final at the 2008 Summer Olympics in Beijing. She was the only trampoline athlete to have won a medal at every Olympic Games at which the event has been competed until her 4th-place finish in the 2012 London Olympics. She was selected as Canada's flag bearer for the closing ceremonies of the Beijing 2008 Olympics. Following the 2008 Olympic Games, <mask> did not compete again until the 2009 Canadian National Championships in Hamilton, Ontario.She came in second place after Rosannagh MacLennan. In the synchronised competition, she paired with MacLennan but they did not complete one routine and came in second place. She regained the Canadian National Championship in 2010 at Kamloops, British Columbia with MacLennan coming in 2nd place. In the 2009 Trampoline World Championships in St Petersburg, Russia, <mask> won the Bronze medal in Individual trampoline in her first international competition since the Beijing Olympics. She also won a silver medal in Synchronised Trampoline with her usual partner Rosannagh Maclennan. In 2011, <mask> did not compete in the Canadian National Championships and was sick for the Finals of the 2011 Pan American Games. In the 2011 Trampoline World Championships in Birmingham, England, <mask> and MacLennan secured two places for Canadian women in the 2012 Summer Olympics and <mask> won a Silver medal for the synchronised trampoline event (with MacLennan) and a Bronze medal for the Team competition.In 2012, <mask> finished in 4th place in the 2012 Summer Olympics's individual trampoline. In 2014, <mask> resumed training after giving birth to a daughter in 2013. She is attempting to qualify for the 2015 Pan-American Games to be held in Toronto. She stated that she wanted to compete in a major international event before her hometown crowd before she retired. She competed in the 2014 Canadian National Champuionships in Ottawa and was third. While training at the Trampoline World Championships in Daytona Beach, Florida, in November 2014, she landed badly and broke her ankle forcing her to withdraw from the competition. <mask> received the honour of being selected to pronounce the athletes' oath in front of her home crowd in Toronto during the opening ceremonies of the 2015 Pan-American Games.Competing at these games, she placed third in the women's individual trampolining event. On July 16, 2017, at the 2017 Canadian National Trampoline and Tumbling Championships, <mask> officially retired at a ceremony held to honour her contribution to the sport. As of 2019 she was the National Team Director for Trampoline Gymnastics at Gymnastics Canada. Personal life
<mask> married her fellow-Olympian and former training partner Mathieu Turgeon on December 22, 2007. In September 2013, she gave birth to a daughter. Her autobiography, called <mask>: Soaring High, was published in November 2007. References

External links

1980 births
Living people
Canadian female trampolinists
Olympic gymnasts of Canada
Olympic medalists in gymnastics
Olympic silver medalists for Canada
Olympic bronze medalists for Canada
Gymnasts at the 2000 Summer Olympics
Gymnasts at the 2004 Summer Olympics
Gymnasts at the 2008 Summer Olympics
Gymnasts at the 2012 Summer Olympics
Medalists at the 2000 Summer Olympics
Medalists at the 2004 Summer Olympics
Medalists at the 2008 Summer Olympics
Pan American Games gold medalists for Canada
Pan American Games bronze medalists for Canada
Pan American Games medalists in gymnastics
Gymnasts at the 2007 Pan American Games
Gymnasts at the 2011 Pan American Games
Gymnasts at the 2015 Pan American Games
Medalists at the Trampoline Gymnastics World Championships
Gymnasts from Toronto
Karen
Canadian autobiographers
Competitors at the 2009 World Games
Medalists at the 2015 Pan American Games

masks:
Karen Cockburn
Background Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Cockburn
Karen Cockburn
Cockburn
Karen Cockburn


texts:
<mask> (born 14 April 1948) is a Polish lyrical abstraction painter and neofiguration painter and performance artist. Early life & family
Karwowski was raised in a small town in Eastern Poland near Biebrza National Park. His father, Jozef Karwowski, was a social worker and promoter of culture and his mother Larysa (maiden name Zub) was a hairdresser. He has one younger brother, Maciej. Karwowski grew up in a multigenerational family under the strong influence of his father and Russian grandfather, Szymon Zub. His father gave him his first drawing lesson, and his grandfather was also creative, writing poetry and singing old Russian songs. His later work was influenced by Polish and Russian culture and traditions, as well as a childhood surrounded by the wilderness that encouraged his sensitivity and strong feelings of individualism.Painting and performance art

After graduating high school Karwowski started painting more and experimenting with different forms of art. He changed homes and universities several times while looking for a place where he could fully develop his talents. He worked as a miner while conducting his search, and later joined the Fine Arts Faculty at the Nicolaus Copernicus University in Toruń, where he became a professional artist. In early 80s Karwowski and Zbigniew Oleszynski started a Polish performance group known as "Group A". From that time on, Karwowski has been heavily engaged in performance art, both as an organizer and a participant. Since 2003 he has organized the International Performance & Intermedia Festival in Szczecin. Throughout his career Karwowski has created his own style of which a Berlin art critic said, "From his images comes colorful light, which is created by perfection in his workshop.Metaphor of this light gives magical, surreal meaning to figurative elements in his paintings. The power of his paintings, aside from illuminating colors, comes from the richness of symbolic meanings and certain multilayer by which Karwowski ’s paintings are far from simple decorative function." Karwowski's paintings focus on color and light. His paintings are housed in various private collections in Europe. He has also been commissioned by compound corporations and institutions, such as the Clinic in Dortmund (Germany) in 2005. For the clinic, he created 53m long wall panels that have received attention from a wide audience. Zwijndrechts echtpaar ijvert voor Oost-Europese kunst, De Zwijndrechtse Kombinatie, 04.02.1987.Lillemor Svensson, Polska målare i Vänersborg, Trollhättans Tidning, 26.03.1988. C.F.Garde, Kvindelighed på flere måder, Politiken, 25.02.1992. Polska abstraktioner hos Några Målare, Ela, 11.02.1993. Kulturen blomstrar på landet, Svenska Dagbladet, 26.02.1993. Ingeborg Schwenke-Runkel, In die Wiesen längs der Oder, Kölner Stadt – Anzeiger, 05.03.1996. Wolfgang Cassel, Vielfalt der polnischen Kunst, Lübecker Nachreichten, 22.06 1996. Vier Künstler aus Stettin, Ostholsteiner Anzeiger, 28.06.1996.Licht, Dunkelheit und flammende Energie, Hamburger Abendblatt, 12.04.1997. Zwei Künstler aus Stetin, Altländer Tageblatt, 12.04.1997. Karin M.Erdtmann, Mit Tauchsieder und Toilettenfrau- Neue Galerie zeigt <mask> Karwowski, Kölner Stadt-Anzeiger, 28.05.1997. Im Tabakspeicher Kunst erleben, Schwedter Stadtanzeiger, 25.06.2000. Marita Poschitzki, Ausstellung auch in Stettin geplant, Uckemärker, 03.05.2001. Sprache der Natur, Kölner Stadt-Anzeiger, 19.04.2002
Performance polsko-niemiecki, Karwowski i Deimling, Głos Szczeciński, 13.06.2003

External links

 68Elf Gallery, Cologne
 Galerie Anders, Luenen
 Klinikum Dortmund
 ArtNews.org
 AND - Artist Network Database
 rhiz.eu

1948 births
Living people
Polish artists
Polish people of Russian descent
Nicolaus Copernicus University in Toruń alumni
Nicolaus Copernicus University in Toruń faculty

masks:
Antoni Karwowski
Antoni