Accounting Information for Business

Questions: 1. Kaplan and Norton (1996) made the Balanced Scorecard to give supervisors a superior exhibition estimation framework, one that was connected to the associations system. Set up a business report to help an emergency clinics Trust Board on the idea of a Balanced Scorecard that likewise investigations its value for the hospital.2. Compose a short audit that fundamentally looks into two articles on the execution of the Balanced Scorecard. Answers: 1 - Business Report Presentation This report is expected to look at what advantages can be accomplished by actualizing Balanced Scorecard in NewcroftHospital Trust and what issues it can experience to. The report will diagram what complimentary procedures would should be actualized so as to help Balanced Scorecard model in Trust. It would likewise deliver to show a few restrictions or drawbacks balance scorecard model. Writing Review Balanced Scorecard Model Created by Kaplan and Norton (1996) the BalancedScorecard model was proposed as a presentation the executives instrument and was planned to help associations to look past monetarily weighted Performance Management System. The under reason of Balanced Scorecard model was what is estimated is what is gotten (Fenton-OCreevy and Knight). The Balanced Scorecard model expected to incorporate some different markers that can contribute toward accomplishment in execution and the executives arrangement of association. Kaplan and Norton saw the over the top reliance on money related markers to oversimplified a perspective on associations performance.The associations can deal with the interrelationships between the exercises all the more proficiently by including budgetary and non-monetary pointers. Kaplan featured that the exhibition marker remembered for Balanced Scorecard model should be connected with key objectives (Fenton-OCreevy and Knight). This guarantees hierarchical exercises are lined up with its vital objectives and causes representatives to acknowledge how they fit to the master plan. It was prompted by Norton and Kaplan that four alternate points of view ought to be related in Balanced Scorecard model. These four perspectivesinclude development and learning point of view, inside advancement viewpoint, client viewpoint and budgetary viewpoint. Norton and Kaplan further exhorted that these points of view can be adjusted by hierarchical necessities and targets (Kaplan and Norton). Adjusted Scorecard Model for NewcroftHospital/Trust As this report expected to examineshow Balanced Scorecard model can be actualized NewcroftTrust Hospital. Right off the bat, it will center Trusts procedures since this will shape the premise of Balanced Scorecard Model. At that point it will be consider, what execution marker the Trust will undoubtedly give an account of on the grounds that these might be should have been shown in Balanced Scorecard. Once, the Trust system and discretionary pointers are set up the report will go to concentrate on requirements of partners who ought to be considered, while structuring the Balanced Scorecard. The methodology of Trustis delineated under its vision Our Patients are at the Heart of Everything we do. The Trust has broken this system into five elevated level destinations and some significant level measurements to evaluate progress of these targets. The NewcroftTrusts purposes: To be the social insurance supplier for and a national pro place In organization with Newcastle University Faculty of Medical Sciences and others to be broadly and globally regarded for our effective clinical innovative work program which prompts benefits in human services and for patients To keep up monetary practicality and steadiness To advance solid living and ways of life To support the conveyance of our vision for coordinated consideration across Newcastle and its environs in association with Newcastle City Council The vision Our Patients are at the Heart of Everything we do is accompaniedin one highlevel objective: To put patients at the focal point of everything we do, giving the most secure and best medicinal services. For this target, the related measurement is the quantity of clients who prompted they get an acceptable assistance from Trust. The measurement have all the earmarks of being lacking as there are 13,500 representatives in the Trust and the picked preparing inline would not accomplish the target. The Balanced Scorecard configuration ought to add to reinforce these measurement by fundamentally estimating exercises, which have more noteworthy possibility of conveying the goal of Trust (yet can't be anything but difficult to measure).The Balanced Scorecard plan should be lined up with motivations behind Trust.To apply, it is expected to incorporate component of the current execution the executives framework. That is on the grounds that Trust unabled to give an account of specific markers. The significant pointers which Trust needs to gauge are (BVPIs) Best worth execution marker, (HIS) Trust data framework, (AER) Annual proficiency commentator (QOL)Quality of life marker and some differen t pointers that administration may regard important. The patients must provide details regarding best worth pointer of Trust, while nearby markers in particular (HIS) Trust data framework, (AER) Annual productivity analyst (QOL) Quality of life marker all add to Trusts complete execution assessment.The exhaustive execution is shown by review commission which is one of a definitive drivers of neighborhood authority. A brilliant exhibition audit intends to have more noteworthy notoriety from government, nearby and national acknowledgment from peer, on opposite side terrible showing survey results inverse. An imperative to be thought of, should the Balanced Scorecard configuration join existing self-assertive marker or should it be a totally discrete exhibition framework,working alongside existing framework.If the pointers are incorporated then administrators and representatives may create pointer overload.If the current pointers or should the Balanced Scorecard. On the off chance that current markers are excluded, at that point corporate execution framework appears to turn out to be little confusing.In agreement of neighborhood authority settings, administrators would presumably will in general focus on existing discretionary pointer to the impairment of some other pointer. In the two cases, the Balanced Scorecard configuration stamped danger of become lopsided, seeing that, it is accepted that discretionary pointer ought to be incorporated.Then the structure will require tocomprise and circulate markers to suitable degree of the executives to limit the danger of marker over-burden. The Outcome The partners are characterized by Freeman as any gathering or person who can influence or is influenced by the accomplishment of hierarchical targets. The nature, unpredictability and assortment of administrations gave by neighborhood authority show that there are diverse partners (Parmar et al.). This report incorporates some of them who are characterized into suppliers and payers. The Trustspatients can be considered as payers. Narrative confirmations propose that administration clients need quality services,which are anything but difficult to accessand rendered at ideal way. The patients cost Trust, however it is of the essential explanation behind presence of Trust.The Balanced Scorecard configuration would be expected to incorporate pointers which address patients issues. The prerequisites are required to be fulfilled under procedure. But this, the business or the executives can be considered as supplier is likewise a partner. The business produces income which all together account administrations. Somewhat, the business and the executives are responsible to support clients (patients) since they are payers. It reasons that business and the executives have personal stake in creating quality help. The business has set its own exhibition markers to an accomplish this. A few markers are set by nearby specialists that can change, however may frame reason for Balanced Scorecards in them.The run for brilliant pointers must be founded on client or patients viewpoints, process and money related points of view, advancement viewpoints and improvement viewpoints. It is accepted to fortify Newcroft Hospital Trusts execution proficiently in accordance with its vision. An ongoing report with respect to Northumbria Healthcare NHS Foundation Trust in England relates, to guarantee kept on being a high performing medicinal services supplier, the CEO expressed, astounding past execution has no assurance of future achievement. High performing associations remain so by looking forward, getting difficulties and continually deciding the correct procedure. A segment of this was presentation of Balanced Scorecard as their vital administration device We were searching for another and amazing asset for honing key definition. The above declarations feature the positive result of Balanced Scorecard execution by medicinal services suppliers from improved execution estimation. Banchieri (2011) recommended that over all businesses, not simply wellbeing, usage of the Balanced Scorecard is frequently connected with a key change in the association (Luca-Clara Banchieri). Distinguishing Limitation of ImplementingBalanced Scorecard There are numerous case of achievement for usage of parity scorecard model. This paper is expected to survey the effect of the fair scorecardin distinctive level and areas of organizations.Therefore some portion of article depends on information to think about and recognize the limitationsof adjusted scorecard. Parity Scorecard Design Implementation The SAQ Company Limited was built up in 2002. It is a retail exchanging organization the electrical apparatus segment. The principle result of organization is air purifiers, which adds to its third biggest piece of the overall industry in nation. The organization has yearly deals of more than 10 million and has twelve full-time staff and various low maintenance staff contingent upon the season and promoting efforts. The drive for actualizing the Balanced Scorecard originated from the administrator proprietor. The fundamental purpose behind his choice was that he saw a future for this business and anticipated fast development in the close to f

The IB Extended Essay Sample Questions For Business Study Course

The IB Extended Essay Sample Questions For Business Study CourseThe IB Extended Essay Sample questions for Business study course is where you will be able to obtain useful information on a wide variety of subjects, both academic and practical. You will be able to go through these sample questions and get an idea of what to expect from this kind of study course. These questions are intended to give you a good idea of how they are going to handle different types of questions you will encounter in the IB Extended Essay format. This is the reason why it is imperative that you take your time to review all of the questions you have to ensure that you understand what they expect you to know.When reviewing the IB Extended Essay samples for Business, you will find that each of them is designed to deal with different aspects of a particular area of business that you need to study for. However, most of them have an equal amount of emphasis and complexity in terms of the topic or subject that th ey are written about. This makes it easier for you to get a grasp of the kind of questions that you need to prepare for.One area you will want to remember is that every single question on the IB Extended Essay Sample study course for Business Administration is designed to give you a good idea of what to expect from the subject matter that you will be studying. Because of this, you will be able to improve your efficiency by following the learning path set forth by the course. In this case, it would be best if you review the entire course so that you can start working on your own understanding of the subject matter so that you can apply it in your own business.Since the IB Extended Essay Sample questions for Business course is designed for people who have prior experience in business management, you will find that you have an easier time knowing the exact types of questions that you will be required to answer. On the other hand, the question types may not be as difficult to answer as you would think. In fact, since you will be asked to get familiar with a large number of questions, it will be very easy for you to be able to answer them with ease.You will find that the IB Extended Essay examples that you will be studying cover a wide range of topics. Each of them will demand that you put some serious thought into the kinds of questions that you will be answering. But because of the extensive number of them, you will be able to get used to the kind of questions that you will be receiving throughout the course.Because of the practical nature of the IB Extended Essay Examples Business Administration course, you will be able to get a feel for how a good job interviewer would present to you as well as how you should present yourself. It will also help you to better anticipate when an interviewer will ask you a question. This will ensure that you will be prepared to provide an answer that will make the interviewer satisfied with your answers.One other thing that you wi ll want to take into consideration is that you will not be allowed to answer an IB Extended Essay Sample question for Business Administration question on your own. If you were to try to do so, then it would be possible for you to forget important information. Therefore, it is essential that you have a teacher present during your class so that you can have someone who can help you remember your notes.As you can see, there are several things that you will need to remember when reviewing the IB Extended Essay sample question for Business Administration. So the next time you are faced with a particularly difficult question, just remember that it is okay to pause and ponder for a while before responding. This will help you prepare yourself properly for answering the question and give you a good chance to answer it correctly.

Features of Public Health Care Policy for Medicare - myassignmenthelp

Question: Expound on theFeatures of Public Health Care Policy for Medicare. Answer: The essential focal point of the paper is the diverse social insurance approach and the various angles identified with it. It further contains the proof, partner promotion and the political decision in the comprehension of the general wellbeing arrangement. The accentuation has been laid on the strategy triangle to recognize the primary highlights of the Australian government's Medicare Benefits Schedule Review Taskforce's starter report on the night-time expert administrations. To help the contention the arrangement triangle model has been considered. It distinguishes the partners and the way toward forming the arrangement. At long last, the significance of the approach and the methodology of improving it have been referenced in the exposition. By doing a nitty gritty investigation of the taskforce, it has been noticed that in the middle of the years 2010-2011 and 2015-2016, there has been an expansion of the quantity of the pressing twilight MBS administrations. The administrations have expanded unto one hundred and 50%. This as well as has expanded by one hundred and 70%. In some urban zones of Australia, the utilization of this pressing after administrations has expanded to a great extent. The development in the halting of the pressing night-time administrations comes as not be driven by the expanding clinical requirement for the earnest afterhour administrations (Glasgow, et al., 2012). It has converged with the passage of new pursuit into the market with the incorporation of models, which elevate the administrations to the customers and putting the emphasis on the possibility of the clients without additional expense. Much of the time it has been discovered that there has been no reasonable distinction among 'earnest' and 'non-critical'. It has been exceptionally confounded by the clinical experts. The popularity of the utilization of the things by MDS administrations converges with the proceeding with administration of care by the patient's normal GP and MDS administrations are now and again offered less qualified specialists. This subsidizing ought to be made accessible for the afterhour administrations. The MBS things for the critical nightfall attendances ought not be made accessible where the patient has made an arrangement before the beginning of the night-time period (Kannan, Rabanal Scott, 2012). There has been endeavors taken to comprehend the strategy investigation. Numerous researchers and experts have put forth the attempt. Nonetheless, less consideration has been advanced towards this. The investigation of the wellbeing approach issues is the comprehension of the cooperations between various establishments, premiums and the thoughts identified with the wellbeing strategy. The wellbeing arrangement condition is the most significant thing (Treml Halpin, 2012). Certain particular attributes of the wellbeing division influence the earth of the strategy. The state is both the supplier and buyer of the administrations. It can run as a join forces with the private parts. In the endeavor of the social insurance buy and guidelines, the state is intensely depends on and it comes up short on the fundamental data which can exclusively be given by the divisions it is administering. Medical problems are greatest occasions of prominent and it requests the consideration of the general p opulation. The administration additionally has a significant task to carry out (Weimer Vining, 2017). The state government now and again enjoys the organization with the private human services divisions. The arrangement forms are evolving frequently. It isn't fixed and static. It isn't steady. The administration now and again offers the open clinical offices, which signify the general medicinal services arrangement frameworks. Numerous issues have risen along these lines. The private arrangement frameworks are exorbitant contrasted with the open ones. Greatest individuals can't bear the cost of the private medicinal services parts (Sorrentino, et al., 2012). There are numerous issues also identified with the methodology. Clearly the pre-conditions will be available simultaneously. The jobs of the more elevated level of government will be embraced and the jobs of different on-screen characters are disregarded. It is hard to apply any sort of approach when there is certifiably not a solitary restrictive strategy or any sort of organization included. The approaches continue changing as they are being executed. There is one successful methodology, which is the base up approach, which infers that the individuals at subordinate levels have the alternative to change the strategy and reshape it as per their accommodation. The assessment of the strategy turns out to be very troublesome (Fainstein DeFilippis, 2015). It gets sufficiently troublesome to isolate the effect of the people and various degrees of government on the outcomes and impacts of the arrangement. There is another significant hypothesis, which is known as the head specialist hypot hesis. As per this hypothesis in every circumstance, there is sure connection between the individuals who characterize the strategy and the individuals who partakes in the usage of the arrangement (Jenkins, et al., 2016). The head specialist relationship of the approach relies on the idea of the issues identified with the strategy. it further incorporates the size of the chain required, it additionally incorporates the full size of the gatherings which is being influenced. It likewise incorporates the positive affectability. The formal and casual offices are considered (Turner, 2014). Subsequently from the above paper it very well may be inferred that specific wellbeing approaches needs the political consideration. In spite of the fact that legislative issues goes about as the leader in the plan of the approach in any country, the country needs to focus on the definition of the strategies. It should target making a country liberated from the medical problems. The execution of the strategies ought to have the option to address the impediments that are tended to because of the disappointment of the methodologies. It ought to totally concentrate on the detailing of the strategy for the improvement of the country. it must recognize the jobs of the considerable number of partners including the legislature and the leaders of the private social insurance areas. The proof based arrangement ought to be framed. All the on-screen characters in the framework must capacity successfully. The job of the considerable number of on-screen characters must be broke down totally as th ey have a significant part to play all the while. It must understand what a small number of medical problems converged into the administration strategy plan. References Fainstein, S. S., DeFilippis, J. (Eds.). (2015).Readings in arranging hypothesis. John Wiley Sons. Glasgow, R. E., Green, L. W., Taylor, M. V., Stange, K. C. (2012). A proof incorporation triangle for adjusting science to arrangement and practice.American diary of preventive medicine,42(6), 646-654. Jenkins, T. J., Mai, H. T., Burgmeier, R. J., Savage, J. W., Patel, A. A., Hsu, W. K. (2016). The triangle model of innate cervical stenosis.Spine,41(5), E242-E247. Kannan, P., Rabanal, P., Scott, A. M. (2012). Fiscal and macroprudential strategy administers in a model with house value booms.The BE Journal of Macroeconomics,12(1). Sorrentino, N., Menniti, D., Esposito, L., Gallina, G. (2012, September). A model to analyze supergrid ventures utilizing EU arrangement triangle. InEnergy Conference and Exhibition (ENERGYCON), 2012 IEEE International(pp. 738-742). IEEE. Treml, E. A., Halpin, P. N. (2012). Marine populace network distinguishes natural neighbors for protection arranging in the Coral Triangle.Conservation Letters,5(6), 441-449. Turner, P. (2014). The worldwide long haul loan cost, money related dangers and strategy decisions in EMEs. Weimer, D. L., Vining, A. R. (2017).Policy examination: Concepts and practice. Taylor Francis.

The Couple Doth Protest Too Much Male Maturity in Much Ado About Nothing - Literature Essay Samples

Elizabethan men are not entirely different from some modern men, especially when it comes to their views on marriage, love, and sex. Many men still continue the double standard of expecting their partners to be virginal while they themselves are free to be sexually experienced. And the concept of marriage as painful and confining is still prevalent, along with the romanticized ideals of love and its timelessness. In Much Ado About Nothing Benedick holds many of these views at the start of the play, but how he differs from the rest of the cast is his gradual shift in his views on women, and relationships, by the play’s end. Benedick shifts from playing the role of the misogynist womanizer with a silver tongue to, at the end of the play, being a love struck realist who not only respects Beatrice, but women as a whole, and proves this by agreeing to duel Claudio to â€Å"avenge† Hero and prove his loyalty to Beatrice. This fundamental change is brought about through a seri es of key scenes: the masked party, the staged conversation between Leonato, Claudio and Don Pedro, Claudio’s rejection of Hero at the wedding, and when Benedick vows to Beatrice that he will challenge Claudio. At the start of the play, Benedick is self-impressed and beloved (he claims) by all women except Beatrice. His ego is the caught up in the role he plays as that of a witty banterer, a lady-killer, a heroic soldier and distinguished nobleman. He brings this ego into every encounter he has with anyone, as evidenced by his reticence to give Claudio a straight answer as to whether Hero would make a good match; or when he banters with Beatrice upon his arrival, and defeats her in their battle of wits â€Å"with a jade’s trick† (1.1.141). So when Benedick’s ego is bruised by Beatrice at the masked ball when she says â€Å"[Benedick is] the prince’s jester, a very dull fool. Only his gift is in devising impossible slanders† (2.1.132-33) it forces him to reflect on his characteristics and then, later on in the scene he tells Don Pedro of all the insults and jokes she made at his expense. Benedick struggles here between playing his role and brushing off Beat rice’s insults or accepting that Beatrice really does despise him. His pride and possible hidden affections for Beatrice lead him to rail against her and when Don Pedro and Claudio imply he may like Beatrice he protests overtly. Benedick’s tirade against Beatrice is ironically the catalyst for his subtle shift from viewing his relationship with Beatrice as a sport, to respecting her and even loving her. Before loving Beatrice though, Benedick has to put aside his ego, his ruse of masculinity, and be vulnerable enough to face rejection. So when Leonato, Claudio and Don Pedro carry out their â€Å"accidentally† overheard conversation Benedick’s reaction to hearing of Beatrice’s love is authentic. This is the first scene he is depicted as his true self for the audience, without the guise of being chauvinistic and derisive for Beatrice’s sake. When he is alone and thinks no one else can hear him he even states â€Å"If I do not take pity of her , I am a villain; if I do not love her, I am a Jew† (2.3.255-57). Benedick may have cared for her before or may not have, but whatever his feelings before this encounter they changed because his ego was damaged enough at the masked party to enable his views to shift. So already, the man who said that he â€Å"will live a bachelor† (1.1.239) not one act before is changing his tune just because he perceives a change in Beatrice’s affections towards him. Benedick rationalizes his change in heart so he still does not seem the weaker, but the fact that Benedick is the first to change his feelings and be vulnerable may be a play on the typical gender stereotype of women being more emotional or likely to change their views or opinions. This change in his character, whatever the reason, indicates a change in his sentiments towards women. Whereas before women were just good for giving birth and spending the night with, now Benedick is at least open to the possibility of l ove (though not the same blind or financially inspired love as that of Claudio and Hero). To further prove the point that Benedick is a changed man in his sentiments not only towards Beatrice, but towards all women, the wedding scene marks the third example of a shift in Benedick’s beliefs. When Don John, Claudio and Don Pedro accuse Hero of no longer being a maid, Benedick decides to stand by Hero and Beatrice instead of exiting with the three allegedly wronged men. Benedick shows open concern for Hero, asking â€Å"how doth the lady?† (4.1.111), and even going as far as to defend Hero from Leonato’s wrath when he tries to attack her. Earlier Benedick, while he may not have condoned attacking a woman, would certainly have sided with his companions when it came to the question of Hero’s virginity. But now there is a subtle shift in his behavior. He even agrees to help with the deception of Claudio by faking Hero’s death; he says â€Å"and though you know my inwardness and love is very much unto the prince and Claudio, yet by mine honor, I will deal in this as secretly and justly as your soul should with your body† (4.1.243-47). Benedick completely commits to the conspiracy between Hero, the Friar and Leonato, especially because he believed Claudio and Don Pedro to be deceived by Don John. Benedick, at this point, is a completely different character, in that his normal combative and verbally playful way of talking has been replaced by earnestness and much more to-the-point dialogue. In comparison, Claudio when Benedick encounters him later, is all banter and bravado. It is almost as if Claudio and Benedick’s personalities have shifted from one to the other. This shift in character shows Benedick is completely removed from his former faà §ade, because he made no jokes, and had hardly any of his ego or other hubris-like characteristics from earlier in the play. The final and most dramatic change in Benedick’s attitudes towards women comes immediately after Hero’s disgracing. When He and Beatrice are left alone he not only confesses his love for her, but also he consoles her and shows more compassion than any man towards any woman in the play. Although some may write this off as him trying to get on Beatrice’s good side, Benedick has proven in all the above examples that his views are changing and that his motives and actions are sincere. To further prove his loyalty in her, Beatrice asks Benedick to kill Claudio, and after much persuading he says â€Å"enough, I am engaged. I will challenge him. I will kiss your hand, and so I leave you. By this hand, Claudio shall render me a dear account† (4.1.330-32). This action at first glance may not seem especially heroic, but there are some details from earlier to be remembered: Claudio was said to have slain many in the wars, and the messenger in the first act could not stop bragging about his heroics and skill. Beatrice joked that Benedick must not have killed many soldiers, which must have been a jab at his lack of ability (or at least last of remarkable prowess) on the battlefield. Also to be taken into account is that Benedick and Claudio are very close friends and companions, as are the prince and Benedick, so for him to agree to challenge Claudio is not only a dangerous and possibly fatal task, but is also emotionally trying. While Benedick’s first approach is to first appease Claudio and Don Pedro, he will carry out his plan to challenge Claudio if he must. This shows the greatest change in his character, because he went from joking and sparring verbally with women, to now possibly actually sparring with his close companion to defend a woman. The shift in Benedick’s disposition, from that of a bachelor who verbally scuffles with women to impress others and is full of himself and his own bravado, to a man who is earnest, to the point, and has very little if any ego left is interesting because his shift in character most coincides with Claudio’s shift as well. So one might argue that both men have their views of women changed, but one is positive while the other is negative. Claudio starts out being the wide eyed naà ¯ve romantic, and ends a suspicious, but married, man who is preoccupied with what others think of him. While Benedick starts out being the romance-bashing bachelor who would rather die that way than be made a â€Å"cuckold†, and then he changes into a romantic realist who respects his wife as an equal in verbal combat. This reversal of roles may indicate Shakespeare’s thoughts on male-female relationships as a whole being combative and ever changing, or may simply be a way of mirro ring the beginning and end of the play. As a whole, Benedick’s change in regards to women is a positive one. He goes from being very self-indulgent and ridiculing of women to being respecting and loving of them at the end and this shift is slow but ultimately the complete opposite of him at the start. The masked ball, coupled with his overhearing Claudio, Don Pedro, and Leonato, and his defense of Hero all served as stepping stones along the way for Benedick to change his relationship with Beatrice and in the end win her heart. His willingness to endanger himself to prove his love for Beatrice while protecting the honor of hero reveals him to be a completely different man from the beginning of the play, which mirrors the change in Claudio’s character almost exactly. Works Cited Shakespeare, William, and Sylvan Barnet. Much Ado About Nothing. The Complete Signet Classic Shakespeare. General Editor: Sylvan Barnet. New York: Harcourt Jovanovich, 1972. N. pag. Print.

Analysis Of The Movie The Jazz - 861 Words

No one really recognizes the line between what is offensive and what is not. Everyone has different opinions particularly about racial issues, yet there are some things that can’t be tolerated. Iggy Azalea is an Australian white hip-hop artist who uses â€Å"blaccent (the black accent) in her songs† (Guo). Al Jolson was an American singer and actor best remembered for his performance in the movie The Jazz Singer – the first talking picture. However, in the movie he performs the song â€Å"My Mammy† in blackface which is something that would not happen today because it would be horrendously racist. What Al Jolson did back then is basically the equivalent of what Iggy Azalea is doing now. They are both singing and mimicking a culture not of their own. Al Jolson puts on blackface while Azalea puts on a verbal blackface. In The Jazz Singer, â€Å"jazz† was once the most noticeable form of black music in the 1920s, the way hip-hop is today. When watching Jolson’s performances today, people see a frightening image of a white man with a black colored face, hopping around the stage, producing laughs left and right. He is funny because of the color painted on his skin, because of the race he can only refer to. Iggy Azalea participates in a similar act. Her appropriation of the â€Å"black† voice is disturbing, and the sound of her voice cuts deeper. Black vernacular is used to intimate, to share and to connect. For Azalea, however, it is a money maker, a key element of her brand. This is the mostShow MoreRelatedAn Analysis of the Prologue to Nathaniel Hawthornes The Scarlet Letter1278 Words   |  5 PagesAlthough rock flourished in the 1960s, the social movement it represented inexorably altered by the late 70s due to the influence of big budget record companies and mainstream comme rcial success. An excellent example of this fact is found in the movie The Doors about the group of the same name. 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Decision-making Process of Teens - 786 Words

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Disenchanted isle a casebook on the making of Jennifer Tiptons Tempest. Essay Example For Students

Disenchanted isle: a casebook on the making of Jennifer Tiptons Tempest. Essay Veteran lighting designer  Jenifer Tipton made her debut as a director in October at Minneapolis Guthrie Theater with a harsh, uncompromising production of Shakespeares The Tempest. Her sudden transformation from design artist to director was a bold step that surprised many perhaps no one more than Tipton herself. The project had its beginnings in the spring of 1990, when Guthrie artistic director a Garland Wright was mapping out an upcoming season dealing with illusion and the theatrical imagination. He envisioned Shakespeares romance as a sort of Rosetta stone for the other plays he was eager to produce, among them Corneilles The Illusion and de Mussets Fantasio. But Wright had directed three previous Tempests and felt it was not time for him to attempt the play again. I started dreaming about what other kinds of artists might do The Tempest. Maybe a sculptor or a filmmaker or a painter. Before I could think of anyone who fit those categories the name Jennifer Tipton screamed into my head. And curiously, I found myself wondering why I hadnt thought of her before. It seemed very right, because shes one of the wisest people I know. When first I raised the tempest. Some might have been intimidated by the prospect of making a directorial debut at the Guthrie, hardly an inconspicuous place for a first effort, but Tipton says the theatre, with which she has an ongoing relationship, was one reason she decided to accept the assignment. They have a permanent company and a resident staff that works there year round. Its sort of a built-in support system. In other words, she adds with a laugh, theres someonee around to pat me on the back and hold me up at every step of the way. Jennifers mind always reveals itself through the play, says Wright. She lights from the idea. The lights are ideas. So I know she works from the same fundamental place as a director. Apparently a lot of eyebrows went up when it as announced that she would be directing The Tempest, but Ill lay you money that when those eyebrows came down some of the same people said |Oh, I get it.' Tipton does not come to this assignment completely inexperienced. She choreographed a number of dance works during her student years and more recently was an artistic associate at the Goodman Theatre in Chicago, advising on repertory and play selection. But her real preparation for the role of director, she feels, has been in the classroom. For the past 10 years Tipton has taught every Monday at the the Yale School of Drama, where sshe initiated a course in text anaylsis for students in the lighting program. Though it never occurrd to her at the time, she was laying the groundwork for directing by thinking about dramatic works in a concentrated and systematic way.  After agreeing to take on the project, Tipton began to delve into the play as intensively as her schedule would allow, packing books and research materials in her luggage and grabbing a couple of hour of study here an there on the road. Shee also began bringing together the members of her production team, asking John Con klin, a frequent collaborattor, to create the scenery and costumes. Tipton says she came to the production without any thoughts about the space in which it would take place. Whenthe Guthries dramaturg Michael Lupu first asked what images she had in mind, she replied: I have no images. Only ideas. And showed thee all the qualities o th isle It is an afternoon in late May and a design meeting is about to begin at Tiptons New York loft a few steps off lower Fifth Avenue. The long space is crowded with the souvenirs of a 25-year career in the arts as well as with fax and photocopying machines, drafting tables, computers and rolled-up lighting plots and computers. (A small captains bed placed inconspicuously against one wall reminds the visitor that someone lives here.) Tipton is speaking with Scott Zielinski, a former student who has assistd her on a several shows since leaving Yale and will be lighting The Tempest in Minneapolis. It is a formidablee assignment for the 26-year-old Zielinski creating the lighting for one of the most exacting lighting designers working in theatre and dance today. The first question I asked before accepting, Zielinski confides, was Will you be telling me what to do? Her answer was, No, are you kidding? I have my hands full.' Tipton confirms this: Im leaving it totally in Scott hands and Im amused at myself that Im able to do this. Conklin arrives late from another meeting, the very picture of the overcommitted designer, all professional weariness and nervou energy, his canvas bag bulging with pieces of the other sets he is working on. He and Tipton began their collaboration some months before by poring over a pile of visual material the designer had assembled from his vast collection of picture files and art books, a practice intended to break the ice and spark the imagination. They also flew out to the Guthrie and spend a day sitting out in the house, just wandering around in our heads. Conklin somewhat perversely suggested tht they set the play in the blasted ruins of the Guthrie itself. Though, as often happens in the theatre, the scenic conception would eventually evolve ito something else, a few elements of disintegration remain: a bare wooden platform, the center of which has burned or rotted away, and a sagging piece of gridwork above the stage which seems about to break away from the ceiling of the aud itorium.  Today Conklin begins by setting up the model of the still-evolving design, and takes out a black cardboard box filled with tiny objectsLucite cubes and otheer geometric shapes, pebbles, drops of gold solder, miniature barrels, logs and chairswhich he scatters on the kitchen counter like Monopoly pieces. No sooner is the model in place than Conklin is reconfiguring its elements, retracting his steps and suggesting other possibilities. Perhaps there could be objects that come up through the floor or emit sound an light. Is this something to explore? Things likesuddenly happen. A green glowing something oozes up. He pauses to consider. The long narrow shadow of Robert Wilson momentarily passes over the room. Of course, its all from working with Wilson. In When We Dead Awaken theres one little red rock glowing on stage and its so beautiful. Its nothing but a stupid little piece of Styrofoam with a red light shining on it. Why is it so magical? Its just dumb. He shrugs. The implication is clear: Thats theatre. Ideas fly this way and that. Tipton, relaxed and good-humored, does the yielding from a nearby barstool. Conklin has been reading Jan Kott. Kott describes the island as being something out of Bosch. Like New Jersey. The closest thing to Bosch! Burning smokestacks, polluted rivers, chemical waste. Were back to the idea of glowing objects, says Tipton, not pretty, but radioactive and dangerous. This much is clear of the evolving conception: Prosperos island will be no lost paradise, no pristine new world drenched in tropical sunlight, but a despoiled domain where nature lies vulnerable and exposed. (As ultimately seen in Zielinskis hard, wintry light it will also be a cold place.) Tipton, a longtimee resident of one of the worlds most unenchatnted islands, Manhattan, later says that she could conceived of it no other way: I just cant see how there can be an idyllic place in our world today. I cant find it. Hovering over the miniature model, Conklin i both stage manager and master of revel, a kitchen-counter Prospero, animating the action and infusing the process of selection with a sense of wonder and importance. Sometime he will fall silent in mid-sentence, not necessarily because he has come to the end of a thought or run out of words but to allow the others to enter into his imaginings and ascertain what they are thinking. At other times his suggestions are offered in a wrapping of indecision or self-doubt tha does not conceal the note of hopefulness in his voice.  By now Conklin has covered the stage with logs, white rocks, chais, barrels, transparent geometric shapes andfor some inexplicable reasona tiny gold harp. He reaches for a few pieces of twisted metal. I dont know where these came from. Im just working out of whimsy. His voice drops to a whisper. Perhaps instinct might be a more attractive name for it. Tipton laughs and he turns back to the model. Perhaps. His voice trai ls off. A concentrated silence fills the room. Thee three stare at the miniature stage with such intensity that one would not be suprised if the little pieces began moving by themselves. Tipton: My immediated sense is I like all of it. But. . .its too much. Conklin: Yes. Of course. For yet ere supper time must I perform much business appertaining. Many other issues are put on the table as the afternoon wears on. Tipton has decided to discard the problematic nuptial masque in Act 4 as well as the mythological figures conjured from antiquity at Prosperos command; in their place she will fashion a new text from Shakespeares sonnets. I love the idea of bringin together the cocky yound man who knew his writing was going to last forever and the older man who must have bee in great pain when he wrote The Tempest. She read her selections and they consider how the scene might be staged and costumed. (Eventually four spirits in white veils will move around the darkened stage carrying geometric shapess of frosted glass that glow from within.) Tipton and Conklin also discuss the banquet Prospero causes to appear before his enemies. She envisions a roast beef that begins to bleed or some mouth-watering dish that splits apart into spiders. Conklin sighs: The trouble with that is its so hard to do. . . . Before the meeting breaks up, they ex change ideas about characters, costuming and props and settle on a restricted palette fo both scenery and costumesmostly grays asnd blacks. Up until today, says Zielinski, it was pretty much a free-for-all. We were saying anything is possible. Now the choices are narrowing as the team begins edging toward a final design. Setting a date for their next meeting, however, and getting all their schedules to align is no easy task. Conklin is leaving tomorrow for Paris to oversee his costume designs for Wilsons new Magic Flute at the Opera Bastille. Tipton, who only just returned from Europe, is flying back at the end of the week. The completed design is due in a little over a month. They exchange schedule, addresses and fax numbers, and Conklin makes a hasty retreat. Another production, anothre meeting. Rediscovering the mechanics of life EssayAs the audience enters the theatre in October they find not only the sagging grid and the planked stage with its gaping hole, worn stones and mysterious Plexiglass shapes but a semi-circle of black lacquered chairs silently awaiting the entrance of the actors. The tempest is already building and the sound of wind and sea blends with the muffled conversation of the gathering audience (Kuhn has relented somewhat). Suddenly a lighting instrument drops from the grid, spiling light in a gradually dwindling arc as it swings back and forth over the stage. There is a gasp and then scattered laughter as the audience realizes theyve been taken in. The idea was Zielinskis and its implication is not lost on Tipton, though she admits it wasnt until opening night that the metaphor hit meand I was very embarrassed. The rush of sea and wind grows deafening as the house lights dim and members of the company, dressed in what could be street clothes, file in and take their places. Other actors already in costumethe inhabitants of the island who will be introduced in the second scenestand behind them in the darkness. As the reading begins, an unseen Ariel moves among the actors with two rocks which she claps together, turning the sound of the tempest on and off like a radio. At one point she approaches the actor playing the boatswain, snatches his pages and tosses them in the air. It is as though the tempest had blown the script out of his hands, sweeping him and everyone else into the play. (At the end of the evening, the same character will enter speechless and amazed at having found himself so suddenly transported onto the island; it is not until Ariel places a script in his hand that he finds his voice and the play resumes. In an instant we are reminded both of the artifice of the theatre and wh ere we began.) It was Tiptons original plan to have the stage floor collapse at the end of the scene, with a number of actors falling into the abyss, chairs and all. Ferdinand would have eventually come crawling out, now newly laundered like his fellow passengers, but with blood streaming down his face. None of this happens, at least not literally. Instead, as the ship threatens to break apart in the tempest, Ferdinand leaps out of his chair which bursts into flame and plunges into the hole at the center of the stage. In the tumult, the other actors overturn their chairs, which remain on stage for the rest of the play, becomingalong with a few scattered pages of the scriptthe debris that has washed up on the island. The scene is surprising in so many ways, says Garland Wright. Its cool and formalsilent when you would expect it to be loud and loud when you would expect it to be silent. I cant imagine anyone else but Jennifer taking the initial idea of actors falling through the floor and coming up with this final pictureand making it mean what she means, which is that the very structure of the play and the theatre collapses into chaos, and out of that collapse springs this wholly magic event called The Tempest. O brave new world . . . On the first day of rehearsals Tipton spoke of The Tempest as an ecstatic expression of despair and she has remained true to her initial vision. The world she conjures out of Shakespeares romance is a barren place situated in the shadow of mans darker dreams, blighted by his ambition, cruelty and bitterness. Even the shows moments of spectacle are touched by an element of menace. When the clowns attempt to follow Caliban across the raked platform at the back of the stage, it suddenly veers up, becoming a towering vertical wall that blocks their way-the single chair placed on its surface now pitched at a terrifying angle. When Prospero raises his staff and vows to abjure his magic, smoke and fierce white light burn up through the cracks in the stage floor as if some awesome source of energy lay festering beneath his feet.  The despoiled world one finds here subtly undermines the benevolent and orderly domain that has been created in and around the Guthrie, where well-scrubbed studen ts gather in the rush line that weaves through the foyer and prosperous-looking subscribers greet one another by the overflowing buffet tables that give the inner lobby the feeling of a community bake sale. Just outside the doors of the theatre lies the citys pristine sculpture garden-a perfect little island of life and art with its manicured lawns, carefully laid-out paths and Claes Oldenburgs fanciful Spoonbridge and Cherry, a 52-foot-long spoon topped by a gigantic cherry. Within the theatre, however, nature and art have not fared nearly so well.  The bleakness of Tiptons vision is fully revealed in the plays final scene. Having surrendered the powers of imagination that sustained him during his years on the island, Prospero grows old and enfeebled. The final reconciliation over which he presides is punctuated by the dark laughter of the unrepentant Antonio who literally turns his back on the scene, mocking not only the moving resolution his brother has fashioned but our very c apacity for remorse, forgiveness and joy. The world has not been set right. If anything, the stage is set for the whole cycle of unsurpation and revenge to repeat itselfas a local critic suggested, this brave new world may only be the old world grown colder and meaner. In the final moments of the play Prospero bids those assembled to draw near and the royal party moves slowly past the wreckage of the island into the smoky void that lies beyond, swaying back and forth as they retreat, like prisoners in formation.  During one of their first discussions, Tipton told Michael Lupu, A few nights ago, I dreamed Miranda was pregnant. Momentarily taken aback, Lupu asked, Pregnant by whom, Caliban or Ferdinand? Ah, no, Tipton replied, pregnant with the future. A residue of her vision is contained in the image we now see. As Prospero speaks the final words of the epilogue, the glowing skyline of a modern city appears out of the darkness. The company stands in their flowing robes and Elizabet han collars silently peering across the centuries into the very world that will inherit this play. I wanted desperately for the piece to have a happy ending, says Tipton, but I couldnt find it. So the final image is of the actors walking off into the smog-infested city. The city at night with its lights is very beautiful, but theres a price to pay, and I think thats very much the brave new world. (Back in May, Tipton told Conklin that the distant city should either be Milan or Minneapolis. Conklin replied, They both look more or less alike now.) Prospero joins the others in the shadow of this vast, impersonal future while Caliban, the remaining inhabitant of the island, walks to the edge of the stage and stares out into the auditorium. After a moment, he removes his glasses, wipes them and puts them back on, as if to get a better look at us. He regards his new kingdom and subjectsall inherited by defaultwith detachment as the lights fade. Then to the elements be free and fare thou well! Tipton is back in New York, sitting behind a computer monitor in the auditorium of City Center checking light cues for choreographer Paul Taylors fall season. The Tempest has been running at the Guthrie some three weeks and family members, friends and many of her regular collaborators have been making the journey to Minneapolis. (She flew all her lighting students from Yale in for the opening and then discussed the production with them in class the following Monday.) Local reviews have been respectful, though a number of critics and subscribers have been a bit put off by the severity of her vision. Tipton herself claims to be as satisfied as one can be with the production. I really felt we got deeply into the play. One of the things that surprised me was that my voice was so clear and strong. I ask if she has experienced anything like postpartum depression now that a year of intensive study, planning and rehearsal activity has come to an end. In some sense. As you get closer to the culmination of the process, youve already started distancing yourself and giving the production over to the actors. Actually, Tipton is not quite gonethe newly accredited director seems unable to pull herself away from her creation, and has seen virtually every performance, usually from the audience. Has she been tinkering with the staging or giving notes to the actors? No, I just like seeing their work. I hang on every word. Part of what Ive discovered is that human beings are a lot nicer to work with than lights. Tipton has come away with a deep feeling for the performers who have shared the weeks of exploration and discovery with her. People complain about actors. I myself have complained about actors for years. But I found it was really exciting to invest in them, to challenge and stimulate them. Instead of feeling as many directors do that the actors are messing up their work, I came to realize that theyre what the work is. The productions opening scene might be a metaphor for her personal experience: a group of actors gather together with scripts in hand, slowly and at first tentatively making their way through an unmarked text on a journey of discovery that is at once perilous and exhilarating. I think shes had a very big experience, says Garland Wright, to suddenly stumble upon the other side of this thing she does. She now understands what the investment is, what the labor is, what the pain is. My hope is that she will now want to participate to the fullest. Tipton, who is already thinking about a possible next project, says only, Id love to go into rehearsal tomorrow.