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This banner text can have markup. Search the history of over billion web pages on the Internet. Preliminary Inventory Limitations and Biases Edward 7 s 0p 0 ra Ho la. Interior integrity only. U Structure extant, no integrity. Compiled by D. Ehlers, July Distances once covered in days could be t r ave 1 ed i n hour s - Connec t i on s wi t hi t he r est a f t he coun t r y and even major warId capita1s were no further than the nearest depot.

Modern machines compressed the workday of farmers, townsmen, and their womenfolk into reasonable lengths; leisure time became? Former pioneers, now citizen s of es tab1ished t owns, disc over ed a need f or a g at hering p1 ace t o h o1d d an ces, h ome 1 and talent plays, band concerts, high school commencements, other community events.

The title "opera house, 11 usually tacked on to the name o-f the owner or the town, was given to the combination theatre-hall which emerged to -fill this need. The opera houses helped create a sense of community in young towns well enough established to have time and energy for mass leisure activities. The ravages of time dictate that, those structures which have managed to preserve their historical integrity should be recognised for the important contribution such edifices made to their times.

Still, the sheer quantity of former opera houses which remain scattered throughout the smaller communities across our state make this a reasonable subject of study, one? Opera houses represented the focus of many community-wide activities and entertainments during the fifty years following statehood, much as movie?

The gamut of offerings in the opera houses ranged from great stage artists such as Edwin Booth and Sarah Bernhardt, to important speakers like William Jennings Bryan, to New York stage productions, to musical performers and opera, to high school commencements, roller skating, and community dances.

Qua 1 i,f y i ng 81 at emen t The scope of study for the OHBIN survey falls under the general cultural component of entertainment. Over edifices were identified and tracked down, with -field research at the sites o-f those opera houses retaining varying degrees of integrity. Well over a thousand manhours have been devoted to this reconnaissance phase, which has coneerned itself mare with bricks and mortar than with reasons behind the rise, life span, and demise of these lively hubs of community life.

Few paragraphs are given over to opera houses in books or centennial publications. Any meaningful concepts about these institutions wi11 be developed gradual 1y through the painstaking assimilation of microfilm research of local and county newspapers of the time, as well as national theatrical publications and general reading on the development of the towns. Time for this research has been set aside as part of the forthcoming intensive study. Gradual 1y, though, fol1owing the Homestead Act which brought an inf1ux of new f armers and townbui1ders in the s and 4 s to Nebraska, and the arrival of the railroads to smaller communities, life became less of a struggle.

Communities began to develop a sense of self as schools were started and law and order settled the frontier chaos. The rail roads brought news of the outside wor1d in a much shor ter t i me and made pr act i ca 1 the i mpor t. Citi z ens with time on their hands advocated erecting opera houses so that towns could entice famous names to intrigue the populace? Techng 1 ggy or Craftsmanshi. Fraternal organisations such as the Z.

As the twentieth century began, town -Fathers turned to the idea of first--floor auditoriums which offered two advantages over second—f1oor opera houses. Second, since? Current research indicates that, except for the grand palaces modeled after major metropolitan opera houses in New York and San Francisco, it is 1ikely that architectural style? A best-guess premise is that these vernacular structures used local or regional talent as builders. Nebraskans are?

Those which show significant deterioration suffer from an ailment common to a 11 structures erected in the days of f 1 at tar roofs—water damage. Some troupes even carried their own scenery, a 1. Quality of these troupes varied widely, evident in the ye11ow reviews of newspapers of the day. A n ton y an d Magic Lan ter n sh ows often held f orth in c h nr c h es- Medicine shows harangued passers-by on town boardwalks.

Local entertainment in the opera houses varied widely. Dances, home talent plays, band concerts and glee club e ven i n g s wer e c ommon. Demise of the Opera House A 3. Several possibilities emerge as 1 i ke 1 y cu 1 pr i ts.

Fi r st. Although opera houses had been the logical location to show the ear1iest si1ent movies t o a stunned populace, few converted wholly to movie palaces.

One reason for this 8 is that civic officials recognized the? The majority of the former opera houses, 82, were located on the second floor of a building, usually brick, w i t h a r e t a i 3.

Auditorium space could also he rented out for civic functions. These were used as community halls with removable? Current use of extant structures varies from the Creighton Orpheum Theatre in Omaha, an ex amp1e of comp1ete restoration and use as a fine?

T h o s e w i t h e x t a n t interiors often function as theatres, community buildings, or storage, whii 1 e those opera houses now gu11ed or remode 1 ed were frequently' converted to apartments or fraternal space at some time.

Many of these also serve as storage for their current owners. Many have? Further work remains in this area, as well as simi 1 ar research in the New York Clipper. Both puh1ications were simi 1 ar in f unc tion to the moder n t ab 1 oid, Variety, and were used in the entertainment trade to 1 ist h 00 kings, provide information on narne stars, bui 1 d up interest in coming attractions, and advertise opera houses.

Guide, which were received on interlibrary loan. The Principal Investigator had divided Nebraska into seven teen g eog r ap h i c c 1 List er s t o f ac i 1 i t at e the sur vey i n g process ; although these clusters were not always observed cl u r i n g t h e a c t u a 1 f i e 1 d w o r k ,, the y did all. F3] Post-field responsibilities; included completion of Historic Building Survey cards for NeSHPQ; administrative details, including all financial records; specific directions or hand-drawn maps of sites, to facilitate HPO personnel with s;i.

CSJ Final report, including historic context, research design, priorities for future work including research questions, restatement of limitations and biases, and a bib1iography. Owners of the opera houses, or representatives in cases where the structures are now owned by the towns or the owners are out of state, were first apprised of the? Permi ssi on was secured and appoi ntments set up t cd visit the inside?

A Gui. PhCDt cd 3. Historic Name s e. County d. Lot s e. Plat f. Public access: Yes c. Type of building: One-story e. Has building been moved? Managers and years, if known E.

Arch i tect c. Do architectural documents exist? Exterior Foundation g. Significant interior decorative features Scenery list, including present location use addendum if large number involved Artifacts list, including present location use addendum if large number involved Form prepared by: D.

No action recommended. These cards were turned over to Joni C5ilkerson for NeHBS site numbers and then returned to the Principal Investigator until the completion of the reconnaissance survey. After the completion of the preliminary inventory, all site cards were left with the Historic Preservation Office. The Assistant Investigator compiled photo log records on floppy disks and recorded identification data on the backs of all contact, sheets, as per NeSHPO specifications. Due to the quantity of material, the preliminary inventory, including an overview and division of sites into categories, is included in a separate volume, Supplement A.

Actual nomination requires the? NRHP mu11ip1e-pr op er t y nomi nat i on and i ndi vi dual property nomi nat i oris wi 11 be prepared according to the specifics detailed in the extension to the original contract for the OHBIN Project. Target dates are provided in the extension as well. The most pressing information required is deed research, procurab1e either from the owners or from the R e g i s t e r s o f Deed s a t t h e v a r i o u s c o u n t.

Microfi1m research into 1ocal newspapers of the time wi11 h e 1 p i n t h i s p r ep ar at. Eventually, a composite bibliography will be compiled of all sources. Ihe Advent of the Opera House. How soon after the? Did anyone connected with the railroad help fund the opera house?

That, is, did the railroad recognise the opera house as a valuable addition to the town? How much influence did the coming of the railroad have on the building of the opera hiou. What f ac1 0 rs d e t ermi n 0 d wh 0 n the opera house was built; i.

Who managed the opera house? Who did the bookings? How did they make their choices'? What influenced those choices? What professional entertainment a ppeare d i n t hi e o p e r a h a u se? What types of 1ocal e n t e r t. W h a t o t h e r s o c i a 1 activities and entertainments took pi ace in town during the opera house era?


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For the Arabian breed, Poland remains such a constant. The national show kicked off with yearling colts Friday in the outside arena bathed in a spectacular evening light. There were just seven entrants, but there were a couple of interesting ones to watch for in the future. The winning colt, Larando QR Marc x Laranda by Ekstern , had no such problem, and demonstrated a beautiful freedom of movement in the forearm and shoulder, especially for a yearling.


Transactions are sealed mainly for the biggest stars for sky-high prices and for bargain-horses, being good specimen at low prices. Decent horses, which should achieve decent prices, find buyers only when they are really inexpensive! It is extremely difficult to sell a weak horse. New and good ideas Without a doubt the construction of the auction list in such a way to have the potentially most expensive horses accelerate the bidding turned out to be a good move.

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