text_chunks:
<mask> (1877–1959) was the first female president of the first US national association of interior designers, the American Institute of Interior Decorators (A.I.D), which is now called the American Society of Interior Designers (A.S.I.D.) and was one of an early group of female interior decorators practicing during the first decades of the 20th century. <mask> was also an expert on the European/American antiques. She was a writer for interior journals such as: Collier's, Country Life, House Beautiful, and House and Garden. She was an expert on wallpaper and the Scottish furniture designer Duncan Phyfe of New York. She received several rewards for her work. Being multilingual gave her the opportunity to be internationally active and to be known beyond the US as a writer, speaker, interior decorator, wallpaper designer, and collector of antique furniture.She traveled widely and met figures of the time such as Picasso. Throughout her career she was an advocate for the professionalization of interior decoration throughout various means such as training, experience, and professional organizations. Although not formally schooled in interior decoration, <mask> believed that her on-the-job training and study of architecture and antiques abroad, along with her experience, made her a professional. And she may have helped to write AID's 1931 definition of an interior decorator: "A decorator is one who, by training and experience, is qualified to plan, design and execute structural interiors and their furnishings, and to supervise the various arts and crafts essential to their completion." Throughout her long career, she wrote and lectured about the necessity of training for decorators, which helped to separate professionals from the amateurs. In 1922, Harold Eberlein and she published a correspondence course calledThe Arts and Decoration Practical Home Study Course in Interior Decoration for both home and professional decorators. By the 1930s, she advocated a college education and, later, worked with AID to develop a four-year university curriculum that was "equivalent in scope to the comprehensive course in architecture" offered in universities.Early life
<mask> was born in a middle-class family of Methodist ministers in Poughkeepsie, New York in 1877. In 1897, she received a Bachelor of Arts in Latin and English from Vassar College in Poughkeepsie. While at Vassar, she was an editor of the yearbook, The Vassarion, served as her senior class's poet, and frequently published her poetry for the school newspaper, The Miscellany News. She was a member of Phi Beta Kappa. She was multilingual and spoke French, Italian, German, and Spanish. Career
During her senior year at Vassar, she was offered a position as a Latin teacher at a girls' school. <mask> turned down the role, as she could not see herself as a teacher.<mask> first started her career as a reporter of stories of women's interests, schools, and clubs for the Philadelphia Press from 1897 to 1900. Au Quatrième and Wanamakers
From 1901 to 1907, <mask> worked in the advertising department of Wanamaker's Department Store, where she also had an opportunity to create window displays and store exhibits. She thus commenced her study on what she called "proper and effective arrangement." From there, she traveled to Paris as a 'representative and buyer' for Wanamaker's. While in Paris, she studied art and art history, and visited places, such as chateaux and museums. She also began to study and collect wallpaper and antiques. During her stay, she met the leading French artist of the 20th century Pablo Picasso and also literary innovator and pioneer of Modernist literature Gertrude Stein.In 1913, <mask> returned to the US and opened Au Quartrième on the fourth floor of Wanamaker's in New York, a shop that sold mostly European antiques. The first of its kind in a department store, it also held several sales of important American antiques too. <mask> served as head buyer for the department and supervised three buyers beneath her. Continuing to go abroad for shopping trips up to three times a year,  McClelland brought back decorative furnishings of all types, including an old English Tudor house. Nancy McClelland, Inc. and Interior Design
In 1922, she left Wanamaker's and opened her own store, Nancy McClelland Inc. in New York City. The firm specialized in formal period-style interiors in 18th-century French styles in addition to English Regency, English Georgian, and American Colonial. <mask> employed apprentices at her firm, including Mary Dunn, Inez Croom, and Michael Greer.Dunn later took over the business when <mask> retired. Croom went on to become a wallpaper expert in her own right. McClelland's interior decorating style has been described as “rather correct and formal”. The colonial revival movement was in full effect in the 1920s and many of her interiors reflect this. The firm decorated interiors not only for private homes but also for public institutions such as McClelland's alma mater Vassar College. Ever an advocate for professionalism, McCelland was a member of the Decorator's Club and was one of the first woman decorators to join the Architectural League once it opened its membership to women in 1934. She was also a founding member of the American Institute of Interior Decorators (A.I.I.D.), which changed its name to American Institute of Decorators (A.I.D.) in 1936. In 1941, <mask> was elected as fifth, and first woman, president of A.I.D. She served from 1941 to 1944. During her tenure as president of A.I.D. the organization admitted students for the first time. Wallpaper
In 1924, she published her first book, Historic Wallpapers: From Their Inception to the Introduction of Machinery.A definitive study in its day, it remains an important source of information for wallpapers. Historic Wallpapers covers the history of early block-printed papers and reviews wallpaper designers, manufacturers, and dealers. Special attention is made to scenic wallpapers and some of their owners. During her travels through Europe, <mask> searched for historic wallpapers to bring back to America and visited important sites such as the  German Wallpaper Museum, now part of the Museumslandschaft Hessen Kassel. <mask> believed wallpapers were the most useful backdrop when furnishing a room. In addition to selling antique wallpaper, McClelland also sold reproductions under her firm's name. <mask>'s reproductions show her meticulous attention to detail.She even went so far as to have her wallpapers woodblock printed in France on joined sheets of paper, as they would have been in the eighteenth century. In addition to being sold in their New York City showroom, Nancy McClelland, Inc. wallpapers could be found at George J. Brewing in Boston, and The Chintz Shop in Philadelphia, Cincinnati, St. Louis, and Kansas City. In 1926, McClelland published The Practical Book of Decorative Wall-Treatments. Historic Preservation
McClelland also worked with such clients as Henry Francis DuPont, John D. Rockefeller, and Electra Havemeyer Webb. he was responsible for finding the infamous Chinese wallpaper now in the Chinese Parlor at the Winterthur Museum In addition, she restored and/or decorated various houses and museums, such as Mount Vernon, the plantation home of George Washington in Virginia, and the Henry Wadsworth Longfellow House in Portland, Maine, the Morris- Jumel Mansion in New York, Brompton Hall, now part of the University of Mary Washington, Blair House in Washington DC, and Stanton Hall in Natchez, Mississippi. McClelland continued to show her devotion to the arts and preservation.She gave lectures at the Metropolitan Museum of Art, helped with the WPA Index of American Design, and has served on committees for the 1939 New York World's Fair. She also wrote Duncan Phyfe & The English Regency (1939), which examined the work of the famous cabinet maker Duncan Phyfe. She believed the Regency period to be the most "polished", most "animated", and most "corrupt" era for the English society. Her other books were Furnishing the Colonial and Federal House (1936), and The Young Decorators (1928). Inspired by her nieces and nephews, McClelland used them as characters for an early book about decorating for children. She also wrote numerous articles for magazines, including Collier's, Country Life, House Beautiful, and House and Garden. Honors
McClelland received several rewards, including the French Chevalier of the Legion of Honour in 1930, and the first annual Justin Allman Wallpaper Award was granted to her in 1946 by the National Wallpaper Wholesaler's Association.She was awarded with the Michael Friedsam Medal of the Architectural League of New York for service to the cause of the industrial arts. Legacy
<mask> McClelland died on October 1, 1959 at the age of 82. In memory of her and her work, her firm established a scholarship fund for A.I.D. Books
Historic Wallpapers: From Their Inception to the Introduction of Machinery (Lippincott, 1924)
The Practical Book of Decorative Wall Treatments (Lippincott, 1926)
The Young Decorators (Harpers, 1928)
Duncan Phyfe and the English Regency (William Scott, 1939)
Furnishing the Federal and Colonial House (Lippincott, re-edited in 1947)

References

1877 births
1959 deaths
American women interior designers
American interior designers

masks:
Nancy Vincent McClelland
McClelland
Nancy McClelland
McClelland
McClelland
McClelland
McClelland
McClelland
McClelland
McClelland
McClelland
McClelland
McClelland
McClelland
McClelland
Nancy Vincent


text_chunks:
<mask> (19 May 1909 – 7 June 1970) was an Irish university lecturer and senator. The son of pacifists, feminists and socialists Francis and Hanna Sheehy-Skeffington, he was politically likeminded and as a member of the Irish Senate was praised as a defender of civil liberty, Democracy, separation of Church and State, freedom of speech, women's rights, minority rights and many other liberal values. Early life

Sheehy-Skeffington was brought up in Dublin, Ireland. His father, Francis Sheehy-Skeffington, was a Pacifist, Feminist and Socialist whose execution by firing squad, on the orders of Captain J.C. Bowen-Colthurst, during the week of the Easter Rising in 1916, became a cause célèbre. His mother was the suffragette Hanna Sheehy-Skeffington who founded the Irish Women's Franchise League. His maternal grandfather was David Sheehy, a longstanding member of Parliament for the Irish Parliamentary Party. As a three-year-old, Francis had taken <mask> to see his mother while she was incarcerated at Mountjoy Prison, having been sentenced to two months imprisonment for her actions in defence of women's rights.At five years old he was taken by Hanna to see Francis while he was incarcerated at Mountjoy because of his campaign against conscription during World War I. After her husband's murder, Hanna became increasingly Republican, supporting the anti-Treaty IRA during the Irish Civil War and Republican and Socialist causes long thereafter. Through his childhood, Sheehy-Skeffington circulated through a number of prestigious schools, including time spent at Boyland School in Santa Barbara, California and in Dublin, at Sandford Park School, a non-denominational school selected by his mother in the face of strong criticism from her Catholic and Republican friends. His cousin, the diplomat, writer and politician Conor Cruise O'Brien, was a pupil there at the same time. His mother deliberately chose schools viewed as socially progressive for <mask>, something that instilled in him lifelong values. In 1927 he enrolled in Trinity College Dublin, where besides his studies in English and French he excelled in the University's debating society, created several new student organisations and publications, and developed a reputation for activism. He graduated in 1931 as a first-class honours Bachelor of the Arts in English and French.Academic career and adult life
In the following two years he moved to Paris, where he was a graduate assistant at the École Normale Supérieure, allowing him to renew contact with Samuel Beckett, whose lectures he had attended at Trinity, and to meet James Joyce who had been a contemporary and friend of his father at University College Dublin. It was around this time that he began his doctoral studies studying the work of l'Abbaye de Créteil, which he later converted into a thesis on the work of ‘Jules Romains, the Apostle of Unanimisme’, for which he was awarded a PhD at Trinity in 1935. It was also in 1935 that Sheehy-Skeffington married Andrée Denis, a French graduate of the Sorbonne and a daughter of friends of his parents from Amiens. It was at Amiens Town Hall the two were wed on 23 March. The early years of their marriage were rough; they survived on <mask>'s low paid salary as a junior academic at Trinity back in Ireland, and both their relationship and his career was interrupted by <mask> suffering a collapsed lung which required him to sojourn to Switzerland for specialist treatment in 1937 and 1938. However, by 1939 <mask> was able to resume work at Trinity, becoming a lecturer in French. Like her husband, Andrée Sheehy-Skeffington was a socially-involved campaigner and an active member of the Irish Housewives Association.She later wrote a biography of her husband, Skeff: A Life of <mask> Skeffington, 1909–1970. They resided at Hazelbrook Cottage, Terenure, Dublin. The couple had three children together, two boys and a girl: Francis Eugene, born in 1945, Alan Richard Louis, born in 1947 and Micheline Joan, born in 1953. Political career
In 1943 Sheehy-Skeffington was expelled from the Labour Party, the reasons for which were often disputed. The Irish historian Diarmaid Ferriter suggests he was expelled for engaging in a public spat with a Catholic Priest over the nature of Socialism. Other sources suggest Communists in Dublin, who had entered the Labour Party under the doctrine of entryism, had ousted him because they perceived him to be veering towards Trotskyism. Others, such as Noel Browne, suggested he had been expelled for "simply being too liberal".Sheehy-Skeffington did refer him to himself as a "Liberal Socialist", which in more present times might be best understood to mean a proponent of Left-libertarianism. In 1954 Sheehy-Skeffington moved into formal parliamentarian politics when was elected as a member of the 8th Seanad Éireann by the Dublin University constituency, thus beginning a long career as one of the leading lights of the Irish Senate. He was re-elected in 1957, but lost his seat in 1961. He was returned to the 11th Seanad in 1965 and was re-elected for a final time in 1969. In the Seanad he was known as a champion of civil liberties and an opponent of authoritarianism. Amongst many issues, he campaigned for an end to corporal punishment in Irish schools, an end of control by the Catholic Church of government-funded schools, stood against censorship, denounced terrorism, championed women's rights and opposed Apartheid. On matters of the "Irish Question", Sheehy-Skeffington cited James Connolly's analysis and suggested both the Republic of Ireland and Northern Ireland each needed political reform first, then merged, rather than the other way around.Still citing Connolly, he also voiced the view that Irish Independence from the United Kingdom meant nothing if all it amounted to was to change the colour of the flag flying over its institutions, and instead, the change must also be a meaningful change in conditions for the people of Ireland. He also noted that at least 4 of the 6 counties which made up Northern Ireland were made up of solid majorities of Protestant Unionists who he argued could not be coerced, by violence or otherwise, into the Irish state and that Republicans needed to accept this reality and alter their tactics accordingly, with more emphasis given to social conditions. He was an atheist and helped set up the Humanist Association of Ireland. He was also a co-founder and active member of the Irish Association for Civil Liberty, which he co-founded in 1948 with the writer Seán Ó Faoláin and others. In the late 1950s the memorialist Peter Tyrrell began a long-lasting correspondence with him. Sheehy-Skeffington encouraged Tyrrell to write his autobiography, which was published posthumously and helped to expose the brutal conditions in Irish Industrial schools, and in Letterfrack in particular. After Tyrrell committed suicide in 1967 the only clue to his identity was a card addressed to Sheehy-Skeffington.On the eve of Sheehy-Skeffington's death the Arms Crisis was beginning to play out and one of Sheehy-Skeffington's final acts was to send a letter to Taoiseach Jack Lynch expressing support for his actions taken against Charles Haughey and Neil Blaney, dismissing them from cabinet. Death and legacy
Sheehy-Skeffington died suddenly on 7 June 1970 as a result of a heart attack. Numerous tributes were paid to him from across the Irish political spectrum; Thomas Mullins, the Leader of the Seanad at the time, paid tribute to Sheehy-Skeffington by stating

Professor George Dawson, Charman of the Academic Staff Association at Trinity, said of him

Sheehy-Skeffington's death triggered a by-election for his senate seat; on 19 November 1970 Trevor West was elected to Sheehy-Skeffington's vacant seat. Befitting Sheehy-Skeffington's legacy, in his own time Senator West was considered one of the few "liberal" voices in the Senate during the 70s and early 80s. Memorial Award
Since 1973, Trinity College Dublin has offered the <mask>y-Skeffington Memorial Award - a bursary worth 1,500 euros awarded annually - as a maintenance grant or as a travel award in alternate years. The criteria for the award include a combination of academic promise and financial need. The maintenance grant is available to senior freshmen or junior sophisters studying French at Trinity College, while the travelling scholarship may be granted to any student attending a centre of higher education in Ireland.Misc
The National Library of Ireland houses Sheehy-Skeffington's papers. His daughter, Micheline Sheehy-Skeffington, challenged perceived gender inequality at NUI Galway. She was one of 46 people from across the campus to apply for a post of senior lectureship in 2008, was shortlisted for interview, was interviewed, but - upon being unsuccessful - took a case which pressured Galway to introduce gender quotas for promotion schemes and "inclusivity and unconscious bias training programmes" for workers. Sources
 Andrée Sheehy-Skeffington: Skeff: The Life of <mask>-Skeffington, 1909-1970 [biography written by his widow] (Dublin: Lilliput Press, 1991). Lilliput Press website page for Skeff

References

1909 births
1970 deaths
Academics of Trinity College Dublin
People educated at Sandford Park School
Scholars of Trinity College Dublin
Independent members of Seanad Éireann
Irish atheists
Irish socialist feminists
Irish humanists
Irish pacifists
Irish socialists
Members of Seanad Éireann for Dublin University
Members of the 11th Seanad
Members of the 12th Seanad
Members of the 8th Seanad
Members of the 9th Seanad

masks:
Owen Lancelot Sheehy Skeffington
Owen
Owen
Owen
Owen
Owen
Owen Sheehy
Owen Sheeh
Owen Sheehy


text_chunks:
<mask> (born 1962) is an American theatre director. He was named the inaugural artistic director of the Ronald O. Perelman Performing Arts Center at the World Trade Center in 2016. Currently in development, the Perelman is the final piece of the plan to revitalize the World Trade Center site and will create work which inspires hope. Previously, <mask> served as the fifth artistic director of the Oregon Shakespeare Festival (OSF), from June 2007 through August 2019, where he commissioned several critically acclaimed, diverse plays that transferred to Broadway including Lynn Nottage’s Pulitzer Prize-winning Sweat, Paula Vogel’s Indecent, Robert Schenkkan’s Tony Award-winning All The Way, the Go Go's musical Head Over Heels, and Robert Schenkkan's All The Way sequel, The Great Society. <mask> is also the founder of the Cornerstone Theater Company, a traveling company that brought theater to rural communities across the United States before settling in Los Angeles to work with urban communities. Education
<mask> (born 1962) graduated from Harvard College in 1984, where he was a recipient of the Louis Sudler Prize for outstanding graduating artist. Cornerstone Theater and other directorial work
<mask> co-founded the community-based, touring Cornerstone Theater Company in 1986 with Alison Carey, where he directed more than 40 productions, most of them collaborations with diverse rural and urban communities across the United States, and served as artistic director from 1986 to 2006.<mask> has directed a number of world premieres, including Naomi Wallace's Night is a Room at New York's Signature Theatre; The Body of an American at Portland Center Stage which, along with All the Way, was co-winner of the inaugural Edward M. Kennedy Prize for Drama Inspired by American History; The Clean House at Yale Repertory Theatre; and Living Out and For Here or To Go? at the Mark Taper Forum. He also directed the New York premiere of The Clean House at Lincoln Center Theater. Work elsewhere includes productions at South Coast Repertory, Guthrie Theater, Arena Stage, Long Wharf Theatre, Pasadena Playhouse, Great Lakes Theater and En Garde Arts. He has taught at University of California, Los Angeles, University of Southern California, California State University, Los Angeles and the University of California, Irvine as a Professor of Directing and Community Based Theater. Work at Oregon Shakespeare Festival
<mask> became the Oregon Shakespeare Festival's fifth artistic director in 2007, after five seasons at the Festival as a guest director. As visiting director at OSF, <mask> directed Handler (2002), Hedda Gabler (2003), The Comedy of Errors (2004), By the Waters of Babylon (2005) & The Two Gentlemen of Verona (2006).During his 17 seasons at OSF, <mask> directed seven world premieres including, Mother Road, LA Comedia of Errors, Off the Rails, Roe, Fingersmith, The Great Society, All the Way, Equivocation and By the Waters of Babylon. He also directed 19 other plays at the Festival including; By Shakespeare: Othello, Richard II, Antony and Cleopatra, King Lear, Cymbeline, Measure for Measure, Hamlet, The Merchant of Venice, Romeo and Juliet, The Two Gentlemen of Verona and The Comedy of Errors; Others: Oklahoma!, Medea/Macbeth/Cinderella, The Pirates of Penzance, The Music Man, The Clay Cart, Hedda Gabler, The Further Adventures of Hedda Gabler and Handler. <mask> directed several OSF plays at other theatres, including Equivocation, All the Way and The Great Society at Seattle Rep; The Pirates of Penzance at Portland Opera; Equivocation and Roe at Arena Stage; Roe at Berkeley Rep; and Othello, Fingersmith and All the Way at the American Repertory Theater for which he twice won the Independent Reviewers of New England (IRNE) award for Best Director. All the Way then moved to the Neil Simon Theatre on Broadway in 2014, where it won the Tony Award for Best Play and also earned Drama Desk and Outer Critics Circle Award nominations for directing. The Great Society moved to the Vivian Beaumont Theater on Broadway in 2019 and opened October 1, 2019. During his time at OSF, <mask> was known for diversifying the company and the audience. <mask>'s programming combined Shakespeare, other classics, contemporary work, and plays commissioned for the company, as well as classical musicals and plays outside the Western canon.<mask> commissioned 37 new plays as part of American Revolutions: the U.S. History Cycle, to dramatize moments of change in American history, inspired by Shakespeare’s history plays and funded in part by grants from the Andrew W. Mellon, Collins Family, and Paul G. Allen Family Foundations. [5] He also initiated the Black Swan Lab for New Work and a community-based format for the Green Show. On February 16, 2018, <mask> announced that his directorship would come to an end in August 2019. All the Way and The Great Society
In 2014, <mask> directed the Broadway production of All the Way by Robert Schenkkan, after commissioning and directing the play at OSF in 2012. The limited-engagement production opened on March 6, 2014 at the Neil Simon Theatre and concluded on June 29, 2014. The production won two Tony Awards, the 2014 Tony Award for Best Play and the 2014 Tony Award for Best Performance by a Leading Actor in a Play, which went to Bryan Cranston. The play also won the Drama Desk and Outer Critics Circle Award for Outstanding Play.<mask> was nominated for both a Drama Desk and Outer Critics Circle Award for his direction. In 2019, <mask> again worked with Schenkkan on The Great Society, the sequel to All the Way, which ran for a twelve week limited-engagement on Broadway at The Vivian Beaumont Theater, beginning September 6, 2019. The play starred Emmy-winner Brian Cox as President Lyndon B. Johnson. Leading The Ronald O. Perelman Performing Arts Center
In February 2016, <mask> was named the inaugural artistic director of the Ronald O. Perelman Performing Arts Center, a new, flexible midsize performance space at The World Trade Center that will produce theater, dance, music, and chamber opera. Awards and honors
In 2018 <mask> received the Ivy Bethune Award from Actors’ Equity Association for diversity and inclusion in hiring, casting and producing. Other honors include the inaugural "Guiding Star" Award (2017), two Independent Reviewers of New England Awards (2017, 2014), a Falstaff Award (2013), the 2012 Zelda Fichandler Award, TCG's Visionary Leadership Award (2010), Connecticut Critics Circle, L.A. Weekly, and Helen Hayes Awards. He is also the only artist to have won the inaugural "Leadership for a Changing World" award (2001).<mask> is also the recipient of the 2009 Margo Jones Award, founded by Inherit the Wind authors Jerome Lawrence and Robert Edwin Lee and presented annually by Ohio State University. The award honors "that citizen-of-the theatre who has demonstrated a significant impact, understanding, and affirmation of the craft of playwriting, with a lifetime commitment to the encouragement of the living theatre everywhere. "[2][3]

In 2015 <mask> was named a Ford Foundation Art of Change Fellow in 2015 and was awarded a United States Artists Prudential Fellowship in 2008. References

1962 births
Living people
People from Ashland, Oregon
Harvard College alumni
University of California, Los Angeles faculty
Place of birth missing (living people)
University of Southern California faculty
California State University, Los Angeles faculty
University of California, Irvine faculty
American theatre directors
Artistic directors
Festival directors

masks:
Bill Rauch
Rauch
Rauch
Rauch
Rauch
Rauch
Rauch
Rauch
Rauch
Rauch
Rauch
Rauch
Rauch
Rauch
Rauch
Rauch
Rauch
Rauch
Rauch
Rauch
Rauch


text_chunks:
<mask> (; born September 28, 1947) is an Israeli actor and voice actor. Biography
Born in Tel Aviv, <mask> began his acting career at the age of 18. He is a frequent performer at the Habima Theatre and has been a staff member there since 1986. He has also performed at the Beersheba Theatre from 1974 to 1977 as well as the Cameri Theatre. <mask> was renowned for his appearances in the French theatre adaptations of plays such as The Caucasian Chalk Circle, The Cherry Orchard and The Threepenny Opera. On film and television, <mask> made his film debut in the 1972 film The Great Telephone Robbery directed by Menahem Golan and he often made appearances on the entertainment program Zehu Ze!. He has also appeared in the 1979 film Dizengoff 99 and the 1987 film Ha-Muvtal Batito.His most popular television appearance was on a short lived 1994 sitcom in which he plays a widowed father and he also portrayed the prophet Nathan in a 1989 TV film directed by Ram Loevy. As a voice actor, <mask> dubbed the voices of many animated characters into the Hebrew language and is considered to be one of the most influential and successful Hebrew dubbing actors. He has voiced the narrator and Kame-Sennin in Dragon Ball Z and Ollie in Ox Tales. He has also frequently dubbed characters created by The Walt Disney Company in films such as Cogsworth in Beauty and the Beast, Henry J. Waternoose in Monsters, Inc., The Duke of Weselton in Frozen, Prince John in Robin Hood, Edgar in The Aristocats and Grimsby in The Little Mermaid. Outside of Disney, he voiced Cornelius Fudge in the Hebrew dub of Harry Potter and the Goblet of Fire and Oogway in Kung Fu Panda. In addition, <mask> voiced Iroh in Avatar: The Last Airbender and The Legend of Korra. Awards
In 1996, <mask> received the Klatchkin Award for outstanding actor.He also won the Maskin Award in 2019. Filmography

Dubbing
 A Bug's Life (Mr. (Krillin)
 Dragon Ball Z: Broly – The Legendary Super Saiyan (Krillin)
 Dragon Ball Z: Bojack Unbound (Krillin, Kogu)
 Dragon Ball Z: Broly – Second Coming (Krillin)
 Dragon Ball Z: Bio-Broly (Krillin)
 Dragon Ball Z: Fusion Reborn (Frieza)
 Dragon Ball Z: Wrath of the Dragon (Krillin)
 Dragon Hunters (Bat 1)
 El Cid: The Legend (additional voices)
 Enchanted (additional voices)
 Ferdinand (additional voices)
 Finding Nemo (Bubbles)
 Flushed Away (additional voices)
 Free Birds (S.T.E.V.E.) Garfield: The Movie (Happy Chapman, Walter J. Chapman)
 Happy Feet 2 (additional voices)
 Help! I'm a Fish (additional voices)
 Hoodwinked! (Dolph, Jimmy Lizard)
 Hoodwinked Too! Hood vs.Evil (Mad Hog)
 Horton Hears a Who! (Swan 1)
 The Water Horse: Legend of the Deep (Lt. Wormsley (Erroll Shand))
 Thomas and the Magic Railroad (Thomas the Tank Engine)
 Tinker Bell (The Minister of Spring)
 Secret of the Wings (The Minster of Spring)
 TMNT (Gener Gato)
 Tom and Jerry: A Nutcracker Tale (Tom, additional voices)
 Tony Hawk in Boom Boom Sabotage (additional voices)
 Valiant (Mercury)
 WALL-E (additional voices)
Winnie the Pooh (Rabbit)
Wreck-it Ralph (King Candy)
 Zambezia (Sekhuru)
Zookeeper (Bernie the Gorila)
 Zootopia (Stu Hopps)

References

External links

<mask> <mask> at Behind The Voice Actors

1947 births
Living people
Beit Zvi School for the Performing Arts alumni
Israeli male film actors
Israeli male stage actors
Israeli male television actors
Israeli male voice actors
Male actors from Tel Aviv
20th-century Israeli male actors
21st-century Israeli male actors

masks:
Dov Reiser
Reiser
Reiser
Reiser
Reiser
Reiser
Reiser
Dov
Reiser


text_chunks:
<mask> (died 1258) was a 13th-century Dominican friar who was  the first member of the Dominican Order in Britain and Ireland to become a bishop. In 1233, he was selected to lead the ailing diocese of Dunblane in Scotland, and faced a struggle to bring the bishopric of Dunblane (or "bishopric of Strathearn") to financial viability. This involved many negotiations with the powerful religious institutions and secular authorities which had acquired control of the revenue that would normally have been the entitlement of <mask>'s bishopric. The negotiations proved difficult, forcing <mask> to visit the papal court in Rome. While not achieving all of his aims, <mask> succeeded in saving the bishopric from relocation to Inchaffray Abbey. He also regained enough revenue to begin work on the new Dunblane Cathedral. He faced a similar challenge with the impoverished bishopric of Argyll in the 1240s.He was given the job of restoring the viability of the diocese and installing a new bishop; this involved forming a close relationship with King Alexander II of Scotland. <mask> was with the king during his campaign in Argyll in 1249 and was at his side when he died during this campaign. In 1250 <mask> had been able to install a new bishop in Argyll and had become one of the Guardians appointed to govern Scotland during the minority of King Alexander III. By 1250 he had established a reputation as one of the most active Dominican reformers in Britain. <mask> helped to elevate Edmund of Abingdon and Queen Margaret to sainthood. After his death, he received veneration as a saint himself, although he was never formally canonised. Early years and background

The Analecta Ordinis Fratrum Praedicatorum claims that he was "a Scot by birth", and that he was admitted into the Dominican Order of Paris in 1219.The latter source, however, is often highly unreliable, and cannot be fully trusted. The historian Archie Duncan was cautious about a date as firm and early as 1221, and wrote that <mask> "had entered the Dominican order by the later 1220s". Although "<mask>" is neither a Scottish nor an English name, the large number of French-speakers in both Scotland and England during this period means that this consideration carries limited weight; indeed "<mask>" need not even have been his birth-name. The diocese of Dunblane was entirely Gaelic-speaking in <mask>'s day, and in this era it was often frowned upon for a bishop to be ignorant of the language of his diocese. If this had been a consideration in <mask>'s later appointment, then this would strongly suggest that <mask> was in fact a Scot. <mask> was later noted for his skill in languages. <mask> received his university education at either the University of Oxford or the University of Paris, perhaps at both of these institutions.There is a possibility that he can be identified more fully as "<mask>". A "<mask> Rocha"  was the owner of a manuscript from the period now held in Edinburgh. This, however, says nothing more about his background. The Dominican Order had its origins in the reformist ideology of Dominic de Guzmán, later Saint Dominic. By 1219, Dominic had established houses as far apart as Paris, Bologna, Madrid and Segovia; at his death in 1221, there were 21 houses. Expansion of the order continued into England as houses were established at Oxford in 1221 and London in 1224. There were five houses in England by 1230, by which time the Order was poised to enter Scotland.Later tradition had it that the Dominican Order entered Scotland in 1230, encouraged by King Alexander II and William de Malveisin, Bishop of St Andrews. However, the earliest certain date for the foundation of a Dominican house in Scotland is 1234. These details form the context for <mask>'s appearance in Scotland and his selection as the new Bishop of Dunblane. Three years had passed since the death of the last bishop, Osbert. Since there was no electoral college for the diocese, Pope Gregory IX charged the bishops of St Andrews, Brechin and Dunkeld, to find and nominate a suitable replacement. There can only be informed speculation regarding the choice of <mask>. Importantly, perhaps, King Alexander was later noted for "his concern for building churches for the Friars Preacher [Fratrum precipue Predicatorum]".The status of the Dominicans at the cutting edge of religious reform, together with <mask>'s background, may have been the decisive factors. At any rate, <mask> was consecrated as bishop at Wedale on 4 September 1233, by William de Malveisin, Bishop of St Andrews. His consecration meant that he was the first Dominican in the British Isles to obtain a bishopric. This has prompted the historian Archie Duncan to comment that "the choice of the first friar-bishop ... can only be called daring". Bishopric of Dunblane
The bishopric of Dunblane was a small diocese, essentially confined to the earldoms of Strathearn and Menteith. Size was a problem for providing the bishopric with adequate income, a problem compounded by the fact that Gille Brígte, Mormaer of Strathearn, had established Inchaffray Priory in 1200 (promoted to Abbey in 1221). In the 1440s, Bower wrote that Gille Brígte: Divided his earldom into three equal portions.One he gave to the church and bishop of Dunblane, the second to St John the Evangelist and the canons of Inchaffray, the third he kept for himself and his own needs. If this were not enough, much of the income not granted to Inchaffray had since been given to other religious institutions; some revenue was even controlled by the Bishop of Dunkeld. Dunblane had its origins in an older Gaelic monastic establishment, that is, in an institution with an abbot-bishop heading a relatively informal establishment of smaller cells with little geographical compactness. Dunblane emerged as a bishopric in 1155, probably, like bishoprics with a similar history (e.g. Brechin), having changed in little more than name. There was a community of Céli Dé at Muthill until at least the end of the 13th century, and the base for the archdeaconry of the diocese appears to have varied between there and Dunblane until the time of Bishop <mask>. The bishopric itself appears to have been without a single base, although it was probably associated with both locations.<mask> visited the papal court to present his difficult situation. In spring 1237, the Pope wrote to the Bishop of Dunkeld that: Bishop <mask> ... found the Church so desolated that there was no place in the Cathedral Church where he could lay his head; it had no college of clergy; the divine offices were celebrated in a roofless church and by a rural chaplain only; and the episcopal revenues were so slender, and had been alienated to such a degree, that they scarcely sufficed to support him for half a year. In response to <mask>'s visit, moreover, the Pope had empowered the Bishops of Dunkeld, Brechin and St Andrews to take action to rescue the bishopric. He told these bishops that, Since the continual care of all the churches is our daily burden, we grant to the said Church [Dunblane], so far as we personally can, and authorise you, if you find the situation to be as described, to assign to the said Bishop, if it can be done without scandal, a quarter of the teinds of all the parish churches of the Diocese of Dunblane, so that under your guidance and that of upright men, he may set aside a suitable portion of them for his own maintenance, and thereafter assign revenues for a dean and canons whom we wish and authorise you to institute there. Failing this, the Pope wrote, The quarter teinds of all the churches of the Diocese assigned to the Bishop, which are held by laymen, you shall transfer with the episcopal seat to the Canons Regular of St. John in the Diocese [i.e. to Inchaffray Abbey], who shall have power to elect a Bishop in any vacancy. So the Pope's help was two-sided.It made <mask>'s task vis-à-vis these institutions easier, but on the other hand the possibility had emerged that Dunblane could disappear as an episcopal centre. Recovery and rebuilding

In the three or four years after his visit to the papacy, agreements were made with the various institutions who were drawing income from <mask>'s diocese – namely Coupar Angus Abbey, Lindores Abbey, Cambuskenneth Abbey, Arbroath Abbey, the nunnery of North Berwick and the Hospital of Brackley, Northamptonshire. These agreements did not constitute complete success. <mask> was able to recover some revenue, but in fixed payments liable to real decline by way of inflation. Moreover, he had to concede permanent canonries to several of the abbots, concessions which would give them a role in the election of his successors. Another partial set-back took place. Walter Comyn, Earl of Menteith, had decided to found a monastery in his earldom and take up the income of Menteith's churches to do it; the whole of Menteith constituted nearly half of the diocese.Despite the Pope's previously helpful behaviour towards <mask>'s cause, he granted the earl permission to found the new monastery. The earl established Inchmahome Priory in the Lake of Menteith in 1238. Walter and <mask> came to conflict over the new priory's rights, but in the same year an agreement was drawn up in a meeting of churchmen at Perth. The agreement placed most of Menteith's churches under the control of the earl; however, <mask> obtained several concessions, including the right to receive episcopal dues from the new priory. Overall, <mask>'s successes were considerable considering the opposition which he faced, but even after his death, only 12 of the 26 parish churches in the diocese were under the bishop's direct control. Although his successor Robert de Prebenda claimed that the income of the see was still inadequate, it was nevertheless enough for <mask> to begin building a new cathedral. This was despite the virtual hostility of the earl of Menteith and what Cynthia Neville has noted as the lack of interest by the earls of Strathearn, evidenced by their reluctance to bestow patronage on the bishopric.Neville's explanation for this is that "the bishops' ambition represented a challenge to their proprietary interests". It has been suggested that <mask> dismantled the small church building which had served Dunblane previously, before beginning work. The cathedral was constructed in the Gothic manner, beginning with the "Lady Chapel"; the Lady Chapel was used while the rest of the cathedral was being built. It is possible that the cathedral of Dunblane was completed during <mask>'s episcopate, and it is almost certain that most of it was. On the wider stage

<mask>'s position as Bishop of Dunblane provided the opportunity to participate on the larger national and international stage. In 1241, the Cistercian general chapter began postulating the Pope about the saintliness of Edmund of Abingdon, formerly Archbishop of Canterbury. In the following year, various clerics wrote pieces and compiled evidence supporting this Edmund's claim to sainthood.<mask> was one of these clerics. Edmund's saintliness was endorsed by Pope Innocent IV in 1246. <mask> took part in a similar campaign in 1249. He was part of the movement to canonise Queen Margaret, one of the ancestors of the contemporary Scottish kings. <mask> was appointed to investigate her

masks:
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement Rocha
Father Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement
Clement


text_chunks:
 saintliness, and in the following year Margaret too was canonised. Meanwhile, in 1247, Pope Innocent IV gave <mask> the more onerous and demanding appointment of papal tax collector. <mask> was charged with collecting one twentieth of all ecclesiastical revenues within the Kingdom of the Scots.The purpose was to finance a new crusade, and <mask>'s appointment was part of a money-raising initiative carried out throughout Western Christendom. Perhaps <mask>'s most significant activities were, however, in relation to the bishopric of Argyll. In 1241, Argyll's last bishop, William, had been drowned while at sea. Argyll was the poorest bishopric in Scotland, and the area lacked strong royal authority, and hence good royal protection. In the following six years, no one had taken up the vacant bishopric. From at least 1247, then, <mask> was given charge of the diocese. He was essentially being asked to do for Argyll what he had previously done for Strathearn.The sources are quite thin on this ground, but by 1249 he had brought at least one more church into the control of the bishopric. On 23 December 1248, he was also authorised by the Pope to appoint, with the agreement of the Bishop of Glasgow, a new bishop for Argyll. In January 1249, <mask> was given permission to move the cathedral of Argyll, based on Lismore, to the mainland. <mask>'s problem seems to have been with the ruler of Argyll, Eóghan. The lack of royal authority in Argyll made it difficult for the national and international church to exercise control in the province; at the same time, establishing a strong bishopric in the area was vital to integrating the area fully into the kingdom, an aim cherished by the contemporary king, Alexander II. Thus Alexander's goal and <mask>'s goal were essentially one and the same. It is impossible to be more specific, but in 1249, King Alexander II launched an expedition against Eóghan.The king was attempting to force Eóghan, whose lands lay within both the overlordship of the Kingdom of Scotland and the Kingdom of Norway, to renounce his allegiance to the King of Norway. Eóghan told Alexander that he was unable to do this. The contemporary historian Matthew Paris wrote that: The king therefore declared Eóghan unfaithful and pursued him hostilely by ship near Argyll; urged, as is said, by the vehement promptings of a certain indiscreet bishop of Strathearn, a friar to wit of the order of the Preachers. This "indiscreet bishop  ... friar" was, of course, <mask>. Alexander died from ill-health on this expedition, with <mask> by his side at his deathbed. Alexander's last act was to make a grant to the bishopric of Argyll. Despite the king's death, the expedition was a success for <mask>.There was a new Bishop of Argyll by 27 September 1250; in the longer term, the see continued to be ruled by bishops with no long vacancies until the Reformation. Moreover, by 1255 Eóghan had given his full allegiance to the Scottish crown, albeit because of lack of favour given to him by the King of Norway. <mask>'s close association with the late King Alexander II and his reputation as a successful bishop made him a key political figure during the minority of Alexander III. <mask> was on the Council of Guardians, the small group of nobles and clerics who were to "govern" Scotland until the end of Alexander III's boyhood. The governing Council broke down around two rival factions, one centred on Walter Comyn and the other around Alan Durward. There is little evidence about <mask>'s activities in regard to the Council, but he was associated with the Comyn faction, who enjoyed the ascendency after Walter gained control of government in 1251. In 1255, the Durwards staged a coup at Roxburgh and ousted the "Comyn faction" from effective power.Unfortunately for Alan Durward, Comyn's supporter Gamelin, who had been placed in the bishopric of St Andrews and excluded from his diocese by Durward, had fled to the papal court and convinced the Pope to excommunicate Alan. The sentence was delivered by Bishop <mask> and the abbots of Melrose and Jedburgh. This is <mask>'s last known act. Death and legacy

The Chronicle of Melrose reports <mask>'s death under the year 1258. <mask>'s legacy was to be remembered as the restorer of the diocese of Dunblane and the builder of its cathedral. Thus for future generations, <mask> became the father-figure of the see. <mask> was later commemorated as a saint, though there is no record of formal canonisation.He was commemorated on 19 March, meaning that was almost certainly believed to have been the date of his death. <mask>'s death was also noted by Walter Bower, a Lowland Scottish historian writing in the 1440s, who included the following obituary: <mask> bishop of Dunblane died, that outstanding member of the Order of Preachers, a man most eloquent in translating various tongues, powerful in speech and action in the sight of God and of men. He found the cathedral church of his diocese reduced by the neglect of his predecessors to such a state of decay that the divine offices were celebrated in it scarcely three times a week, as if it were some rural chapel. He built it up to be a hallowed sanctuary, enriched it with lands and possessions, and increased its prestige by adding prebends and canonries. Such flattering sentiments had even been expressed during <mask>'s lifetime. In 1250, the General Chapter of the Dominican Order met in London, and decreed that: we grant to Friar <mask> of our Order, a bishop of Scotland, after his death, one mass throughout the Order by every friar whomsoever is a priest. <mask> was credited with being a prolific translator and writing four books (including a hagiography of St Dominic), all of which are now lost; a sermon almost certainly written by him survives.Some historians have been ambiguous about <mask>'s episcopate. For instance, Cynthia Neville, despite acknowledging that "the successful reform of the see was, in fact, accomplished almost exclusively as a consequence of the efforts of <mask> and his successors", nevertheless expresses some scepticism about his achievements and notices his failure to gain the patronage of the native rulers of Strathearn. Others have been more enthusiastic. The ecclesiastical historian and former minister of Dunblane Cathedral, James Hutchison Cockburn, agreed with Bower's eulogy and declared that the "title" of sainthood "would have been worthily bestowed". Archie Duncan, more recently, stated that <mask> "clearly enjoyed a reputation far wider than his domestic accomplishments alone would explain" and concluded that <mask> "represents the occasional triumph of the ideal of reform of church life over the careerism which generally motivated thirteenth-century clergy". Notes

References

 Anderson, Alan Orr, Early Sources of Scottish History: AD 500–1286, 2 Vols, (Edinburgh, 1922), vol. ii
 Anderson, Alan Orr, Scottish Annals from English Chroniclers: AD 500–1286, (London, 1908), republished, Marjorie Anderson (ed.)(Stamford, 1991)
 Barber, Malcolm, The Two Cities: Medieval Europe, 1050–1320, (London, 1992)
 Barrow, G. W. S., "French after the Style of Petithachengon", in Barbara Crawford (ed. ), Church, Chronicle and Learning in Medieval and Early Renaissance Scotland, (Edinburgh, 1999),  pp. 187–93
 Barrow, G. W. S., Kingship and Unity: Scotland, 1000–1306, (Edinburgh, 1981)
 Barrow, G. W. S., "Margaret [St Margaret] (d. 1093)", in the Oxford Dictionary of National Biography, Oxford University Press, 2004 , accessed 30 Nov 2006
 Bartlett, Robert, The Making of Europe, Conquest, Colonization and Cultural Change: 950–1350, (London, 1993)
 Brydall, Robert, "Monumental Effigies of Scotland, from the Thirteenth Century to the Fifteenth Century", in the Proceedings of the Society of Antiquaries of Scotland, 29 (1894–95), pp. 329–410
 Cockburn, James Hutchison, "Friar <mask>, OP", in The Society of Friends of Dunblane Cathedral, 7 (1956), pp. 86–93
 Cockburn, James Hutchison, The Medieval Bishops of Dunblane and Their Church, (Edinburgh, 1959)
 Corner, David J., Scott, A. B., Scott, William W. & Watt, D. E. R., (eds. ), Scotichronicon by Walter Bower in English and Latin, vol.4, (Aberdeen, 1994)
 Cowan, Ian B. & Easson, David E., Medieval Religious Houses: Scotland With an Appendix on the Houses in the Isle of Man, Second Edition, (London, 1976)
 Donaldson, G., "Scottish Bishops' See before the Reign of David I", in the Proceedings of the Society of Antiquaries of Scotland, 87 (1952–53), pp. 106–77
 Dowden, John, The Bishops of Scotland, ed. J. Maitland Thomson, (Glasgow, 1912)
 Duncan, A. A. M., "<mask> (d. 1258)", in the Oxford Dictionary of National Biography, Oxford University Press, 2004 , accessed 30 Nov 2006
 Hammond, Matthew H., "The Durward Family in the Thirteenth Century", in The Exercise of Power in Medieval Scotland, c. 1200–1500, (Dublin, 2003), pp. 118–38
 Lawrence, C. H., "Edmund of Abingdon [St Edmund of Abingdon, Edmund Rich] (c.1174–1240)", in the Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, May 2005 , accessed 30 Nov 2006
 Lindsay, William Alexander, Dowden, John, and Thomson, John Maitland, (eds. ), Charters, Bulls and Other Documents relating to the Abbey of Inchaffray Chiefly from the Originals in the Charter Chest of the Earl of Kinnoull, (Publications of the Scottish History Society, vol.56, 1908)
 Neville, Cynthia J., Native Lordship in Medieval Scotland: The Earldoms of Strathearn and Lennox, c. 1140–1365, (Dublin, 2005). Owen, D. D. R., The Reign of William the Lion: Kingship and Culture, 1143–1214, (East Linton, 1997)
 Short, Ian, "Tam Angli Quam Franci: Self-Definition in Anglo-Norman England", in Anglo-Norman Studies, XVIII (Proceedings of the Battle Conference, 1995), pp. 153–75
 Taylor, Simon, Watt, D. E. R., and Scott, Brian, (eds. ), Scotichronicon by Walter Bower in Latin and English, vol. 5, (Aberdeen, 1990)
 Theiner, Augustin, Vetera monumenta Hibernorum et Scotorum historiam illustrantia, quae ex Vaticani Neapolis ac Florentiae, (Rome, 1864)
 Turner, Dennis, "The Bishops of Argyll and the Castle of Achanduin", in the Proceedings of the Society of Antiquaries of Scotland, 128 (1998), pp. 645–52
 Watt, D. E. R., A Biographical Dictionary of Scottish Graduates to AD 1410, (Oxford, 1977), pp. 99–103
 Watt, D. E. R., Fasti Ecclesiae Scotinanae Medii Aevi ad annum 1638, 2nd Draft, (St Andrews, 1969)
 Watt, D. E. R. & Shead, N.F.(eds. ), The Heads of Religious Houses in Scotland from the 12th to the 16th Centuries, The Scottish Records Society, New Series, Volume 24, (Edinburgh, 2001)
 Watt, D. E. R., "The minority of Alexander III of Scotland", in the Transactions of the Royal Historical Society, 5th series, 21 (1971), pp. 1–23
 Young, Alan, "The Political Role of Walter Comyn, Earl of Menteith During the Minority of Alexander III of Scotland", in K. J. Stringer (ed. ), Essays on the Nobility of Medieval Scotland, (Edinburgh, 1985), pp. 131–49

External links
dunblanecathedral.org.uk
"Scotland's Gothic Cathedrals" at arthis.arts.gla.ac.uk
Dunblane Cathedral Arts Guild

1258 deaths
Bishops of Dunblane
Scottish Dominicans
Alumni of the University of Oxford
University of Paris alumni
13th-century Scottish Roman Catholic bishops
Year of birth unknown
Kingdom of Scotland expatriates in

masks: Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement Clement


text_chunks:
<mask> DL (1745–1822) was a Scottish merchant who served an outstanding eight non-consecutive terms  as Provost of Dundee. His nicknames included the "Old Hawk". "The Gudeman of Blacklunans" and "Archdeacon of the Self-Elected". In his role in Dundee he failed in his hope to create a neo-classical town in the manner of Edinburgh but nevertheless did much to change its cityscape and history. Life

He was born at Cultybraggan Farm just south of Comrie and west of Crieff in Perthshire on 1 September 1745, the son of <mask> and his wife Isobel Dow. From 1776 he was a merchant in Dundee trading in linen, spirits and oatmeal, and also expensive imported goods such as tea and tobacco. Wealthy, he loaned the town council £300 in 1778 (this was normal in those days).He was a popular and intelligent man not only joined the Town Council in September 1776 but was also asked to immediately serve as Treasurer. Projects were sometimes personally funded by the Treasurer at this time. These included rebuilding "The Singing Pier" and the South Pier and paving the roads leading to these. In 1788 he was elected Provost in succession to John Pitcairn. Dundee operated a plan which held elections for local officials every two years, but did not allow a provost to serve two consecutive terms. Riddoch served an unequalled total of eight terms as Provost, ending in 1818, and was undoubtedly one of Dundee's most popular and noteworthy politicians. In his first term as Provost in 1789 he organised a new pier to accommodate the larger vessels being used in sea trade.In this same year he received a petition from the Dundee Reform Committee led by Patrick Stirling and Ebenezer Anderson. In 1790 he commissioned the town architect Samuel Bell to create Nethergate House, a fine villa in central Dundee. In Dundee he had a close relationship with George Dempster MP from whom it is said he acquired a rather cavalier attitude to finances and sadly was latterly accused of taking financial advantage of his position, despite clear evidence that he was more than happy to support the town with his own monies. Together with Dempster he founded the Dundee Commercial Banking Company in 1792. Riddoch's term of control covered what might be considered as Dundee's heyday. Projects included the building of Dundee Infirmary and major expansion of Dundee docks. Castle Street, Tay Street and Crichton Street were built and the Nethergait was widened.In 1793 the first flax mills appeared in Dundee (in Guthrie Street and Chapelshade) and Dundee's prosperity began to rocket. From at least 1793 he invested in production of sailcloth, partnered with Thomas Webster of Hawkhill and <mask> (in rivalry to Mr Graham of Fintry). This specifically linked to the Royal Navy's wave of shipbuilding linked to the Napoleonic Wars. <mask>, Webster and Strachan also jointly invested in rope-making and the whaling industry. He was partner in Thomas and Riddoch, a "twist mill" (thread mill) in the Murraygait. He also had major shares in the Wemyss mill on Seagait. He shared a timber yard with Baillie Peddie near the Castle Hill.He had a major share in the glassworks at Carolina Port. On 16 November 1792 he was involved in a local riot where the rioters planted a "Tree of Liberty" in the High Street and obliged him (as provost) to dance around it three times reciting their dictated words: Liberty and Equality Forever". In 1796 he bought the Blacklunans estate and, in the Scottish tradition, was thereafter addressed by the title "Blacklunans". Blacklunans lies between Blairgowrie and Braemar. Improvements to the harbour of 1804 (sanctioned by Riddoch in his Council role) led to great criticism that Peddie and Riddoch's timber yard was hugely increased in value. It was this action which, rightly or wrongly, brought about his public criticism. This criticism was worsened by a two-penny tax on ale in the town to pay for the improvements.The council's expenditure on street improvements were causing considerable debt. The project was relaunched in 1810 as the Dundee Harbour Bill but was heavily opposed and a government enquiry revealed that previous harbour dues had not been re-invested in the harbour as required. This partly reflected on <mask> as Provost but there was more evidence that his cronies had misappropriated the funds. In the early 19th century he came into political conflict with the local radicals, George Kinloch and Robert Rintoul. The latter became editor of the Dundee Weekly Advertiser in 1808. These radicals further divided the views of the city and accused Riddoch of not sufficiently improving the harbour to meet contemporary needs. Meanwhile, the town improvements were becoming costly.The widening of the Nethergate met opposition amongst the wealthier owners who asked for the Sheriff to mitigate the poor sums offered by the council. The house of <mask>, a wealthy tobacconist, ruled in Garland's favour and resulted in a large bill to the council. Consequently, in 1811 a resolution was made to accurately revalue all heritable property in Dundee. In 1814, as a major step towards a new harbour, with the commissioning of Robert Stevenson to undertake a full survey of the existing docks. The plans for a new dock continued to be opposed, not for reason of the principle, but for the proposed raising of harbour dues, and local merchants made an alternate plan which was to be run by a Harbour Trust rather than the Town Council. After some argument Thomas Telford was appointed to execute the works in preference to Stevenson, who was thought to favour using land owned by Riddoch. However, whether persuaded by Riddoch or not, Telford concluded that a new dock was not needed.Nevertheless, the Dundee Harbour Act was eventually passed in 1815. <mask> stepped down as Provost (permanently) in 1819, aged 74, somewhat worn down by the tribulations of his later years in office and absence of public appreciation for his efforts. His final act involved a summons to London to explain his part in the alleged corruption of the Scottish burghs, a trip he made with his erstwhile rivals, Robert Rintoul and James Saunders. He died in his house on the Nethergate on 9 December 1822 aged 78 and is buried in The Howff burial ground in central Dundee. At the time of his death he was owed £2000 by the city and various city individuals. He left £13000 in his will (the equivalent of over £1.6 million) making him the richest man in Dundee of his age. The desired improvements of Dundee Docks were eventually undertaken in 1832 by James Leslie.Family

In 1768 he married Margaret Scott at Lethendy church, just north of Perth. They initially lived in Scone, Perthshire. His first child was not born until 1776. In 1799 (aged 54) he married Ann Morison, daughter of a local merchant. Ann was still living at Nethergate in 1830. Nethergate House

Riddoch's house was converted into a branch of the Clydesdale Bank. This closed in 2017 and in 2019 was planned to open as a restaurant.Nethergate House is a category A listed building. The building stands on the south side of the Nethergate immediately west of Dundee Contemporary Arts Centre. References

1745 births
1822 deaths
People from Dundee
Scottish businesspeople

masks:
Alexander Riddoch
John Riddoch
Alexander Strachan
Riddoch
Riddoch
Alexander Garland
Riddoch


text_chunks:
<mask> (born December 20; also stylized in all caps as LIA) is a Japanese singer-songwriter. <mask> recorded "Tori no Uta" for Key's 2000 visual novel Air, which was reused in its 2005 anime adaptation and became influential in popular culture. She additionally recorded two other tracks for the visual novel, which were commercially successful. <mask> has continued to work with Key by performing songs for their 2004 visual novel Clannad and its 2008 anime adaptation, Clannad After Story, the 2005 adult visual novel Tomoyo After: It's a Wonderful Life, as well as the opening themes for Key's original anime series Angel Beats! in 2010 and Charlotte in 2015. Her other songs used in anime include RF Online and Initial D Fourth Stage. In 2012, the Vocaloid software IA was released, which sampled <mask>'s voice and earned a large fanbase.Career
<mask> graduated from the Berklee College of Music. Afterwards, she lived in Los Angeles and recorded demo tapes with the help of a friend. Originally asked to help translate between the recording staff and the studio, Visual Arts asked <mask> if she could fill in for an absent vocalist. <mask> recorded her first song "Tori no Uta" at Paramount Studio. <mask> was a member of Japanese techno/trance music production group I've Sound from 2001 to 2003, where she performed "Disintegration" in the Disintegration compilation album. She signed with Key Sounds Label in 2001, and Pony Canyon in 2004. <mask> produced four albums in the happy hardcore genre; these albums have her name in all capital letters.<mask> performed the opening and ending themes of two of Key's visual novels—Air and Tomoyo After: It's a Wonderful Life—as well as the opening themes for Key's two original anime series—Angel Beats! and Charlotte. She performed the theme song for the MMORPG RF Online entitled "The Force of Love". <mask> has also performed some Eurobeat songs for the anime series Initial D Fourth Stage entitled "All Around" and "Sky High" under the Avex Trax label. To celebrate her 20th anniversary as an artist, she released a compilation album titled <mask> 20th Best on November 25, 2020. Personal life
<mask> is fluent in English and Japanese. On July 1, 2009, <mask> announced on her blog that she was married and pregnant.She gave birth to a daughter on January 31, 2010. She has been living in Hong Kong since  2014. Discography

Singles
"Natsukage / Nostalgia" (December 24, 2001)
"Shift: Sedai no Mukō" (December 29, 2001)
"I'm Feeling" (July 1, 2003) – Analog single
"Birthday Song, Requiem" (June 25, 2004)
"Spica/Hanabi/Moon" (June 25, 2004)
"Kimi no Yoin: Tōi no Sora no Shita de" (March 24, 2005)
"Tori no Uta / Farewell Song" (May 23, 2006) – Analog single
Opening/ending themes of Air
"Pride: Try to Fight!" (June 21, 2006)
The title song was used as an ending theme of Crash B-Daman
"Over the Future" (November 22, 2006)
"Over the Future" was used as an ending theme of Crash B-Daman
"Doll / Human" (January 30, 2008) – Single with Aoi Tada #54 on Oricon
"Doll" and "Human" were used as ending themes for Gunslinger Girl -Il Teatrino-
"Toki o Kizamu Uta / Torch" (November 14, 2008) #13 on Oricon
Opening/ending themes of the Clannad After Story anime series
"My Soul, Your Beats! / Brave Song" (May 26, 2010) – Single with Aoi Tada #3 on Oricon
Performed "My Soul, Your Beats! ", which was used as the opening theme to the Angel Beats! anime series
"Ashita Tenki ni Naare" (July 21, 2010)
Title song was used as the first ending theme for Daimajin Kanon and "Aruite Kaerō" was used for the second ending theme
"Kizunairo" (October 27, 2010) #6 on Oricon
Opening theme for the Fortune Arterial anime series
"Justitia"
Opening theme for the Wizard Barristers anime series
"Daze / Days" (June 18, 2014)
Performed "Days", which was used as the ending theme for the Mekakucity Actors anime series
"Heartily Song" (April 1, 2015)
Opening theme for the Angel Beats!Ecstasy insert song)
"Tazunebito" (Hoshiuta opening theme)
"Hoshikuzu no Kizuna" (Hoshiuta: Starlight Serenade opening theme)
"Mado Kara Mieru" (Calling All Dawns)
"Asu ni Mukatte, Get Dream!" (Crash B-Daman first ending theme)
"I scream Chocolatl" (Team Nekokan feat. <mask>, Kokoro Connect fourth ending theme)

References

External links

Anime musicians
Avex Group artists
Living people
New-age musicians
Singers from Tokyo
21st-century Japanese singers
Year of birth missing (living people)
21st-century Japanese women singers

masks: Lia Lia Lia Lia Lia Lia Lia Lia Lia Lia Lia Lia Lia Lia Lia


text_chunks:
Amantine Lucile Aurore Dupin (; 1 July 1804 – 8 June 1876), best known by her pen name <mask> (), was a French novelist, memoirist, and journalist. One of the most popular writers in Europe in her lifetime, being more renowned than both Victor Hugo and Honoré de Balzac in England in the 1830s and 1840s, <mask> is recognised as one of the most notable writers of the European Romantic era. Personal life
<mask> – known to her friends and family as "Aurore" – was born in Paris and was raised for much of her childhood by her grandmother Marie-Aurore de Saxe, Madame Dupin de Francueil, at her grandmother's house in the village of Nohant, in the French province of Berry. <mask> inherited the house in 1821 when her grandmother died; she used the setting in many of her novels. Her father, Maurice Dupin, was the grandson of the Marshal General of France, Maurice, Comte de Saxe, an out-of-wedlock son of Augustus II the Strong, king of Poland and elector of Saxony, and a cousin to the sixth degree to Kings Louis XVI, Louis XVIII and Charles X of France. She was also more distantly related to King Louis Philippe of France through common ancestors from German and Danish ruling families. <mask>'s mother, Sophie-Victoire Delaborde, was a commoner.Gender expression

<mask> was one of many notable 19th-century women who chose to wear male attire in public. In 1800, the police issued an order requiring women to apply for a permit in order to wear male clothing. Some women applied for health, occupational, or recreational reasons (e.g., horse riding), but many women chose to wear pants and other traditional male attire in public without receiving a permit. They did so as well for practical reasons, but also at times to subvert dominant stereotypes. <mask> was one of the women who wore men's clothing without a permit, justifying it as being less expensive and far sturdier than the typical dress of a noblewoman at the time. In addition to being comfortable, <mask>'s male attire enabled her to circulate more freely in Paris than most of her female contemporaries and gave her increased access to venues from which women were often barred, even women of her social standing. Also scandalous was <mask>'s smoking tobacco in public; neither peerage nor gentry had yet sanctioned the free indulgence of women in such a habit, especially in public (though Franz Liszt's paramour Marie d'Agoult affected this as well, smoking large cigars).While there were many contemporary critics of her comportment, many people accepted her behaviour until they became shocked with the subversive tone of her novels. Those who found her writing admirable were not bothered by her ambiguous or rebellious public behaviour. Victor Hugo commented, "<mask> cannot determine whether she is male or female. I entertain a high regard for all my colleagues, but it is not my place to decide whether she is my sister or my brother." Notable relationships

In 1822, at the age of eighteen, <mask> married (François) Casimir Dudevant, an out-of-wedlock son of Baron Jean-François Dudevant. She and Dudevant had two children: Maurice and Solange (1828–1899). In 1825, she had an intense but perhaps platonic affair with the young lawyer Aurélien de Sèze.In early 1831, she left her husband and entered upon a four- or five-year period of "romantic rebellion". In 1835, she was legally separated from Dudevant and took custody of their children. <mask> had romantic affairs with the novelist <mask> (1831), the writer Prosper Mérimée, the dramatist Alfred de Musset (summer 1833 – March 1835), Louis-Chrysostome Michel, the actor Pierre-François Bocage, the writer Charles Didier, the novelist Félicien Mallefille, the politician Louis Blanc, and the composer Frédéric Chopin (1837–1847). Later in her life, she corresponded with Gustave Flaubert, and despite their differences in temperament and aesthetic preference, they eventually became close friends. She engaged in an intimate romantic relationship with actress Marie Dorval. Relationship with Chopin
<mask> spent the winter of 1838–1839 with Chopin in Mallorca at the (formerly abandoned) Carthusian monastery of Valldemossa. The trip to Mallorca was described in her Un hiver à Majorque (A Winter in Majorca), first published in 1841.Chopin was already ill with incipient tuberculosis at the beginning of their relationship, and spending a cold and wet winter in Mallorca where they could not get proper lodgings exacerbated his symptoms. <mask> and Chopin also spent many long summers at <mask>'s country manor in Nohant from 1839 to 1846, skipping only 1840. There, Chopin wrote many of his most famous works, including the Fantaisie in F minor, Op. 49, Piano Sonata No. 3, Op. 58, and the Ballade No. 3 Op.47. In her novel Lucrezia Floriani, <mask> used Chopin as a model for a sickly Eastern European prince named Karol. He is cared for by a middle-aged actress past her prime, Lucrezia, who suffers a great deal through her affection for Karol. Though <mask> claimed not to have made a cartoon out of Chopin, the book's publication and widespread readership may have exacerbated their later antipathy towards each other. After Chopin's death, <mask> burned much of their correspondence, leaving only four surviving letters between the two. Three of the letters were published in the "Classiques Garnier" series in 1968. Another breach was caused by Chopin's attitude toward <mask>'s daughter, Solange.Chopin continued to be cordial to Solange after Solange and her husband Auguste Clésinger had a falling out with <mask> over money. <mask> took Chopin's support of Solange to be extremely disloyal, and confirmation that Chopin had always "loved" Solange. <mask>'s son Maurice also disliked Chopin. Maurice wanted to establish himself as the "man of the estate" and did not wish to have Chopin as a rival. Maurice removed two sentences from a letter <mask> wrote to Chopin when he published it because he felt that <mask> was too affectionate toward Chopin and Solange. They separated two years before his death for a variety of reasons. Chopin was never asked back to Nohant; in 1848, he returned to Paris from a tour of the United Kingdom, to die at the Place Vendôme in 1849.<mask> was notably absent from his funeral. Death
<mask> died at Nohant, near Châteauroux, in France's Indre département on 8 June 1876, at the age of 71. She was buried in the private graveyard behind the chapel at Nohant-Vic. In 2003, plans that her remains be moved to the Panthéon in Paris resulted in controversy. Career and politics

<mask>'s first literary efforts were collaborations with the writer <mask>. They published several stories together, signing them <mask>. <mask>'s first published novel Rose et Blanche (1831) was written in collaboration with <mask>.She subsequently adopted, for her first independent novel, Indiana (1832), the pen name that made her famous – <mask>. <mask> was the most popular writer (of any gender) in Europe by the age of 27, more popular than both Victor Hugo and Honoré de Balzac in England in the 1830s and 1840s, and she remained immensely popular as a writer throughout her lifetime and long after her death. Early in her career, her work was in high demand; by 1836, the first of several compendia of her writings was published in 24 volumes. In total, four separate editions of her "Complete Works" were published during her lifetime. In 1880, her children sold the rights to her literary estate for 125,000 Francs (equivalent to 36 kg worth of gold, or 1.3 million dollars in 2015 USD). Drawing from her childhood experiences of the countryside, <mask> wrote the pastoral novels La Mare au Diable (1846), François le Champi (1847–1848), La Petite Fadette (1849), and Les Beaux Messieurs de Bois-Doré (1857). A Winter in Majorca described the period that she and Chopin spent on that island from 1838 to 1839.Her other novels include Indiana (1832), Lélia (1833), Mauprat (1837), Le Compagnon du Tour de France (1840), Consuelo (1842–1843), and Le Meunier d'Angibault (1845). Theatre pieces and autobiographical pieces include Histoire de ma vie (1855), Elle et Lui (1859, about her affair with Musset), Journal Intime (posthumously published in 1926), and Correspondence. <mask> often performed her theatrical works in her small private theatre at the Nohant estate. Political views
<mask> also wrote literary criticism and political texts. In her early life, she sided with the poor and working class as well as women's rights. When the 1848 Revolution began, she was an ardent republican. <mask> started her own newspaper, published in a workers' co-operative.Politically, she became very active after 1841 and the leaders of the day often consulted with her and took her advice. She was a member of the provisional government of 1848, issuing a series of fiery manifestos. While many Republicans were imprisoned or went to exile after Louis-Napoléon Bonaparte's coup d’état of December 1851, she remained in France, maintained an ambiguous relationship with the new regime, and negotiated pardons and reduced sentences for her friends. <mask> was known for her implication and writings during the Paris Commune of 1871, where she took a position for the Versailles assembly against the "communards", urging them to take violent action against the "rebels". She was appalled by the violence of the Paris Commune, writing, "The horrible adventure continues. They ransom, they threaten, they arrest, they judge. They have taken over all the city halls, all the public establishments, they’re pillaging the munitions and the food supplies."Criticism

<mask>'s writing was immensely popular during her lifetime and she was highly respected by the literary and cultural elite in France. Victor Hugo, in the eulogy he gave at her funeral, said "the lyre was within her." Eugène Delacroix was a close friend and respected her literary gifts. Flaubert, by no means an indulgent or forbearing critic, was an unabashed admirer. Honoré de Balzac, who knew <mask> personally, once said that if someone thought she wrote badly, it was because their own standards of criticism were inadequate. He also noted that her treatment of imagery in her works showed that her writing had an exceptional subtlety, having the ability to "virtually put the image in the word." Alfred de Vigny referred to her as "Sappho".Not all of her contemporaries admired her or her writing: poet Charles Baudelaire was one contemporary critic of <mask>: "She is stupid, heavy and garrulous. Her ideas on morals have the same depth of judgment and delicacy of feeling as those of janitresses and kept women ... The fact that there are men who could become enamoured of this slut is indeed a proof of the abasement of the men of this generation." Influences on literature

Fyodor Dostoevsky "read widely in the numerous novels of <mask>" and translated her La dernière Aldini in 1844, but "discovered to his dismay that the work had already appeared in Russian". In his mature period, he expressed an ambiguous attitude towards her. For instance, in his novella Notes from Underground, the narrator refers to sentiments he express as, "I launch off at that point into European, inexplicably lofty subtleties a la <mask>"

The English poet Elizabeth Barrett Browning (1806–61) wrote two poems: "To <mask>: A Desire" (1853) and "To <mask>: A Recognition". The American poet Walt Whitman cited <mask>'s novel Consuelo as a personal favorite, and the sequel to this novel, La Comtesse de Rudolstadt, contains at least a couple of passages that appear to have had a very direct influence on him.In addition to her influences on English and Russian literature, <mask>'s writing and political views informed numerous 19th century authors in Spain and Latin America, including Gertrudis Gómez de Avellaneda, the Cuban-born writer who also published and lived in Spain. Critics have noted structural and thematic similarities between <mask>'s Indiana, published in 1832, and Gómez de Avellaneda's anti-slavery novel Sab, published in 1841. In the first episode of the "Overture" to Swann's Way—the first novel in Marcel Proust's In Search of Lost Time sequence—a young, distraught Marcel is calmed by his mother as she reads from François le Champi, a novel which (it is explained) was part of a gift from his grandmother, which also included La Mare au Diable, La Petite Fadette, and Les Maîtres Sonneurs. As with many episodes involving art in À la recherche du temps perdu, this reminiscence includes commentary on the work. <mask> is also referred to in Virginia Woolf's book-length essay A Room of One's Own along with <mask> and Charlotte Brontë as "all victims of inner strife as their writings prove, sought ineffectively to veil themselves by using the name of a man." Frequent literary references to <mask> can be found in Possession (1990) by A. S. Byatt and in the play Voyage, the first part of Tom Stoppard's The Coast of Utopia trilogy (2002). <mask> makes an appearance in Isabel Allende's Zorro, going still by her given name, as a young girl in love with Diego de la Vega (Zorro).Chopin, <mask> and her children are the main characters of the theater play by Polish writer Jarosław Iwaszkiewicz "A Summer in Nohant", which premiered in 1930. The play, presenting the final stage of the writer-composer's relationship, was adapted five times by Polish Television: in 1963 (with Antonina Gordon-Górecka as <mask> and Gustaw Holoubek as Chopin), in 1972 (with Halina Mikołajska and Leszek Herdegen), in 1980 (with Anna Polony and Michał Pawlicki), in 1999 (with Joanna Szczepkowska, who portrayed Solange in the 1980 version and Piotr Skiba) and in 2021 (with Katarzyna Herman and Marek Kossakowski). In film
<mask> is portrayed by Merle Oberon in A Song to Remember, by Patricia Morison in Song Without End, by Rosemary Harris in Notorious Woman, by Judy Davis in James Lapine's 1991 British-American film Impromptu; and by Juliette Binoche in the 1999 French film Children of the Century (Les Enfants du siècle). Also in George Who? (French: <mask> qui? ), a 1973 French biographical film directed by Michèle Rosier and starring Anne Wiazemsky as <mask>, Alain Libolt and Denis Gunsbourg. In the 2002 Polish film Chopin: Desire for Love directed by Jerzy Antczak <mask> is portrayed by Danuta Stenka.Contributions by Diane de Margerie, Yves Gagneux, Françoise Heilbrun, Isabelle Leroy-Jay Lemaistre, Claude Samuel, Arlette Sérullaz, , Nicole Savy & Martine Reid.
 .
  (see "Writings by <mask>").
 . In French:

 . Further reading

 Harlan, Elizabeth (2004). <mask>. New Haven: Yale University Press. .
 Jordan, Ruth, <mask>: a biography, London, Constable, 1976, . Parks, Tim, "Devils v. Dummies" (review of <mask>, La Petite Fadette, translated by Gretchen van Slyke, Pennsylvania State, 2017, , 192 pp. ; and Martine Reid, <mask>, translated by Gretchen van Slyke, Pennsylvania State, 2019, , 280 pp.), London Review of Books, vol. 41, no. 10 (23 May 2019), pp. 31–32. The men that <mask> loved,' Reid observes, 'all had a certain physical resemblance... fragile, slight and a bit reserved.' Unthreatening, in short. Above all, they were younger than her.<mask>, Musset and then, for the nine years between 1838 and 1847, Chopin, were all six years her junior." (p. 32.)
 . Oscar Wilde dreams of <mask> and is invited to a soirée at Nohant. External links

 <mask> – a site in memory of the 200th anniversary of <mask>'s birth
 <mask>, her work in French free readable version
 <mask>, her work in audio version

1804 births
1876 deaths
19th-century French composers
19th-century French dramatists and playwrights
19th-century French novelists
19th-century French women writers
Frédéric Chopin
French women novelists
French socialists
Légion d'honneur refusals
People from Centre-Val de Loire
Pseudonymous women writers
Writers from Paris
19th-century letter writers
19th-century pseudonymous writers
Pipe smokers

masks:
George Sand
Sand
George Sand
Sand
Sand
Sand
Sand
Sand
Sand
George Sand
Sand
Sand
Jules Sandeau
Sand
Sand
Sand
Sand
Sand
Sand
Sand
Sand
Sand
Sand
Sand
Sand
George Sand
Sand
Sand
Jules Sandeau
Jules Sand
Sand
Sandeau
George Sand
Sand
Sand
Sand
Sand
Sand
Sand
Sand
Sand
George Sand
George Sand
George Sand
George Sand
George Sand
Sand
Sand
George Sand
Sand
George Eliot
George Sand
George Sand
Sand
Sand
George Sand
George
George Sand
George Sand
George Sand
George Sand
George Sand
George Sand
George Sand
Sand
Sandeau
George Sand
George Sand
George Sand
George Sand
George Sand


text_chunks:
<mask> (; born July 17, 1945) is a modern Russian composer. He is the author of music for Soviet and Russian musicals (rock operas) The Star and Death of Joaquin Murieta (, 1976) and  Juno and Avos (, 1981, shown more than 700 times), for numerous plays and operas, for more than 80 Russian movies. More than 10 million discs with his music have been sold to 1989. Biography
<mask> was born in Moscow on July 17, 1945. Having come into the world in a family of a violinist and an artist, he was surrounded by art and music from the first days of his life. <mask> composed one of his first works, "The Thief of Baghdad", being influenced by a very popular at those times trophy film under the same name. <mask> passed exams to the Central Music School at the Moscow Conservatory.The boy's father introduced his son to Aram Khachaturian, who proposed the boy to study in his class. After finishing the music school in 1962, <mask> entered the conservatory where his close contact with the teacher went on. Later <mask> did post-graduate studies under Khachaturian's supervision as well. In 1969 <mask> was admitted to the Union of Soviet Composers. After that, during several years <mask> was teaching at the chair of theoretical disciplines and assisted in the class of Khachaturian. But then <mask> left teaching. During the period of 1960 and 1970s <mask>'s creative work was marked by classical symphony traditions.He wrote camera music, concertos for the violin, for the string quartet and orchestra, for the bayan and orchestra of Russian Folk Instruments, "Russian overture" for the symphony orchestra, and many others. In 2005 <mask> <mask> celebrated his 60th Anniversary by a special concert conducted by Mark Gorenstein at Chaikovsky Concert Hall. Years 2005-2008 were marked by presentations of Children Musicals composed by <mask> <mask> - "Little Red Riding Hood" and "Bu-ra-ti-no!" (the Russian fairy tale based upon the Pinocchio story) became the real events in the theater Moscow life not only for children but for their parents as well. <mask>'s music and starring of famous Russian artists as well as stage direction of Alexander Rikhlov made the shows so popular that at the summer season 2007 "Bu-ra-ti'no!" went on stage 120 times despite the theater "dead season". On February 29, 2009, a gorgeous first of scenes from <mask>'s Musical Drama "the Opera House" went on in the legendary fifth studio of Moscow Recording House performed by the orchestra "Molodaya Rossia" conducted by Mark Gorenstein.In 2009, after an invitation by Pierre Cardin for participation in Lacoste Festival, <mask> <mask> created the author version of the "Juno and Avos" rock-opera. The first was really remarkable on July 3, 2009. Since then the new version is performed at the best venues of Russia and abroad, at theaters, concert halls and festivals. In the autumn 2012, the theater of <mask> <mask> presented at the theater venue of Moscow Music Hall the special show including scenes from the most famous theater performances composed by <mask> and movie soundtracks. The first became the official presentation of the new work of Rybnokov's musical art - "Live Pictures of the time of Alexander I and Napoleon Bonapart based upon the novel "War and Peace" by the count Lev Tolstoy". In 2013 <mask> is planning to produce the whole show as well as the new version of the "Liturgy" and of "Joakine". The entire life of <mask> <mask> is associated with music.But music is not the only field of activity — he has been contributing to some public projects. He takes an active part in the sessions of the Board, promoting cultural and social programs, has found his Theatre. <mask> is a President of the National Festival “The Musical Heart of the Theatre” and Russian Family Festival “Our Buratino”. Movie soundtracks

Since 1965 <mask> has already started composing movie music and become one of the most famous soviet composers creating music for movies. A short film “Lelka” by director Pavel Arsenov (1966) was his first experience. The composer's debut in the new genre appeared to be so successful, that invitations from film directors followed one after another

Since 1979 <mask> has been a member of the Union of Cinematographers. Working over the past four decades in cinematograph <mask> has written music for more than 100 films.Despite the huge total number of the movie works, some of them have become important milestones in <mask>'s creative work. Among them there are soundtracks to such movies as:
 The Treasure Island (1971) by director Eugene Fridman;
 A Great Space Voyage (1975) by director Valentin Selivanov;
 The Adventures of Buratino (1975) and “About the Little Red Riding Hood. The Continuation of the Old Fairy Tale” (1977)  by director Leonid Nechaev. After showing of the movie about Buratino, a musical album was released. No sooner had the records gone on sale as they were bought in a moment. A million of vinyl discs were sold out for just a year. Mustached Nanny (1977) by director Vladimir Grammatikov
 Per Aspera Ad Astra (film) (1981) by director Richard Viktorov
 You couldn’t dream of… (1981) by director Ilya Frez;
 The Very Same Munchhausen (1981) by Mark Zakharov;
 Chance (1984) by Aleksandr Mayorov;
 Hello, can you hear us?(1990) — is a picture by a Latvian director-documentalist Yuri Podnieks. It produced an effect of an exploded bomb with its straightness and the truth about the modern world. The film won the Golden Lion at the festival in Venice in 1991;
 Children from the Abyss (2000) by director Pavel Chukhray. Star by director Nikolai Lebedev is the movie that brought to the composer all possible home awards for music in cinema and also the National Prize of the Russian Federation. Andersen by Eldar Ryazanov
 Rabbit Over the Abyss by Tigran Keosayan
 TV series The Case of the Dead Souls by Pavel Loungin
 Wolfhound (2006) by Lebedev
 1612 by Vladimir Khotinenko and others. Rock-operas

Rock-opera “The Star and Death of Joaquin Murieta” with the libretto by Pavel Grushko, telling a story about life, struggle, and death of the legendary Chilean hero became the composition that opened a new — theatrical era in <mask>'s life. “The Star” rose on Lenkom's stage in 1976.Its director was Mark Zakharov, who had offered this project to <mask>. On one hand, musical innovation, strength and conviction of the young composer, his subtle perception of alien melodic culture, and bringing the world of rock-music with its hard rhythms to the home drama (!) stage provoked a prolonged reject from censors (the performance had been banned 11 times for political reasons; finally it was released). On the other hand, it beat all the records of popularity and recognition at once. In 1977  “Melody” record company issued a double album of “The Star and Death” that won the 1st place in a hit parade of the best recordings. Opera-mystery “Avos” (1979), known to the general public as “Junon” and “Avos”, was his next work. It has united central, basic elements of <mask>'s musical mentality — Russian sacred music, national folklore, genres of mass “city” music and figurative, ideological, and aesthetic priorities of the musician — the idea of expiation of sins by the man, his misdeeds and taking a responsibility, salvation in the God's Love and Remission, consciousness of the Divine Mercy and praising of the Most High.Originally, the musical sphere was closely connected with the texts from the Orthodox Prayer Book and Psalms. Later, the poem “Avos”, written by a Russian poet Andrey Voznesensky, as well as his lyrics, gave a vigorous emotional stimulus to a musician. Since then libretto of the opera has contained both the holy and secular sources. “Juno and Avos” in Lenkom (premiered in 1981) is different because it hasn't got quite the same plot. Like the previous performance “The Star and Death of Joaquin Murieta”, “Juno and Avos” by Zakharov was born to become a manifest. It is a proclamation of independent thoughts; it is an original understanding of western standards of rock-opera genre. Zakahrov's attempt to make the performance with less religious meaning, with more “rock” sound has been better both for the theatre and the play in its new version (not original, not <mask>'s one).Though, obviously, it's another dramatic piece, not the composer's. The accents have been shifted. In the centre there is no more a suffering man with his confusion, pain, search for himself, his soul; but a love story. <mask>'s third musical-scenic composition — “The Liturgy of the Heathens” was created during almost ten years. It includes lyrics and poems by Renaissance poets, by Russian writers and poets of the Silver Age, prophecy and afflatus about the approaching Doomsday. The opera was staged in a chamber hall of <mask> <mask>'s theatre in 1992. Orchestral works

 Fifth Symphony — “The Resurrection of the Dead”.It premiered in spring of 2005. <mask> creates a picture coming alive in imagination by vocal-symphony means. Successively it throws into desperation (the First part — Resurrection of the Dead, calling them for the Last Judgment), grief (the Second part — mourning over all the killed). In the Third part there is horror in front of the power of the Evil that has been aroused and defeated by the will of the Most High Judge. And the general feeling of the God’s might, thrill, and joy of a premonition of eternal life at the same time is in the Fourth part. Concerto grosso for soloists and chamber orchestra — “L’Oiseau bleu” and “The Northern Sphinx”, both recorded and performed by famous musicians. The first piece was written under the impression of the plays by Maeterlinck — “L’Oiseau Bleu” and “Les Fiancailles”, and became a musical embodiment of images, turned the classic drama of the beginning of the 20th century.And the second — “The Northern Sphinx” is dedicated to the personality of the Russian Emperor — Alexander the First. The historical context of the period of his rein — the beginning of the 19th century defined the musical style of composer's work. Theater performances and operas

The year 2013 is marked by the work on the stage version of the "Live Pictures of the time of Alexander I and Napoleon Bonapart" getting the new shorter name - modern opera "War and Peace". References

External links
Official website of <mask> <mask>
 Интервью Алексея Рыбникова сайту «Казань24»

1945 births
Living people
Musicians from Moscow
Russian composers
Russian male composers
Russian rock musicians
Russian film score composers
Soviet film score composers
Academicians of the National Academy of Motion Picture Arts and Sciences of Russia
Recipients of the Order of Honour (Russia)
Recipients of the Nika Award
People's Artists of Russia
Male film score composers
20th-century Russian male musicians
Male musical theatre composers
21st-century Russian male musicians

masks:
Alexey Lvovich Rybnikov
Alexey Rybnikov
Alexey
Rybnikov
Rybnikov
Alexey
Rybnikov
Alexey
Alexey
Rybnikov
Alexey
Rybnikov
Alexey
Rybnikov
Rybnikov
Rybnikov
Alexey
Rybnikov
Alexey
Rybnikov
Rybnikov
Rybnikov
Alexey
Rybnikov
Rybnikov
Alexey
Rybnikov
Rybnikov
Rybnikov
Rybnikov
Rybnikov
Rybnikov
Rybnikov
Rybnikov
Alexey
Rybnikov
Rybnikov
Alexey
Rybnikov