text:
Saint-Benoît

Saint-Benoît is the name of several communities around the world.

Canada

 * Saint-Benoît-du-Lac, Quebec, a municipality in the province of Quebec
 * Saint-Benoît-Labre, Quebec, a municipality in the province of Quebec

France

 * Saint-Benoît, Ain, in the Ain département
 * Saint-Benoît, Alpes-de-Haute-Provence, in the Alpes-de-Haute-Provence département
 * Saint-Benoît, Aude, in the Aude département
 * Saint-Benoît, Vienne, in the Vienne département
 * Saint-Benoît, Réunion, in the Réunion département
 * Saint-Benoît-de-Carmaux, in the Tarn département
 * Saint-Benoît-des-Ombres, in the Eure département
 * Saint-Benoît-des-Ondes, in the Ille-et-Vilaine département
 * Saint-Benoît-d'Hébertot, in the Calvados département
 * Saint-Benoît-du-Sault, in the Indre département
 * Saint-Benoit-en-Diois, in the Drôme département
 * Saint-Benoît-la-Chipotte, in the Vosges département
 * Saint-Benoît-la-Forêt, in the Indre-et-Loire département
 * Saint-Benoît-sur-Loire, in the Loiret département
 * Saint-Benoît-sur-Seine, in the Aube département
 * Saint-Benoist-sur-Mer, in the Vendée département
 * Saint-Benoist-sur-Vanne, in the Aube département

title: Saint-Benoît


text: User talk:69.194.210.56

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:69.194.210.56


text:
Music of the Heart

Music of the Heart is a 1999 American biographical musical drama film directed by Wes Craven and written by Pamela Gray, based on the 1995 documentary Small Wonders. A dramatization of the true story of Roberta Guaspari, portrayed by Meryl Streep, who co-founded the Opus 118 Harlem School of Music and fought for music education funding in New York City public schools, the film also stars Aidan Quinn, Angela Bassett, Gloria Estefan in her film debut, Jane Leeves, Kieran Culkin and Jay O. Sanders. It was Craven's sole mainstream cinematic film not in the horror or thriller genre, and also his only film to receive Oscar nominations.

Plot
In 1981 New York City, violinist Roberta Guaspari has recently divorced her U.S. Navy officer husband Charles Demetras, who has instead decided to pursue a romantic relationship with a friend of hers named Lana Holden. Encouraged by her mother Assunta to return to the workforce for the sake of her two sons Alexi and Nicholas, Guaspari attempts to rebuild her life and reconnects with a former classmate named Brian Turner while working as a gift-wrapper at a department store; recalling her childhood love for playing the violin, he arranges for her to be introduced to Janet Williams, the head teacher and principal of East Harlem's Central Park East School. Despite having little experience in actual music teaching, she accepts a substitute violin teaching position at Central Park East, even supplying 50 child-size violins she purchased while living in Greece, where her husband was based. With a combination of her toughness and determination, she inspires a group of children, and their initially skeptical parents. The program slowly develops and attracts publicity, eventually expanding to Central Park East II and River East Schools.

Ten years later, the Central Park East, Central Park East II and River East School string programs work with the New York City Board of Education to help eliminate funding for the programs, which leads to Guaspari's early dismissal. Determined to fight the budget cuts, she enlists the support of former pupils, parents and teachers, and over the next two years, she plans a benefit concert, Fiddlefest, to raise money so that the program can continue. However, a few weeks before the concert, and with all participants furiously rehearsing, they lose the venue. However, Arnold Steinhardt, a violinist in the Guarneri Quartet and the husband of a publicist friend, enlists the support of other well-known musicians, including Isaac Stern and Itzhak Perlman. They arrange for the concert to be mounted at Carnegie Hall. On the day of Fiddlefest, Guaspari and her students perform with Perlman, Steinhardt, Stern, Mark O'Connor, Michael Tree, Charles Veal Jr., Karen Briggs, Sandra Park, Diane Monroe, and Joshua Bell, increasing donations and making the event a massive success.

The epilogue explains that following the events of the film, the $250,000 in proceeds from the concert supported Guaspari's program for three years, during which she and her supporters continued to fund her work through benefit concerts and donations to their private foundation, the Opus 118 Harlem School of Music; Community School District 4 assisted as permitted by its limited resources. Eventually, her violin program was officially reinstated during the production of the film. In addition, she still teaches in East Harlem, where she lives with her daughter Sophia, whom she adopted from El Salvador in 1991. Her eldest son Nicholas has become a professional cellist in a graduate music program, and her youngest son Alexi has been accepted to medical school. Opus 118, which hopes to expand its outreach to more children, remains dependent on the generosity of its donors.

Cast
Itzhak Perlman, Arnold Steinhardt, Isaac Stern, Mark O'Connor, Michael Tree, Charles Veal Jr., Karen Briggs, Sandra Park, Diane Monroe, and Joshua Bell all cameo as themselves in the film's recreation of the Carnegie Hall benefit concert (at which all were actually present).

Production
Roberta Guaspari and the Opus 118 Harlem School of Music was featured in the 1995 documentary film Small Wonders, which was later nominated for an Academy Award for Best Documentary Feature. After seeing Small Wonders, Wes Craven, known for his work on horror films, was inspired to make a full-length film about Guaspari. Immediately following a phenomenally successful preview screening of Scream, Miramax co-founders Harvey and Bob Weinstein offered him a three-picture deal via Dimension Films; two of the films would be in the horror genre, while the third film would be a "petticoat film", a costume drama for which the Weinsteins were known at the time. Craven, both a former teacher and a fan of classical music, chose to pursue Music of the Heart as his "petticoat film", explaining, "It’s sort of a culmination of almost 30 years trying to do something outside of the genre. Not because I don’t like the genre, but because I’m a person … an artist who wants to do a lot of different things. Just never before has that opportunity been presented."

Madonna was originally signed to play the role of Guaspari, but left the project before filming began, citing "creative differences" with Craven. When she left, Madonna had already studied for many months to play the violin. Meryl Streep, who replaced Madonna at the last minute at Craven's insistence, learned to play Bach's Concerto for 2 Violins for the film; given six weeks of preparation in order to play the violin, she described, "I had to beg them to give me some more time for the violin part of it." Aside from having the daunting task of learning the violin while acting like a professional, she also found the burden of playing a real person to be particularly challenging, explaining, "Playing a real person carries with it a whole other set of responsibilities than you would have when creating a fictional character. So, I did as much research as I could and then I just sort of threw it away because I can’t think of the real Roberta. I had to make it our Roberta, our movie Roberta. The real woman is a sizable phenomenon of energy, inspiration, hard work, irascibility. I tried to capture little parts of her and put it together in the film."

Critical reception
The film received an overall mixed reception, though many reviews tended to be slightly positive. Most critics applauded Meryl Streep's portrayal of Roberta Guaspari. The film has a 64% approval rating from Rotten Tomatoes based on 91 critical reviews; the consensus explains, "Meryl Streep's depiction of an ordinary person doing extraordinary things transcends, inspires, and entertains." CinemaScore reported that audiences gave the film a rare "A+" grade.

Critic Eleanor Ringel Gillespie of the Atlanta Journal-Constitution concluded that "There are more challenging movies around. More original ones, too. But "Music of the Heart" gets the job done, efficiently and entertainingly."

Roger Ebert gave the film three stars out of four and wrote that "Meryl Streep is known for her mastery of accents; she may be the most versatile speaker in the movies. Here you might think she has no accent, unless you've heard her real speaking voice; then you realize that Guaspari's speaking style is no less a particular achievement than Streep's other accents. This is not Streep's voice, but someone else's - with a certain flat quality, as if later education and refinement came after a somewhat unsophisticated childhood."

Steve Rosen said that "The key to Meryl Streep's fine performance is that she makes Guaspari unheroically ordinary. Ultimately that makes her even more extraordinary."

In 2014, the film was one of several discussed by Keli Goff in The Daily Beast in an article concerning white savior narratives in film.

Box office
The film opened at #5 at the North American box office making $3.6 million in its opening weekend.

Soundtrack album track listing

 * 1) "Music of My Heart" - Gloria Estefan and *NSYNC (4:32)
 * 2) "Baila" - Jennifer Lopez (3:54)
 * 3) "Turn the Page" - Aaliyah (4:16)
 * 4) "Groove with Me Tonight" (Pablo Flores English radio version) - MDO (4:37)
 * 5) "Seventeen" - Tre O (3:48)
 * 6) "One Night with You" - C Note (5:04)
 * 7) "Do Something" (Organized Noize Mix) - Macy Gray (3:53)
 * 8) "Revancha de Amor" - Gizelle d'Cole (4:06)
 * 9) "Nothing Else" - Julio Iglesias Jr. (4:23)
 * 10) "Love Will Find You" - Jaci Velasquez (4:34)
 * 11) "Music of My Heart" (Lawrence Dermer Remix); mislabeled as "Pablo Flores Remix" - Gloria Estefan and *NSYNC (4:23)
 * 12) "Concerto in D Minor for Two Violins" - Johann Sebastian Bach, played by Itzhak Perlman and Joshua Bell (3:56)

title: Music of the Heart


text:
Saint-Benoît-d'Hébertot

Saint-Benoît-d'Hébertot is a commune in the Calvados department in the Normandy region in northwestern France.

title: Saint-Benoît-d'Hébertot


text:
Oregon Shakespeare Festival

The Oregon Shakespeare Festival (OSF) is a regional repertory theatre in Ashland, Oregon, United States, founded in 1935 by Angus L. Bowmer. The Festival now offers matinee and evening performances of a wide range of classic and contemporary plays not limited to Shakespeare. During the Festival, between five and eleven plays are offered in daily rotation six days a week in its three theatres. It welcomed its millionth visitor in 1971, its 10-millionth in 2001, and its 20-millionth visitor in 2015.

Overview
The Oregon Shakespeare Festival (OSF) is a regional repertory theatre in Ashland, Oregon, United States, founded in 1935 by Angus L. Bowmer. From late April through December each year, the Festival now offers 800 to 850 matinee and evening performances of a wide range of classic and contemporary plays not limited to Shakespeare to a total annual audience of nearly 400,000. The Festival welcomed its millionth visitor in 1971, its 10-millionth in 2001, and its 20-millionth visitor in 2015. At any given time between five and eleven plays are offered in daily rotation six days a week in its three theatres.

Each year, two or three plays are staged in the outdoor Allen Elizabethan Theatre, two or three in the intimate Thomas Theatre, and four or five in the traditional Angus Bowmer Theatre. OSF has completed the entire Shakespeare canon of 37 plays in 1958, 1978, 1997, and 2016. Since 1960, it has also offered non-Shakespearean plays. Since 2000 there has been at least one new work each season from playwrights such as Octavio Solis and Robert Schenkkan, several of which have gone on to other venues and numerous awards (see below). A complete list by year and theatre is available here: Production history of the Oregon Shakespeare Festival. OSF also provides a broad range of educational programs for middle schools, high schools, college students, teachers, and theatre professionals.

History
In 1893, the residents of Ashland built a facility to host Chautauqua events. In its heyday, it accommodated audiences of 1,500 for appearances by the likes of John Philip Sousa and William Jennings Bryan during annual 10-day seasons.

In 1917, a new domed structure was built at the site, but it fell into disrepair after the Chautauqua movement died out in the 1920s. In 1935, the similarity of the remaining wall of the then-roofless Chautauqua building to Elizabethan theatres inspired Southern Oregon University drama professor Angus L. Bowmer to propose using it to present plays by Shakespeare. Ashland city leaders loaned him a sum "not to exceed $400" (approximately ) to present two plays as part of the city's Independence Day celebration. However, they pressed Bowmer to add boxing matches to cover the expected deficit. Bowmer agreed, feeling such an event was in perfect keeping with the bawdiness of Elizabethan theatre. The Works Progress Administration helped construct a makeshift Elizabethan stage on the Chautauqua site, and confidently billing it as the "First Annual Oregon Shakespearean Festival", Bowmer presented Twelfth Night on July 2 and July 4, 1935, and The Merchant of Venice on July 3, directing and playing the lead roles in both plays himself. Reserved seats cost $1, with general admission of $.50 for adults and $.25 for children (approximately equivalent to $, $, and $ in 2019). Ironically, the profit from the plays covered the losses the boxing matches incurred. The Festival has continued ever since (excepting 1941–1946 while Bowmer served in World War II and most of 2020 and 2021 due to the COVID-19 pandemic ). It quickly developed a reputation for quality productions. Angus Bowmer's first wife Lois served as art director, creating both costumes and scenery during the formative years of the Festival from 1935 to 1940. In 1939, OSF took a production of The Taming of the Shrew to the Golden Gate International Exposition in San Francisco that was nationally broadcast on radio. The lead actress, learning at the last minute the broadcast would be to a national audience, suffered a panic attack, was rushed to the hospital, and the stand-in took over. The scripts didn't arrive on the set until three minutes before air time. The Festival achieved widespread national recognition when, from 1951 to 1973, under the direction of Andrew C. Love (1894–1987), NBC broadcast abbreviated performances each year that were carried by more than 100 stations nationally and, after 1954, on Armed Forces Radio and Radio Free Europe. The programs won favorable reviews from critics that drew audiences to the Festival from around the country. The programs led Life magazine to do a story on the Festival in 1957, bringing even more people to the plays. The NBC programs and the subsequent attention go a long way to explaining how a tiny out-of-the-way timber town in the Northwest became a theatrical and tourist Mecca.

Angus L. Bowmer retired in 1971, and leadership of the Festival passed to Jerry Turner, who widened the Festival repertory to production of classics by the likes of Molière, Ibsen, and Chekhov. When Turner retired in 1991, actor/director Henry Woronicz took control through 1996. OSF then recruited Libby Appel from the highly respected Indiana Repertory Theatre. She served as Artistic Director from 1996 through 2007. Bill Rauch succeeded Libby Appel as Artistic Director, serving from 2008 to 2019. He incorporated musicals and non-western plays into the annual selection, and sought connections between classic plays and contemporary concerns. He also started the Black Swan Lab in which 15–20 OSF actors developed new works for the stage. Inspired by Shakespeare's 37 plays, Rauch also initiated a 10-year program to commission up to 37 new plays collectively called American Revolutions: The United States History Cycle, 32 of which have been commissioned and ten of these have reached the stage, several to great acclaim including Tony awards.

Bing Crosby served as an honorary director of the Festival from 1949 to 1951. Charles Laughton visited in 1961, saying "I have just seen the four best productions of Shakespeare that I have ever seen in my life." Laughton begged to play King Lear, but died in 1962 before he could fulfill the dream. Stacy Keach was a cast member in 1962 and 1963. Duke Ellington and his orchestra presented a benefit concert in 1966 that brought many luminaries to Ashland.

1952 saw the birth of a tradition following the curtain call ending the last outdoor play of each season. Company members, not just actors, each carrying a candle, silently enter the darkened theatre to the traditional English folk tune Greensleeves. A company member selected for the honor speaks Prospero's words from Act IV Scene I of the Tempest beginning, "Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air…" On completion of the speech, all extinguish the flames and file silently out of the theatre.

The tradition of opening the outdoor season with a Feast of Will (originally the Feasting of the Tribe of Will) was initiated in 1956 in Lithia Park with Miss Oregon and then-state senator Mark Hatfield attending.

The City of Portland approached OSF in the late 1970s about joining the art scene there, leading to the building of a new center in Portland. In 1986, OSF was again approached about producing in the new Portland Center for the Performing Arts, leading to the launch in November 1988 of a season of five plays including Shaw's Heartbreak House and Shakespeare's Pericles, Prince of Tyre, the first of four productions that transferred to or from Ashland. At the invitation of the City of Portland, OSF established a resident theatre in the Portland Center for the Performing Arts in 1988. It became independent in 1994 as Portland Center Stage. Those six seasons ran November–April, allowing many OSF company members to work in both cities. In 1990–1991 Portland imported rotating repertory from OSF, a company of 10 actors performing 43 roles.

In 1986, the OSF received the President's Volunteer Action Award; in 1987 it initiated Daedalus, a fundraiser to help victims of HIV/AIDS that has continued annually ever since. A second theatre, the indoor Angus Bowmer Theatre (see below), opened in 1970, enabling OSF to expand its season into the spring and fall; within a year, attendance tripled to 150,000. By 1976, the festival was filling 99% of its seats while offering some 275 performances of eight plays each season. In 1977, the Festival opened a third theatre, dubbed the Black Swan (see below), in what originally was an auto dealership, and attendance reached 300,000. By 1979, the year Bowmer died, the Festival was offering the now customary 11 plays a season.

In 1983 OSF won both its first Tony Award for outstanding achievement in regional theatre and the National Governors' Association Award for its distinguished service to the arts, the first ever to a performing arts organization. In 1988, the Oregon Shakespearean Festival was renamed the Oregon Shakespeare Festival.

In 1997, the OSF-commissioned The Magic Fire was presented at the John F. Kennedy Center and named by Time among the year's best plays. In 2002, the Thomas Theatre (see below) replaced the Black Swan as the venue for intimate or experimental productions in a Black box theatre. In 2003, Time named OSF as the second best regional theatre in the United States (Chicago's Goodman Theater was first).

The Festival opened the 2020 season on February 28 with performances of A Midsummer Night's Dream, Peter and the Starcatcher, and The Copper Children in the Angus Bowmer Theatre. Bring Down the House (a two-part adaptation of Shakespeare’s Henry VI plays) was presented in the Thomas Theatre. However, on March 11 the Covid-19 pandemic forced closing of OSF for the rest of the season.

With the pandemic seeming to moderate, the Shakespeare Festival announced an April to December schedule of live performances for 2022 as follows. Once on This Island in the Angus Bowmer Theatre, unseen in the Thomas Theatre, How I Learned What I Learned, in the Angus Bowmer Theatre, The Tempest in the Allen Elizabethan Theatre, Revenge Song in the Allen Elizabethan Theatre, King John in the Angus Bowmer Theatre, Confederates in the Thomas Theatre, It’s Christmas, Carol! in the Angus Bowmer Theatre. In addition, OSF presented The Cymbeline Project, a multi-episode, digital adaptation of the Shakespeare play.

In April 2023, OSF announced an emergency fundraising campaign as the company was in financial crisis and needed to raise $2.5 million to continue the season as planned. By June, the fundraising effort had exceeded its goal. Artistic director Nataki Garrett resigned on May 5, 2023, with Octavio Solis stepping in to help search for a replacement. Tim Bond of TheatreWorks Silicon Valley was named new artistic director on July 6, 2023.

The complete record of all OSF plays can be found in a separate article, Production history of the Oregon Shakespeare Festival.

Green Show

In addition to the plays, since 1951 a free outdoor "Green Show" drawing audiences in the hundreds, often including non-playgoers, precedes the evening plays from June through September, Wednesday through Saturday nights, from a modular steel stage with a sprung floor for the dancers, a removable wheelchair ramp for performers with disabilities, and built-in storage facilities that eliminate carting equipment from and to distant storage facilities. Originally, it offered Elizabethan music and dancers. From 1966 until 2007 it consisted of three Renaissance-themed shows in rotation inspired by the plays showing in the Allen Elizabethan Theatre. Beginning in 1990, live music was supplied by resident ensemble The Terra Nova Consort, with numerous guest musicians, and Elizabethan dancers. In 1998, Terra Nova was joined by modern dance troupe Dance Kaleidoscope. This collaboration continued through 2007.

In still another innovation by Bill Rauch, the Green Show was revamped in 2008. The shows now vary widely with performers such as a dance group from Mexico or India one night, clowns doing ballet on stilts the next, and a classical music quartet on another. A fire show, juggler, or magician might be seen along with improv, metal, or rock-n-roll variations on Shakespeare. Individual performers, groups, choirs, bands, and orchestras may present Afro-Cuban, baroque, blues, classical, contemporary, cowboy, funk, gospel, hip-hop, jazz, mariachi, marimba, poetry, marionette, renaissance, or salsa, sometimes combined in unexpected ways.

Economic importance
As suggested by the table below, OSF has a major economic impact in a town of only 20,000. That impact stems from direct sales of tickets but also expenditures at some 125 restaurants (a variety and density per resident similar to that in New York and Paris), hotels and motels in Ashland, and shops (second to last row of the table). These in turn create further economic activity, the economists’ “multiplier effect” that measures how often each dollar is spent on further local goods and services, estimated at 2.9 for OSF, resulting in the figures shown in bottom row of the table.

Differences from year to year are largely accounted for by variations in seating configurations in the theaters and total number of performances including occasional cancellation of outdoor performances due to wind born smoke from distant forest fires, particularly in 2018.

In addition to its economic importance to the region, OSF is an active community member. It often participates in Ashland's Martin Luther King celebration, Juneteenth celebration of the Emancipation Proclamation, and Fourth of July Parade. The Green Show is free. The Daedalus Project, managed by company members since 1987 in support of HIV/AIDS charitable organizations, traditionally featured a morning fun run, an afternoon play reading, an "arts and treasures" sale and an evening variety show and underwear parade.

In 2016, the Festival hosted the fifth biennial national Asian American Theater Conference and Festival. In addition to a full slate of conference sessions during the week, the event included six original plays, five play readings, and three Green Shows (see above). Participants also had an opportunity to see several regular Festival performances, two of which had an Asian setting and one an Asian-American theme.

OSF campus

The Oregon Shakespeare Festival occupies a 4 acre campus adjacent to Lithia Park and the Plaza in Ashland, Oregon. The primary buildings are the three theatres, Carpenter Hall, and the Camps, Pioneer, and Administration buildings, all surrounding an open central court locally known as "The Bricks" that ties everything together into an architecturally coherent whole and facilitates movement. It also provides a stage for the nightly Green Shows (see above) from June through September. The Black Swan (G), now serves as a laboratory for the development of new plays. Off-campus buildings include the production facility, classrooms, the Hay Patton Rehearsal Center, and costume storage and rental facilities described below.

Allen Elizabethan Theatre
The Allen Elizabethan Theatre has evolved since the founding of the Oregon Shakespeare Festival when the first performance of Twelfth Night was presented on July 2, 1935.

Original Elizabethan Theatre
The design for the first outdoor OSF Elizabethan Theatre was sketched by Angus L. Bowmer based on his recollection of productions at the University of Washington in which he had acted while a student. Ashland, Oregon obtained WPA funds in 1935 to build it within the 12 ft circular walls that remained in the roofless shell of the abandoned Chautauqua theatre. Bowmer extended the walls to reduce the stage width to fifty-five feet, and painted the extensions to resemble half-timbered buildings. He designed a thrust stage—one projecting toward the audience—with a balcony. Two columns helped divide the main stage into forestage, middle stage, and inner stage areas. Illustrating the improvised nature of it all, actors doubled as stage hands, stage lighting was housed in coffee cans, and string beans were planted along the walls to improve sound quality. Fifty-cent general admission seating was on benches just behind the one-dollar reserved seating on folding chairs. This theatre was torn down during World War II.

Second Elizabethan Theatre
The second outdoor Elizabethan Theatre was built in 1947 from plans drawn up by University of Washington drama professor John Conway. The main stage became trapezoidal, with entries added on either side, and windows added above them flanking the balcony stage. A low railing gave a finished appearance to the forestage. Chairs arranged to improve sight lines replaced bench seating. Backstage areas were added gradually and haphazardly, until the ramshackle result was ordered torn down as a fire hazard in 1958.

Current Allen Elizabethan Theatre

The next year saw the opening of the current outdoor theatre, whose name was changed from Elizabethan to Allen Elizabethan Theatre in October 2013. Patterned on London's 1599 Fortune Theatre and designed by Richard L. Hay, it incorporated all the stage dimensions mentioned in the Fortune contract. The trapezoidal stage was retained but the façade was extended to three stories, resulting in a forestage, middle stage, inner below, inner above (the old balcony), and a musicians' gallery. The wings were provided with second-story windows. Each provides acting areas, creating many staging possibilities. A pitched, shingled roof enhances the half-timbered façade. A windowed gable was extended from the center of the roof to cover and define the middle stage. Just before each performance, an actor opens the gable window, and in keeping with Elizabethan tradition signaling a play in progress, runs a flag up the pole to the sound of a trumpet and doffs his cap to the audience.

The result is an approximate replica of the Fortune Theatre. The known but incomplete dimensions apply only to the stage. The original specifications sometimes say no more than "to be built like the Globe," for which there are no plans or details. The remotely operated lighting, on scaffolding on either side of the stage, of course did not exist in the original, and the current site rather than the original architecture largely determined the shape of the auditorium. Twelve hundred seats in slightly offset arcs ascend the original hillside, giving an excellent view of the stage from each seat. The old Chautauqua theatre walls, now ivy-covered, remain as the outer perimeter of the theatre.

The $7.6 million Paul Allen Pavilion was added in 1992. It houses a control room, and audience services including rental of infrared hearing devices, blankets, pillows, and food and drink, both of which are allowed in the auditorium. Several hundred seats were moved to a balcony and two boxes, further improving sightlines and acoustics. Vomitoria (colloquially, "voms"), the traditional name for entryways for actors from under the seating area, were added and the lighting scaffolds were eliminated.

Angus Bowmer Theatre
An April 1968 report by the Bureau of Business and Economic Research of the University of Oregon pointed to the lost economic opportunity represented by the thousands of people the Oregon Shakespeare Festival was turning away each year. It further noted that the Festival had become an important economic engine for southern Oregon, and recommended addition of an indoor theatre. This led the City of Ashland to apply to the Economic Development Administration of the Department of Commerce in Fall 1968 for a $1,792,000 project grant with the Angus Bowmer Theatre as the keystone. The plan also called for a parking building, a remodeled administration building and box office, a scene shop and exhibit hall that later would become the OSF Black Swan, landscaping, and street realignment. $896,000 was approved in April 1969, to match an equal amount to be raised through private donations. The fund drive quickly exceeded its goal and ground for the new theatre was broken on December 18, 1969.

The theatre was ready just five months later and opened with a production of Rosencrantz and Guildenstern Are Dead, selected to recognize the Shakespearean origin of the Festival but to signal Festival readiness to broaden its horizons by incorporating modern plays into its repertoire. Reinforcing that signal, The Fantasticks and You Can't Take it with You were also presented during that first six-week season.

The Angus Bowmer Theatre seats between 592 and 610 patrons depending on configuration. Although about half the size of the outdoor theatre, it more than doubled audience capacity by making it possible to hold matinee performances and to extend the season into spring and fall.

The design by Richard L. Hay and architects Kirk, Wallace and McKinley of Seattle and contractor Robert D. Morrow, Inc., of Salem, Oregon was at once basic, flexible, functional, and innovative. All seats are within 55 ft of the stage, arranged with only two side aisles and wide spaces between rows. Dark colors resist reflection and draw the eye to the stage. The forestage is on a hydraulic lift system that can emulate the thrust stage of the OSF Allen Elizabethan Theatre, form a more conventional proscenium front that can move below auditorium floor level to form an orchestra pit, or drop two stories for storage of equipment or scenery. The walls of the auditorium can swing in to close down the playing area or open to accommodate larger productions.

Illustrating these characteristics, the first picture is the set for August Wilson's Fences. The second, taken two hours later on the same stage, is the set for the ancient Hindu classic The Clay Cart. Stage crews for the two indoor theatres must complete set changes of this scope six days a week between the end of a matinee and the "call" before the evening curtain and again the next morning in time for the matinee (the outdoor stage changes daily). This illustrates the nature of true repertory theater, which allows the playgoer to see different plays on the same day on the same stage, but requires designing and making sets to withstand constant rapid assembly, disassembly and return to accessible storage to await the next change of set. It also requires actors able to simultaneously play different parts in very different plays.

Just two hours before the 18 June 2011 matinee a crack was discovered in the seventy-foot long, six and one-half foot high main ceiling support beam of the Bowmer Theatre. Shows were immediately relocated to other venues as work progressed to repair the beam. A 598-seat tent, "Bowmer in the Park," was soon erected in Lithia Park adjacent to the Festival campus as a temporary replacement venue. A single set was designed and built to serve four very different shows, and the shows themselves were re-staged while keeping the artistic vision of each as intact as possible. Thirty-one performances were held in the tent and averaged 82% of capacity, generating approximately $650,000 in revenue against approximately $800,000 for the tent itself, $1,000,000 in lost revenue from ticket returns, and $330,000 in repair costs. The Bowmer reopened on 2 August, a month ahead of the initial estimate. The Festival filed an insurance claim for $3.58 million and received checks in March 2012 for $330,000 to cover the cost of repairs and $2.984 million covering much of the lost revenue, leaving about $200,000, primarily representing the cost of the temporary tent theatre itself, unresolved.

Black Swan
The Black Swan (G on the OSF campus map above) served as the Festival's third theatre from 1977 to 2001. The building, originally an automobile dealership, was bought in 1969 as a scene shop and rehearsal hall. Company members began using it to stage "midnight" readings for one another and invited friends who brought other friends. Artistic Director Jerry Turner recognized the opportunity to take risks with unconventional staging and subjects, and called for its development as a third OSF theatre. Fitting a theatre into the existing building was challenging. It could hold only 138 seats, all within five rows of the stage. There had to be, as designer Richard Hay put it, a "certain amount of tucking and squeezing." Each director had to solve the problem of an immovable roof support in the middle of the stage. For instance, in one production, it became a crucifix after adding a horizontal piece. The theatre reverted to its earlier roles in 2002 when it was replaced by the New Theatre, now renamed the Thomas Theatre. Among those roles are rehearsal space, meeting and audition rooms, classes, and since 2011 as a home for the Black Swan Lab (see above).

Thomas Theatre
The limitations stemming from adapting an existing building as the Black Swan led to the design and building of a third theatre that provided flexible seating and increased capacity while maintaining the intimacy of the Black Swan. Opened in March 2002 and originally named the New Theatre, it was renamed the Thomas Theatre in 2013 as a result of a generous $4.5 million gift from a group of donors. The name recognizes the contributions of longtime OSF development director Peter Thomas, who died in March 2010. The Thomas Theatre expands the possibilities for experiment and innovation while maintaining the intimacy of the Black Swan, no seat being more than six rows from the stage. Richard L. Hay designed the theatre space. Architects Thomas Hacker and Associates of Portland designed the building. The contractor was Emerick Construction, and acoustical engineering was provided by Dohn and Associates. The seats can be arranged in three configurations. In arena mode, a stage of 663 ft2 is surrounded on all four sides by 360 seats. In three-quarter thrust mode, a 710 ft2 stage is surrounded on three sides by 270 seats, and in avenue mode, a 1236 ft2 stage provides 228 seats on two sides. There is a trap room under the stage and a fly loft at one end. A computer controls 300 circuits and over 400 lights of various types. The remainder of the building is given over to downstairs and upstairs lobbies, concessions, access distribution, archives (see below), storage, laundry room, green room, quiet room, warm-up room, dressing space for 18 actors, showers/restrooms, costume and wig rooms, stage manager's office, maintenance space, and storage for props and set pieces.

Other buildings
The Box Office (J on the OSF campus map above) is on the same courtyard as the Thomas Theatre. The Festival acquired the Administration Building (C) in April 1967. Forming the northern boundary of the campus, the building houses the artistic, business, community productions, development, education, group sales, literary (D), human resources offices, development, and the mailroom. The adjacent Camps Building (A) houses the members' lounge, communications and marketing offices, and a meeting room.

The Festival's costume production shop occupies the Pioneer Building at the northwest corner of campus and an annex in the Administration building. The staff creates the costumes and accessories in three main studios on the lower floor of the building and in an extension of the Administration Building. Also in this area are offices and fitting rooms for the costume designers and costume design assistants, a costume props area and a vented paint room. Upstairs is a dye room, lounge, laundry, storage room, and office. During the height of costume production each season, a wig shop and additional studio is open in the basement of the Angus Bowmer Theatre.

The Festival acquired Carpenter Hall (I) in October 1973, renovating it to accommodate lectures, concerts, rehearsals, meetings and Festival and community events. The Bill Patton Garden (K) provides the venue for free informal summer noon talks by OSF actors and staff. The Tudor Guild operated the Tudor Guild Gift Shop (B) and Brass Rubbing Center (K) for many years, both now operated by OSF itself, and will facilitate campus tours beginning in 2022. Just off campus, a purpose-equipped fitness center helps actors stay fit for physically demanding roles that often require acrobatics, fights, and pratfalls.

In November 2013 the Festival completed the $7.2 million purpose-built 71544 ft2 (6,646.7 m2) Production Building in neighboring Talent, Oregon now home to a multi-function staff. The building houses custom-designed technologically advanced set and prop construction and scene painting facilities. The scene shop has an extensive pit area that precisely duplicates the trap doors in the theatres themselves, allowing for precise sizing, testing of assembly and disassembly, and automating elevator cues. Lighting in the painting areas duplicates that in the theatres, guaranteeing desired colors. The building also houses OSF's costume warehouse and rental business, which has over 50,000 costumes and over 15,000 costume props such as armor, crowns, and wigs available for rent by other theatres, television and movie producers, and corporations.

With the removal of the scene construction shop in 2014 to the new Production Building, a thirteen-month transformation began of the old one into the Hay-Patton Rehearsal Center by demolishing everything except the masonry exterior and the steel framework and raising the second floor three feet. Following a plan developed by Ogden Roemer Wilkerson Architecture carried out by Adroit Construction at a cost of $4.4 million, it hosted its first rehearsal on 29 December 2015. The building is equipped with a sophisticated sound system and has six rehearsal halls, three of them some 3,000 ft2, sufficient to precisely duplicate stages in any of the three Festival theatres. All six include fully sprung floors to prevent injuries when dancing, rehearsing stage combat, or similar physical activities. The LED lighting system is zoned and dimmable, the ceilings have steel tracks which allow for suspension of scenery, lights, loudspeakers, and even people. Some have additional features such as small conversation areas and dance-style mirrors. The building also includes a stage management office, a recording studio, a movement studio focused on the Feldenkrais Method, a studio for work on vocal technique, stamina, and dialect; a loading dock, a conference room, showers, two warmup spaces that double as small meeting rooms, two green rooms equipped with refrigerator, storage cases, sink, dishwasher, tables custom-made by the prop shop, and chairs.

Organization
OSF is a non-profit corporation managed under US and Oregon law by a 32-member Board of Directors nominated and elected for eight-year terms. The endowment itself has a net worth in excess of $30 million that returns about $1.2 million to support the annual operating budget. It is managed by seven trustees who are selected for five-year terms by the Board of Directors.

In the past, OSF offered non-voting memberships at eleven levels beginning at $35, each with its own privileges. Starting in 2022, these have been replaced by a Change Makers donor program in eight categories starting at one dollar and providing for deep engagement. To further extend access to as many people as possible, 2022 ticket prices were reduced and now range from $35 to $75.

Professional staff
The paid staff is organized into artistic, production, education, administrative and development sections.

The Artistic Director selects the plays and directors for each season and chooses 70-120 actors, musicians and dancers. In August 2019, Nataki Garrett succeeded Bill Rauch as the sixth artistic director of the Oregon Shakespeare Festival. She earned her MFA in directing from the California Institute of the Arts and has more than 20 years experience as a theatre administrator, director, producer, playwright, educator, activist and mentor, most recently as acting artistic director of the Denver Center for the Performing Arts and Associate Dean of the undergraduate acting program at California Institute of the Arts School of Theater. Her forté and passion are fostering and developing new work. She has produced over 150 mainstage, black box, and developmental projects including world premieres of Book of Will, Two Degrees, Zoe's Perfect Wedding, The Great Leap, and American Mariachi. She directed the world premiere of Pussy Valley, and the U.S. premieres of Jefferson's Garden and BLKS. In her first effort in her new position, she directed the imaginatively staged 2019 Oregon Shakespeare production of How to Catch Creation.[8]

OSF reorganized its Artistic staff under three Associate Artistic Directors in 2021. Director of Artistic Programming, Director of New Work, and Director of Innovation and Strategy. Voice and Text Directors are assigned to every play from pre-production through the opening performance. They help the actors and directors craft vocal choices that will be theatrically effective and sustainable through the run of the show. This can involve work on posture, breath support, resonant placement, muscularity of articulation and screaming technique. They also work with the actors on the text of the play, often in one-on-one sessions. This can include examination of meter, rhythm, sound patterning such as alliteration and rhyme, imagery, and rhetorical structure and devices such as antithesis and repetition. When required, they coach the actors in accents and dialects based on samples of native speakers and work with each actor to find a sound that is as authentic as possible to the character's background but also intelligible in a contemporary theatrical context and conducive to each actor’s individual style.

Once the plays have opened, the voice and text staff are on hand to help actors with vocal challenges that may arise, attend periodic performances to provide helpful ideas, work with understudies, teach voluntary voice classes to the acting company, provide ongoing professional development support in the form of project or individual session work, and participate in play selection and workshops for upcoming seasons.

Each play is also assigned an Intimacy Director, who works to ensure that actors feel emotionally and mentally safe when performing in intimate and emotionally demanding scenes, while also working to realize the director’s vision.

The production staff, which reports to the Director of Production, is responsible for costumes, lighting, properties, scenery, sound, and stage operations. Costumes are produced by a staff of about 60 (artisans, cutters, designers, dyers, first hands, hair and wig specialists, stitchers, technicians, and wardrobe managers). Scenery is provided by a staff of technicians, carpenters, a welder, an engineer and a buyer and moved by a crew of 30 stagehands; lighting staff number twelve, and sound and properties each are managed by staffs of six to ten. A stage management crew of approximately 16, including production stage managers, assistant stage managers, and production assistants ensure the smooth operation of the three theatres and a deck manager coordinates the Green Show.

Reflecting the profession of Festival founder Angus Bowmer, a professor of English at the then Southern Oregon Normal School (now Southern Oregon University), education has played an important role at the Oregon Shakespeare Festival from its inception. The Education Department’s goal is to inspire a lifelong relationship to theatre and the works of Shakespeare by offering educational experiences that support each season's plays to a diverse range of students, teachers, and audiences.

Thus, the Festival provides a broad range of educational programs for people of all ages and interests. The initial focus was on college students, leading to the founding of the Institute for Renaissance Studies to meet their needs. Offerings included short courses, lectures, readings, concerts, and exhibits focused on the plays of the season. Participation was open to all Festival company members and audiences, either for college credit from several universities, or for audit. Coursework was supported by a collection of Renaissance and late-medieval books, manuscripts, and prints now housed in the Southern Oregon University's Hannon Library.

Programs specifically for teachers have included the five-day retreat, "Shakespeare in the Classroom" that emphasizes innovative and pedagogical methods to help teachers make the works of Shakespeare involving and accessible to contemporary students.

The completion of the indoor Angus Bowmer Theatre in 1971 and the subsequent expansion of the Festival season into the school year enabled an increasing variety of educational programs for middle and high school students. Students visiting the Festival are the recipients of some 55,000 discounted tickets each year. Workshops offered each year by OSF actor-teachers enhance the educational value of their visits. The Bowmer Project for Student Playgoers (initiated in 1996) prepares local teachers to teach plays and includes tickets to a performance, a back-stage tour, and a post-show discussion with one of the actors. From 1981 to 2019, OSF has offered residential Summer Seminars for High School Juniors that enroll 65 students in a two-week program during which they see several plays and learn about onstage technique and theatre management.

For those unable to come to the Festival, pairs of actors participate in the School Visit Program, initiated in 1971, which now reaches some 60,000 students primarily in four states, although it has made occasional visits to eight others. Each one-day visit includes two 50-minute performances and one two-hour or two one-hour workshops. Performances are a condensed version of one Shakespeare play, selected scenes from Shakespeare illustrating a single theme, or a combination of Shakespeare and other literature selected to meet the needs of the school being visited.

A partnership with Ashland High School initiated by student actors in 1993 grew into a rich and enduring relationship for students and Festival professionals that has produced a significant number not just of actors but of theatre professionals over the years.

Programs of different lengths and formality to meet varied adult needs and interests have included Wake Up With Shakespeare, Shakespeare Comprehensive, Festival Noons, Prefaces, Prologues, Park Talks, Road Scholars, and "Unfolding Seminars."

OSF's Development Department has also educational opportunities through tours that have included two to England focused on Shakespeare, one to Greece and Turkey on Holland America Line's MS Rotterdam focused on the beginnings and history of theatre, and one along the coasts of France and Spain and to the Canary Islands on Cunard Line's Queen Mary 2. These tours feature an intensive schedule of lectures and interactive workshops with four to eight OSF staff and actors, as well as visits to local attractions.

The Administrative staff is supervised Acting Executive Director David Schmitz who follows past Executive Directors Paul Christy (2019–2020), Cynthia Rider (2013–2018), Paul Nicholson (1995–2012) and William Patton (1955–1995).

Administration supervises the physical plant (custodial services, maintenance, and security), accounting, IT, mail room, and receptionists. The Director of Marketing and Communications supervises the box office, membership services, archives (see below), publications and media, marketing, and audience services, which itself includes house managers, ushers, concessions, and access staff for handicapped patrons (see below). The Director of Development supervises institutional giving, major gifts, and the Change Makers donor program. The Director of Human Resources manages employees, volunteer and events programs (see below), safety, and a professional development program called FAIR (Fellowships, Assistantships, Internships, and Residencies) that provides students aspiring to a career in theatre with direct experience of best practices across all aspects of professional theatre. Fellows work directly with senior management while expanding their personal networks. Three residencies varying from four to eleven months are exclusive to the Dramaturgy and Literary Management Department. Twenty-five to thirty Assistantships annually provide hands-on opportunities in virtually every area of the organization by pairing recipients with an appropriate OSF staff member for an average of three months. Finally, 15–20 annual unpaid Internships of two to four months each provide emerging artists and administrators with hands-on experience by pairing them with a Festival staff member in an area of interest. Internships may fulfill academic requirements determined by recipient's home academic institution.

Access Service Program
The Festival's Access Services offers a wide range of programs and services for patrons with disabilities on its website and in several annual OSF publications, including the complimentary Playbill provided to all playgoers, Pre-sale Planning Guide, Teachers First Guide, Group Sales Guide and Pocket Guide to each season's schedule of plays.

General accommodations include wheelchair, stair-free, transfer, and companion seating. Service dogs are allowed in all theatres and public spaces and all theatres include elevators and gender-specific, gender-free, and accessible restrooms.

For blind and visually impaired patrons, the Festival has audio describers who provide carefully timed live narration of onstage action during the show for every performance of every play except Previews requested when purchasing tickets or two weeks in advance. Braille, large print, and audio playbills are available for all productions.

For deaf and hearing-impaired patrons, Assistive Listening Devices are available in all theatres by request before any performance. Caption services that allow patrons to follow the script on a tablet during all performances except Previews can be ordered with tickets or two weeks before a performance. Finally, information on when American Sign Language interpreted performances are scheduled is available each season from the Box Office and on the website.

Similar accommodations are available if requested for a wide range of ancillary events that enrich the OSF experience, such as backstage tours, Prefaces, Prologues, and Park Talks and accessible parking is available nearby.

Archives
OSF archivists develop, preserve, and maintain a comprehensive collection of documents and oral histories, drawings and photographs, audio and video recordings, and artifacts pertaining to the artistic and administrative history and heritage of the Oregon Shakespeare Festival. Collecting, organizing, and preserving these materials of what otherwise is an ephemeral art form to archival standards is an ongoing effort aided in part by grants. The archives may be searched online.

Collections are available for research, although some collections have restrictions, and permission must be obtained for their use.

The Archives include Education department records from 1947 on and document the department's programming and structural evolution. Print materials include annual reports, brochures, calendars, correspondence, course handouts, course readings, news clippings, newsletters, photographs, posters, scripts, statistics and survey reports, study guides, and teacher information kits, guides, and resource kits. Audio and video recordings include radio broadcasts and school visit program performances.

In May 2013, the National Endowment for the Humanities awarded the Festival a $200,000 grant to digitize 2,649 deteriorating tapes, films and videos and to make them publicly available through its website and the YouTube platform. The collection spans the history of the Festival from its inception in 1935 through 2012 and comprises an unparalleled comprehensive record of Shakespearean and theatrical performance by a single U.S. theatre company. Included are full-length recordings of 541 of the 570 Festival productions from 1950 to 2012, including three or more varied interpretations of every play in the Shakespearean canon with exemplary casts before live audiences. The production recordings are supplemented by 44 adaptations broadcast on NBC radio, more than 100 hours of artist interviews, Shakespeare lectures by nationally and internationally renowned scholars and educators, production music, promotional recordings, and recordings of significant events in the company's history. Also included are the home movies of founder Angus Bowmer, Southern Oregon Normal School events and rare footage of the initial 1935 Festival season!

Volunteers
The professional staff is augmented by approximately 700 volunteers, who contribute thousands of hours each year. They have helped patrons as roving Bricks Ambassadors who welcomed visitors to the campus and answered their questions, staffed the Welcome Center and Green Show information table, facilitated informal post-matinee discussions, provided concierge services for visiting student groups, and served as volunteer ushers and ticket takers in the three theatres.

Behind the scenes, volunteers help in the archives, box office, costume shop, costume warehouse, development office, fitness center, light shop, mail room, marketing office, scene shop as well as with office tasks such as copying, filing, preparing mailings and sorting incoming mail. They transcribe interviews, help with actor auditions for visitors from other theatres and serve as attendants in the company fitness facility.

Volunteers assist with access services such as providing infrared hearing devices. They help with data collection for periodic audience surveys and staff numerous events that comprise the annual Daedalus fund raiser (see above), drive company vehicles on specific errands, and direct traffic during dismantling and movement of sets into storage at the end of the season.

Soroptimists Club members provide comfort items such as blankets, cushions, and ponchos in the outdoor theatre. Tudor Guild volunteers staff the brass rubbing center, theatre lobby merchandise counters, and gift shop. Housing aides deliver “welcome baskets” to visiting artists. Ashland Garden Club members provide floral arrangements for the annual Feast of Will celebration on the opening weekend of the Allen Elizabethan Theatre.

Each November, company members host a cocktail party and show titled Love's Labors thanking and celebrating the volunteers.

Stage Technology
The availability of small inexpensive computing platforms, LEDs, and compact powerful batteries allows special effects to be built into props, costumes, and scenery. Lighting, atmospherics, sounds, rainstorms, even motorized movement and more can be programmed into devices and controlled by the actors or remotely. WiFi and Bluetooth devices allow for wireless communication between the control console and the effect. For example, the LEDs built into a dress can be remotely illuminated and colors changed live while onstage. Costumes in Head Over Heels, The Wiz, and The Winter's Tale are recent examples of wireless control. Lanterns, candles, fireflies, and other effects built into props and scenery also utilize embedded electronics.

Publications
All playgoers are offered a complimentary Playbill with a synopsis of plays, casts, artist biographies, and directors' statements. Each year, the Festival publishes Teachers First! for school groups and Group Travel for adults, both providing information on the season's plays, including age suitability, the seasonal calendar, ordering, and discount information.

An annual Souvenir Program included photographic highlights of each play and special articles along with pictures and biographies of actors, playwrights, and the many people who work behind the scenes. A chart emphasizing the repertory nature of OSF lists all the actors and their parts in the plays.

The Festival also publishes a Bard Scorecard, a simple folder that lists all of William Shakespeare's plays, the years OSF produced them, and allows playgoers to check off which plays they've seen towards completing the canon.

Professional memberships
OSF is a constituent of Theatre Communications Group, the national service organization for the not-for-profit theatre world, and a member of the Shakespeare Theatre Association of America. It operates under contracts with Actors' Equity Association, The Union of Professional Actors and Stage Managers in the United States, the International Alliance of Theatrical Stage Employees, and the Stage Directors and Choreographers Society, Inc., an independent national labor union.

title: Oregon Shakespeare Festival


text:
Pieces of You

Pieces of You is the debut studio album by American singer-songwriter Jewel, released on February 28, 1995, by Atlantic Records. It was produced by Ben Keith, who has also produced works for artists such as Neil Young and Patsy Cline. Featuring acoustic guitar-based songs written when Jewel was a teenager, the album is composed of both live recordings from 1994 at the Innerchange, a coffeehouse in San Diego, and studio recordings completed at Neil Young's personal studio in Redwood City, California.

After its release in February 1995, the album initially failed to chart. Two years later, in 1997, Bob Dylan invited Jewel to tour with him as his opening act, which gave the album widespread public exposure. The single "Who Will Save Your Soul" eventually received airplay, and the album peaked at number four on the US Billboard 200, almost exactly two years after its release. Other hits included were "Foolish Games" and "You Were Meant for Me", as well as the UK single "Morning Song". After two years, the album was re-released featuring the re-recorded versions of "You Were Meant for Me" and "Foolish Games". Despite a mixed critical response, the album is listed at number 64 of the "Definitive 200" by the Rock and Roll Hall of Fame.

Pieces of You was certified 12-times platinum by the Recording Industry Association of America (RIAA) on January 30, 2006, denoting shipments in excess of 12 million copies in the United States. As of June 2010, the album had sold over 7.3 million copies in the US, becoming one of the best-selling debut albums of all time.

On September 28, 2020, Jewel announced that the album would be re-released in celebration of the 25th anniversary of the album's release. It was released through Craft Recordings in multiple formats including the original album remastered, alongside a four-disc box set containing B-sides, demos, outtakes, and live performances of the album's songs.

Background
The bulk of the songs featured on Pieces of You were written by Jewel between the ages of 16 and 19; she has said that "Who Will Save Your Soul" specifically was written while she was busking during a hitchhiking trip she took by herself over spring break from the Interlochen Center for the Arts, where she had been studying on a vocal scholarship.

While living in San Diego, California, Jewel managed to amass a local following while performing in coffee houses and local bars, which resulted in a bootleg being broadcast on 91X FM. Jewel then became subject of a bidding war between labels, eventually signing with Atlantic Records.

Recording
Several tracks on Pieces of You were recorded live in 1994 at the Innerchange, a San Diego coffeehouse where Jewel was a regular performer. The remainder of the album was recorded in Neil Young's studio at Broken Arrow Ranch in Redwood City, California, under the supervision of producer Ben Keith. Jewel told Time about the recording process: "'[...] Typically I've had difficulty in the studio. I don't sing as raw, it's just a bit more tame. I'm a live singer who's always fed off the energy of the audience. In a studio, you're just looking at a wall—it feels very odd to me. I've been a live performer since I was six years old. The reason I recorded the album live with the band was so that I could play guitar, which I usually never do in the studio, while I sing at the same time. The band was accustomed to following singer-songwriters and feeling for me slowing down and speeding up. It has a real ebb and a flow and a naturalness that didn't inhibit my singing or performance.'" In her 2015 memoir, Never Broken: Songs Are Only Half the Story, Jewel described Pieces of You as "imperfect, full of mistakes and guitar flubs", but also "honest".

Reception
Upon its initial release in 1995, the album received little attention, after which Jewel was invited to tour as the opener for Bob Dylan, which helped garner more public attention. Two of the album's singles were re-recorded for a 1997 re-release of the album.

David Browne of Entertainment Weekly gave the album a negative review upon its 1997 re-release, noting, "Pieces of You remains a wimpily produced batch of songs – so ineffectual that both 'Who Will Save Your Soul?' and 'You Were Meant for Me' had to be rerecorded for release as singles. It's best considered as a guided tour through three decades of female folk-pop styles," comparing it negatively to Joni Mitchell and Kate Bush. Robert Christgau of The Village Voice also gave the album a starkly negative review, writing: "With the possible exception of Saint Joan, who at least had some stature, this is the bad folkie joke to end all bad folkie jokes."

Sara Sytsma of AllMusic gave the album a positive review, calling it "a charming collection of light alternative folk-rock from the teenage singer/songwriter. Her songs are occasionally naive, but her melodies can usually save her lyrics." In his review for AllMusic, Stephen Thomas Erlewine wrote: "Pieces of You is a charming debut that is somewhat undone by its own naïveté. Jewel has a rich voice and an innocent, beguiling charm that makes 'Who Will Save Your Soul,' 'I'm Sensitive,' and 'You Were Meant for Me' – songs with slight, simple lyrics and catchy, sweet melodies – quite endearing; they sound like a high-school diary brought to life. [...] Pieces of You has enough charm to make it an ingratiating debut, even if the album doesn't quite fulfill Jewel's potential."

Personnel
Musicians • Jewel Kilcher – vocals, guitar

• Robbie Buchanan – piano

• Oscar Butterworth – drums

• Charlotte Caffey – piano

• Tim Drummond – bass

• Mark Howard – bass

• Craig Young – bass

• Spooner Oldham – keyboards

• Kristin Wilkinson – strings

• Technical personnel

• Ben Keith – production

• Tim Mulligan – production

• John Nowland – production

• John Dixon – engineering assistance

• John Hausmann – engineering assistance

• Gene Eichelberger – mixing

• Tim Mulligan – mixing

• John Nowland – mixing

• Joe Baldrige – mixing

• Tim Mulligan – mastering

• Jenny Price – A&R

• Gena Maria Rankins – production coordination

• Tim Mulligan – digital editing

• Charlotte Caffey – arrangements

• Jewel Kilcher – arrangements

• Art personnel

• John Codling – art direction

• Hugh Hales-Tooke – photography

title: Pieces of You


text:
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text:
Talk:GNU Lesser General Public License

JSP/Portlets/ETC
Does anyone know whether one can modify rendering of an LGPL portlet in... say an JSP page (from existing LGPL project) w/o having to release the whole thing. Also if one is providing a web-based service using LGPL code, specifically, modifying JSP pages - what implications does it have on the overall application as service? —Preceding unsigned comment added by 76.231.241.230 (talk) 20:30, 11 December 2008 (UTC)

LGPL Inhertance
The article mentions that the LGPL contains no provisions for OO code, referencing an outdated FAQ relating to version 2.1 of the licence. However, the LGPL 3 contains the following phrase "Defining a subclass of a class defined by the Library is deemed a mode of using an interface provided by the Library." (http://www.gnu.org/licenses/lgpl.html) therefore implying that subclassing does not create a derivative work. This section of the article needs updating. Mallardtheduck 10:11, 29 October 2007 (UTC)

The claim "Inheritance creates derivative works in the same way as traditional linking" is true only in the vacuous sense. According to United States law, neither linking nor inheritance creates a derivative work. The statute 17 USC 101 defines
 * A “derivative work” is a work based upon one or more preexisting works, such as a translation, musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which a work may be recast, transformed, or adapted. A work consisting of editorial revisions, annotations, elaborations, or other modifications which, as a whole, represent an original work of authorship, is a “derivative work”.

The purpose of "derivative work" in US copyright law is to give the author of the derivative work copyright in the portions that he has created, when that work consists of an original work of authorship. Neither inheritance nor linking creates a derivative work in this sense, because no transformation of the original work through an original work of authorship has taken place.

Traditional linking (but not inheritance) creates what US law defines as a compilation.
 * A “collective work” is a work, such as a periodical issue, anthology, or encyclopedia, in which a number of contributions, constituting separate and independent works in themselves, are assembled into a collective whole.
 * A “compilation” is a work formed by the collection and assembling of preexisting materials or of data that are selected, coordinated, or arranged in such a way that the resulting work as a whole constitutes an original work of authorship. The term “compilation” includes collective works.

The reason the GPL can affect traditionally linked works in its "viral" aspect is that separate permission must be acquired from the copyright holder to include a work in a compilation (see 17 USC 201), so the GPL can grant linking permission only if the work as a whole is distributed under the GPL. But when there is no copying of [L]GPLed code into the resulting work, as is the case when there is dynamic linking or inheritance, the [L]GPL cannot affect the resulting work. —Preceding unsigned comment added by 204.253.252.20 (talk) 15:05, 12 August 2009 (UTC)

Removed Fallacious Statement
the last line of the LGPL section, referring to code that has been returned to full GPL, said that it is "useful to prevent software from going commercial." This is repeating a myth and was removed. ref stallman on GPL 2000

 * Looks good. Belorn (talk) 14:24, 20 June 2012 (UTC)

Comment out
I commented this out: "Another major difference is that derivative works (which are not GPLed) must be software libraries." Where in the text of the license does it say that? Versions of OpenOffice.org created under the LGPL (I really doubt Ximian is using the SISSL!) aren't software libraries - David Gerard 20:08, 29 May 2004 (UTC)

 * Section 2. But this section only applies to derivative works that are "based on" the library, i.e. modifications, iterations, or evolutions of it.  Derivative works such as programs that merely "use" the library are covered separately under Sections 5 and 6. - 68.33.75.150

otherside
There was one link for "What microsoft says about Software licenses". It's now removed. Is it not essential to know opinion of a propreitary company on FREE licenses?

 * I disagree. You can't present a balanced argument without hearing both points of view. I'm not employed by Microsoft and even I have reservations about the free software movement - somebody

has to feed the kids back home. Erichero 16:02, 26 October 2007 (UTC)

-

"The LGPL is now deprecated" - With what was it replaced?

 * It isn't deprecated, but should not be used for everything. The FSF commented on this because big projects like Wine and OpenOffice use this license when instead they should use the GPL. Dustin 16:03, 17 November 2006 (UTC)

-

About the "derivative work must be a software library":

2. You may modify your copy or copies of the Library or any portion of it, thus forming a work based on the Library, and copy and distribute such modifications or work under the terms of Section 1 above, provided that you also meet all of these conditions: a) The modified work must itself be a software library.

I have often wondered about Ximian OOo, which mentions the LGPL on the About box. It seems this might be an unenforced violation.

Regarding LGPL deprecation:

It was "replaced" by the GPL, even though the GPL predates the LGPL. Basically, Richard Stallman decided the LGPL wasn't such a good idea for a lot of what it was used for.

Jerickson314 20 April 2005

 * See the comments on "derivative works" above. Also, LGPL does not replace the GPL, it is an alternative to it.  Which one to use is a matter of strategy.  The GPL is preferred in many but not all cases. - 68.33.75.150

 * Jerickson314, read the article by Stallmann. His intention is for free software (Sourcecode) to proliferate. He can achieve this if as many people and developers use as much free software as possible. The talk about strategy boils down to this: If there exist many alternatives to a software "module" that a developer would use to create a closed application without requirements to open that application up, use LGPL for the free alternatives. That way, at least a part of the closed application (namely this module) remains source-open, because the developer has the incentive of using the free (as in beer) GNU library over the (probably not free) proprietary one.

 * However, for software modules / libraries / whatever where the free software is the superior choice, or maybe the only choice, the normal GPL should be used because use of the GPL would require the entire application to be open. The GPL considers even dynamic linking to be "deriverative", although this hasn't been tested in court.

 * I am not a lawyer, but that is the short version of how I understood Stallman. I hope it helps anybody. :) -- Nils Jeppe 06:58, 16 September 2006 (UTC)

Correction needed.
This feature is useful if one wants to create a version of the code that software companies cannot use in proprietary software products.

I believe this section is just plain wrong. The GPL can be used in "proprietary software" but the company must make the source code accessible to the public. Therefore, this section needs to be rewritten. --Mecanismo 13:35, 27 August 2005 (UTC)

 * This isn't the whole truth either. Providing the source code is only one of the options available; the basic requirement is that the program needs to be debuggable somehow. - 68.33.75.150

"Page 4" of http://64.233.183.104/search?q=cache:gk9T1KYXjxIJ:fly.isti.cnr.it/sl/licenses.pdf+kernel+released+under+the+LGPL&hl=en&gl=uk&ct=clnk&cd=3 the (Wikipedia) article is definitely wrong, though linked article states that

"the LGPL may be linked against non GPL-compatible software, even proprietary software, provided that the source of the LGPL part is made available, and that the LGPL part is upgradeable independently from the rest of the program linked against it."

which disagrees with user "68.33.75.150"s post above.

An official page at http://www.fsf.org/licensing/licenses/why-not-lgpl.html says "the Library GPL permits use of the library in proprietary programs; using the ordinary GPL for a library makes it available only for free programs."

GPL compatibility
I removed this:

[About section 3, the GPL relicensing clause.] It is also necessary to ensure that the LGPL is "GPL-compatible", so that GPL-covered programs can use LGPL-covered libraries.

This is not true; the LGPL would allow a linked binary to be distributed under the GPL, so it is GPL-compatible. The clause is there to allow the reuse of code from LGPL libraries, in libraries or applications that are under the GPL. That is, straight reuse of code in the application, not linking.

Tim 21:30, 30 November 2006 (UTC)

Free to use for homepages?
Sorry, but no matter how hard I try and read the article (or the actual documents), I don't quite get whether or not it's allowed to use an image licensed with the GNU lesser general public license for, for example, a homepage? Mackan 12:16, 25 February 2007 (UTC)
 * Anybody? Please. Mackan 11:47, 27 February 2007 (UTC)
 * I think it would be allowed. You can always ask the image's copyright holder. —tedp 15:23, 12 May 2007 (UTC)

 * Use is always allowed, for any purpose. Chris Cunningham 15:58, 12 May 2007 (UTC)

 * What about certain forms of distribution? If I create a huge piece of software, and it includes a few LGPLed icons, can I distribute my software under a commercial, proprietary license? 190.46.200.141 (talk) 05:27, 6 January 2008 (UTC)

 * Yes you can. One of the simplified explanations I have heard is that GPL is contagious, LGPL is not. The only time software using LGPL code has to be LGPL as well is if it is a derived work; that is, if you modify LGPL code, or cut-and-paste construct a new program based on LGPL code, then those modifications have to be licensed under the LGPL. In the case of your icon example, when you distribute it, the icons would have to be distributed in a form such that they could be replaced by the end-user with a more recent version of the icon. Basically, use of LGPL'd icons would be irrelevant to the rest of your project. As far as the intricacies of the license go, images are not a very good example to use, because there is not the same notion of "source code" as there is with a C program. Whenever you distribute an image, you are also distributing it's source code, so you are automatically complying with the provisions of the LGPL regardless of what is distributed along with it. Kinda long-winded, but hope that clears things up.--66.102.196.44 (talk) 00:18, 5 March 2008 (UTC)

 * Images licensed under GPL or LGPL can be used on a home page; however, according to a strict reading of the GPL or LGPL, you would theoretically also have to distribute a copy of the GPL or LGPL license along with the image, or provide a link to the text of the GPL or LGPL; that is, according to the terms of the GPL/LGPL, distributing the image alone does not “automatically comply[] with the provisions of the LGPL” as claimed above, unless you also include the text of the license itself (or a link to it). Since this is often inconvenient and is often just a pain in practice, it is probably sufficient just to include a comment citing the source of the image and a caption such as “(licensed under {GPL,LGPL,FDL}).”  Hope this helps.  —Technion (talk) 16:16, 6 July 2010 (UTC)

This article in general is almost impossible for a layman to read and understand, a section of fair use examples would make this so much easier 71.58.89.231 23:41, 28 April 2007 (UTC)

The Licence it self?
I read the article and I don't understand what it means if piece of software is under this licence. As if am I allowed to use it? And what are the restrictions and constrains.--Cliff 21:56, 20 May 2007 (UTC)

 * You can use the software for any purpose. You can link it with binaries you distribute so long as you (a) impose no addition restrictions on use or redistribution of the LGPL code) and (b) include the license terms with the code you link to. If you actually modify any of the LGPL code, you must make your modifications available under the terms of the LGPL. Chris Cunningham 22:14, 20 May 2007 (UTC)

 * I added your statement to the article. Thanks a lot for that explanation, that's what I wanted to hear since I could understand so how exactly is this different from normal GPL and BSD.--Cliff 18:09, 28 May 2007 (UTC)

 * Note that the article (up till Dec 2015 - and beyond, since the top part is locked) contradicts the above in one place (yet the above from Thumperward IS correct.) The article (up till Dec 2015 and beyond) reads "it only guarantees the freedom of modification for components licensed under the LGPL, but not for any proprietary components." Actually, the truth is somewhat the reverse - modification of LGPL components IS restricted, but your added components are NOT - they free of any restriction or seizure by the LGPL terms. Specifically, you can't modify the LGPL code and keep those modifications private; but you can modify a program or OS etc by using your own components together with LGPL components and still keep those proprietary or secret or both. Whereas with GPL, if you add your own components to the Linux kernel and distribute that, say, The GPL now owns that code, too. Equally the LGPL guarantees you freedom to create using components licensed to you by others under any licenses whatsoever, without demanding the release of that code under GPL or LGPL. I was going to edit that in, but instead the error will remain, in the locked text. — Preceding unsigned comment added by 184.66.139.194 (talk) 03:16, 11 December 2015 (UTC)

update to LGPLv3
This article needs an update, LGPLv3 has already been released since June 29, 2007. I'm not good enough at licences to edit it so could please anyone else do it ? Bertvandepoel 11:25, 4 August 2007 (UTC)

 * The FSF doesn't seem to have a page on the changes that were made in the LGPLv3. The text is vastly different and much shorter, but it doesn't seem to have any of the controversial provisions that the GPLv3 was all about. I'll see if I can find any sources discussing the changes. Nasarius 00:34, 9 November 2007 (UTC)
 * GPL v3 is raising a shitstorm. I don't quite understand it enough to write about it myself but I'm guessing it should be included. —Preceding unsigned comment added by 86.121.71.179 (talk) 14:02, 28 November 2007 (UTC)
 * LGPLv3 is now just a patch for GPLv3, referring to it and stating the differences, because the difference is vastly shorter than the whole licence. --AVRS (talk) 14:38, 28 November 2007 (UTC)

Formatting complaints
Is it really necessary to bold the passages in the "Differences from the GPL" section? I find it a little pedantic and off-putting to the reader. Anyone opposed to removing the bold? --Ronocdh (talk) 03:51, 17 March 2009 (UTC)

Who created the V3 logo
? --76.200.148.120 (talk) 01:57, 9 April 2009 (UTC)

Licensing
So does this mean that lets say I use Pygame wich is licensed under (GNU Lesser General Public License), and make a game. does that mean the game must only be copyrighted under GNU Lesser General Public License or any other GNU license, or can it be placed under our own work or something? Gman 124 talk 18:04, 2 September 2010 (UTC)

 * For information about GNU Lesser General Public License, please read about that article. Short answer: no, the resulting work do not need to be under the LGPL. Belorn (talk) 09:53, 23 January 2014 (UTC)

Was the difference between GPL and LGPL ever tested in court?
The LGPL purports to allow some situations which are prohibited by the GPL, but it is not clear that those situations are cases of infringement. Opinions on this vary. (This topic is covered in the GPL article from several angles.)

The question is, has this ever been challenged in a court case and what was the decision? Has there been a case revolving around the defendant using GPL-ed code as in a way that would fully conform to the LGPL, and what was the decision?

KazKylheku (talk) 18:46, 30 July 2014 (UTC)

The lgpl is not explained
The section jumps from sections history to differences. In other words it has no explanation what lpgpl actually is. In particular what lpgpl obliges the distributor of a program to do. — Preceding unsigned comment added by 2001:981:7478:1:3D46:34D5:6B77:57D (talk) 15:35, 13 October 2021 (UTC)

adult-filter-dns.cleanbrowsing.org
adult-filter-dns.cleanbrowsing.org 37.239.84.7 (talk) 14:37, 2 December 2021 (UTC)

title: Talk:GNU Lesser General Public License


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User:Fredrik/monobook.css

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Shirley Muldowney

Shirley Muldowney (born June 19, 1940), also known professionally as "Cha Cha" and the "First Lady of Drag Racing", is an American auto racer. She was the first woman to receive a license from the National Hot Rod Association (NHRA) to drive a Top Fuel dragster. She won the NHRA Top Fuel championship in 1977, 1980, and 1982, becoming the first person to win two and three Top Fuel titles. She won a total of 18 NHRA national events.

Racing career
Born Shirley Ann Roque in Burlington, Vermont, on June 19, 1940, Muldowney began street racing in the 1950s in Schenectady, New York. "School had no appeal to me. All I wanted was to race up and down the streets in a hot rod," declared Muldowney. When she was 16, she married 19-year-old Jack Muldowney, who built her first dragster. "It was Jack Muldowney who first taught me how to drive a car. Jack was the mechanic. He was the guy who tuned the cars that let the girl beat all the boys. I was a kid from upstate New York with no guidance, no direction. I was headed for trouble, nothing going for me. Then I found the sport at a very young age and was able to make something out of it."

In 1958, Muldowney made her debut on the dragstrip of the Fonda Speedway. She obtained her NHRA pro license in 1965. She competed in the 1969 and 1970 U.S. Nationals in a twin-engined dragster in Top Gas. With Top Gas losing popularity, Muldowney switched to Funny Car, buying her first car from Connie Kalitta.

Around this time, her husband and she drifted apart; they finally divorced in 1972. "He didn't want to go nitro racing and we parted, but we stayed friends all those years until he passed away [in 2007]," she later said.

Muldowney won her first major event, the International Hot Rod Association (IHRA) Southern Nationals, in 1971.

She stepped up to Top Fuel, getting her license in 1973 (making her the first woman to do it), behind the wheel of Poncho Rendon's digger; Don Garlits signed her application, one of three signatures she needed to make it official; the other two were Tommy Ivo and Connie Kalitta. From 1973 to 1977, she teamed up with Kalitta as the Bounty Hunter and Bounty Huntress in match races, in a pair of Ford Mustangs, hers a Buttera chassis, and his a Logghe. The Bounty Huntress Mustang caught fire at Dragway 42 in Ohio in 1973.

In Columbus, Ohio, in 1976, Muldowney dominated Top Fuel, qualifying number-one by 0.05 second, setting low elapsed time (ET) and top speed of the meet, having the low ET in every round, breaking her own top speed record in the final, and winning the class. An unprecedented three NHRA Top Fuel Dragster world championships followed, in 1977, 1980, and 1982.

Muldowney's success met enormous opposition from those who felt drag racing (or any form of motorsport, for that matter) was no place for women. Garlits has said about her: "Now, if you ask who do I have the most respect for, I'd say Shirley Muldowney. She went against all odds. They didn't want her to race Top Fuel, the association, the racers, nobody...just Shirley." Muldowney noted, "NHRA fought me every inch of the way, but when they saw how a girl could fill the stands; they saw I was good for the sport."

A crash in 1984 crushed her hands, pelvis, and legs, necessitating half a dozen operations and 18 months of therapy. Muldowney was sidelined for a long period, but returned to the circuit in the late 1980s. She appeared on the Tonight Show with Johnny Carson on Feb. 21, 1986, walking with a cane. She continued to race, mostly without major sponsorship, throughout the 1990s in IHRA competition, as well as match-racing events. She returned to the NHRA towards the end of her career, running select events until her retirement at the end of 2003.

Muldowney was described by longtime drag racer Fred Farndon as the "best 'natural' driver (top fuel or funny car), no question."

Her recent activities include the dictation of her memoirs, Shirley Muldowney's Tales from the Track, which Bill Stephens transcribed, and which Sports Publishing L.L.C. published in 2005.

Health issues
In March 2016, Muldowney disregarded a cancer scare to be the official starter of the Amalie Oil NHRA Gatornationals. Having been given a diagnosis of lung cancer prior to the event, Muldowney was later given a diagnosis of histoplasmosis, a curable and nonmalignant fungal infection that can mimic cancer.

Shirley's Kids
Muldowney operates a charitable organization, Shirley's Kids, which helps children in need in cities where drag racing is part of the community.

Film depiction
The 1983 biopic Heart Like a Wheel, about Muldowney's life and career, starred Bonnie Bedelia. Muldowney would rather have had Jamie Lee Curtis play her; she called Bedelia "a snot," and stated, "When she was promoting the movie on TV shows, she would tell interviewers she didn't even like racing. She got out of race car [sic] like she was getting up from the dinner table." Muldowney had mixed feelings about the film itself, stating, "No, the movie did not capture my life very well at all, but more importantly, I thought the movie was very, very good for the sport."

Awards and honors

 * In 1975, she was voted the first woman member of the 10-person Auto Racing All-American team by the American Auto Racing Writers and Broadcasters Association.
 * In 1976, she was named Drag News Top Fuel Driver of the Year and voted to the Auto Racing All-American Team for the second time.
 * In 1977, she won the NHRA Winston world points championship, becoming the first woman to claim drag racing's most prestigious title. She was the recipient of "Outstanding Achievement Award" from the United States House of Representatives on October 14, 1977, and was named the Drag News Top Fuel Driver of the Year for the second straight season. Shirley also was named Car Craft magazine Person of the Year during the annual Car Craft Awards Banquet, Indianapolis, Indiana. She was the first Top Fuel driver to win three NHRA national events back-to-back.
 * She was the NHRA Winston world points championship for the second time in 1980.
 * The next year, she won the AHRA world championship and was voted to Auto Racing All-American team for the fifth time. Car Craft selected her to the All-Star Team, and Top Fuel Driver of the Year, for the second year in a row.
 * In 1982, she won the NHRA Winston points championship, becoming the first person to claim drag racing's most prestigious title three times. She was voted to the Auto Racing All-American Team for the fifth time.
 * In 1989, she was inducted into the Michigan Motorsports Hall of Fame. www.mmshof.org
 * In 1990, she was inducted into the Motorsports Hall of Fame of America.
 * In 2001, she was ranked number five on the National Hot Rod Association's 50th-Anniversary list of its Top 50 Drivers, 1951-2000.
 * In 2004, she was inducted into the International Motorsports Hall of Fame.
 * In 2005, she was inducted into the Automotive Hall of Fame.
 * In 2008, ESPN ranked her 21st on its list of the Top 25 Drivers of All Time, citing her record as the first woman to win a major racing championship.

In popular culture
Her name appears in the lyrics of the Le Tigre song "Hot Topic." Samples from the movie made about Shirley are heard in the lyrics of the L7 song "Shirley" on the Hungry for Stink album. The song "Run, Run, Run" by Patti Scialfa is about Muldowney. Her name also appears in the 1987 Michael Cooper (of Con Funk Shun) song Quickness "with the Shirley Muldowney-es of Quickness"

Crypto Currency
On October 7, 2022 the NHRA Coin Shirley Muldowney Edition NFT became available on the OpenSea NFT Marketplace.

title: Shirley Muldowney


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Euphrosyne of Polotsk

Euphrosyne of Polotsk (Еўфрасіння Полацкая; 1104–1167) was the granddaughter of Vseslav, the prince of Polotsk, and daughter of the prince Svyatoslav-Georgy Vseslavich. She has long been a popular saint among Orthodox devotees, particularly those in Belarus, Ukraine, and Russia with a traditional feast day of May 23. In addition, since 1984, she has been one of the 15 patron saints of Belarus, whose lives are celebrated in the Belarusian Orthodox Church, on the first Sunday after Pentecost.

Life
Predslava was born between 1101 and 1104, into the Rurik noble family, members of which were the dukes of the principality of Polotsk, in what is modern day Belarus. Her father was Prince Svyatoslav-Georgy Vseslavich, second son of Vseslav the Sorcerer.

She refused all proposals of marriage and, without her parents' knowledge, ran away to the convent where her aunt was the abbess. She became a nun and took the name Euphrosyne. With the blessing of the Bishop of Polotsk, she began to live near the Sophia cathedral, where she spent her time copying books. The money she thus earned she distributed amongst the poor.

Around 1128 Bishop Elias of Polotsk entrusted Euphrosyne the task of setting up a convent. At the newly constructed Savior-Transfiguration convent at Seltse she taught young women to copy books, sing, sew and do other handicrafts. Through her efforts, in 1161, a cathedral was built which survives to the present day. She also founded a monastery dedicated to the Mother of God, as well as two churches. The church of The Holy Saviour still stands today and is considered to be the most precious monument of early Belarusian architecture.

Towards the end of her life, she undertook a pilgrimage to Constantinople and the Holy Land. Patriarch Michael II of Constantinople gave her an icon of the Theotokos, which is now called the Virgin of Korsun. The Crusader king, Amalric I of Jerusalem, also received her in the Holy Land where she died circa 1173. Her body, after the conquest of Jerusalem by Saladin in 1187, was carried by the monks to Kiev and deposited there in the Monastery of the Caves. It was only in 1910 that the relics of Euphrosyne were brought back to her native town of Polotsk.

Veneration
Her feast day is celebrated on May 23. Euphrosyne is the only virgin saint of East Slav origin.

Euphrosyne (or Efrosinia) of Polotsk is a patron saint of Belarus. In Belarus there is a Convent of Saint Euphrosyne in Polotsk and a Saint Euphrosyne Orthodox Church in Minsk. In addition, there are churches dedicated to Euphrosyne of Polotsk in London, Toronto, Vilnius and South River, New Jersey (see: St. Euphrosynia Belarusian Orthodox Church).

Cross of Saint Euphrosyne
The Cross of Saint Euphrosyne was a gem-studded cross created at her behest by a local master, Lazar Bohsha (Лазар Богша). The famous six-armed golden cross was decorated with enamels and precious stones and presented by her to the Church of the Holy Saviour in 1161. The relic survived centuries of turbulence until World War II, when it disappeared during the evacuation of the museum in 1941. The cross was last seen in Mogilev. Despite efforts of the Belarusian government to trace its whereabouts in the early 1990s, which included searching in private collections in the United States, it has not been found.

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