text:
All Woman
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For the 1918 film, see All Woman (film). For the album by Hurricane G, see All Woman (album).
"All Woman"
Single by Lisa Stansfield
from the album Real Love
Released
9 December 1991 (1991-12-09)
Format
CD single
cassette single
7" single
12" single
Recorded
1991
Genre
Soul
Length
5:17
Label
Arista
Songwriter(s)
Lisa Stansfield
Ian Devaney
Andy Morris
Producer(s)
Ian Devaney
Andy Morris
Lisa Stansfield singles chronology
"Change"
(1991) "All Woman"
(1991) "Time to Make You Mine"
(1992)
"Change"
(1991) "All Woman"
(1991) "Time to Make You Mine"
(1992)
Music video
"All Woman" on YouTube
"All Woman" is a song recorded by British singer Lisa Stansfield for her 1991 album, Real Love. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris.
Contents
1 Release
2 Critical reception
3 Track listings
4 Charts
4.1 Weekly charts
4.2 Year-end charts
5 Cover versions
6 See also
7 References
Release[edit]
It was released as the second single on 9 December 1991 in the United Kingdom and in early 1992 in the rest of the world. The Nick Brandt-directed music video was also released. The song reached number twenty in the United Kingdom. In the United States, it peaked at number fifty-six on the Billboard Hot 100, number one on the Hot R&B/Hip-Hop Songs and number twenty-one on the Adult Contemporary Singles. The single's B-side included previously unreleased track, "Everything Will Get Better." The latter was remixed by Danny Tenaglia and reached number thirty-six on the Hot Dance Club Songs.
In 2003, "All Woman" was included on Biography: The Greatest Hits. In 2014, the remixes of "Everything Will Get Better" were included on the deluxe 2CD + DVD re-release of Real Love (also on The Collection 1989–2003).
Critical reception[edit]
The song received favorable reviews from music critics. The Gavin Report wrote about the song: "Nothing like a slice of real life to stir human emotions and singer/co-writer Lisa Stansfield puts all her heart into this latest release. It's no surprise that Lisa expresses a lifelong fondness for R&B, giving her music that dose of Soul and programmers a belated Valentine's present."[1]
Music & Media wrote: "The second single from the Real Love album is a smooth ballad, not heard anymore since the top days of Shirley Bassey. She should be an excellent choice to sing lead on a future 007 soundtrack."[2]
Track listings[edit]
European/US 7" single / Japanese CD single
"All Woman" (Edit) – 4:49
"Everything Will Get Better" – 5:00
European CD single
"All Woman" (Edit) – 4:49
"Everything Will Get Better" (Extended Mix) – 8:03
"Change" (Metamorphosis Mix) – 7:04
US 12" single
"All Woman" – 5:16
"Everything Will Get Better" (Sax on the Beach Mix) – 6:35
"Everything Will Get Better" (Ian & Andy 12") – 8:01
"Everything Will Get Better" (Underground Club Mix) – 9:54
Charts[edit]
Weekly charts[edit]
Chart (1991–92)
Peak
position
Australia (ARIA)[3] 52
Belgium (Ultratop 50 Flanders)[4] 28
Canada Top Singles (RPM)[5] 50
Canada Adult Contemporary (RPM)[6] 9
Italy (Hit Parade)[7] 16
Netherlands (Dutch Top 40)[8] 21
Netherlands (Single Top 100)[9] 21
Spain Radio (PROMUSICAE)[10] 38
Sweden (Sverigetopplistan)[11] 38
UK Singles (Official Charts Company)[12] 20
US Billboard Hot 100[13] 56
US Adult Contemporary (Billboard)[14] 21
US Hot R&B/Hip-Hop Songs (Billboard)[15] 1
Year-end charts[edit]
Chart (1992)
Position
Canada Adult Contemporary (RPM)[16] 74
Italy (Hit Parade)[17] 83
Netherlands (Dutch Top 40)[18] 210
US Hot R&B/Hip-Hop Songs (Billboard)[19] 11
Cover versions[edit]
The song was covered by Marcia Hines for her 2007 album, Life.
See also[edit]
List of number-one R&B singles of 1992 (U.S.)
References[edit]
Jump up ^ Sholin, Dave (14 February 1992). "Gavin Picks > Singles" (PDF). Gavin Report. No. 1892. p. 100. Retrieved 16 April 2018.
Jump up ^ "New Releases: Singles" (PDF). Music & Media. 18 January 1992. Retrieved 29 April 2018.
Jump up ^ Ryan, Gavin (2011). Australia's Music Charts 1988-2010. Mt. Martha, VIC, Australia: Moonlight Publishing.
Jump up ^ "Ultratop.be – Lisa Stansfield – All Woman" (in Dutch). Ultratop 50. Retrieved 20 May 2015.
Jump up ^ "Top RPM Singles: Issue 2090." RPM. Library and Archives Canada. Retrieved 20 May 2015.
Jump up ^ "Top RPM Adult Contemporary: Issue 2138." RPM. Library and Archives Canada. Retrieved 20 May 2015.
Jump up ^ "HitParadeItalia - Stansfield, Lisa" (in Italian). Hit Parade Italia. Retrieved 20 May 2015.
Jump up ^ "Nederlandse Top 40 – week 04, 1992" (in Dutch). Dutch Top 40 Retrieved 20 May 2015.
Jump up ^ "Dutchcharts.nl – Lisa Stansfield – All Woman" (in Dutch). Single Top 100. Retrieved 20 May 2015.
Jump up ^ Fernando Salaverri (September 2005). Sólo éxitos: año a año, 1959–2002 (1st ed.). Spain: Fundación Autor-SGAE. ISBN 84-8048-639-2.
Jump up ^ "Swedishcharts.com – Lisa Stansfield – All Woman". Singles Top 100. Retrieved 20 May 2015.
Jump up ^ "Lisa Stansfield: Artist Chart History". Official Charts Company. Retrieved 20 May 2015.
Jump up ^ "Lisa Stansfield Chart History (Hot 100)". Billboard. Retrieved 20 May 2015.
Jump up ^ "Lisa Stansfield Chart History (Adult Contemporary)". Billboard. Retrieved 20 May 2015.
Jump up ^ "Lisa Stansfield Chart History (Hot R&B/Hip-Hop Songs)". Billboard. Retrieved 20 May 2015.
Jump up ^ "Adult Contemporary - Volume 56, No. 25, December 19 1992". RPM. Retrieved 20 May 2015.
Jump up ^ "I singoli più venduti del 1992". Hit Parade Italia. Retrieved 20 May 2015.
Jump up ^ "Jaarlijsten 1992" (in Dutch). Stichting Nederlandse Top 40. Retrieved 20 May 2015.
Jump up ^ "The Year in Music: 1992" (PDF). Billboard. 26 December 1992. Retrieved 20 May 2015.
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Face Up
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In Session
Biography: The Greatest Hits
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Live albums
Live in Manchester
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Five Live
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"Your Alibis"
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"I Got a Feeling"
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"All Around the World"
"Live Together"
"What Did I Do to You?'"
"You Can't Deny It"
"Change
"All Woman"
"Time to Make You Mine"
"Set Your Loving Free"
"A Little More Love"
"Someday (I'm Coming Back)"
"In All the Right Places"
"So Natural"
"Little Bit of Heaven"
"Marvellous & Mine"
"Make It Right"
"Dream Away"
"The Real Thing"
"Never, Never Gonna Give You Up"
"The Line"
"Don't Cry for Me"
"Let's Just Call It Love"
"8-3-1"
"Easier"
"Treat Me Like a Woman"
"If I Hadn't Got You"
"He Touches Me"
"Can't Dance"
"Carry On"
"So Be It"
"There Goes My Heart"
Featuring
"Love Will Wait"
"Finest Thing"
"On Fire"
"Thinking About His Baby"
"Big Thing"
"Jackie"
"People Hold On"
"My Telephone"
"Do They Know It's Christmas?"
"The Longer We Make Love"
Promotional
"Never Gonna Fall"
"I'm Leavin'"
"Too Hot"
Video releases
Biography: The Greatest Hits
Live at Ronnie Scott's
Live in Manchester
Tours
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Retrieved from "https://en.wikipedia.org/w/index.php?title=All_Woman&oldid=856572573"
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Lisa Stansfield songs
1991 singles
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Billboard Hot R&B/Hip-Hop Songs number-one singles
Songs with feminist themes
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Mark Hall (musician)
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
Mark Hall
Mark Hall in 2011 at the 'Come to the Well' Tour
Background information
Birth name
John Mark Hall[1]
Born
(1969-09-14) September 14, 1969 (age 48)
Henry County, Georgia, U.S.
Origin
Daytona Beach, Florida, U.S.
Occupation(s)
Singer, composer, pastor
Instruments
Vocals, piano
Years active
1999–present
Labels
Sony BMG/Beach Street/Reunion
Associated acts
Casting Crowns, Hannah Kerr
Website
castingcrowns.com
John Mark Hall (born September 14, 1969) is the lead vocalist for the Georgia-based contemporary Christian music group Casting Crowns, a seven-member group composed of worship leaders. Hall himself is also youth pastor at Eagle's Landing First Baptist Church in McDonough.[2]
Contents
1 Early childhood
2 Early Ministry
3 The Beginning of Casting Crowns
4 Return to Georgia
5 Casting Crowns
6 Record label
7 Awards
8 Discography
8.1 Compilation contributions
9 Books
10 References
11 External links
Early childhood[edit]
Hall was diagnosed with learning disabilities as a child, including attention deficit disorder just before third grade.[citation needed][clarification needed] He also was diagnosed with dyslexia.[3][clarification needed] Mark defines himself as "a broken person made whole". He talks about his trials in his book Lifestories.[citation needed]
Early Ministry[edit]
Hall served as youth pastor to the First Baptist Church of Samson, Alabama and other churches while pursuing a music degree at the Baptist College of Florida. Upon earning his degree, Mark and his wife Melanie moved to Loganville, Georgia, where he served as the Minister of Music and Students at Center Hill Baptist Church. In each church he started a youth band as a way to involve students in a ministry that would allow them to use their musical talents and interests. Hall would continue this practice during his tenure at the First Baptist Church of Daytona Beach, Florida.[citation needed]
The Beginning of Casting Crowns[edit]
Casting Crowns began as the student worship band that Hall formed while he was serving at First Baptist Daytona Beach in 1999. As in previous churches, Mark was the lead singer and songwriter; other members would go on to write songs for the group as well. Other members at that time included: Juan DeVevo (guitar), Melodee DeVevo (vocals and violin), Hector Cervantes (guitar), and Darren Hughes (production manager).[citation needed]
Return to Georgia[edit]
After two years of service in Florida, Mark Hall and Casting Crowns moved to Eagle's Landing First Baptist Church in McDonough, Georgia. Almost immediately upon arriving, two others joined the band – Chris Huffman (bass guitar), and Megan Garrett (keyboard, vocals, accordion). A year later, Andy Williams joined, completing Casting Crowns.[citation needed]
The band recorded four studio records and three live records that were mainly distributed in the Atlanta area and received much praise. "There was the temptation to send our CDs to record companies," Hall says, "but we prayed about it and came to the realization we needed to keep doing our music our way."[citation needed]
Casting Crowns[edit]
Mark and the rest of the band say they had no desire to get into the music business. Mark was focused as a youth pastor and felt that that was where God wanted him to be.[citation needed]
In 2003, Casting Crowns debuted their self-titled album, full of an edgy-pop sound and rich, heart-felt lyrics, with Miller and Chapman serving as co-producers. Their first single, "If We Are The Body", which challenges Christians in the church to truly look at the needs of people around them, took off fast and set the group on a whirlwind of activity. He received e-mails from pastors and their wives telling them of the impact their song was having in their youth group and with their students.[citation needed]
Hall's fundamental message is: "I want to shake people up and help them see that Jesus is not a religion, and God is not a book," Hall says. "You can't pray to a book and you can't draw strength from an idea or standard. If there's no relationship with Jesus as a person to you, you're in trouble. It's about life, not religion. It's about relationships, not books."[citation needed]
Melanie, Hall's wife of 19 years, became the band's tour manager. Mark affectionately refers to her as "the other half of my brain."[citation needed]
Record label[edit]
In 2015, Hall established, along with Mark A. Miller, the M2T Records (Made to Thrive), and the first artist they signed together was Hannah Kerr.[4]
Awards[edit]
Mark Hall received several Dove Award nominations at the 36th GMA Dove Awards. In 2007, Hall was nominated to a Dove Award for Male Vocalist of the Year at the 38th GMA Dove Awards. The Casting Crowns song "Praise You in This Storm", written by Hall, was also nominated for Song of the Year.[citation needed]
The next year, Hall collected five trophies at the 2008 39th GMA Dove Awards.[5][not in citation given] Hall, who was that night's leading nominee with six, won Song of the Year and Pop/Contemporary Recorded Song of the Year for "East to West", which he co-wrote with Kevin Herms.[citation needed]
His participation on the multi-artist worship project Glory Revealed brought Hall individual honors for Special Event Album of the Year for the CD, as well as Inspirational Recorded Song of the Year for "By His Wounds".[citation needed]
His band also had four nominations and won three: Group of the Year, Pop/Contemporary Album of the Year for The Altar and the Door and Pop/Contemporary Recorded Song of the Year for "East to West".[citation needed]
Discography[edit]
Casting Crowns (2003)
Live from Atlanta (double disc with live CD and live DVD) (2004)
Lifesong (2005)
Lifesong Live (double disc with CD and DVD) (2006)
Casting Crowns Gift Edition (re-release of 2003's Casting Crowns with bonus music videos, live footage, etc. on a bonus DVD) (2007)
The Altar and the Door (August 28, 2007)
The Altar and the Door Live (double disc with CD and DVD) (2008)
Peace on Earth (2008)
Until the Whole World Hears (November 17, 2009)
Until the Whole World Hears Live (August 2010)
Come to the Well (2011)
Thrive (2014)
The Very Next Thing (2016)[6]
Compilation contributions[edit]
Who But You (Abraham & Sarah) - with Megan Garrett, Music Inspired by the Story (EMI Christian Music 2011)
Books[edit]
Lifestories: Finding God's Voice of Truth Through Everyday Life (2006) Brentwood Music Inc., Mark Hall and Rev. Tim Luke ISBN 1558970088
Your own Jesus: A God Insistent on Making it Personal (2009) Zondervan, Mark Hall and Rev. Tim Luke ISBN 0310293324
The Well: Why are so Many Still Thirsty? (2011) Zondervan, Mark Hall ISBN 0310293332
References[edit]
Jump up ^ Hall, John Mark. "Songwriter/Composer: HALL JOHN MARK". Broadcast Music, Inc. (BMI). Retrieved April 25, 2015.
Jump up ^ "Casting Crowns on First Album Since Recovery: 'I Didn't Want to Write the Post-Cancer Record'". Retrieved February 28, 2018.
Jump up ^ Eide, Fernette (February 14, 2016). "Dyslexia and Casting Crowns Mark Hall Singer Songwriter". Dyslexic Advantage.
Jump up ^ Price, Deborah Evans (September 10, 2015). "Black River Entertainment Launching New Christian Label: Exclusive". Billboard. Retrieved January 16, 2016.
Jump up ^ ChristianPost
Jump up ^ Evans Price, Deborah (September 20, 2016). "Casting Crowns on First Album Since Recovery: 'I Didn't Want to Write the Post-Cancer Record'". Billboard. Prometheus Global Media. Retrieved October 7, 2016.
External links[edit]
Casting Crowns: Official Website
CBN Interview
Christian Music BIO
Global Youth Ministry: Partner Camp and Mission Organization
Authority control
WorldCat Identities
MusicBrainz: 6761e4a5-0a1a-4afc-a75f-1e3e4df74f13
VIAF: 1900980
Retrieved from "https://en.wikipedia.org/w/index.php?title=Mark_Hall_(musician)&oldid=849425058"
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Audition
From Wikipedia, the free encyclopedia
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"Cattle call" redirects here. For the film, see Cattle Call. For the song by Tex Owens, see The Cattle Call.
For other uses, see Audition (disambiguation).
Sketches by artist Marguerite Martyn of women trying out for the chorus at the Delmar Theater in St. Louis in May 1906, with quotations from some of those pictured
A singer performing a live audition in front of judges on TV for Fox’s American Idol reality television series.
An audition is a sample performance by an actor, singer, musician, dancer or other performer. It typically involves the performer displaying their talent through a previously memorized and rehearsed solo piece or by performing a work or piece given to the performer at the audition or shortly before. In some cases, such as with a model or acrobat, the individual may be asked to demonstrate a range of professional skills. Actors may be asked to present a monologue. Singers will perform a song in a popular music context or an aria in a Classical context. A dancer will present a routine in a specific style, such as ballet, tap dance or hip-hop, or show his or her ability to quickly learn a choreographed dance piece.
The audition is a systematic process in which industry professionals select performers, which is in some ways analogous to a job interview in the regular job market. In an audition, the employer is testing the ability of the applicant to meet the needs of the job and assess how well the individual will take directions and deal with changes. After some auditions, after the performer has demonstrated their abilities in a given performance style, the audition panel may ask a few questions that resemble those used in standard job interviews (e.g., regarding availability).
Auditions are required for many reasons in the performing arts world. Often, employing companies or groups use auditions to select performers for upcoming shows or productions. An audition for a performing opportunity may be for a single performance (e.g., doing a monologue at a comedy club), for a series or season of performances (a season of a Broadway play), or for permanent employment with the performing organization (e.g., an orchestra or dance troupe). Auditions for performing opportunities may be for amateur, school, or community organizations, in which case the performers will typically not be paid. As well, auditions are used to select or screen candidates for entry to training programs (ballet school or circus school); university programs (B.Mus, M.Mus, MFA in Theater); performance-related scholarships and grants; or to be considered for representation by a talent agency or individual agent.
Contents
[hide]
1 Actors
2 Music
2.1 Popular music
2.1.1 Instrumentalists
2.1.2 Singers
2.2 Classical music
2.2.1 Instrumentalists
2.2.2 Singers
3 Musical theatre
4 Dance
5 Circuses and amusement parks
6 Modeling
7 See also
8 Further reading
9 References
10 External links
Actors[edit]
For actors, monologues and speeches are the "calling card" that they use to demonstrate their skills to casting directors.
For actors in theater, film, and TV, the "audition is a systematic process in which industry professionals make final casting decisions. Industry professionals may consist of casting directors, producers, directors or agency representatives".[1] In film and television, the audition is called a screen test, and it is filmed so that the casting director or director can see how the actor appears on screen. Auditions are advertised in major media outlets (such as newspaper or radio), industry magazines and newsletters (e.g., auditions for musicians are advertised in the American Federation of Musicians newsletter), audition websites, and through a talent/casting agencies. Some performers hire an agent, to be able to draw on the agent's connections with casting directors and performing arts companies. However, the agent will take a cut (often 10–20%) of the performer's earnings. Although an actor's talents comprise crucial criteria in the casting process, an almost equal amount of attention is given to an actor's "type", (a combination of personality, looks and general casting intuition) as required for a particular production.
Actors who are selecting an audition piece may select a monologue by a character who is close to their own age. They may wear neutral clothing that allows freedom of movement. Auditionees may avoid going over the stated time limit. By convention, some actors choose to not direct their speech to the audition panel if they are doing an on-stage audition.[2] In some cases, the audition panel may request that the auditionee interacts with them (e.g., a director may ask the actor to speak the lines while looking directly at the director). An actor who is doing an audition may warm up before the audition, like an athlete would, although with an actor, a warm up might include vocal exercises in addition to stretching. Just as with any interview outside of the performing arts world, an auditionee may dress well. Even if the auditionee does not have expensive clothing, simple clothing may be acceptable if it is clean and of good quality. Auditionees know casting directors are also considering "whether or not the actor will be easy to work with, that they know what they are doing and can take direction well".[1]
Audition pieces are not always from the show the actor is being considered for; an actor wishing to be cast in Hamlet may not do a monologue from that play. Most performers do have a range of audition pieces and select something appropriate; an actor auditioning for Hamlet would have a dramatic Shakespearean monologue ready, and not perform a monologue from an Oscar Wilde comedy, or a contemporary playwright. Some auditions involve cold reading, or performing a script that the actor is not familiar with. Auditions often involve monologues or speeches, but not always. In some cases, an auditionee is asked to read a scene (with a second person reading the other character).
For most auditions, it is expected that auditionees will bring a professional 8"x10" photo called a "head shot" and a resume that indicates their acting experience and training. Actors may bring additional copies of the head shot and resume, in case there are additional members of the casting team present at the audition. The casting agent or company may "call back" an auditionee days, weeks, or even months after the initial audition for a second audition. At a major audition for a professional company, the time limits are strictly enforced. A musical theater performer may be given a moment to tell the piano accompanist the tempo, and state their name and audition number to the audition panel. Then, once the auditionee starts acting or singing, the clock starts running. A buzzer sounds when the time limit runs out, which may be a minute and a half, two minutes, or three minutes, depending on the company. At this point, the auditionee is expected to stop and leave to free up the stage for the next auditionee.
Right before the audition, the casting director may give new instructions that were not in the advertisement; for example, due to time constraints, the time limit for the monologues might be cut in half, or the vocal selections might be cut. Actors know that it is important that they follow these last-minute instructions, and not be "thrown off balance" by these changes. At an audition, a director may ask for changes in the delivery of the lines or in other aspects of the performance. The goal may be to see if the auditionee is versatile or because the director disagrees with the initial approach used by the auditionee. In either case, the behavior of the auditionee is important; if the auditionee is cooperative in making the changes, it shows that he or she will be easy to work with. If a script is provided beforehand, actors often try to memorize as much as possible, because this shows that they have prepared and it allows them to look up from the script and show their facial expressions more.
Film auditions are different from theatre auditions. For film auditions, actors and actresses are given "sides" which are often a few pages of the script with the roles that they are auditioning for. These sides are often given to the actors 1–3 days before the audition.
In 2015, the widespread availability of relatively inexpensive video cameras has made video recordings of auditions feasible. To find their talent, casting directors are able to request video auditions from actors and actresses from a different state or country.
Music[edit]
Popular music[edit]
Instrumentalists[edit]
A bassist auditioning for a pop band might be asked to play basslines from a range of different styles.
In some styles of music, such as jazz-oriented stage bands, instrumentalists may be asked to sight read printed music at various levels of difficulty. In jazz groups, auditionees may be asked to perform standard pieces (e.g., a jazz standard such as "Now's the Time") with an ensemble. Similarly, in a rock or blues band, auditionees may be asked to play a rock or blues standard. An auditionee for a rhythm section role (rhythm guitar, electric bass, drumkit, etc.) will be asked to play a range of standard styles or "feels" which are used in a given style. For example, a drummer applying to play in a jazz band might be asked to play a slow ballad, a medium "standard", and an up-tempo swing style. A bassist auditioning for a pop band might be asked to play in a Motown style bassline, a syncopated 1970s funk "slapping" style line, and a reggae-style bassline. A person auditioning for a role as a rhythm section member in some styles of music may be expected to be able to demonstrate the ability to perform as a backup singer.
A performer auditioning for a solo or "lead" instrument role will typically perform prepared solos that showcase a range of skills, including the ability to perform a melody with sensitivity and expression; the ability to play virtuosic passages; and, in some styles (e.g., fusion jazz or blues), the ability to improvise a melody over a chord progression. In some popular genres, there is relatively less emphasis on "stage presence" and movement onstage, such as classic jazz or traditional 1950s-style country music. In these styles, there is more of a focus on the sound of the music and the expressiveness of the performer with their voice or instrument. In other genres, such as heavy metal "shred guitar" or hardcore punk, it may be very important that a performer can move about in a dramatic fashion onstage. One of the differences between instrumentalist auditions in rock music styles and Classical styles is that in a rock context, the performers will be expected to have memorized most or all of the music. In a Classical context, most or all of the music is read from sheet music (with the exception of a solo Bach suite movement or a solo concerto movement).
Singers[edit]
Irving Berlin, Rodgers and Hammerstein, and Helen Tamiris watching music theater auditions
For rock, country, and other forms of popular music, auditions are used to test the ability of an instrumentalist or singer to perform a specific style of music, or several styles. A singer auditioning for a role in a musical theatre production would not, unless instructed otherwise, need to sing opera or country music, and a musician auditioning for a seat in an orchestra would not perform rock. Occasionally a musical theatre audition may require the performer to sing a song in the genre to which the musical pertains. For instance, a singer auditioning for Destry Rides Again may be asked to sing a standard country-western song. A person auditioning for The Rocky Horror Show may be asked to sing a standard rock song. As well, in some cases, an audition may require a performer to demonstrate pieces in several styles. A hard rock band auditioning a new singer may request that the individual perform songs from heavy metal and related styles such as blues rock. A pop or rock band that is selecting a new lead singer that has whittled the number of applicants down to the top two or three singers may test out how the singers perform in live shows by performing a few live concerts with each guest singer. This allows the band to see how the singer performs in a full multi-hour concert, including how well the singer can develop a rapport with the audience, deal with the inevitable problems that occur in live music (e.g., microphones failing or stage lights malfunctioning), and maintain their vocal endurance until the end of the evening.
A contestant in the Eurovision Song Contest tries to impress the judges at her live audition
For smaller roles in a large musical theater production, mass auditions are held at which many inexperienced or aspiring performers, most without agents, show up. These are popularly known as "cattle calls", since the hopefuls are often kept together in one large room. The musical A Chorus Line depicts this type of audition. American Idol also auditions its aspiring vocalists using this technique, since there are so many auditions. In musical theater and in pop music styles for which onstage dancing is part of the performance (e.g., hip hop), singers who are doing a vocal audition may also be required to demonstrate that they can dance while singing. In some popular music groups, such as a rock band, a backup singer may be expected to be able to play an instrument while singing, such as strumming a simple rhythm guitar part or playing a percussion instrument (e.g., tambourine or congas). While an ability to sing in multiple languages with the appropriate diction and pronunciation is more associated with Classical music than popular music, there are some popular styles where multiple languages are expected, including Latin jazz styles such as Bossa Nova (Portuguese songs may be requested); Tango (Spanish songs may be requested); folk music (French songs may be requested); and Celtic music (Irish songs may be requested).
Classical music[edit]
In classical music, auditions are used to screen candidates for positions as instrumentalists in chamber groups or orchestras or as soloists, and to screen singers for positions as members of a choir or as solo performers. In classical music, auditions are also used to screen candidates for entry to training programs, university or Conservatory programs or degrees, and training festival activities (e.g., classical summer camps). In comparison with some types of pop music auditions, classical auditions tend to be much more formal. The performer may, by tradition, wear a tuxedo or a formal dress, and the judges may sit behind a desk and write comments on clipboards.
Instrumentalists[edit]
In classical music, each instrument or vocal type has a standard repertoire of music which is commonly requested at auditions. Instrumentalists in an orchestral context are typically asked to perform excerpts from the orchestral literature, including both exposed solos and "tutti" parts which are particularly demanding. Orchestral auditions are typically held in front of a panel that includes the conductor, the Concertmaster, and a number of Principal players from the orchestra. Since the post-WW II era, professional orchestra auditions often include a musician's union representative, who ensures that the audition is being run in a fair manner. In many major orchestras, a cloth screen may be used at some stages of the audition process, to protect the audition panel from allegations of favouritism or sexism.
An orchestral audition will normally set out a list of orchestral excerpts which each performer has to prepare. As well, each performer plays a movement from a Sonata or Concerto which may be performed with piano accompaniment. When the performer plays the orchestral excerpts, he or she may be given a tempo, or asked to follow the gestures of the conductor. Orchestral auditions are often run in several stages, in order to screen candidates and reduce those who are less likely to meet the needs of the job. A large number of applicants typically apply for a professional orchestra job. The orchestra personnel manager then selects the most promising candidates based on the experience and training indicated in the applicants' CVs (and, in some cases, based on the performing ability demonstrated in a recording of the applicant).
This first "cut" of auditionees then perform in front of the audition panel. Typically in a professional orchestra, this would require the performance of excerpts representing stylistic and technical challenges drawn from repertoire typical to that orchestra. The most promising candidates are invited to return for a second or third round of auditions, which allows the conductor and the panel to compare the best candidates. Performers may be asked to sight read orchestral music.
If a candidate is successful in passing the audition, typically a Trial period of several months to a year takes place allowing the Chief Conductor and Principal players to see if the individual can function well in an actual performance setting.
Singers[edit]
There is a standard repertoire of vocal literature for each voice type (e.g., soprano, alto) that is used at auditions for singers. Each sub-type of vocal activity has a separate standard audition repertoire (e.g., choirs, operas, etc.). A person auditioning for a role in a choir will be expected to be able to sight read choral parts. In auditions for opera, a singer will be expected to demonstrate the ability to act out the movements that are associated with the lyrics of the aria, which may include pretending to be dying from a stab wound, miming an activity (e.g., pouring wine), or doing a simple dance routine. Both choral and opera singers are expected to be able to follow the gestures of a conductor in regards to expression and tempo. Since microphones are not used in most classical music performances,[3] the audition panel will be assessing the auditionees ability to project a strong, room-filling vocal tone. In classical music, in addition to judging singing ability (e.g., tone, intonation, etc.), the audition panel will be judging the applicant's ability to use the appropriate diction and pronunciation of the major languages used in Art music: German, Italian, and French. Other languages that the applicant may be asked to sing in include English, Spanish, Portuguese, and Latin.
Musical theatre[edit]
In musical theatre, a standard audition consists of two sixteen-measure selections of songs, contrasting in style, intention, characters, time period, or all of the above. There is also usually a monologue portion, where the actor is asked to perform a one-minute monologue. A headshot and résumé are almost always required. Although auditions vary depending on the theatre, program, or show, this formula is considered “the norm” in the musical theatre world. The purpose of an audition is two-fold. Practically, performers audition to get a callback. "Callbacks", or callback auditions, allow the artistic team to assess a performer’s skills in accordance with specific characters. During the callback, the panel has shortlisted a candidate, because they have noted his or her potential for particular parts. As such, during a callback audition, the candidate is asked to sing the songs performed by certain characters or read their lines. The first audition is not a platform for selling oneself as a particular character. Character-specific auditions take place during callbacks. Instead, the first audition is a chance for the performer to show off the songs she does best.
Dance[edit]
Two dancers performing modern dance, a style in which performers may be asked to demonstrate improvised movements at an audition.
There are many types of dance auditions for different performance venues. Dance companies hire employees for ballet and modern dance shows. Broadway companies hire dancers for traditional musicals (Rodgers and Hammerstein) and more modern dance musicals (e.g., Fame and Grease). Casinos, resorts, amusement parks, and cruise ships hire dancers for revue-style shows that can range from jazz dance to hip-hop. For these shows, some backup singing skills or acting skills may be required. Pop music concert producers and pop music video producers recruit dancers to perform onstage during concerts or during videos. For live pop concerts, onstage dancers may be required to perform simple backup singing. Movie and TV producers also hire dancers for short term shoots; even though a dancer may only get several days of work from a movie or TV show, there may be residual payments. Most auditions specify what type of dance skills are required (e.g., Classical, pointe, contemporary, jazz, hip-hop, etc.). In the case of modern dance, some dance companies ask applicants to demonstrate their ability to improvise dance moves.
These dancers from the Braziers troupe are performing Highland dancing, a style at which auditionees must demonstrate a high degree of technique and the ability to quickly learn new steps.
Many dance auditions test the ability of applicants to learning new choreography in a short time period, rather than showcasing a prepared work. In other cases, a short prepared solo piece may also be required (about 90 seconds long). Applicants will be instructed in a technical routine or pattern in a group session. Some auditions require applicants to have completed training at a recognised dance school or conservatoire, and in some cases, auditionees may be requested to bring a reference letter from a dance teacher or dance company director (especially in the case of young dancers with little professional experience). At some auditions, applicants are asked to make a short verbal statement about their dancing goals or why they wish to join the troupe. Auditionees should ensure that they know the major dance terms, because the judges may request that certain dance moves be demonstrated.
Dancers are often asked to bring one or two photographs, such as a "headshot" and a full-body photo of the applicant in a dancing pose. The clothing that auditionees need to wear at auditions varies. At some auditions, particularly Classical auditions, there is a strict dress code: applicants wear dance leotards and pointe shoes, and long hair is tied back. Other dance auditions specify loose clothing. For some contemporary dance auditions, applicants must dance barefoot. In some music theater roles, applicants need to bring tap shoes to demonstrate their tap dancing skills. Some auditions where there is a large number of applicants require the performers to wear a number pinned to their shirt, in a similar way to marathon runners. This way, if the casting director sees an exceptional dancer, he or she can take note of the number. Unless jewellery or make-up is an expected part of a dancer's appearance in a certain dance style, dance auditionees generally avoid jewellery and makeup.
In music theater and pop music, there is a lot of crossover between dancing and singing roles. Almost all dancers in music theater and many dancers in pop music will be expected to have some singing ability as a backup singer (singing harmony parts to accompany the solo vocalists). In rarer cases, dancers will be asked to demonstrate the ability to play a musical instrument (e.g., guitar), because there are some shows in which some of the dancer-actors have to play instruments onstage, such as the Threepenny Opera. In music theater, there is also often crossover between dancing and acting roles. Dancers may be expected to be able to take on an acting role and speak lines (often in a supporting role).
Some major dance companies have "open calls" once a year, in which any or almost any applicant can come to demonstrate their dancing skills. At these open calls, the entire group of applicants are taught a dance routine by a choreographer, and then the group of dancers performs the routine while judges assess their performance. It can be hard for a good dancer to get noticed by the judges in such a large group of dancers. For this reason, some dance coaches encourage their students to wear outgoing clothes and bright things to stand out, so that the dancer will get personal attention during his or her audition. For any audition interviews, dancers should send their resume and headshot to the company director ahead of time.
Circuses and amusement parks[edit]
A high wire act by an acrobat
Performers auditioning for amusement parks world wide are generally viewed by one or more casting directors in a rehearsal hall or a large facility. Most theme park auditions, like other auditions, are closed to the public. This means that no one is allowed into the audition room who is not auditioning. Vocalists for Disney auditions are asked to prepare two separate vocal selections of contrasting styles. The singers do not sing the entire songs; instead they just need to sing the best 16 bars of each song. Disney provides a piano accompanist for all vocal auditions, and so singers have to bring sheet music in the correct key. Disney does not allow any pre-recorded accompaniment. The casting directors may also ask auditionees to learn additional music or learn a movement combination. Disney Parks & Resorts casts performers for theme parks, resorts, and cruise ships.[4]
At Cirque du Soleil, depending on a performer's discipline, the audition may last an hour, a day or even two days. Depending on a performer's discipline, he or she might have to perform a solo presentation in front of the group of participants and/or participate in individual and group exercises following the solo presentation. Auditions for Cirque du Soleil are filmed. [5]
Modeling[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2013) (Learn how and when to remove this template message)
Model Ai Tominaga modeling in the 2004 Red Dress Collection for the Heart Truth campaign
Modelling agencies and other organizations that are looking for models, such as fashion designers and advertising agencies also use auditions to screen and select potential candidates. Aspiring female models for most fashion industry roles need to be in their teens or early twenties and be tall and slim. Although there are "niche markets" for non-svelte models ("plus size models" and "real life models" who model clothes for middle-market clothing catalogues), most female models need to be slender and between 108–125 lbs. Young men who are aspiring models should be between 18 and 25, tall, and fit. While male models who are selected at modelling auditions may well end up having careers that last till beyond age 25 (even into their 40s), modelling agencies prefer to recruit new models in the 18–25 age range. Most models work with an agent who arranges auditions, bookings, and negotiates fees. At an audition, casting agents will ask the model to demonstrate different poses, which a photographer may record with a digital camera.
For high fashion auditions, the model may be asked to demonstrate the "catwalk" style of modelling clothes on a raised runway. At most modelling auditions, models wear fairly simple clothes that will allow the talent agents to imagine the model in different garments. Typically, a model wears fairly body-hugging clothes, so that the judges can see the body type of the model. Some modelling agencies audition a large number of aspiring models in an "open call", in which agents consider applicants for under a minute or so each. Some agencies hold model searches, which is a type of beauty contest in which applicants audition for the opportunity of winning a model portfolio or a photo shoot.
See also[edit]
Casting (performing arts)
Screen test
Audition website
Further reading[edit]
Kohlhaas, Karen. The Monologue Audition: A Practical Guide for Actors. Limelight Series. Limelight Editions
David, Martin A. The dancer's audition book. 1982.
Nylander, Erik and Melldahl, Andreas Playing with capital Inherited and acquired assets in a jazz audition. Poetics, 2015, 48, p. 83–106.
Nylander, Erik Mastering the jazz standard: Sayings and doings of artistic valuation. American Journal of Cultural Sociology, 2014, 2, 66–96.
Kayes, Gillyanne and Jeremy Fisher. Successful Singing Auditions. Routledge, 2002. ISBN 0-87830-163-1, ISBN 978-0-87830-163-8
Crane, Adam Audition Mastery Guide"
References[edit]
^ Jump up to: a b "Audition Tips Monologues Actors Kids Teens Women Men".
Jump up ^ "Archived copy". Archived from the original on 2009-07-16. Retrieved 2009-11-14.
Jump up ^ The exception is acoustic enhancement systems which apply a subtle amplification in order to balance the volume in the hall and compensate for acoustic problems.
Jump up ^ "The Walt Disney Company".
Jump up ^ "Circus Audition Process - Casting - Cirque du Soleil - Casting".
External links[edit]
Media related to Audition at Wikimedia Commons
Wikimedia Commons has media related to Auditions.
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2023 Rugby World Cup
From Wikipedia, the free encyclopedia
Jump to: navigation, search
2023 Rugby World Cup
Dates
September – October
← 2019
2027 →
The 2023 Rugby World Cup is scheduled to be the tenth Rugby World Cup, taking place in the year of the 200th anniversary of the legendary 'invention' of the sport by William Webb Ellis.[1]
Contents
[hide]
1 Hosting
1.1 Confirmed bidders
1.1.1 South Africa
1.1.2 Ireland
1.1.3 France
1.2 Withdrawn bidders
1.2.1 Italy
1.3 Declined to bid
2 Teams
3 Broadcasting
4 See also
5 References
6 External links
Hosting[edit]
See also: Rugby World Cup hosts
Several countries have declared their interest in hosting the 2023 Rugby World Cup, both countries that have already hosted RWC matches, and countries looking to host a tournament for the first time. World Rugby may select the hosts for the 2023 and 2027 at the same time (as they did with the 2015 and 2019 tournaments).[2] The bidding schedule is as follows:[3][4]
Date
Event
14 May – 15 June 2015 Unions submit an expression of interest to World Rugby
3 July 2015 World Rugby confirms bidders
May 2016 World Rugby releases tender documentation
1 September 2016 Deadline for unions to confirm their intent to tender a bid[5]
1 November 2016 Start of candidate phase for unions that meet the criteria outlined[5]
1 June 2017 Deadline to submit detailed bid documents to World Rugby[6]
25 September 2017 Bid presentations at World Rugby council meeting[4]
31 October 2017 Recommendation of World Rugby council based on the Evaluation report[4]
15 November 2017 World Rugby announces host for the 2023 Rugby World Cup[4]
The bidding process formally kicked off on 14 May 2015. World Rugby held a meeting with five potential Rugby World Cup 2023 hosts on 6 May 2015 in London that was attended by representatives from Ireland, Italy, South Africa, France and the USA. Apart from the USA, the countries attending had all previously publicly announced their interest to host the 2023 Rugby World Cup.[7]
On 3 July 2015 World Rugby confirmed interest from the following four nations by the deadline of 15 June 2015:[8]
France
Ireland
Italy (withdrew bid on 28 September 2016)
South Africa
Confirmed bidders[edit]
After hosting the 2019 Rugby World Cup in Japan, World Rugby may look to host the tournament in the sports' 'heartlands', leaving South Africa and Ireland as favourites.[9]
South Africa[edit]
South Africa is considered one of the frontrunners to host the 2023 competition, having hosted the 1995 tournament and bid unsuccessfully for the right to host the 2011, 2015, and 2019 tournaments.[10][11]
In April 2016 the South African government banned its own rugby union from bidding to stage the 2023 World Cup over its failure to provide enough opportunities for black players. SA Rugby started seeking urgent talks with sports minister Fikile Mbalula in an effort to get its ban lifted in time for it to bid for the Rugby World Cup 2023. Jurie Roux, the chief executive of SA Rugby stated “There is no question that we have more work to do and we could be moving faster, but our sport has undergone a major overhaul in the past two or three years and we have definitely made great progress.” Confidence was high on getting the suspension lifted in time to lodge a World Cup bid.
South Africa confirmed the bid on 9 May 2017 after the ban was lifted.[12] There are optimistic projections of a R27 billion injection to the local economy by hosting the event,[13] with a focus on eight stadiums across seven cities.[14][15]
Stadium
Location
Capacity
Matches
FNB Stadium Johannesburg 94,736 Pool Matches, Quarter Finals, Final
Ellis Park Stadium Johannesburg 62,567 Pool Matches, Quarter Final, Semi Final, Bronze Medal Match
Cape Town Stadium Cape Town 55,000 Pool Matches,Quarter Finals,Semi Final
Moses Mabhida Stadium Durban 54,000 Pool Matches, Quarter Finals
Loftus Versfeld Stadium Pretoria 51,762 Pool Matches
Nelson Mandela Bay Stadium Port Elizabeth 48,000 Pool Matches
Free State Stadium Bloemfontein 46,000 Pool Matches
Mbombela Stadium Nelspruit 40,929 Pool Matches
Ireland[edit]
The Irish Government and the Northern Ireland Executive, together with the Irish Rugby Football Union, formally announced on 5 December 2014 their intentions to launch a bid to host the event.[16] Dick Spring, former Tánaiste and Ireland rugby player, and Chair of Ireland's Rugby World Cup 2023 bid, stated in May 2015 that Ireland already had received pledges of support from 40% of World Rugby's board's 27 votes.[17] Ireland's bid will include both rugby and Gaelic games grounds.[18] The 82,000 capacity GAA stadium Croke Park would host the final, while other newly redeveloped GAA stadia such as Casement Park, Fitzgerald Stadium, MacHale Park and Páirc Uí Chaoimh would be part of the bid.[19] In July 2017, emergency legislation was passed by the Oireachtas after the Attorney General advised that the sports minister needed explicit statutory authority to make the financial guarantees which Rugby World Cup Limited required.[20]
Croke Park
Aviva Stadium
RDS Arena
Casement Park
Kingspan Stadium
Thomond Park
Páirc Uí Chaoimh
Fitzgerald Stadium
Pearse Stadium
MacHale Park
Nowlan Park
Celtic Park
Locations of the 12 stadia provisionally included in Ireland's bid.
On 15 November 2016, 12 stadia were announced as being part of the bid. The provisional list includes Ireland's home stadium, the Aviva Stadium, the home grounds of Leinster, Munster and Ulster, and eight GAA grounds, with two of these from each province. Some sites, such as Páirc Uí Chaoimh and Casement Park, are currently undergoing renovations or expansions. Their planned capacities, as listed on the IRFU's website, are provided.[21] Ireland feel that having the third largest stadium in Europe (Croke Park) gives them a great advantage.[22]
Stadium
Owner
Location
Capacity
Match Category
Croke Park GAA Dublin (Drumcondra) 82,300 Opening match, pool games, quarter-final & final
Aviva Stadium IRFU
FAI Dublin (Ballsbridge) 51,700 Pool games, quarter-final, semi-final
Páirc Uí Chaoimh Cork GAA Cork 45,770 Pool games, quarter-final, semi-final
Fitzgerald Stadium Kerry GAA Killarney 43,180 Pool games, quarter-final
Casement Park Antrim GAA Belfast 34,186[23] Pool games
Pearse Stadium Galway GAA Galway 26,197 Pool games
MacHale Park Mayo GAA Castlebar 38,000 Pool games
Thomond Park IRFU Limerick 26,987 Pool games
Nowlan Park Kilkenny GAA Kilkenny 27,800 Pool games
RDS Arena Royal Dublin Society Dublin (Ballsbridge) 18,677 Pool games
Kingspan Stadium IRFU Belfast 18,168 Pool games
Celtic Park Derry GAA Derry 22,000 Pool games
France[edit]
France, which hosted the 2007 Rugby World Cup, has expressed interest in hosting the 2023 tournament.[24] France launched its bid on 9 February 2017 revealing 19 potential host cities and an environmentally friendly transport plan.[25]On 17 March, 12 host cities where selected[26]
Stadium
Location
Capacity
Stade de France Saint-Denis 81,338
Stade Vélodrome Marseille 67,394
Parc des Princes Paris 61,000 (expanded for 2024 Summer Olympics)
Parc Olympique Lyonnais Lyon 59,186
Stade Pierre-Mauroy Lille 50,000
Matmut Atlantique Bordeaux 42,115
Stade Geoffroy Guichard Saint-Étienne 41,965
Stade Bollaert Delelis Lens 38,223
Stade de la Beaujoire Nantes 38,128 (renovated for 2024 Summer Olympics)
Allianz Riviera Nice 35,624
Stade de Toulouse Toulouse 33,150
Stade de la Mosson Montpellier 32,900
Withdrawn bidders[edit]
Italy[edit]
The Italian Rugby Federation (FIR) confirmed in March 2015 its intention to bid for the 2023 Rugby World Cup.[27] Italy lost to England by just three votes on the right to host the 2015 tournament. On 12 August 2016, the Italian Rugby Federation announced the 12 stadiums they expressed interest in using for the 2023 event.[28]
However, on September 28, 2016, Italy officially withdrew from the competition to host the 2023 Rugby World Cup.[29]
Declined to bid[edit]
Two countries – the United States and Argentina – initially expressed interest in hosting the 2023 tournament, but ultimately declined to bid.
The United States was anticipated to bid to host the 2023 and/or 2027 Rugby World Cup.[30] It was considered to be a possible contender to win the right to host the 2023 or 2027 Rugby World Cup.[31] World Rugby CEO Mike Miller stated in 2010 that the United States would host a Rugby World Cup, stating that "it's a question of when, not if."[32]
Argentina had also expressed interest, with Argentina's World Rugby Council representative Agustín Pichot stating that he wanted to bring the tournament to Argentina in 2023.[33][34][35] In May 2016, following a meeting with Pichot, Argentine President Mauricio Macri announced government support for a 2027 Rugby World Cup bid.[36]
Teams[edit]
The Rugby World Cup may expand from its current 20 teams for the 2023 tournament.[37]
Broadcasting[edit]
United Kingdom – ITV[38]
United States – NBC Sports[39]
See also[edit]
History of the Rugby World Cup
References[edit]
Jump up ^ "Webb Ellis, William"[permanent dead link], Retrieved 28 September 2015.
Jump up ^ "Rugby Chief Says World Cup in U.S. Is Inevitable", New York Times, 11 November 2010. Retrieved 30 June 2014.
Jump up ^ "South Africa keen to host Rugby World Cup 2023", ESPNscrum.com, 4 March 2015.
^ Jump up to: a b c d "Candidate unions submit RWC 2023 bid files as hosting race ramps-up". World Rugby. 1 June 2017. Retrieved 1 June 2017.
^ Jump up to: a b "RWC 2023 host selection process gathers pace with candidate visits". World Rugby. 13 March 2017. Retrieved 17 April 2017.
Jump up ^ "RWC 2023 host selection process gathers pace with candidate visits". World Rugby. 13 March 2017. Retrieved 17 April 2017.
Jump up ^ Rugby World Cup 2023 attracts strong interest as host selection process gets underway, aroundtherings.com, 5 May 2015. Retrieved 6 May 2015.
Jump up ^ World Rugby confirms Rugby World Cup 2023 hosting interest from four unions, worldrugby.org, 3 July 2015.
Jump up ^ "Ireland face battle with South Africa and the USA to host 2023 Rugby World Cup", Mail Online, 5 December 2014.
Jump up ^ Irish bid to host 2023 Rugby World Cup gathers momentum, The Irish Times, 22 January 2014. Retrieve 22 April 2014.
Jump up ^ "Italy ponder fresh World Cup bid", ESPNscrum.com, 22 October 2012. Retrieved 23 April 2014.
Jump up ^ "Rugby World Cup 2023: South African government lifts ban on hosting sporting events." BBC, 9 May 2017.
Jump up ^ "2023 Rugby World Cup will bring billions for South Africa" IOL, 3 September 2017.
Jump up ^ "SA focus RWC 2023 bid on 8 stadiums" Sport24, 17 July 2017
Jump up ^ "“It’s South Africa’s Turn to Host RWC 2023. Do You Agree?” – Springboks" SAPeople, 19 July 2017
Jump up ^ Ireland confirms bid for 2023 Rugby World Cup, RTÉ Sport, 6 December 2014.
Jump up ^ "Ireland’s 2023 RWC bid already has 40% of the vote, says Spring", The 42, 19 May 2015.
Jump up ^ "Ireland face battle with South Africa and the USA to host 2023 Rugby World Cup", Mail Online, 5 December 2014.
Jump up ^ "These are the 12 stadia that will make up Ireland's 2023 Rugby World Cup bid". The 42. 15 November 2016. Retrieved 17 November 2016.
Jump up ^ "Rugby World Cup 2023 Act 2017". Irish Statute Book. 13 July 2017. Retrieved 21 July 2017. ; Ross, Shane (5 July 2017). "Rugby World Cup 2023 Bill 2017: Second Stage (Continued)". Dáil Éireann Debates. Retrieved 6 July 2017. ; O'Connor, Niall (31 May 2017). "Sports Minster Shane Ross under fire as bid to host 2023 Rugby World Cup thrown into doubt". Irish Independent. Retrieved 6 July 2017.
Jump up ^ "IRFU 2023". Irish Rugby. 15 November 2016. Retrieved 16 November 2016.
Jump up ^ http://www.irishtimes.com/sport/rugby/international/ireland-begins-charm-offensive-as-credible-2023-world-cup-hosts-1.2869395. Missing or empty |title= (help)
Jump up ^ http://www.casementpark.ie/2017/02/casement-park-planning-application-submitted/#more-567
Jump up ^ "UPDATE 1-Rugby-Ireland plans ambitious bid for 2023 World Cup", Reuters, 18 November 2013. Retrieved 23 April 2014.
Jump up ^ "Rugby: France launch 2023 World Cup bid", Reuters, 9 February 2017. Retrieved 10 February 2017
Jump up ^ "#France2023 : Douze villes hôtes retenues" (in French). sport24.com. 17 March 2017. Retrieved 19 March 2017.
Jump up ^ "Italy to run against Ireland in World Cup bid", RTÉ Sport, 5 March 2015.
Jump up ^ RUGBY WORLD CUP 2023, IDENTIFICATI GLI STADI PER LA CANDIDATURA ITALIANA
Jump up ^ "FIR withdraws from RWC 2023 hosting process"
Jump up ^ "United States eye World Cup bid", ESPN Scrum, 2 December 2011.
Jump up ^ "Ireland face battle with South Africa and the USA to host 2023 Rugby World Cup", Mail Online, 5 December 2014.
Jump up ^ "Rugby Chief Says World Cup in U.S. Is Inevitable", New York Times, 11 November 2010. Retrieved 30 June 2014.
Jump up ^ Agustín Pichot reaffirms Argentina´s Quest to host Rugby World Cup 2023, Rugby World Cup Argentina 2023, 11 December 2013.
Jump up ^ Home Page, Rugby World Cup Argentina 2023, 18 December 2013,
Jump up ^ Rugby World Cup Argentina 2023, The Book Depository, Paul Tait, 26 November 2012.
Jump up ^ "Con el apoyo del gobierno, el rugby argentino se prepara para el Mundial 2027", Canchallena, 24 May 2016.
Jump up ^ Wilson, B., "Rugby World Cup may expand in 2023, says governing body", bbc.com, 17 March 2015. Retrieved 20 September 2015.
Jump up ^ rugbybworldcup.com. "ITV appointed UK rights holder for men's and women's Rugby World Cup events". Retrieved 2017-03-30.
Jump up ^ http://nbcsportsgrouppressbox.com/2017/05/22/nbc-sports-group-acquires-exclusive-u-s-media-rights-to-rugby-world-cup/
External links[edit]
Ireland 2023 – official website
France 2023 – official website
[hide]
v
t
e
Rugby World Cup
Tournaments
Australia/New Zealand 1987
England/France/Ireland/Scotland/Wales 1991
South Africa 1995
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Qualifying
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Overview
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