Beyond Your Potential--Accident: The Comeback Kit, From Coma To Comedy
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This, along with entertaining and speaking worldwide, as well as writing four books, he has found success in various ways.
Kit first took up juggling because of his love of things different and unusual. Learning to juggle in , at the age of 15, Kit knew early this is what he wanted to do for his life's work. After winning first place on "The Gong Show" at the young age of 16, one of the next things Kit did was teach juggling and performing at Ringling Brothers and Barnum and Bailey Clown College at the young age of Kit went on to perform around the world and achieved the position of "featured performer" at Bally's Park Place Casino in Atlantic City.
He was doing 2 shows a night, 6 days a week, about 15 minutes a show. So, Kit was working about 30 minutes a day, doing something he loved, and he was paid very well for it! Kit was always working on new and better things in the show, from juggling tricks to comedy routines. At this point, Kit's juggling was at a high level and he was trying to master juggling 7 clubs, a world record at the time.
This would be the same as the first person to run a four minute mile, or pole-vaulting 20 feet. Kit didn't work on juggling 7 clubs for publicity or fame, but as a personal challenge to see how far he could take his juggling. He got a run of 30 throws with 7 clubs and knew that he could improve on this trick.
The juggling of 7 clubs was witnessed by a number of people. Juggling and performing were such a joy for Kit. Getting paid to do what he loved to do was more than he could ever have hoped for. Becoming a featured performer at Ballys was a starting point on his way toward stardom; who knows how far he was going to go with his performing.
Just Another Love Story () - Just Another Love Story () - User Reviews - IMDb
Kit Summers, pro juggler and motivational speaker While on the way to the show at Ballys one rainy night, Kit paused before leaving the shelter of the parking lot before fighting the wind and the rain to get to the casino for the performance. Atlantic City had not seen such a rainstorm in some time, shrouding street lights and stop signs in a shiny blur; it was even hard to see across the street. Kit was crossing the busy street when, suddenly, out of the downpour from behind a sheet of rain, a truck came on the scene.
Kit thought, "There is no time to get out of the way! Kit was thrown onto the hood of the truck, broke the windshield with his head, rolled off to the side and tore off the side mirror with his body, and then laid in a crumpled heap 30 feet away from the truck. After 37 days asleep, Kit slowly emerged from his coma. He came back slowly, and when he awoke he had to learn to do everything once again, including eating, talking, walking, and of course, juggling. Although he knew "how" to do these tasks in his mind, the connections from his brain to his nervous system had to be re-established.
In April of Kit was riding his bike. It was a nice sunny day, and he smiled as he peddled.
Things were good. Suddenly, a truck was coming toward him and got into the left hand lane. His mind reeled, thinking, "No, not again! Once again, he was in the hospital and rehab for months. About eights months after Kit was hit by the truck, he was at home doing office work.
The doorbell rang and he was surprised to see a local police officer at the door. The officer said, "Kit, I have to take you in to appear before the judge. Learn more here: www. Join me on my roller-coaster ride as I bring your life and business to ever higher levels. Realize the Full Potential of Your Juggling! View workshop agenda.
All 1 Videos Photos 1 This speaker hasn't uploaded any videos yet. CreateSpace Independent Publishing Platform,. Your Brain: Beyond Your Potential. Juggling Personal Achievement Peformance. Recommend Kit. Add testimonial. Why choose me? Given Henley's disposition in this regard, it is surprising well, maybe we should not be surprised that while commentators have readily noticed how often Henley populates her plays with disabled figures, few observers have considered this presence a matter for analysis and none have applied a disability studies perspective.
Early reviewers in particular decided that such characters were merely "eccentric," grist for the hilarity mill, and let it go at that. Academic critics have been more attentive to the pain behind the wisecracks. For example, Billy Harbin concludes that Henley's "antic imagination covers her serious tracks so successfully" that audiences might not be aware of her "grave vision. In a similar vein, Nancy D. Hargrove, in her essay, "The Tragicomic Vision of Beth Henley's Drama," interprets the "staggering number of physical deformities and diseases" in Henley's drama as a metaphor for "man's corruption" Such an analysis, insensible to the offensive construction of disability whether physical or affective as a signifier of moral weakness or turpitude does need to be challenged and overturned by the deployment of a disability studies methodology.
Unlike the popular films described by Paul K.
Longmore in his seminal essay "Screening Stereotypes: Images of Disabled People," such a dramaturgy does not allow normate audiences either to screen out disability or to perceive it as an isolated phenomenon, a "manageable," containable "problem" that belongs to someone else The uncomfortable audience laughter that accompanies stories of sheep-shearing accidents and cancers of the pituitary gland is a response to a world in which all human beings are, at best, temporarily able-bodied.
Commentary on the purpose of black comedy often contends that the form serves a palliative function. For example, Benedict Nightingale, in reviewing McDonagh's The Beauty Queen of Leenane, offers this assessment: "When you can't change or leave a mean, bleak world, what better way is there of surviving it than laughing at the sheer frightfulness of things?
Lisa J. McDonnell argues that the form "provides a way to cope with things that one is afraid to confront seriously, to maintain a certain amount of dignity, to shrug off, at least momentarily, burdens that are too heavy to bear" However, I would contend that black comedy is not about survival, evasion, or coping; rather, it provides a mechanism whereby an audience is lured into grappling with matters it has heretofore deemed unthinkable.
In essence, black comedy is a literature of intense engagement that pretends to do otherwise. The modality of black comedy allows Henley, as it allows McDonagh in The Cripple, to attend to disablement in a fashion that is intellectually honest and aesthetically engaging. The works I have been describing here are the much-needed dramatic equivalents of those postmodern "disability counter-narratives" that Mitchell and Snyder describe and desire.
There will be more of them. See "Off-Broadway" New Yorker. In fact, responses to her work generally fall into this category. Billington, Michael.
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Garry Hynes. Royal Court Theatre, London. The Guardian. Braunberger, Christine. Clay, Carolyn. Scott Ziegler. American Repertory Theatre, Cambridge, Massachusetts. The Boston Phoenix 27 May Flynn, Joyce. American Repertory Theatre. Harbin, Billy, J.
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