Actors Sample Clauses

Actors. 1. The Parties acknowledge that governments play a central role in defining and implementing priorities and strategies for their countries. They recognise the crucial role of parliaments in shaping and adopting legislation, agreeing budgets and holding governments to account. They acknowledge the role and contribution of local authorities in enhancing democratic accountability and complementing governmental action. 2. The Parties recognise the important role of sub-regional, regional, continental and intercontinental organisations in achieving the objectives of this Agreement, in particular those of the three Regional Protocols. 1. The Parties acknowledge that governments play a central role in defining and implementing priorities and strategies for their countries. They recognise the crucial role of parliaments in shaping and adopting legislation, agreeing budgets and holding governments to account. They acknowledge the role and contribution of local authorities in enhancing democratic accountability and complementing governmental action. 2. The Parties recognise the important role of sub-regional, regional, continental and intercontinental organisations in achieving the objectives of this Agreement, in particular those of the three Regional Protocols. 3. The Parties acknowledge the important role and contribution of stakeholders, in all forms and national characteristics, namely civil society, economic and social partners, including trade union organisations, and the private sector, and agree to promote and strengthen their effective participation with a view to fostering more inclusive and multi-stakeholder policy processes. For these purposes, the Parties shall ensure that all these stakeholders, where appropriate, are informed and consulted on strategies and sectoral policies, provide input into the broad process of dialogue, receive capacity building in critical areas and participate in the implementation of cooperation programmes in the areas that concern them. Such participation in cooperation programmes shall be based on the extent to which they address the needs of the population and on their specific competencies, and have accountable and transparent governance structures.

Actors. In UML an actor is a behavioral classifier which specifies a role played by an external entity that interacts with a system (e.g., by exchanging signals and data). The term "role" is used informally to group users that require specific services from the system, modeled within associated use cases. When an external entity interacts with the system, it plays the role of a specific actor. Such an entity may play several different roles. In turn, a specific role may be played by one or more entities. [2] In the present document, the aforementioned UML system is a blockchain-based key registry for DER devices (“Blockchain”) as described in [1]. The term Blockchain (with a capital B) includes all elements belonging to a blockchain implementation, including consensus nodes, API Servers to read from and write to the blockchain, and governance mechanisms.

Actors. The EU Member States Competent Authorities and official control services are affected by the current situation and should be consulted. The following stakeholders in the food chain are also concerned: Agricultural commodities exporting countries (regulatory authorities and relevant operators); Crops traders; Transporters; EU grain crushers/processors (for food and feed uses); EU food sector, including SMEs; EU retailing sector. Organisations dealing with consumer protection and rights, environmental protection etc, should also be consulted. In order to perform the study, the contractor should collect data and views from the abovementioned actors (including individual companies and/or professional organisations).

Actors. This section narrows the FLAME target down from the list of stakeholder categories to actors. Actor does not mean experimenter, but any stakeholder that can play a role in the FLAME platform. This section relates the FLAME stakeholders to the FLAME platform architecture depicted in Figure 14, detailing the interactions between them and the platform. In this way, the mentioned stakeholders become platform actors. 1. The following discusses the relationship with the platform for the different kinds of media service providers.  Content creators and producers; content publishers; production companies. This actor category will create contents that will be distributed by means of the platform. FLAME count on this kind of actor in its consortium since the media services imply the content availability. The content creation is linked to the creative industries and include a variety of profiles, like game studios, that are precisely involved in FLAME use cases as well as the specific FLAME partner scenarios.  Broadcasters. Broadcasters are often also content creators and producers. This actor category is also involved in the FLAME use cases and scenarios. Broadcaster main activity is the distribution of media content to final users. In this sense, this actor could be interested in taking advantage of FLAME platform features (stated in Section 2.5) to deliver its contents.  Content distributors and aggregators. This profile puts together contents and services coming from different broadcasters and content creators, as done by PayTV operators or broadcast network owners. In this sense, the interest in the FLAME platform of this actor category is the same than in the previous cases: to test the FLAME platform features for the media service distribution.  ▇▇▇ companies. As in the case of broadcasters, ▇▇▇ companies are focused on the distribution of contents to final users, but they use Internet for this purpose without any control or responsibility over the distribution and delivery network. ▇▇▇▇▇ proposed a new approach that implies the dynamic programmability of the delivery network to optimise the media quality. For this reason, ▇▇▇ companies can see in FLAME an opportunity to improve their service and take advantage of the new FLAME technological paradigms.  Access providers (cable, satellite, mobile, wired internet…). Unlike the ▇▇▇ case, this actor category operates the end-user access network. Currently, many telecom operators are becoming also media servic...

Actors. Section 6.1. Minimum weekly rates of compensation. (a) Actors employed on a weekly basis: (i) Employer agrees to pay all Actors no less than the following weekly rates of compensation for each week for each production in which the Actor is engaged for in any such week: $536.00 $541.50 $550.00 (ii) The hourly rate for Actors shall be the weekly rate divided by thirty (30). (iii) Employer may deduct for any absence from a rehearsal without legitimate excuse an amount equivalent to the pro rata compensation based on the Actor’s weekly rate. (b) Actors engaged on a per call basis: (i) Employer may engage Actors on a per call basis for specialty acts only (e.g. weight lifters, acrobats, and other circus acts and persons selected for body type or distinctive appearance, none of which parts have substantial acting or extensive rehearsal requirements), provided, however, that any Actor called for more than eight (8) rehearsals, inclusive of all types of rehearsals, must be engaged on a weekly basis. Additionally, Employer may engage Actors to perform as figurantes for parties (e.g., Fantasy of the Opera, Opening Night Gala) on a per call basis provided a fitting is paid in accordance with Section 6.5, Actors are hired from the regular pool of Actors and are in good standing, the length of the performance is reasonable, rest periods are provided, and a member of the Production Staff is present. (ii) Actors engaged on a per call basis shall receive no less than the following for a performance, Dress Rehearsal, Piano Run-Through rehearsal, or other rehearsals of more than three (3) hours: $103.50 $104.50 $106.00 (iii) Actors engaged on a per call basis shall receive no less than the following for any other rehearsal service of three hours or less: $70.00 $71.00 $72.00 (c) For each season, the Employer no later than August 31 will meet with AGMA and discuss to the extent known the number of Actors who shall be required to perform in each production in the immediately following season and which Actors the Employer may engage on a per call basis and (if full information is not known by August 31) will meet periodically thereafter to supply and discuss additional information including which additional Actors the Employer may engage on a per call basis.

Actors. Vendor; Sub-Vendor

Actors. ‌ A. MINIMUM COMPENSATION‌ (a) The minimum weekly compensation for Actors employed on a weekly basis shall be: Sixty (60) percent of the then current minimum weekly rate for Actors as set forth in the Lyric Opera Basic Agreement. (b) All persons remunerated in any way whatsoever, including but not limited to the granting of release time, compensatory time, or otherwise by Employer or Lyric Opera of Chicago for participation in non-singing, non-speaking roles in any production are Actors and shall be contracted and compensated accordingly. (c) An Actor shall not vocalize nor dance. AGMA shall not unreasonably refuse to waive the prohibition with respect to dance for incidental dance by the Actor. B. REHEARSAL PROVISIONS‌ (a) Rehearsals shall be scheduled with at least forty-eight (48) hours’ notice. (b) If a scheduled rehearsal is canceled with less than twenty-four (24) hours’ notice, Actors shall be paid for those rehearsal hours as if the rehearsal had occurred, including all resulting overtime and penalties. If a rehearsal is added or extended with less than forty-eight

Actors. I understand that physical appearance is one of many factors considered when casting a production and that my physical appearance was considered at auditions. I agree not to alter my appearance until after the show closes without first getting approval from the director. Examples of such changes include changing hair length, style, or color or getting piercings or tattoos.

Actors. Narrators