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PE Articles:
Pacquiao 2008 fighter of year by BWAA vote

NEW YORK (AP)—Manny Pacquiao has been voted fighter of the year by the Boxing
Writers Association of America after a dominating win over Oscar De La Hoya.

Joe Calzaghe was runner-up, but voted manager of the year Tuesday for guiding his own
career. The undefeated former super middleweight champion recently retired.

Pacquiao won three times in 2008, highlighted by his stoppage of De La Hoya.

Pacquiao’s trainer, Freddie Roach, was a voted trainer of the year, the third time he has
won the award.

The super batamweight rubber match between Israel Vazquez and Rafael Marquez was
chosen fight of the year. Vazquez won the fight by split decision.

The awards will be presented at the annual BWAA dinner June 12 in New York.

Goosen is golden on the brown greens of Innisbrook

PALM HARBOR, Fla. (AP)—During his two-year tumble down the world rankings, Retief
Goosen has faced problems with eye surgery and lost some distance off the tee. But the
main culprit was his putting, and he even tried a belly putter last month in desperation.

Innisbrook, which had the toughest greens this side of a major, proved to be the perfect
tonic.

“When greens get so crusty and fast, I just tend to be able to control my stroke better on
these quicker putts,” Goosen said after his one-shot victory in the Transitions
Championship. “I think if I putted on greens like this all year long, I’ll enjoy it.”
He had a blast Sunday on the tough Copperhead Course at Innisbrook.

They call them “greens,” although they showed patches of brown all weekend. They
were firm and crispy, making it difficult to hold shots and even tougher to make putts.

They reminded Goosen of Shinnecock Hills in 2004, when he won the U.S. Open by one-
putting the last six greens.

This performance wasn’t that good, but it was good enough.

Goosen closed with a 1-under 70, making him the only player to break par all four days.
But it was the 18th hole, where Goosen needed only two putts from 25 feet for the
victory, that proved the most difficult.

He ran the first putt 5 feet by the hole, steadied himself, then made it for par.

“It was great to see that putt go in,” Goosen said. “The greens got scary. Down those
last few holes, they were definitely getting like Shinnecock was. You just cannot hit them
soft enough. It was really tough.”

Charles Howell III (69) and Brett Quigley (68), who each finished one shot behind, had
similar birdie putts in the groups before Goosen. Both ran them well past the cup and
had to sweat for par.

“You’re in the back of the tub trying to stop it short of the drain,” Quigley said describing
the putt they all had.

For a moment, Goosen must have had flashbacks to his other U.S. Open victory, in 2001
at Southern Hills. He had two putts from 12 feet for his first major, but three-putted to
force a Monday playoff, which he won over Mark Brooks.

Harvick drives his own car to Bristol victory

BRISTOL, Tenn. (AP)—Kevin Harvick proved just how strong his organization is Saturday
by winning the Nationwide Series race at Bristol Motor Speedway in his own race car.

Harvick led 44 laps in his Kevin Harvick Inc.-owned Chevrolet, his first victory in a car
fielded by the race team he built with his wife.

“It is very emotional, he’s tried so hard, so long in his own stuff,” Delana Harvick said in
Victory Lane. “Today was his day.”

Although Harvick has won three times in a KHI-owned Truck—in 2002, ’03 and ’08—he’d
yet to win a race in the more prestigious Nationwide Series. Tony Stewart won twice for
him in that series, and Bobby Labonte once.

At Bristol, though, it was finally Harvick’s turn and he had a clear shot at the win after
Kyle Busch was taken out of contention by a penalty on the final pit stop.

“It feels pretty good to get our car into Victory Lane,” Harvick said. “Finally we got this
out of the way. Delana and I built this company from basically dirt. It started as a hobby.
It’s been a tremendous amount of pressure that I’ve put on myself … but it was well
worth the reward today.”

Harvick said his alternator failed during the race, making his cockpit almost unbearably
hot as he rolled to the checkered flag.

Carl Edwards finished second and Clint Bowyer was third, and both credited Harvick for
winning in his own car.

“To win in something that you build, I can only imagine what that feels like. That’s pretty
special,” Edwards said.

Bowyer congratulated his Sprint Cup Series teammate, but also took a playful jab at the
accomplishment.

“It’s been a long time coming,” Bowyer said. “Obviously, Kevin is qualified to win races. I
knew it was only a matter of time. But forget him, I’m bummed I didn’t win.”

So was Busch, who led a race-high 157 laps but was taken out of contention when his
crew let a tire slip away during the final pit stop. NASCAR sent Busch to the tail end of
the longest line as punishment, and he was 14th on the restart with 41 laps to go.

Stephen Curry's brother, Seth, to transfer from Liberty

Seth Curry, the younger brother of All-American Stephen Curry and leading
freshman scorer in the nation, announced today that he will transfer to another
program after one year at Liberty University. No destination was announced, but
ACC message boards are a-twitter with rumors that Curry will grace one of its
schools with his presence. Where might Curry go?

Our guess is that Curry will end up at either an ACC school or Charlotte, a once-
proud Atlantic 10 school that has recently fallen upon a tough stretch (the 49ers
finished 5-11 in conference this year). This is based on nothing but speculation,
mind you, and for all we know Curry might want to hit the west coast and play for
Pepperdine.

The conclusion that most people will jump to is that Curry will transfer to Virginia
Tech, where his father Dell starred in the mid-1980s. That would be odd, though,
considering that the Hokies snubbed both Stephen and Seth in the recruiting
process. Hasn't that bridge been burned?

If we're keeping the list to ACC schools, N.C. State makes the most sense both for
the team and Curry. They have some openings after Brandon Costner and Trevor
Ferguson announced they will not return to Raleigh in the fall and it's nearby to
Curry's hometown of Charlotte. Wake Forest is in need of a shooter as well. (But,
really, who isn't?)

If the Currys are upset with Virginia Tech and coach Seth Greenberg and want to
stick it to his program, the best move Seth could make would be to transfer to
Virginia. However, with the coaching situation still up in the air in Charlottesville,
that would seem to be a longshot. An awesome longshot, but a longshot
nonetheless.

Arts articles
World Theater Week (March 2009) Message of Brazilian theatre director
and writer Augusto Boal
"All human societies are “spectacular*” in their daily life and produce “spectacles” at special
moments. They are “spectacular” as a form of social organization and produce “spectacles” like
the one you have come to see.

Even if one is unaware of it, human relationships are structured in a theatrical way. The use of
space, body language, choice of words and voice modulation, the confrontation of ideas and
passions, everything that we demonstrate on the stage, we live in our lives. We are theatre!

Weddings and funerals are “spectacles”, but so, also, are daily rituals so familiar that we are not
conscious of this. Occasions of pomp and circumstance, but also the morning coffee, the
exchanged good-mornings, timid love and storms of passion, a senate session or a diplomatic
meeting - all is theatre.

One of the main functions of our art is to make people sensitive to the “spectacles” of daily life
in which the actors are their own spectators, performances in which the stage and the stalls
coincide. We are all artists. By doing theatre, we learn to see what is obvious but what we
usually can’t see because we are only used to looking at it. What is familiar to us becomes
unseen: doing theatre throws light on the stage of daily life.

Last September, we were surprised by a theatrical revelation: we, who thought that we were
living in a safe world, despite wars, genocide, slaughter and torture which certainly exist, but far
from us in remote and wild places. We, who were living in security with our money invested in
some respectable bank or in some honest trader’s hands in the stock exchange were told that
this money did not exist, that it was virtual, a fictitious invention by some economists who were
not fictitious at all and neither reliable nor respectable. Everything was just bad theatre, a dark
plot in which a few people won a lot and many people lost all. Some politicians from rich
countries held secret meetings in which they found some magic solutions. And we, the victims of
their decisions, have remained spectators in the last row of the balcony.

Twenty years ago, I staged Racine’s Phèdre in Rio de Janeiro. The stage setting was poor: cow
skins on the ground, bamboos around. Before each presentation, I used to say to my actors:
“The fiction we created day by day is over. When you cross those bamboos, none of you will
have the right to lie. Theatre is the Hidden Truth”.

When we look beyond appearances, we see oppressors and oppressed people, in all societies,
ethnic groups, genders, social classes and casts; we see an unfair and cruel world. We have to
create another world because we know it is possible. But it is up to us to build this other world
with our hands and by acting on the stage and in our own life.
Participate in the “spectacle” which is about to begin and once you are back home, with your
friends act your own plays and look at what you were never able to see: that which is obvious.
Theatre is not just an event; it is a way of life!

We are all actors: being a citizen is not living in society, it is changing it."

Creativity Summit on KALAHI Cultural Caregiving to Celebrate World

Theater Week (March 21-27)
Presidential Proclamation No. 1262 issued by President Gloria Macapagal-Arroyo declares March
21-27 every year as United Nations Educational, Scientific, Cultural Organization and the
*International Theatre Institute (UNESCO/ITI) World Theatre Week in the Philippines.

With the signing of the said Proclamation on in March 21, 2007, a creativity summit on KALAHI
Cultural Care-giving for the UN Millennium Development Goals was held in 2008 to continue the
said observance and stimulate creative and artistic expression in various forms, specially among
vulnerable groups as well as urban and rural poor communities. This has since been coordinated
by NAPC with Department of Social Welfare and Development (DSWD) for mobilization of the UN
Millennium Campaign for the Stand Up Against Poverty in October of 2008.

NCCA Executive Director and KALAHI head Cecile Guidote Alvarez says that the Summit is an
event intended for theatre artists of different disciplines in performance and media arts to
underscore the power of theatre and give appropriate orientation to artists-teachers, cultural
workers, cultural scholars, social activists, human rights advocates in the DREAMS Methodology
of cultural caregiving the wealth of heritage, history, habitat, theatrical traditions.

Alvarez sees a vital need to bring together different theatre groups and individuals to participate
to be enriched in an interfaith, inter-cultural, interdisciplinary process with a sharing of best
practices on cultural caregiving as a poverty alleviation and values education program. The
World Theatre Week is geared towards the creative growth of a total artist, able to harness and
share the same innovative creative methodology to marginalized groups for social
transformation and heritage preservation.

Registration fee is Php 1, 500.00 which will cover modest breakfast, lunch and dinner plus
snacks and also the kit for the said event.

For details, please call the Secretariat: Ms. Glenn Francisco or Ms. Mybel Lynne S. Quito at (632)
5272192 local 728 & 729 or (632) 7366906.

*The International Theatre Institute (ITI) [1], is an international non-governmental organization

(NGO) which was founded in Prague in 1948 by UNESCO and the international theatre
community.

A worldwide network, ITI aims "to promote international exchange of knowledge and practice in
theatre arts (drama, dance, music and theatre) in order to consolidate peace and solidarity
between peoples, to deepen mutual understanding and increase creative co-operation between
all people in the theatre arts"
Filipino-American Randy Gener Honored with George Jean Nathan Award
Filipino-American Randy Gener was awarded the prestigious George Jean Nathan Award on
March 9, 2009 at the Kalayaan Hall, Philippine Center at the Philippine Consulate in New York
City, USA.

The award is the highest accolade for dramatic criticism in the U.S. and Gener was the first
Asian-American to win the said prestigious literary award, considered as the most distinguished
prize in American theater. The winner was selected by the heads of the English departments of
Cornell, Yale and Princeton Universities including the respective theater experts in their
departments.

Gener is an award-winning writer, critic, editor and the author of the plays Love Seats for
Virginia Woolf and What Remains of a Rembrandt Torn into Four Pieces, among others. His
multimedia-theatre productions, I Look Divine and Wait for Me at the Bottom of the Pool,
premiered at La MaMa E.T.C., HERE Arts Center, Theater for a New City, Dixon Place, Asian
American Writers Workshop and other venues. A founding critic of the online theatre magazine,
The New York Theatre Wire (http://www.nytheatre-wire.com), Gener was a drama critic for The
Village Voice in the 1990s. He writes "Show & Tell," a monthly fine arts column for HX Magazine,
and regularly contributes to American Theatre, Stagebill, New York, and other publications. He
has worked as a dramaturge for the Public Theater/New York Shakespeare Festival, Laguna
Playhouse in California, Pan Asian Repertory Company in New York City and is presently
associated with Roundabout Theatre Company and Denver Center Theatre Company. His
writings have appeared in the several anthologies, the Cambridge Guide to the American
Theatre, and in The New York Times, The International Herald Tribune, The Star Ledger, The Daily
News, Time Out New York, Applause, New York, Filipinas Magazine, Norsk Shakespeare og
teatertidsskrift , and other major publications. He is presently the senior editor of American
Theatre magazine, based in New York City.

The Prize consists of $10,000 and a trophy.

http://www.veoh.com/collection/elizacandleelfenlied/watch/v723934zEnRGyG3#