Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 22064199; Wed, 27 Apr 2005 12:57:56 -0700 X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #377 Date: Wed, 27 Apr 2005 12:57:38 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-Spam-Status: No, score=-4.8 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, RAZOR2_CF_RANGE_51_100,RAZOR2_CHECK autolearn=ham version=3.0.2 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #377 1. Re: Punctuation by Charlie Richmond 2. Re: Punctuation by Charlie Richmond 3. Re: punctuation and style by Steve Larson 4. Lighting Question by mconn [at] cumberlandcollege.edu 5. Re: Lighting Question by "Abby Downing" 6. Light lab activities? by "Storms, Randy" 7. Re: Light lab activities? by Stephen Litterst 8. Re: Light lab activities? by Stan Jensen 9. Re: Light lab activities? by Bruce Purdy 10. Re: Light lab activities? by "Scott Boyle" 11. Re: commas by "Karl G. Ruling" 12. Re: Lighting Question by "Weston Wilkerson" 13. What's going on with the list? by "C. Dopher" 14. Re: Light lab activities? by "Weston Wilkerson" 15. Re: What's going on with the list? by Pat Kight 16. Yiddish Word Translation by Norman Lazarus 17. Re: Lighting Question by "Randy B." 18. Re: Lighting Question by "Laura McMeley" 19. Re: Yiddish Word Translation by "Flowers, Curt" 20. Re: Lighting Question by Greg Bierly 21. Confetti cannons by "Jeffrey Kanyuck" 22. Fix it places for equipment by "Jeffrey Kanyuck" 23. Posit mill by Bruce Purdy 24. Re: Confetti cannons by Bruce Purdy 25. Re: Posit mill by Mike Brubaker 26. Re: Fix it places for equipment by "Steve B." 27. Re: Posit mill by "Cyr, Dale" 28. Autocad 2004 or higher rendering references by Sean L Culligan 29. Re: Posit mill by "Cyr, Dale" 30. Re: Punctuation by FrankWood95 [at] aol.com 31. Re: Posit mill by Mike Brubaker 32. Re: Punctuation by FrankWood95 [at] aol.com 33. Re: Posit mill by Steve Larson 34. Re: Posit mill by "Storms, Randy" 35. Re: Problem with Lighting System by FrankWood95 [at] aol.com 36. Re: Lighting Question by FrankWood95 [at] aol.com 37. Re: Fix it places for equipment by Stephen Litterst 38. Re: Light lab activities? by FrankWood95 [at] aol.com 39. Re: Confetti cannons by Shawn Palmer 40. Re: Light lab activities? by Scott Parker 41. Re: Lighting Question by jeff.mabray [at] comcast.net 42. Re: Confetti cannons by Andrew Vance 43. Re: Lighting Question by Mike Brubaker 44. Re: Lighting Question by "Randy B." 45. Drape hampers by Mark O'Brien 46. bubbles by "Ann Warren" 47. Re: commas by FrankWood95 [at] aol.com 48. Re: Lighting Question by jeff.mabray [at] comcast.net 49. Re: commas by Bill Sapsis 50. Re: Posit mill by FrankWood95 [at] aol.com 51. Re: commas by Dale Farmer 52. Re: Lighting Question by "Jeffrey Kanyuck" 53. snow by Jeffrey Ferrell 54. Re: Lighting Question by FrankWood95 [at] aol.com 55. Re: Drape hampers by "Stephen E. Rees" 56. Re: Confetti cannons by Dale Farmer 57. Re: commas by FrankWood95 [at] aol.com 58. Re: Lighting Question by Steve Larson 59. Re: Confetti cannons by Bruce Purdy 60. Re: Light lab activities? by Dale Farmer 61. Re: Drape hampers by "Curt Mortimore" 62. Works for black box by Todd Lipcon 63. statistics on theater at university by Judy 64. Re: Drape hampers by Mark O'Brien 65. Re: Works for black box by Bruce Purdy 66. Re: statistics on theater at university by "jsmith at theatrewireless.com" 67. Re: Confetti cannons by Mark O'Brien 68. Re: Punctuation by Marty_Petlock [at] sarasotagov.com 69. Re: snow by Jonathan Wills 70. Re: Works for black box by "Stephen E. Rees" 71. Re: Punctuation by Jerry Durand 72. Re: Confetti cannons by Jerry Durand 73. Re: Dance floor replacement by Marty_Petlock [at] sarasotagov.com 74. Re: statistics on theater at university by Steve Larson 75. Re: Dance Floor Replacement by Marty_Petlock [at] sarasotagov.com 76. Re: Confetti cannons by "richard j. archer" 77. Re: Punctuation by "Stephen E. Rees" 78. Re: Dance Floor Replacement by Steve Larson *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Date: Wed, 27 Apr 2005 11:08:44 +0100 (BST) From: Charlie Richmond Subject: Re: Punctuation In-Reply-To: Message-ID: References: On Tue, 26 Apr 2005, Bruce Purdy wrote: > You can put as many spaces as you want in HTML. Use "   " for each > space you want. (Without the quotes.) Also, most html fonts automatically put a larger space before the next character after sentence ending punctiation marks and colons (not quite two spaces - more like 1.5 depending on the font; the exception being non-proportional or fixed fonts of course....) Please don't get us started on the difference between typeface and font, though ;-) Charlie ------------------------------ Date: Wed, 27 Apr 2005 11:13:36 +0100 (BST) From: Charlie Richmond Subject: Re: Punctuation In-Reply-To: Message-ID: References: On Tue, 26 Apr 2005, Jon Ares wrote: > So true... luckily, smart layout programs like Quark, Pagemaker, Freehand and > the ilk recognize the 2-space rule, and if it approaches a margin, it adjust > accordingly, and doesn't leave them in. Yes, and if you want to use a nice smart word processor that is fully compatible with Word's doc files (and many others) download OpenOffice from www.openoffice.org onto your Windows, Mac, Linux, Unix or Sun computer and use all the other great apps that come along with it, too! Since it's completely free, I have no vested interest in this advertisement ;-) Try Skype, too! It's free as well.... Charlie + Charlie Richmond - Richmond Sound Design - Skype: charlierichmond + + http://www.RichmondSoundDesign.com "Performance for the Long Run" + + Show Control List: http://www.RichmondSoundDesign.com/sclist.html + + - AudioBox List: http://www.RichmondSoundDesign.com/ablist.html - + "Let distribution undo excess - And each man have enough" - King Lear ------------------------------ Date: Wed, 27 Apr 2005 08:42:50 -0400 Subject: re: punctuation and style From: Steve Larson Message-ID: In-Reply-To: Remember, e.e. cummings' gravestone has the following: E. E. CUMMINGS all caps in 6" letters Even cummings breaks his rules. steve ------------------------------ Message-ID: <1114607673.426f90391f876 [at] mail.cumberlandcollege.edu> Date: Wed, 27 Apr 2005 09:14:33 -0400 From: mconn [at] cumberlandcollege.edu Subject: Lighting Question Good Morning O'Wise Listers, I have a question for you lighting folk. I am getting ready to start (fix'n to start fer you suthrn folk) working on our Summer production. "Ozma of Oz". I am planning to use fluorescent paint, which I know works best under blacklight. I have discovered it is difficult to get a sufficient amount of blacklight in the past to make the paint effective. So, here is my question, What if I took 2 of my strip lights and filled 2 banks with Blacklight spots? A) would it work? B) would it be an obscene waste of money? C) Other suggestions are welcome. Thanks Moe Maurice "Moe" Conn Designer/Technical Director Kohn Theatre University of the Cumberlands 606-539-4520 mconn [at] cumberlandcollege.edu Thank You Everyone for Supporting the Long Beach Long Riders efforts to raise money for Broadway Cares/Equity Fights Aids. Stay Tuned as the Long Reach Long Riders set off on there second adventure. Check Out: www.sapsis-rigging.com/LRLR.html ------------------------------ Subject: RE: Lighting Question Date: Wed, 27 Apr 2005 09:37:42 -0400 Message-ID: <7AE59BA9B8D15D4787EB1C7A2DB6DFBA1CC697 [at] jekyll-sbs.ollsi.local> From: "Abby Downing" Re: blacklight- Check out this site-=20 http://www.wildfirefx.com/products.asp -Abby -----Original Message----- From: mconn [at] cumberlandcollege.edu [mailto:mconn [at] cumberlandcollege.edu]=20 Sent: Wednesday, April 27, 2005 9:15 AM To: Stagecraft Subject: Lighting Question For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Good Morning O'Wise Listers, I have a question for you lighting folk. I am getting ready to start (fix'n=20 to start fer you suthrn folk) working on our Summer production. "Ozma of Oz".=20 I am planning to use fluorescent paint, which I know works best under=20 blacklight. I have discovered it is difficult to get a sufficient amount of blacklight in=20 the past to make the paint effective. So, here is my question, What if I=20 took 2 of my strip lights and filled 2 banks with Blacklight spots? A) would=20 it work? B) would it be an obscene waste of money? C) Other suggestions are=20 welcome. Thanks Moe Maurice "Moe" Conn =20 Designer/Technical Director Kohn Theatre University of the Cumberlands 606-539-4520 mconn [at] cumberlandcollege.edu Thank You Everyone for Supporting the Long Beach Long Riders efforts to raise=20 money for Broadway Cares/Equity Fights Aids. Stay Tuned as the Long Reach Long=20 Riders set off on there second adventure.=20 Check Out: www.sapsis-rigging.com/LRLR.html ------------------------------ Subject: Light lab activities? Date: Wed, 27 Apr 2005 06:55:24 -0700 Message-ID: <555928311F8B2943B65FC7197942C3B7323A77 [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" Hey all. I'm going to attempt to demonstrate color mixing for an = introductory stagecraft class tomorrow. This has never been my strong = suit - can anyone suggest some "gee-whiz" activities/experiments to try = with a simple light lab setup? Cheers, -- r. Randy Storms rstorms [at] bham.wednet.edu ------------------------------ Date: Wed, 27 Apr 2005 10:02:07 -0400 From: Stephen Litterst Subject: Re: Light lab activities? Message-id: <426F9B5F.7F6AE57A [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: "Storms, Randy" wrote: > --------------------------------------------------- > Hey all. I'm going to attempt to demonstrate color mixing for an introductory stagecraft class tomorrow. This has never been my strong suit - can anyone suggest some "gee-whiz" activities/experiments to try with a simple light lab setup? I take someone wearing bold colors (as close to primary as possible) and light them with each of the primaries in turn. Watching someone's red sweatshirt turn black is a good way to communicate the relationship between light and pigment. I will also pick two complementary colors to demonstrate how white light from complements can be more flattering to a person than plain old no color. And I try to demonstrate how low light adversely effects color vision. This year the demonstration didn't work quite right, but usually I can get the light levels just right so that everything is visible, but colors become muddy. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ In-Reply-To: References: Message-Id: From: Stan Jensen Subject: Re: Light lab activities? Date: Wed, 27 Apr 2005 10:15:44 -0400 On Apr 27, 2005, at 9:55 AM, Storms, Randy wrote: > ... can anyone suggest some "gee-whiz" activities/experiments to try > with a simple light lab setup? Mix three primaries on a white panel / cloth, insert a broom handle in the light path to create three shadows. Each shadow will be an additive compliment (cyan, magenta, amber). Stan Jensen Central Michigan University Department of Speech Communication and Dramatic Art Moore 242 Mount Pleasant, MI 48859 (989) 774-1990 office (989) 774-2498 fax ------------------------------ Date: Wed, 27 Apr 2005 10:31:07 -0400 Subject: Re: Light lab activities? From: Bruce Purdy Message-ID: In-Reply-To: >> ... can anyone suggest some "gee-whiz" activities/experiments to try >> with a simple light lab setup? > > Mix three primaries on a white panel / cloth, insert a broom handle in > the light path to create three shadows. Each shadow will be an additive > compliment (cyan, magenta, amber). > I have done something similar for "Hands on workshops" involving younger kids. I aim three instruments a few feet apart and from a low angle, up at the cyc. I let the kids handle the lighting board to control the relative brightness and see how new colours can be created by mixing three primaries. Then I let the kids take turns standing centre stage and seeing their multiple enlarged shadows in various colours cast on the cyc. The kids think it's "cool", enjoy the hands-on experience, and hopefully learn a thing or two in the process. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Reply-To: From: "Scott Boyle" Subject: RE: Light lab activities? Date: Wed, 27 Apr 2005 09:56:23 -0500 Organization: Carroll College Message-ID: <000001c54b39$47d0ea20$73db688c [at] cc.edu> In-Reply-To: I don't know if you have time, but I have a 4 x 10 flat painted in bands of ROYGBIV and a single band divided up into white and a couple of grays. I set this up and go through the various saturated pure hues of gels to show how light can effect the different colors. Having all of the colors in front of you really shows how each pigment color reacts. I do this with both a single instrument and then two instruments. HTH Scott M. Boyle Technical Director Department of Theatre Arts Carroll College 262-524-7308 -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Storms, Randy Sent: Wednesday, April 27, 2005 8:55 AM To: Stagecraft Subject: Light lab activities? For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Hey all. I'm going to attempt to demonstrate color mixing for an introductory stagecraft class tomorrow. This has never been my strong suit - can anyone suggest some "gee-whiz" activities/experiments to try with a simple light lab setup? Cheers, -- r. Randy Storms rstorms [at] bham.wednet.edu ------------------------------ From: "Karl G. Ruling" Date: Wed, 27 Apr 2005 11:05:58 -0400 Subject: Re: commas Reply-to: kruling [at] esta.org Message-ID: <426F7216.11106.7C384B [at] localhost> In-reply-to: > > I always apply commas as breath pauses. Imagine that you are reading > it aloud. When a breath is appropriate, and with due consideration to > the context, stick one in. > That is EXACTLY what I have heard writing teachers rail against. A comma is to divide a sentence into clauses to help make the structure of the sentence clear. It is not to give you places to take a breath. If it were, we'd have special punctuation for asthmatics, opera singers, et cetera. Take a breath when you need to; don't pull out your pen and stick in a comma so you have permission to breathe. ------------------------------ Message-ID: In-Reply-To: From: "Weston Wilkerson" Subject: Re: Lighting Question Date: Wed, 27 Apr 2005 11:17:19 -0400 I have never had good luck with flourescent paint. At Theatre By The Sea in '03, we used some type of laundry detergent that was, not kidding, five times more effective than the paint. You just have to seal whatever you put it onto so it won't come off. I cannot remember the product, I am sure that someone on the list will know what I am talking about. If not, contact me off list, and I can give the contact information for someone who would know. I highly recommend the Wildfire units also. If possible, rent/borrow one for a day, and have someone walk around under the blacklight to see if you need more than one. The fresnels have been the best for me. You may need a dowser depending on your situation. I have had good luck turning them on a few minutes before the blacklight sequence, and washing out the funky colors with stage light. Then you can get two units instead of one unit and a dowser. <><><><><><><><><><><><><><><><><><><><> Weston Wilkerson University of Tennessee Theater Lighting Design e: Weston_Wilkerson [at] hotmail.com <><><><><><><><><><><><><><><><><><><><> Original message: >Good Morning O'Wise Listers, > >I have discovered it is difficult to get a sufficient amount of >blacklight in >the past to make the paint effective. So, here is my question, What if >I >took 2 of my strip lights and filled 2 banks with Blacklight spots? A) >would >it work? B) would it be an obscene waste of money? C) Other suggestions >are >welcome. > >Thanks >Moe ------------------------------ Date: Wed, 27 Apr 2005 11:17:56 -0400 Subject: What's going on with the list? From: "C. Dopher" Message-ID: For some reason, I keep getting messages that a stagecraft email has bounced from my account. Oddly enough, the "your account is bouncing our digests" emails still get through. Anyone else have this problem before? I've checked my filters settings; there are no filters set. (Odd, since I set a bunch a couple years ago, which now seem to be gone.) My other list digests I subscribe to are coming through just fine. My account is well well below its storage limit -- emails are deleted from the server three days after transmission to my computer. Is there something in the digest email itself that may be causing my server to reject it? I missed, for instance, the email in which Mr. Sapsis sternly reminded the list about the BC/EFA fundraising efforts. I've only gotten one digest since then. Helpful suggestions should be sent to my email directly, not to the list. Thanks! Cris Dopher, LD ------------------------------ Message-ID: In-Reply-To: From: "Weston Wilkerson" Subject: RE: Light lab activities? Date: Wed, 27 Apr 2005 11:22:06 -0400 Not really "Color Mixing" but another fun one is color saturation: Get the most rich blue light you possibly can on a white wall. Have your students cover one eye for five minutes while staring at the blue with the other eye. Then, get them to remove their hand and compare the colors that you see with each eye. They will be totally different! Also good to remind onesself of this when lighting long dance pieces. >Hey all. I'm going to attempt to demonstrate color mixing for an >introductory stagecraft class tomorrow. This has never been my strong suit >- can anyone suggest some "gee-whiz" activities/experiments to try with a >simple light lab setup? > >Cheers, > >-- r. > >Randy Storms >rstorms [at] bham.wednet.edu <><><><><><><><><><><><><><><><><><><><> Weston Wilkerson University of Tennessee Theater Lighting Design e: Weston_Wilkerson [at] hotmail.com I never ask a man where he’s from. After all, if he’s from Texas he’ll probably tell me, and if he’s not I don’t want to embarrass him. - Don Meredith <><><><><><><><><><><><><><><><><><><><> ------------------------------ Message-ID: <426FB30A.9030204 [at] peak.org> Date: Wed, 27 Apr 2005 08:43:06 -0700 From: Pat Kight Cc: brooklyn [at] dopher.com Subject: Re: What's going on with the list? References: In-Reply-To: C. Dopher wrote: > For some reason, I keep getting messages that a stagecraft email has bounced > from my account. Oddly enough, the "your account is bouncing our digests" > emails still get through. > > Anyone else have this problem before? > > I've checked my filters settings; there are no filters set. (Odd, since I > set a bunch a couple years ago, which now seem to be gone.) My other list > digests I subscribe to are coming through just fine. My account is well > well below its storage limit -- emails are deleted from the server three > days after transmission to my computer. Is there something in the digest > email itself that may be causing my server to reject it? Check with your Internet provider - it may have installed new server-side spam filters that are kicking out mailing list messages before they even get to your mailbox. This is becoming increasingly common. If it's the case, then you need to get them to "whitelist" the stagecraft domain (theatrical.net) in order for the messages to get through. I understand why ISPs are beefing up their spam protection - and applaud it - but as someone who manages a half-dozen mailing lists, it's getting to be damned frustrating when intentional, opt-in lists fall into the spam traps. -- Pat Kight kightp [at] peak.org ------------------------------ Message-ID: <20050427160658.97844.qmail [at] web51702.mail.yahoo.com> Date: Wed, 27 Apr 2005 09:06:57 -0700 (PDT) From: Norman Lazarus Subject: Yiddish Word Translation In-Reply-To: One of my actors has used the word "schwingatz" in his bio. Can't find an online dictionary that has it, pretty sure its Yiddish. The sentence he is using it in is: "Much thanks to all the schwingatz who call with love every day". If anyone one knows what the word means I'd appreciate it. Norman Lazarus __________________________________ Do you Yahoo!? Yahoo! Small Business - Try our new resources site! http://smallbusiness.yahoo.com/resources/ ------------------------------ Message-ID: <002f01c54b43$bea91050$72504898 [at] GLOBAL.SCJ.LOC> From: "Randy B." References: Subject: Re: Lighting Question Date: Wed, 27 Apr 2005 11:11:17 -0500 So, here is my question, What if I > took 2 of my strip lights and filled 2 banks with Backlight spots? A) would > it work? No you need UV light and black light spots (incandescent light) will not work B) would it be an obscene waste of money? Yes won't work C) Other suggestions: Two options rent or by a "Wildfire UV cannon". or When I need black light at the high school for a production I purchased about 8 shoplight fixtures from a home center along with backlight florescent tubes from the same place and hung the lights over the stage, worked great, ran me just over $100. ----- Original Message ----- From: To: "Stagecraft" Sent: Wednesday, April 27, 2005 8:14 AM Subject: Lighting Question > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Good Morning O'Wise Listers, > > I have a question for you lighting folk. I am getting ready to start (fix'n > to start fer you suthrn folk) working on our Summer production. "Ozma of Oz". > I am planning to use fluorescent paint, which I know works best under > blacklight. > > I have discovered it is difficult to get a sufficient amount of blacklight in > the past to make the paint effective. So, here is my question, What if I > took 2 of my strip lights and filled 2 banks with Blacklight spots? A) would > it work? B) would it be an obscene waste of money? C) Other suggestions are > welcome. > > Thanks > Moe > > Maurice "Moe" Conn > Designer/Technical Director > Kohn Theatre > University of the Cumberlands > 606-539-4520 > mconn [at] cumberlandcollege.edu > > Thank You Everyone for Supporting the Long Beach Long Riders efforts to raise > money for Broadway Cares/Equity Fights Aids. Stay Tuned as the Long Reach Long > Riders set off on there second adventure. > Check Out: www.sapsis-rigging.com/LRLR.html > ------------------------------ Message-ID: In-Reply-To: From: "Laura McMeley" Subject: RE: Lighting Question Date: Wed, 27 Apr 2005 11:16:39 -0500 Another important thing to remember. Blacklight works best with no other lights on, the more stage light you add into the mix the less effect you will get from the blacklights. Laura McMeley 972-333-5016 www.geocities.com/lmcmeley/ >From: mconn [at] cumberlandcollege.edu >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: Lighting Question >Date: Wed, 27 Apr 2005 09:14:33 -0400 > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Good Morning O'Wise Listers, > >I have a question for you lighting folk. I am getting ready to start >(fix'n >to start fer you suthrn folk) working on our Summer production. "Ozma of >Oz". >I am planning to use fluorescent paint, which I know works best under >blacklight. > >I have discovered it is difficult to get a sufficient amount of blacklight >in >the past to make the paint effective. So, here is my question, What if I >took 2 of my strip lights and filled 2 banks with Blacklight spots? A) >would >it work? B) would it be an obscene waste of money? C) Other suggestions are >welcome. > >Thanks >Moe > >Maurice "Moe" Conn >Designer/Technical Director >Kohn Theatre >University of the Cumberlands >606-539-4520 >mconn [at] cumberlandcollege.edu > >Thank You Everyone for Supporting the Long Beach Long Riders efforts to >raise >money for Broadway Cares/Equity Fights Aids. Stay Tuned as the Long Reach >Long >Riders set off on there second adventure. >Check Out: www.sapsis-rigging.com/LRLR.html > ------------------------------ Subject: RE: Yiddish Word Translation Date: Wed, 27 Apr 2005 11:20:22 -0500 Message-ID: <71D0296313DCB24C93FE62A0CA7B49CA35993C [at] adminmail4.ui.uillinois.edu> From: "Flowers, Curt" "schwingatz" is not listed in the Yiddish->English translator I use (http://www.ectaco.com/online/diction.php3?refid=3D532&lang=3D15) But that's not surprising. The spelling of Yiddish words is highly variable. Try different spellings. =20 > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf=20 > Of Norman Lazarus > Sent: Wednesday, April 27, 2005 11:07 AM > To: Stagecraft > Subject: Yiddish Word Translation >=20 > For info, archives & UNSUBSCRIBE, see=20 > > --------------------------------------------------- >=20 > One of my actors has used the word "schwingatz" in his > bio. Can't find an online dictionary that has it, > pretty sure its Yiddish. The sentence he is using it > in is: > "Much thanks to all the schwingatz who call with love > every day". >=20 > If anyone one knows what the word means I'd appreciate > it. >=20 > Norman Lazarus >=20 >=20 >=20 ------------------------------ In-Reply-To: References: Message-Id: From: Greg Bierly Subject: Re: Lighting Question Date: Wed, 27 Apr 2005 12:36:15 -0400 I don't think it is your best way to go. The money you would save buying lamps can be spent on renting much more efficient and powerful blacklight fixtures such as the wildfire. I don't know if you have any local rental houses but shipping isn't that bad for two fixtures. Incandescent and quartz "blacklights" create huge quantities of heat and are relatively inefficient. In my opinion you would be better off with a bunch of 4' florescent tube blacklights lining the stage in Lowes/HomeDepot/BigBox worklight fixtures if you can't rent the real deal. Greg Bierly Technical Director Hempfield HS ------------------------------ Message-Id: Date: Wed, 27 Apr 2005 12:47:51 -0400 From: "Jeffrey Kanyuck" Subject: Confetti cannons Hello List ! Is the archive down? I can't open the page. Someone please point me to the archive or send me email on how they've made their version of the confetti cannon. Jeff Kanyuck ------------------------------ Message-Id: Date: Wed, 27 Apr 2005 12:52:58 -0400 From: "Jeffrey Kanyuck" Subject: Fix it places for equipment Hello again everyone, I'm looking for reputable places for fixing intelligent lighting and audio amplifiers in the Maryland area. Even a state next door would be fine. You may obviously reply to me at jkanyuck [at] harford.edu so we don't take up bandwidth here. Jeff Kanyuck ------------------------------ Date: Wed, 27 Apr 2005 12:59:23 -0400 Subject: Posit mill From: Bruce Purdy Message-ID: Last week I had the show from hell. A local group did "Noises Off", and the cast greatly resembled their characters. They fired their director two weeks before opening and decided to be "Self directed". No set designer or any other production crew (Other than me - I come with the house, and had no involvement until they moved in three days before opening). Rather than go on and on with the various problems involved, let me get to my question: The "show within a show" is set- according to the script - in a "16th century Posit mill". No one knew (or seemed to care) what the heck a "Posit mill" was - just some kind of mill. I am of a curious bent, and would like to better understand. My desk top copy of the OED only lists two definitions of "Posit" - ones I already knew. "1] Assume as a fact, postulate. 2] Put in place or position." I might "posit" that it was an old building that they were assuming, or positing, to have been a mill. If this is in fact what the script meant, it would greatly affect how the line should have been delivered. (Not that it would have saved this show!) Does anyone else have any insight as to what else a "Posit mill" might be? Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Date: Wed, 27 Apr 2005 13:10:57 -0400 Subject: Re: Confetti cannons From: Bruce Purdy Message-ID: In-Reply-To: > Someone please point me to the archive or send me email on how > they've made their version of the confetti cannon. I had a show come through a couple of years ago with a couple home made confetti canons, and I took mental note in case I might want to try it some day. Each was made from a portable air tank (Which they filled from a compressor as needed between shows). From the output there was a short pipe leading to a large valve. After that came another pipe about 30" long and of a diameter to fit the confetti loads. This pipe was set at about a 45 degree angle upwards. The entire setup was quite small and portable as well as simple. The confetti loads were put into the pipe / barrel and when the time came, you just turned the handle on the valve, and the load shot out. simple! Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-Id: <6.2.0.14.0.20050427120856.01da8038 [at] mail.insightbb.com> Date: Wed, 27 Apr 2005 12:12:57 -0500 From: Mike Brubaker Subject: Re: Posit mill In-Reply-To: References: Typo for "Post Mill"? By the way, if you put in "posit mill" to a google search, you get one return: http://www.geocities.com/cupelix99/andrea/slide21.html I wonder if she knows the secret? Mike At 11:59 AM 4/27/2005, Bruce Purdy wrote: > Does anyone else have any insight as to what else a "Posit mill" might >be? ------------------------------ Date: Wed, 27 Apr 2005 13:19:59 -0400 From: "Steve B." Subject: Re: Fix it places for equipment Message-id: <001b01c54b4d$573f2c10$6701a8c0 [at] SBFF> References: ----- Original Message ----- From: "Jeffrey Kanyuck" > I'm looking for reputable places for fixing intelligent lighting > and audio amplifiers in the Maryland area. > Even a state next door would be fine. You may obviously reply to me at > jkanyuck [at] harford.edu so we don't take up bandwidth here. Cannon Stage Lighting - Baltimore, might be one source. http://cannonstage.com/home.htm Maryland Sound - also in Baltimore - http://www.marylandsound.com/ SB Cannon Stage Lighting, Inc. 6707 Dogwood Road Baltimore, MD 21207 ------------------------------ Subject: RE: Posit mill Date: Wed, 27 Apr 2005 10:23:31 -0700 Message-ID: <407DF7D68DD30440B5CEB70ED234D1CF06F9664E [at] excuswa100.americas.unity> From: "Cyr, Dale" I wonder why a tv is on the set of a "18th century posit mill style house"? -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Mike Brubaker By the way, if you put in "posit mill" to a google search, you get one return: http://www.geocities.com/cupelix99/andrea/slide21.html I wonder if she knows the secret? Mike At 11:59 AM 4/27/2005, Bruce Purdy wrote: > Does anyone else have any insight as to what else a "Posit mill" might >be? ------------------------------ Message-ID: <426FCAC5.60102 [at] email.com> Date: Wed, 27 Apr 2005 13:24:21 -0400 From: Sean L Culligan Subject: Autocad 2004 or higher rendering references References: In-Reply-To: Hello all, I am wondering if anybody out there has an recommendations of reference materials (websites, books, etc.) for learning how to do renderings in Autocad? I know how to do them in Vectorworks but am looking to expand my knowledge into the realm of Autocad more for facility renderings. Of course I can find plenty listed online, but any opinions or recommendations from people who have used them would be great. Any thoughts? TIA. Sean Culligan Masters of Fine Arts Candidate '06 Technical Design and Production 203-500-6132 www.culligantheatrical.com ------------------------------ Subject: RE: Posit mill Date: Wed, 27 Apr 2005 10:25:16 -0700 Message-ID: <407DF7D68DD30440B5CEB70ED234D1CF06F96651 [at] excuswa100.americas.unity> From: "Cyr, Dale" Never mind. The house is "18th century posit mill style house". Not the set. Sheesh! (Some of us need more sleep and less caffine :) By the way, if you put in "posit mill" to a google search, you get one return: http://www.geocities.com/cupelix99/andrea/slide21.html I wonder if she knows the secret? Mike ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <15b.5000296d.2fa12552 [at] aol.com> Date: Wed, 27 Apr 2005 13:26:42 EDT Subject: Re: Punctuation In a message dated 27/04/05 01:24:39 GMT Daylight Time, jdurand [at] interstellar.com writes: > And, of course, HTML by design ignores any number of spaces over one, so > your nicely spaced message gets re-formatted for you. Well, good! The succeeding capital letter signals the start of a new sentence. Frank Wood ------------------------------ Message-Id: <6.2.0.14.0.20050427122733.041e9eb8 [at] mail.insightbb.com> Date: Wed, 27 Apr 2005 12:28:27 -0500 From: Mike Brubaker Subject: Re: Posit mill In-Reply-To: References: I don't recall that the show itself is set in the 18th century, is it? Just the house... Mike At 12:23 PM 4/27/2005, Cyr, Dale wrote: >I wonder why a tv is on the set of a "18th century posit mill style >house"? > >By the way, if you put in "posit mill" to a google search, you get one >return: >http://www.geocities.com/cupelix99/andrea/slide21.html ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <126.5bfcae44.2fa1261b [at] aol.com> Date: Wed, 27 Apr 2005 13:30:03 EDT Subject: Re: Punctuation In a message dated 27/04/05 02:37:38 GMT Daylight Time, jonares [at] hevanet.com writes: > So true... luckily, smart layout programs like Quark, Pagemaker, Freehand > and the ilk recognize the 2-space rule, and if it approaches a margin, it > adjust accordingly, and doesn't leave them in. It's not a rule, at least, not one that I've ever heard of. It's a custom, and in my opinion, a bad one. Frank Wood ------------------------------ Date: Wed, 27 Apr 2005 13:28:43 -0400 Subject: Re: Posit mill From: Steve Larson Message-ID: In-Reply-To: Why not, the play is not set in the 18th century. Duh! sjl > From: "Cyr, Dale" > Reply-To: "Stagecraft" > Date: Wed, 27 Apr 2005 10:23:31 -0700 > To: "Stagecraft" > Subject: Re: Posit mill > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I wonder why a tv is on the set of a "18th century posit mill style > house"? > > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Mike > Brubaker > > > By the way, if you put in "posit mill" to a google search, you get one > return: > http://www.geocities.com/cupelix99/andrea/slide21.html > > I wonder if she knows the secret? > > Mike > > At 11:59 AM 4/27/2005, Bruce Purdy wrote: >> Does anyone else have any insight as to what else a "Posit mill" > might >> be? > > > ------------------------------ Subject: RE: Posit mill Date: Wed, 27 Apr 2005 10:32:44 -0700 Message-ID: <555928311F8B2943B65FC7197942C3B7323A7B [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" I believe it's actually a "posset" mill. Noun: posset p=F3sit Sweet spiced hot milk curdled with ale or beer -- r. Randy Storms rstorms [at] bham.wednet.edu _____________________ The "show within a show" is set- according to the script - in a = "16th century Posit mill". No one knew (or seemed to care) what the heck a = "Posit mill" was - just some kind of mill. I am of a curious bent, and would = like to better understand. ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <84.4466ffbf.2fa126ed [at] aol.com> Date: Wed, 27 Apr 2005 13:33:33 EDT Subject: Re: Problem with Lighting System In a message dated 27/04/05 05:22:27 GMT Daylight Time, sdwheaton [at] fuse.net writes: > Get a two-fer and a 500 watt instrument. > > Plug the 500 watts into one leg of the two-fer, and plug the > two fer into the offending circuit. > > Meter the empty socket of the two-fer. > > It won't be anywhere near 110 volts. That depends on what the dimmer is set at. And also on what the meter is measuring, and reporting. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Wed, 27 Apr 2005 13:40:40 EDT Subject: Re: Lighting Question In a message dated 27/04/05 14:22:08 GMT Daylight Time, mconn [at] cumberlandcollege.edu writes: > I have discovered it is difficult to get a sufficient amount of blacklight in > > the past to make the paint effective. So, here is my question, What if I > took 2 of my strip lights and filled 2 banks with Blacklight spots? A) > would > it work? B) would it be an obscene waste of money? C) Other suggestions are > welcome. I have never had a problem. Two, at most four UV tubes will handle quite a large stage. Remember that the light is emitted by the paint. Frank Wood ------------------------------ Date: Wed, 27 Apr 2005 13:46:08 -0400 From: Stephen Litterst Subject: Re: Fix it places for equipment Message-id: <426FCFE0.E7E3481D [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Jeffrey Kanyuck wrote: > --------------------------------------------------- > > Hello again everyone, > I'm looking for reputable places for fixing intelligent lighting > and audio amplifiers in the Maryland area. > Even a state next door would be fine. You may obviously reply to me at > jkanyuck [at] harford.edu so we don't take up bandwidth here. You can try PARLights in Frederick. www.parlights.com I've never had them fix any equipment, but their support and service in other areas has impressed me. BSL Production (which used to be Baltimore Stage Lighting) had a good rep when I used them a few years ago. (Six, which could be an eternity in this business.) www.bslproductions.com Atmosphere (http://www.atmospherelighting.com/) is a good company but I don't know if they do service. Steve Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <8.675ad11f.2fa129e0 [at] aol.com> Date: Wed, 27 Apr 2005 13:46:08 EDT Subject: Re: Light lab activities? In a message dated 27/04/05 15:02:29 GMT Daylight Time, slitterst [at] ithaca.edu writes: > And I try to demonstrate how low light adversely effects color > vision. This year the demonstration didn't work quite right, but > usually I can get the light levels just right so that everything is > visible, but colors become muddy. It's what a well respected stage designer that I knew used to call "marmelade coloured lighting". I think that he was right. If you want to make a colour statement, make it loudly. Frank Wood ------------------------------ Message-ID: <426FCEDC.4020701 [at] northnet.net> Date: Wed, 27 Apr 2005 12:41:48 -0500 From: Shawn Palmer Subject: Re: Confetti cannons References: In-Reply-To: Bruce Purdy wrote: > Each was made from a portable air tank (Which they filled from a > compressor as needed between shows). From the output there was a short pipe > leading to a large valve. After that came another pipe about 30" long and of > a diameter to fit the confetti loads. This pipe was set at about a 45 degree > angle upwards. The entire setup was quite small and portable as well as > simple. > > The confetti loads were put into the pipe / barrel and when the time > came, you just turned the handle on the valve, and the load shot out. > simple! > I made about thirty of these with PVC... sort of like a spud gun. I use 24v sprinkler valves. I've got two large ones with a portable air tank. My smaller ones just use larger sections of PVC with a tire valve for the air chamber. I am pretty sure I got the idea from Joe Dunfee, but I might be wrong... Nope, it was him- go here: http://home.paonline.com/joespuppets/5-airgun.htm FWIW Shawn Palmer Neenah, WI USA ------------------------------ Message-ID: <90d9c99805042710501e93e8e1 [at] mail.gmail.com> Date: Wed, 27 Apr 2005 13:50:24 -0400 From: Scott Parker Reply-To: Scott Parker Subject: Re: Light lab activities? In-Reply-To: References: Another saturation trick. Place a red gel in a light you can easily reach. Aim it at a white wall and have the class stare at it for a minute or more. Longer the better. Pull the gel out very quickly. You'll "see" a greenish flash before your brain adjusts back to the white wall. On 4/27/05, Weston Wilkerson wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- >=20 > Not really "Color Mixing" but another fun one is color saturation:--=20 Take care, Scott Scott C. Parker ------------------------------ From: jeff.mabray [at] comcast.net Subject: Re: Lighting Question Date: Wed, 27 Apr 2005 17:52:13 +0000 Message-Id: <042720051752.8730.426FD14D000344420000221A2207001641970E9D0D0E03D200000A06 [at] comcast.net> Frank Wood wrote: > I have never had a problem. Two, at most four UV tubes will handle quite a > large stage. Remember that the light is emitted by the paint. Do you have to plug that paint in to get it to emit light? Or does it just do it by magic? Gee Frank, with as much of a stickler as you are for details and semantics, I would have thought you would have known better than to write something like that. Paint will reflect light all day long, but never emit it. > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 27/04/05 14:22:08 GMT Daylight Time, > mconn [at] cumberlandcollege.edu writes: > > > I have discovered it is difficult to get a sufficient amount of blacklight > in > > > > the past to make the paint effective. So, here is my question, What if I > > took 2 of my strip lights and filled 2 banks with Blacklight spots? A) > > would > > it work? B) would it be an obscene waste of money? C) Other suggestions > are > > welcome. > > I have never had a problem. Two, at most four UV tubes will handle quite a > large stage. Remember that the light is emitted by the paint. > > > Frank Wood ------------------------------ In-Reply-To: References: Message-Id: From: Andrew Vance Subject: Re: Confetti cannons Date: Wed, 27 Apr 2005 12:52:51 -0500 On 27 Apr, 2005, at 12:10, Bruce Purdy wrote: > I had a show come through a couple of years ago with a couple home > made > confetti canons, and I took mental note in case I might want to try it > some > day. Gee Bruce, that sounds a lot like the confetti cannons I've got sitting on my stage right now. : ) I was going to describe how they were made, but the link that Shawn posted is essentially the same as ours so I needn't go into it. They're wonderful little things, and durable. We send them on the road with our tours every now and then, and they hold up just fine. -- Sincerely, Andrew Vance Lighting Designer www.andrewvance.com ------------------------------ Message-Id: <6.2.0.14.0.20050427130016.042444d0 [at] mail.insightbb.com> Date: Wed, 27 Apr 2005 13:04:18 -0500 From: Mike Brubaker Subject: Re: Lighting Question In-Reply-To: References: Doesn't it? I thought that the way that fluorescent paint (and anything else that fluoresces, such as the phosphors on the inside of a fluorescent tube or the screen on a CRT) actually did emit light. UV excites the surface, which then emits the light. You certainly are not seeing reflected UV. Human eyes cannot see in that end of the spectrum. Ever see a fluorescent tube without the phosphor coating? All you have is a barely-visible blueish arc from one end of the tube to the other. It is the phosphors, excited by the UV, that emit visible light. I believe that Frank is right. Mike At 12:52 PM 4/27/2005, jeff.mabray [at] comcast.net wrote: >Do you have to plug that paint in to get it to emit light? Or does it >just do it by magic? > >Gee Frank, with as much of a stickler as you are for details and >semantics, I would have thought you would have known better than to write >something like that. Paint will reflect light all day long, but never emit it. ------------------------------ Message-ID: <00b601c54b53$a4100810$72504898 [at] GLOBAL.SCJ.LOC> From: "Randy B." References: Subject: Re: Lighting Question Date: Wed, 27 Apr 2005 13:05:04 -0500 Will in the case of 'Paint' glowing under UV light, light is not being reflected but the compounds in the 'paint' are fluorescing. Randy ----- Original Message ----- From: To: "Stagecraft" Sent: Wednesday, April 27, 2005 12:52 PM Subject: Re: Lighting Question > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Frank Wood wrote: > > > I have never had a problem. Two, at most four UV tubes will handle quite a > > large stage. Remember that the light is emitted by the paint. > > > Do you have to plug that paint in to get it to emit light? Or does it just do it by magic? > > Gee Frank, with as much of a stickler as you are for details and semantics, I would have thought you would have known better than to write something like that. Paint will reflect light all day long, but never emit it. > > > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > In a message dated 27/04/05 14:22:08 GMT Daylight Time, > > mconn [at] cumberlandcollege.edu writes: > > > > > I have discovered it is difficult to get a sufficient amount of blacklight > > in > > > > > > the past to make the paint effective. So, here is my question, What if I > > > took 2 of my strip lights and filled 2 banks with Blacklight spots? A) > > > would > > > it work? B) would it be an obscene waste of money? C) Other suggestions > > are > > > welcome. > > > > I have never had a problem. Two, at most four UV tubes will handle quite a > > large stage. Remember that the light is emitted by the paint. > > > > > > Frank Wood > ------------------------------ In-Reply-To: References: Message-Id: <61330c7efa2cf80bc296be67907e4a73 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Drape hampers Date: Wed, 27 Apr 2005 11:06:47 -0700 We need to store our drapes for the summer (new floor being installed) and I thought this would be a good excuse to buy hampers for our goods. I was thinking a couple of 20 bu, and a couple of smaller ones. Anyone have a good place to get them, It is Arizona, but they should always be in climate controlled rooms. (music building). I was also thinking fabric hampers, but I welcome all opinions. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ Message-Id: Date: Wed, 27 Apr 2005 13:05:59 -0500 From: "Ann Warren" Subject: bubbles Hey Folks, Thought I would follow up on the tub o' bubbles question that I posed several weeks ago. The problem was to send a tub full of bubbles out on stage. The bubbles needed to conceal the body of the actor in the tub and to last the entire scene. Based on suggestions from the fine folks here on the list, (Many Thanks Indeed!) here is what we did. Into our 110 gallon tub we placed 4 gallons of water, 1 cup of Dawn dish detergent and 4 ounces of glycerine. This mixture was whipped into a very dense foam with the use of a corded drill (cordless just won't get the job done) outfitted with a paint mixing attachment. We were able to whip the foam to within 4-6 inches of the rim of the tub. Next the actor slid into the tub and underneath the bubbles. We then placed a bucket of warm water next to the actor and covered it over with foam. This gave a resivoir of water from which a second actor could bathe the first and look like the tub was full of water. Once the actor and bucket where in place we handed the actor in the tub an airhose with a nozzle at the end and he blew big bubbles in the foam. The big bubbles did not last as long as the little ones but they offered a nice contrast to the foam and helped establish the look. When the tub moved the four gallons of water that we started out with would slosh on the bottom of the tub, moving the suds and added to the effect that the tub was full of water. Thanks again for everyone's input and help in making this a successful and easy effect. Ann Warren Scenic Studio Supervisor Indiana State University Theater Department ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <7b.441d084f.2fa12f16 [at] aol.com> Date: Wed, 27 Apr 2005 14:08:22 EDT Subject: Re: commas In a message dated 27/04/05 16:06:45 GMT Daylight Time, kruling [at] esta.org writes: > > I always apply commas as breath pauses. Imagine that you are reading > > it aloud. When a breath is appropriate, and with due consideration to > > the context, stick one in. > > > > That is EXACTLY what I have heard writing teachers rail against. I believe that they are wrong. > > A comma is to divide a sentence into clauses to help make the > structure of the sentence clear. Imagine yourself reading aloud what you have written, so that your audience may understand it. All punctuation marks indicate is breaks in the flow of the text, apart from apostrophes and inverted commas. So with the written text. It is not to give you places to take > a breath. If it were, we'd have special punctuation for asthmatics, > opera singers, et cetera. Take a breath when you need to; don't pull > out your pen and stick in a comma so you have permission to breathe. This is rubbish. Asthmatics I don't know about. Opera singers, and composers too, plan their breathing pauses meticulously. So, for that matter, do wind instrument players. Frank Wood ------------------------------ From: jeff.mabray [at] comcast.net Subject: Re: Lighting Question Date: Wed, 27 Apr 2005 18:08:55 +0000 Message-Id: <042720051808.17844.426FD53700020776000045B42207002953970E9D0D0E03D200000A06 [at] comcast.net> Good Point. I stand corrected. > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Doesn't it? I thought that the way that fluorescent paint (and anything > else that fluoresces, such as the phosphors on the inside of a fluorescent > tube or the screen on a CRT) actually did emit light. UV excites the > surface, which then emits the light. You certainly are not seeing > reflected UV. Human eyes cannot see in that end of the spectrum. Ever see > a fluorescent tube without the phosphor coating? All you have is a > barely-visible blueish arc from one end of the tube to the other. It is > the phosphors, excited by the UV, that emit visible light. > > I believe that Frank is right. > > Mike > > At 12:52 PM 4/27/2005, jeff.mabray [at] comcast.net wrote: > > >Do you have to plug that paint in to get it to emit light? Or does it > >just do it by magic? > > > >Gee Frank, with as much of a stickler as you are for details and > >semantics, I would have thought you would have known better than to write > >something like that. Paint will reflect light all day long, but never emit it. > ------------------------------ Date: Wed, 27 Apr 2005 14:16:50 -0400 Subject: Re: commas From: Bill Sapsis Message-ID: In-Reply-To: on 4/27/05 2:08 PM, FrankWood95 [at] aol.com at FrankWood95 [at] aol.com wrote: > This is rubbish. Asthmatics I don't know about. Opera singers, and composers > too, plan their breathing pauses meticulously. So, for that matter, do wind > instrument players. uh, oh. (breath). Don't look now, Frank, (breath) but I think you just stepped in it. (breath) Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Please support the Long Reach Long Riders on their 2nd annual benefit ride http://sapsis-rigging.com/LRLR.html ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <82.26fd9f81.2fa13135 [at] aol.com> Date: Wed, 27 Apr 2005 14:17:25 EDT Subject: Re: Posit mill I rather thnk it's a 'Post Mill' This is a windmill which stands on a post, and the whole body of the3 mill turns to face the wind. Frank Wood ------------------------------ Message-ID: <426FD7D1.8A6FCD64 [at] cybercom.net> Date: Wed, 27 Apr 2005 14:20:01 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: commas References: FrankWood95 [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 27/04/05 16:06:45 GMT Daylight Time, kruling [at] esta.org > writes: > > > > I always apply commas as breath pauses. Imagine that you are reading > > > it aloud. When a breath is appropriate, and with due consideration to > > > the context, stick one in. > > > > > > > That is EXACTLY what I have heard writing teachers rail against. > > I believe that they are wrong. > > > > A comma is to divide a sentence into clauses to help make the > > structure of the sentence clear. > > Imagine yourself reading aloud what you have written, so that your audience > may understand it. All punctuation marks indicate is breaks in the flow of the > text, apart from apostrophes and inverted commas. So with the written text. > > It is not to give you places to take > > a breath. If it were, we'd have special punctuation for asthmatics, > > opera singers, et cetera. Take a breath when you need to; don't pull > > out your pen and stick in a comma so you have permission to breathe. > > This is rubbish. Asthmatics I don't know about. Opera singers, and composers > too, plan their breathing pauses meticulously. So, for that matter, do wind > instrument players. > > Frank Wood If you are writing a speech, then Frank's approach is correct. If you are writing for a written document, then Frank's approach is incorrect. There are also different customs WRT comma use on the other side of the pond. I'll not get into the persnicketyness of punctuation in legal documents, let alone punctuation in programming languages. Context matters. --Dale ------------------------------ Message-Id: Date: Wed, 27 Apr 2005 14:20:59 -0400 From: "Jeffrey Kanyuck" Subject: Re: Lighting Question Doesn't this depend on the "flourescent" paint being used? I know some of it is standard paint in fantastic bright colors that simply reflects light as you said, but, doesn't some of it actually have phosphorus in it? In which case it does emit light as UV light hits it and excites it to a state to let loose photons or electrons? It's been a while since I've had to think of it.. but,.. my penny. Jeff Kanyuck >>> jeff.mabray [at] comcast.net 4/27/2005 1:52 PM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Frank Wood wrote: > I have never had a problem. Two, at most four UV tubes will handle quite a > large stage. Remember that the light is emitted by the paint. Do you have to plug that paint in to get it to emit light? Or does it just do it by magic? Gee Frank, with as much of a stickler as you are for details and semantics, I would have thought you would have known better than to write something like that. Paint will reflect light all day long, but never emit it. > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 27/04/05 14:22:08 GMT Daylight Time, > mconn [at] cumberlandcollege.edu writes: > > > I have discovered it is difficult to get a sufficient amount of blacklight > in > > > > the past to make the paint effective. So, here is my question, What if I > > took 2 of my strip lights and filled 2 banks with Blacklight spots? A) > > would > > it work? B) would it be an obscene waste of money? C) Other suggestions > are > > welcome. > > I have never had a problem. Two, at most four UV tubes will handle quite a > large stage. Remember that the light is emitted by the paint. > > > Frank Wood ------------------------------ Message-ID: <426FD979.8080905 [at] midmaine.com> Date: Wed, 27 Apr 2005 14:27:05 -0400 From: Jeffrey Ferrell Subject: snow References: In-Reply-To: Hi, I'm fairly new to the list, and am really enjoying the education. I have a question about snow machines, and their suitability for use on vinal dance floors. (see...I've already learned not to call it marley) :) Are there any options out there that don't throw dancers into fits, due to their stickniess or slipperiness. Also, are they hard on the dance floor its self? Our current production of The Nutcracker (I can hear the collelctive groans coming through my terminal now), uses 1/4'' plastic snow flakes, but only far up and down stage, and I would love to have a more prolonged and spread out effect for the entire sequence. Would any of the little blizzard-type machines be appropritate for ballet? Thanks, Jeff Ferrell TD- Robinson Ballet Company ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <7a.724f7263.2fa1337f [at] aol.com> Date: Wed, 27 Apr 2005 14:27:11 EDT Subject: Re: Lighting Question In a message dated 27/04/05 18:53:10 GMT Daylight Time, jeff.mabray [at] comcast.net writes: > Do you have to plug that paint in to get it to emit light? Or does it just > do it by magic? > > Gee Frank, with as much of a stickler as you are for details and semantics, > I would have thought you would have known better than to write something like > that. Paint will reflect light all day long, but never emit it. Wrong, wrong, wrong. Fluorescent paints will emit light according to their properties, and to their irradiation., They do not reflect light, they emit it. Frank Wood ------------------------------ Message-ID: <426FDA14.5050603 [at] fredonia.edu> Date: Wed, 27 Apr 2005 14:29:40 -0400 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Drape hampers References: When we got our new drapes from Rose Brand, we specced 24 bu hampers. They are very nice, well made and hold a lot of goods but don't go through standard doors. You need about 40 inches for this size hamper. Measure doors before ordering. We store in the understage area accessed by the orch. pit or in an area accessed by double doors with no center post so size is not an issue. Best, Steve Rees.. Mark O'Brien wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > We need to store our drapes for the summer (new floor being installed) > and I thought this would be a good excuse to buy hampers for our > goods. I was thinking a couple of 20 bu, and a couple of smaller > ones. Anyone have a good place to get them, It is Arizona, but they > should always be in climate controlled rooms. (music building). I was > also thinking fabric hampers, but I welcome all opinions. > > > Mark O'Brien > Opera Technical Director > University of Arizona, School of Music > Tucson, AZ > 520/621-7025 > 520/591-1803 Mobile > ------------------------------ Message-ID: <426FDB2B.96C46C86 [at] cybercom.net> Date: Wed, 27 Apr 2005 14:34:20 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Confetti cannons References: Shawn Palmer wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Bruce Purdy wrote: > > > Each was made from a portable air tank (Which they filled from a > > compressor as needed between shows). From the output there was a short pipe > > leading to a large valve. After that came another pipe about 30" long and of > > a diameter to fit the confetti loads. This pipe was set at about a 45 degree > > angle upwards. The entire setup was quite small and portable as well as > > simple. > > > > The confetti loads were put into the pipe / barrel and when the time > > came, you just turned the handle on the valve, and the load shot out. > > simple! > > > > I made about thirty of these with PVC... sort of like a spud gun. I use > 24v sprinkler valves. I've got two large ones with a portable air tank. > My smaller ones just use larger sections of PVC with a tire valve for > the air chamber. I am pretty sure I got the idea from Joe Dunfee, but I > might be wrong... > > Nope, it was him- go here: > > http://home.paonline.com/joespuppets/5-airgun.htm > > FWIW > Shawn Palmer > Neenah, WI > USA The only thing I'd change about this is to change the pressure side of the system to metal pipe and add a pressure relief valve. Acquaintance of mine saw a PVC compressed air pipe shatter once. It was over pressured by a defective regulator. The shreds of plastic pipe did considerable damage to the area. Fortunately nobody was at that end of the shop when it blew. --Dale ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Wed, 27 Apr 2005 14:36:12 EDT Subject: Re: commas In a message dated 27/04/05 19:13:54 GMT Daylight Time, bill [at] sapsis-rigging.com writes: > uh, oh. (breath). Don't look now, Frank, (breath) but I think you just > stepped in it. Why? Both singers and readers need opportunities to draw breath. Commas, and other puncvuation, allow opportunities. Frank Wood ------------------------------ Date: Wed, 27 Apr 2005 14:35:03 -0400 Subject: Re: Lighting Question From: Steve Larson Message-ID: In-Reply-To: Don't you mean phosphorescent? Steve > From: FrankWood95 [at] aol.com > Reply-To: "Stagecraft" > Date: Wed, 27 Apr 2005 14:27:11 EDT > To: "Stagecraft" > Subject: Re: Lighting Question > > Wrong, wrong, wrong. Fluorescent paints will emit light according to their > properties, and to their irradiation., They do not reflect light, they emit > it. > > > Frank Wood > > ------------------------------ Date: Wed, 27 Apr 2005 14:40:07 -0400 Subject: Re: Confetti cannons From: Bruce Purdy Message-ID: In-Reply-To: > My smaller ones just use larger sections of PVC with a tire valve for > the air chamber. I am pretty sure I got the idea from Joe Dunfee, but I > might be wrong... > > Nope, it was him- go here: > > http://home.paonline.com/joespuppets/5-airgun.htm Cool! Thanks for the (Now bookmarked) Website! Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <426FDE83.3065CDF5 [at] cybercom.net> Date: Wed, 27 Apr 2005 14:48:35 -0400 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Light lab activities? References: "Storms, Randy" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hey all. I'm going to attempt to demonstrate color mixing for an introductory stagecraft class tomorrow. This has never been my strong suit - can anyone suggest some "gee-whiz" activities/experiments to try with a simple light lab setup? > Get some swatches of cloth from the costumers. Bigish ones that someone can drape around their body. Ones in strong primary colors, and muted tones. Interesting patterns as well, and at least one that is covered with sparklies. Have students go up and pose with these swatches in the various lights. Also have students with different skin colors up there and observe how different skin tones react differently. If you have a backlight in the lab, demonstrate this with someone who has an extravagant hairdo, and simulate a translucent dress with a swatch of gauzy stuff. Creative use of shadows is also fun. Silhouette with just a cyc wash. --Dale ------------------------------ Subject: RE: Drape hampers Date: Wed, 27 Apr 2005 13:49:27 -0500 Message-ID: From: "Curt Mortimore" Mark, In my opinion canvas commercial drape hampers are the way to go! Though I have seen various shop-built plywood and 1x4 "road boxes" used as well. Which you use is personal preference. Hampers are expensive. If you decide to go the canvas hamper route try industrial surplus dealers in your area. I bought four 16 sixteen bushel hampers for $20 each. Shipping cost me close to $100 but still I have four hampers for less than the price of one new one. The company I bought them from, HGR in Euclid, OH, http://www.hgrindustrialsurplus.com/ had a couple hundred of them at the time but I am not finding any on their website currently, might be good to call them. As far as size goes, I really like the 16 bushel size as they go through doors easily. We have one 20 bushel that only goes through double doors. Hope that helps! Curtis L. Mortimore Graceland University 1 University Place Lamoni, IA 50140 ------------------------------ Date: Wed, 27 Apr 2005 14:53:32 -0400 (EDT) From: Todd Lipcon Subject: Works for black box Message-ID: <20050427144557.B70930 [at] mercea.mercea.net> Hi all, I work in a 35x55 black box theater that currently has Sodium work lights. These lights are starting to buzz ridiculously loudly, and also have really terrible color rendering properties. Most set painting for our shows happens in the space itself under worklights, and set designers have had a hard time mixing and judging their paint under the light. So, we're starting to look into replacement options. What are other people using for applications like this? Here are some of our criteria: - Quick start preferred - The sodiums take a good 4 minutes to warm up, which is annoying - Color rendering - Like I said, we'd like better color rendering. Maybe CRI 85+? - Color temperature around 3200K is probably a little better than something up near 6500K so that designers get a sense of what stuff looks like under stage lights, but this probably isn't a huge deal if the CRI is good to begin with. - Long lamp life - The fixtures are about 18' in the air (2' above our non-walkable pipe grid) so not very easy to access - Brightness - Our shop is small and we don't have big loading doors, so a lot of set construction happens in the space itself - It's a black box, so it obviously eats up light easily. - Quiet - No buzzing!! - Price - Not a super-huge concern, but cheaper is always better, since we have to apply for funding for this. Thanks -Todd ------------------------------ Message-ID: <426FEFBC.5070602 [at] post.tau.ac.il> Date: Wed, 27 Apr 2005 22:02:04 +0200 From: Judy Subject: statistics on theater at university Hi list, My university is talking seriously about closing down the theater department, or anyway the practical part of it (acting, design, directing). They say it's not lucrative, that is, you can't have classes of 70 or 100 people, and anyway they think anything that isn't high-tech or business and economics or prestigious scientific research isn't worth much. We've started a group to try and fight this, and I'm looking for some kind of documentation or statistics about theater departments in American universities that might help us in explaining why they shouldn't close us down. I don't really know what kind of statistics would help, but anything that sounds like it's backed up with solid data might be useful (for instance, the percentage of students studying theater in American universities, the percentage of universities with theater departments, stuff like that). If any of you know where I can find this kind of thing, or have any ideas of your own, please get in touch as soon as you can. It would be a real shame if they closed us down - nearly all the good designers and directors and playwrights in the country have come out of our department. It's the only place in the whole country where you can get methodical and academic preparation for a design career. The trouble here is that financial and political pressure is being exerted on the universities to cut down, and theater is the first thing they see as unnecessary. Any help would be really appreciated. I'm afraid arguments as to why culture is important wouldn't be very useful (we've tried those) but numbers might help. Judy ------------------------------ In-Reply-To: References: Message-Id: <62bdc406513d544fc737b2a7d305bb98 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Drape hampers Date: Wed, 27 Apr 2005 12:18:37 -0700 I thought about that... a 20 will fit through the doors, barely. But, like you, that is (most of the time) not an issue. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Apr 27, 2005, at 11:29 AM, Stephen E. Rees wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > When we got our new drapes from Rose Brand, we specced 24 bu hampers. > They are very nice, well made and hold a lot of goods but don't go > through standard doors. You need about 40 inches for this size > hamper. Measure doors before ordering. We store in the understage > area accessed by the orch. pit or in an area accessed by double doors > with no center post so size is not an issue. Best, > Steve Rees.. > > Mark O'Brien wrote: >> For info, archives & UNSUBSCRIBE, see >> >> --------------------------------------------------- >> We need to store our drapes for the summer (new floor being >> installed) and I thought this would be a good excuse to buy hampers >> for our goods. I was thinking a couple of 20 bu, and a couple of >> smaller ones. Anyone have a good place to get them, It is Arizona, >> but they should always be in climate controlled rooms. (music >> building). I was also thinking fabric hampers, but I welcome all >> opinions. >> Mark O'Brien >> Opera Technical Director >> University of Arizona, School of Music >> Tucson, AZ >> 520/621-7025 >> 520/591-1803 Mobile > > ------------------------------ Date: Wed, 27 Apr 2005 15:20:24 -0400 Subject: Re: Works for black box From: Bruce Purdy Message-ID: In-Reply-To: > I work in a 35x55 black box theater that currently has Sodium work lights. > These lights are starting to buzz ridiculously loudly, and also have > really terrible color rendering properties. Most set painting for our > shows happens in the space itself under worklights, and set designers have > had a hard time mixing and judging their paint under the light. > > So, we're starting to look into replacement options. Worklights on our stage (About that same size) are four 14" scoops with 500w lamps. They are mounted on the electrics. Works well for us, except when I need to use them on my cyc - (God how I want proper cyc lights!). Then I substitute 500w quartz units from home despot, and they do not work nearly as well. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Reply-To: From: "jsmith at theatrewireless.com" Subject: RE: statistics on theater at university Date: Wed, 27 Apr 2005 15:23:20 -0400 Organization: Home of the RC4 Wireless Dimmer System In-Reply-To: Message-Id: <20050427192327.JYJR26128.tomts5-srv.bellnexxia.net [at] p3m866> > It would be a real shame if they closed us down - nearly all > the good designers and directors and playwrights in the > country have come out of our department. It's the only place > in the whole country where you can get methodical and > academic preparation for a design career. Perhaps you can get a coalition of these fine people to speak up? Some of them may have gained some political clout. The somewhat abstract "value of culture" may not be turning anyone's crank, but these people and their accomplishments are part of your university's collective Curriculum Vitae. It's plain, crass, marketing value for your school -- perhaps that's the right wavelength to be on. I hate to see arts programs close. My dad, a prof at Ryerson in Toronto, faced this kind of thing throughout his career. Put up a good fight -- it's worth it. Jim www.theatrewireless.com ------------------------------ In-Reply-To: References: Message-Id: <05596c3138c124ba95191e432e304b6b [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Confetti cannons Date: Wed, 27 Apr 2005 12:24:09 -0700 For the pressurized side, I would stay away from any plastic. PVC will expand under pressure, and then not fully go back to the original shape. The next time it expands some more, and does not come back. UNTIL it has reached it's limit. Then it explodes into nasty shrapnel. NOT GOOD... I would feel safe using it on the non pressurized side. ABS does not have these properties as much, but why not just go with steel? Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile On Apr 27, 2005, at 11:40 AM, Bruce Purdy wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > >> My smaller ones just use larger sections of PVC with a tire valve for >> the air chamber. I am pretty sure I got the idea from Joe Dunfee, >> but I >> might be wrong... >> >> Nope, it was him- go here: >> >> http://home.paonline.com/joespuppets/5-airgun.htms > > Cool! Thanks for the (Now bookmarked) Website! > > Bruce > -- > Bruce Purdy > Technical Director > Smith Opera House > > ------------------------------ Subject: Re: Punctuation Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Wed, 27 Apr 2005 15:29:06 -0400 Has anyone read 'Eats, Shoots & Leaves' by Lynne Truss. Never thought I'd enjoy a book about grammar but it's a fun read. Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. ********** E-mail messages sent or received by City of Sarasota officials and employees in connection with official City business are public records subject to disclosure under the Florida Public Records Act. ********** ------------------------------ Message-ID: Date: Wed, 27 Apr 2005 15:29:34 -0400 From: Jonathan Wills Reply-To: Jonathan Wills Subject: Re: snow In-Reply-To: References: Jeff, I have used the CITC Little Blizzard SP with dancers using the Dry 100 fluid and have not had any complaints yet about it. I suspend it from a fly about 15-20' up and by the time it gets to the floor there is minimal snow residue left. There is a fluid drier than the Dry 100 but I have had good success with the Dry 100 so far. The fluid also leaves little residue so I have also not had any problems with damage to the dance floor. A simple mopping of the floor has cleaned up the what little residue was left. Thank you, Jonathan Wills Wills Lighting & Stage www.WillsLighting.com Toll Free: 866-909-4557 ------------------------------ Message-ID: <426FE81D.4020605 [at] fredonia.edu> Date: Wed, 27 Apr 2005 15:29:33 -0400 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Works for black box References: Todd, Type MVR250/SP30/U into Google. This will lead you to a cut sheet of this HID lamp which has a CRI of 70 and a color temperature of 3450. We use the MVR 400 in our scene shop. Only difference is my ceiling is 30 feet tall. Lower wattage might be OK for you. The CRI is a bit low but these are quiet and cost effective and the designers see lttle difference between shop look color and that same color on stage. Yes, there is a subtle difference but it is much better than other options we seen. Best, Steve Rees, TD SUNY-Fredonia Todd Lipcon wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hi all, > > I work in a 35x55 black box theater that currently has Sodium work > lights.[snip] ------------------------------ Message-Id: <6.2.1.2.0.20050427115806.00b17420 [at] localhost> Date: Wed, 27 Apr 2005 12:00:51 -0700 From: Jerry Durand Subject: Re: Punctuation In-Reply-To: References: At 03:13 AM 4/27/2005, you wrote: >Yes, and if you want to use a nice smart word processor that is fully >compatible with Word's doc files (and many others) download OpenOffice >from www.openoffice.org onto your Windows, Mac, Linux, Unix or Sun >computer and use all the other great apps that come along with it, too! I've started using NeoOffice and it seems to work nicely, but VERRRRY slow (on Mac mini, 512MB RAM, OS X 10.3.9 SERVER). I tried Open Office but it currently only runs under X-windows and the screen fonts are almost unreadable. Am I doing something wrong or do I have to wait for the next update? As for Skype, I've downloaded it but have to get a headset or handset to use it with. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 USA toll free: 1 866 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Message-Id: <6.2.1.2.0.20050427121125.03a3d2a0 [at] localhost> Date: Wed, 27 Apr 2005 12:18:29 -0700 From: Jerry Durand Subject: Re: Confetti cannons In-Reply-To: References: At 10:41 AM 4/27/2005, you wrote: >I made about thirty of these with PVC... sort of like a spud gun. I use >24v sprinkler valves. I've got two large ones with a portable air >tank. My smaller ones just use larger sections of PVC with a tire valve >for the air chamber. I am pretty sure I got the idea from Joe Dunfee, but >I might be wrong... I made one of these for a show, be careful, a door at the end of a long hall now has a hole in it. And the canon wasn't even charged to full power. I used a 5 foot 1" PVC pipe filled with commercial fire-retardant streamers and the large confetti with a tissue wad at the bottom. That screwed into a 1" lawn sprinkler valve (we had several barrels pre-loaded and just swapped them during the show). For a storage tank I used 2" PVC cut so it held twice the volume of the 1" pipe. I added a standard automotive tire valve (Schrader Valve) in one end cap and made a reducer for the other end to go to the valve. I had to convince the management that it wasn't pyro, they said it had too much power for "just" air. This was for a very tall venue so I was trying for all the lift I could get. Also mind the recoil, we damaged it at one point when it hit a support behind it. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 USA toll free: 1 866 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Subject: Re: Dance floor replacement Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Wed, 27 Apr 2005 15:32:26 -0400 Keith wrote: "I love that, , , "equally unhappy" can I use that ? (snip) Keith - thought I'd worn the phrase out but you're welcome to it. Alas - so many solutions seem to work out that way. Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. ********** E-mail messages sent or received by City of Sarasota officials and employees in connection with official City business are public records subject to disclosure under the Florida Public Records Act. ********** ------------------------------ Date: Wed, 27 Apr 2005 15:30:52 -0400 Subject: Re: statistics on theater at university From: Steve Larson Message-ID: In-Reply-To: Which university are you talking about. I taught for 27 years at the university level. Our Into to Theatre classes might have as many as 120 students. This is the bread and butter that allows design classes of 10 or acting classes of 15. Show them overall numbers, not specifics of each class. When you say nearly all the good designers, directors, and playwrights came out of your department, you are making a mighty big statement as to why the department should continue to exist. Why are they not standing up for you now? You are also putting down an awful lot of good schools, if the best came from your school. Steve > From: Judy > Reply-To: "Stagecraft" > Date: Wed, 27 Apr 2005 22:02:04 +0200 > To: "Stagecraft" > Subject: statistics on theater at university > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hi list, > > My university is talking seriously about closing down the theater > department, or anyway the practical part of it (acting, design, > directing). They say it's not lucrative, that is, you can't have classes > of 70 or 100 people, and anyway they think anything that isn't high-tech > or business and economics or prestigious scientific research isn't worth > much. We've started a group to try and fight this, and I'm looking for > some kind of documentation or statistics about theater departments in > American universities that might help us in explaining why they > shouldn't close us down. I don't really know what kind of statistics > would help, but anything that sounds like it's backed up with solid data > might be useful (for instance, the percentage of students studying > theater in American universities, the percentage of universities with > theater departments, stuff like that). If any of you know where I can > find this kind of thing, or have any ideas of your own, please get in > touch as soon as you can. > > It would be a real shame if they closed us down - nearly all the good > designers and directors and playwrights in the country have come out of > our department. It's the only place in the whole country where you can > get methodical and academic preparation for a design career. The > trouble here is that financial and political pressure is being exerted > on the universities to cut down, and theater is the first thing they see > as unnecessary. Any help would be really appreciated. I'm afraid > arguments as to why culture is important wouldn't be very useful (we've > tried those) but numbers might help. > Judy > > ------------------------------ Subject: Re: Dance Floor Replacement Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Wed, 27 Apr 2005 15:39:53 -0400 Eons ago when we first started seeing 'Marley' floors (sorry Don) I recall someone telling me it all came from one factory in Germany. I'm sure there's lots of manufacturers now but I'm curious how different the high priced stuff we buy is from the vinyl roof over my auditorium and the vinyl sides and bottom on my buddy Gator's swimming pool? It sure looks the same. Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. ********** E-mail messages sent or received by City of Sarasota officials and employees in connection with official City business are public records subject to disclosure under the Florida Public Records Act. ********** ------------------------------ Message-Id: In-Reply-To: References: Date: Wed, 27 Apr 2005 14:41:57 -0500 From: "richard j. archer" Subject: Re: Confetti cannons > > >For the pressurized side, I would stay away from any plastic. If you don't need the remote launch, just go with the hand held, non pressurized, device from flutter fetti http://www.flutterfetti.com No I don't work for them but I have used this product (as well as various commercial launchers) Dick A TD, Cornell Univ ------------------------------ Message-ID: <426FED2E.9060307 [at] fredonia.edu> Date: Wed, 27 Apr 2005 15:51:10 -0400 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Punctuation References: Marty, Yes and I LMAO. An English professor friend of mine has pointed out however that even she has a few errors in the piece. Ms. Truss is a Brit as well so there might be pond-side issues as well. Good read though. Steve Marty_Petlock [at] sarasotagov.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > Has anyone read 'Eats, Shoots & Leaves' by Lynne Truss. Never thought I'd > enjoy a book about grammar but it's a fun read. > > Marty Petlock > Technical Facilities Manager > Van Wezel P.A.H. > Sarasota, FL. > > ********** > E-mail messages sent or received by City of Sarasota officials and > employees in connection with official City business > are public records subject to disclosure under the Florida Public Records > Act. > ********** > ------------------------------ Date: Wed, 27 Apr 2005 15:50:02 -0400 Subject: Re: Dance Floor Replacement From: Steve Larson Message-ID: In-Reply-To: You actually have a buddy named Gator. Cool! Steve > From: Marty_Petlock [at] sarasotagov.com > Reply-To: "Stagecraft" > Date: Wed, 27 Apr 2005 15:39:53 -0400 > To: "Stagecraft" > Subject: Re: Dance Floor Replacement the vinyl > sides and bottom on my buddy Gator's swimming pool? It sure looks the same. ------------------------------ End of Stagecraft Digest #377 *****************************