IN: Duncan began her dancing career at a very early age by giving lessons in her home to neighbourhood children, and this continued through her teenage years. Her novel approach to dance was evident in these early classes, in which she "followed [her] fantasy and improvised, teaching any pretty thing that came into [her] head". A desire to travel brought her to Chicago, where she auditioned for many theater companies, finally finding a place in Augustin Daly's company. This took her to New York City where her unique vision of dance clashed with the popular pantomimes of theater companies.

Breaking with convention, Duncan imagined she had traced dance to its roots as a sacred art. She developed from this notion a style of free and natural movements inspired by the classical Greek arts, folk dances, social dances, nature and natural forces as well as an approach to the new American athleticism which included skipping, running, jumping, leaping and tossing.  Duncan's philosophy of dance moved away from rigid ballet technique and towards what she perceived as natural movement. To restore dance to a high art form instead of merely entertainment, she strove to connect emotions and movement: "I spent long days and nights in the studio seeking that dance which might be the divine expression of the human spirit through the medium of the body's movement." She believed dance was meant to encircle all that life had to offer--joy and sadness. Duncan took inspiration from ancient Greece and combined it with an American love of freedom. Her movement was feminine and arose from the deepest feelings in her body. This is exemplified in her revolutionary costume of a white Greek tunic and bare feet. Inspired by Greek forms, her tunics also allowed a freedom of movement that corseted ballet costumes and pointe shoes did not. Costumes were not the only inspiration Duncan took from Greece: she was also inspired by ancient Greek art, and utilized some of its forms in her movement (see image).  Duncan wrote of American dancing: "let them come forth with great strides, leaps and bounds, with lifted forehead and far-spread arms, to dance." Her focus on natural movement emphasized steps, such as skipping, outside of codified ballet technique. Duncan also cited the sea as an early inspiration for her movement. Also, she believed movement originated from the solar plexus, which she thought was the source of all movement. It is this philosophy and new dance technique that garnered Duncan the title of the creator of modern dance.
QUESTION: where did she teach?
IN: Burke was born in Dublin, Ireland. His mother Mary nee Nagle (c. 1702-1770) was a Roman Catholic who hailed from a declasse County Cork family (and a cousin of Nano Nagle), whereas his father, a successful solicitor, Richard (died 1761), was a member of the Church of Ireland; it remains unclear whether this is the same Richard Burke who converted from Catholicism. The Burke dynasty descends from an Anglo-Norman knight surnamed de Burgh (Latinised as de Burgo) who arrived in Ireland in 1185 following Henry II of England's 1171 invasion of Ireland and is among the chief "Gall" families that assimilated into Gaelic society, becoming "more Irish than the Irish themselves". Burke adhered to his father's faith and remained a practising Anglican throughout his life, unlike his sister Juliana who was brought up as and remained a Roman Catholic.

The fall of North led to Rockingham being recalled to power in March 1782. Burke was appointed Paymaster of the Forces and a Privy Counsellor, but without a seat in Cabinet. Rockingham's unexpected death in July 1782 and replacement with Shelburne as Prime Minister, put an end to his administration after only a few months, however, Burke did manage to introduce two Acts.  The Paymaster General Act 1782 ended the post as a lucrative sinecure. Previously, Paymasters had been able to draw on money from HM Treasury at their discretion. Now they were required to put the money they had requested to withdraw from the Treasury into the Bank of England, from where it was to be withdrawn for specific purposes. The Treasury would receive monthly statements of the Paymaster's balance at the Bank. This act was repealed by Shelburne's administration, but the act that replaced it repeated verbatim almost the whole text of the Burke Act.  The Civil List and Secret Service Money Act 1782 was a watered down version of Burke's original intentions as outlined in his famous Speech on Economical Reform of 11 February 1780. He managed, however, to abolish 134 offices in the royal household and civil administration. The third Secretary of State and the Board of Trade were abolished and pensions were limited and regulated. The Act was anticipated to save PS72,368 a year.  In February 1783, Burke resumed the post of Paymaster of the Forces when Shelburne's government fell and was replaced by a coalition headed by North that included Charles James Fox. That coalition fell in 1783, and was succeeded by the long Tory administration of William Pitt the Younger, which lasted until 1801. Accordingly, having supported Fox and North, Burke was in opposition for the remainder of his political life.
QUESTION:
What acts did he introduce?