Skhematicheskiĭ chertezh Meliorativnogo tovarishchestva "VIN-SAD"

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Plan zemelʻnogo uchastka Cholvaskogo kooperativnogo meliorativnogo tovarishchestva "Intensivn. N 2 Khersonskogo okruga Skadovskogo raĭona urochishch. "Kara-Bulat"

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Plan Aleshkovskogo meliorativnogo tovarishchestva

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Sketch map of settlements in the Skadovsʹkyĭ region

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Plan Golo-pristanskogo meliorativnogo tovarishchestva

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Karta Khersonskogo okruga Odesskoǐ gubernii

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Karta chasti Khersonskogo okruga Odesskoĭ gubernii

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Map of the Staro-Shvet︠s︡ka colony

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Map of the Shvedsʻka- Poli︠a︡na colony

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Plan Mikolaivskoiï okrugi Poltavskogo raĭonu , v chastke kolfondu chº 351 pid nazvoi︠u︡ Abkinsʻkiĭ

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Plan Mikolaivskoiï okrugi Poltavskogo raĭonu , v chastke kolfondu chº 351 pid nazvoi︠u︡ Abkinsʻkiĭ

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Letter of thanks to Joseph Rosen from the Ekaterinoslavskoe Evreĭskoe obshchevstvo po okazanii︠u︡ besplatnoĭ mediko-sanitornoĭ pomoshchi bedneĭshemu naselenii︠u︡ gorada Ekaterinoslava (EMSO)

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Letter of thanks to Joseph Rosen from the Ekaterinoslavskoe Evreĭskoe obshchevstvo po okazanii︠u︡ besplatnoĭ mediko-sanitornoĭ pomoshchi bedneĭshemu naselenii︠u︡ gorada Ekaterinoslava (EMSO)

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Appalling behaviour

'Appalling Behaviour' is a critically acclaimed contemporary Australian monologue, written by AWGIE Award winning playwright, Stephen House. This production, directed and creatively adapted by Shane Pike, was presented at the Brisbane Powerhouse in February 2016, as part of Queensland's LGBTIQ festival, Melt. This adaptation of the work experimented with notions of gender, taking the original script and manipulating character and scene to investigate expressions of identity beyond the traditional notions of binary gender-norms. To this end, the sole character (and actor) was (re)presented as a homeless bi-sexual queen with the aim of inferring that gender un/ab-normative characters can exist not only as disruptors/comments on/agitators of traditional expectations of performed gender (both onstage and off), but can also exist as accepted characters in and of themselves. Put simply: can a bi-sexual queen just be an actor/character in a play, or do all gender extra-normative characters inherently exist as political, social and cultural challengers? If so, why is this the case and should we be aiming for this kind of character to be an accepted part of the performative fabric, seamless and fitting within any onstage situation and play (why can't Willy Loman, King Lear or Nora be gender non-normative), or should such (re)presentations always exist as 'different'? Is it time for individual expressions of gender to just 'be' and be accepted as givens, or are we not quite there yet?

Tipovoĭ proekt korovnika na 100 golov

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