Return-Path: X-Scanned-By: RAE MPP/Clamd http://raeinternet.com/mpp X-Scanned-By: This message was scanned by MPP Lite Edition (www.messagepartners.com)! X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 24651268; Sat, 10 Sep 2005 03:00:51 -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 #515 Date: Sat, 10 Sep 2005 03:00:17 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.7 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.4 X-Spam-Checker-Version: SpamAssassin 3.0.4 (2005-06-05) on prxy.net X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #515 1. Re: Angel Wings needed by Delbert Hall 2. Re: Graduate student displaced by Katrina seeking school by "Steve B." 3. half hats by Paul Marsland 4. Re: Graduate student displaced by Katrina seeking school by Jason Romney 5. Re: Asteroids (was: Re: Linux vs Microsoft and Apple) by Joseph Champelli 6. Re: Angel Wings needed by "Stephen E. Rees" 7. Re: Rights to music used in Plays by Jason Romney 8. Re: Graduate student displaced by Katrina seeking school by "Steve Jones" 9. Re: Asteroids (was: Re: Linux vs Microsoft and Apple) by "Curtis L. Mortimore" 10. ASCAP, BMI and copywright by "David R. Krajec" 11. Re: Rights to music used in Plays by "Jeffrey E. Salzberg" 12. Re: ASCAP, BMI and copywright by "Davis, Thomas J" 13. Re: Graduate student displaced by Katrina seeking school by "Donald Robert Fox" 14. Re: Rights to music used in Plays by "Davis, Thomas J" 15. Re: ASCAP, BMI and copywright by "Pat Kight" 16. Re: Graduate student displaced by Katrina seeking school by "James, Brian" 17. Re: Rights to music used in Plays by Mike Brubaker 18. Re: Asteroids (was: Re: Linux vs Microsoft and Apple) by Joseph Champelli 19. Re: Rights to music used in Plays by "Paul Schreiner" 20. Re: ASCAP, BMI and copyright by Jacqueline Haney Kidwell 21. FT Job Opening--Technical Fabricator (Master Carp.) at NYU by Mike Voytko 22. Counterweight Rigging Operation by Mike Brubaker 23. Re: Graduate student displaced by Katrina seeking school by "Secore, Scott" 24. Re: ASCAP, BMI and copyright by "The Elliotts" 25. dwg viewer by "Laura McMeley" 26. Re: dwg viewer by Charlie Richmond 27. Re: dwg viewer by "James, Brian" 28. Re: Counterweight Rigging Operation by seanrmc [at] earthlink.net 29. Re: Counterweight Rigging Operation by Mike Brubaker 30. Re: Counterweight Rigging Operation by seanrmc [at] earthlink.net 31. Carpenter & Prop Shop jobs by seanrmc [at] earthlink.net *** 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. ---------------------------------------------------------------------- Message-ID: Date: Fri, 9 Sep 2005 06:23:56 -0400 From: Delbert Hall Reply-To: delbert.hall [at] gmail.com Subject: Re: Angel Wings needed In-Reply-To: References: Tom - Contact Loren Schreiber at lschreib [at] mail.sdsu.edu I have used his articulating angel wings on several productions of ANGLES IN AMERICA. Delbert On 9/9/05, tomgrab wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- >=20 > We are in need of a set of 5'-6' articulated wings for a productio= n of _The Old Matador_. They can be either mechanically moved or actor-pow= ered, the director is open to either method. The actor does need to be abl= e to move about the stage and the wings need to furl out and close in on th= emselves. Does anyone have any suggestions? > Another note. As of last week I was able to remove the /Technical= Director from my job duties as the higher ups have finally approved us for= a full time TD and he started full time on Sept. 1. >=20 > *** > Tom Grabowski University of Texas-Pan American > Designer Communication Department > Tomgrab [at] utpa.edu Edinburg, Texas 78541 > 956/381-3588 FAX 956/381-2187 >=20 >=20 --=20 Delbert L. Hall ZFX -Technical Coordinator for Classic Productions Phone: 714-585-7070 ------------------------------ Date: Fri, 09 Sep 2005 07:47:17 -0400 From: "Steve B." Subject: Re: Graduate student displaced by Katrina seeking school Message-id: <003101c5b534$3af7eaa0$6401a8c0 [at] SBFF> References: ----- Original Message ----- From: > I received an email about a MFA scenic design candidate from UNO who is > seeking a place to continue his studies. Needs grant/scholarship or > similar to be > able to afford it. He's originally from WI. I know UW Oshkosh has an > undergrad program available, but he's looking for GRADUATE. Ideas??? > Anyone looking > for an extra set of hands? > Brooklyn College has an MFA program and could certainly use another designer Becky Cunningham is the Design Program director, Kip Marsh for scenic and lighting Brooklyn/CUNY also has a program in place (or so they tell us) for students displaced by Katrina http://www.brooklyn.cuny.edu/ http://depthome.brooklyn.cuny.edu/theater/ Steve Bailey Brooklyn College ------------------------------ Message-ID: <20050909122710.81818.qmail [at] web52210.mail.yahoo.com> Date: Fri, 9 Sep 2005 05:27:10 -0700 (PDT) From: Paul Marsland Subject: half hats In-Reply-To: > > For half hats I like to use a right triangle (sort > of > > the top hat symbol bisected diagonally). It's > > generally different enough to not be mistaken as > > something else, and gives the > > 'sometimes-less-than-intuitive' electricians a > loose > > visual idea of the orientation I want. > > That's what I'm using, but I just don't like the way > it looks. If I = > could > pin down just what bothers me about it, I could fix > it, but it's just a = > sort > of general dissatisfaction with it. I have taken that same triangle and put a fillet on the leading edge so you get something shaped like a sugar scoop without the handle. Same benefits in the drawing, a bit more of a graceful image. Funny the things that challenge your aesthetics, isn't it? Paul __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ In-Reply-To: References: Message-Id: <9290131A-885A-45F8-B443-0F348755C67E [at] cd-romney.com> From: Jason Romney Subject: Re: Graduate student displaced by Katrina seeking school Date: Fri, 9 Sep 2005 08:44:56 -0400 NCSA has a program in place to accept students displaced by the hurricane. You can read some info on our website: http://www.ncarts.edu/ncsaprod/visitorscenter/hurricane.asp Just contact admissions at admissions [at] ncarts.edu to get the ball rolling. _______________________________________________________ Jason Romney Sound Design Instructor - North Carolina School of the Arts Vice Commissioner for Computing Industry - USITT Sound Commission jason [at] cd-romney.com romneyj [at] ncarts.edu http://www.ncarts.edu/ncsaprod/designandproduction/dtsdw.asp http://www.cd-romney.com On Sep 9, 2005, at 12:42 AM, MissWisc [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see stagecraft.theprices.net/> > --------------------------------------------------- > > I received an email about a MFA scenic design candidate from UNO > who is > seeking a place to continue his studies. Needs grant/scholarship or > similar to be > able to afford it. He's originally from WI. I know UW Oshkosh has an > undergrad program available, but he's looking for GRADUATE. > Ideas??? Anyone looking > for an extra set of hands? > > Kristi > > ------------------------------ Message-ID: <621d2eb005090906104b80308b [at] mail.gmail.com> Date: Fri, 9 Sep 2005 09:10:25 -0400 From: Joseph Champelli Reply-To: joechamp [at] gmail.com Subject: Re: Asteroids (was: Re: Linux vs Microsoft and Apple) In-Reply-To: References:

I know I shouldn't do this to everyone, but here's one that really plays to the problem solver/fabricator/game addict side: http://www.elizium.nu/scripts/lemmings/ Joe --=20 Joseph Champelli University of Tennessee FTSI ------------------------------ Message-ID: <43218A2A.2050502 [at] fredonia.edu> Date: Fri, 09 Sep 2005 09:12:10 -0400 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Re: Angel Wings needed References: Hi Tom, Loren Schreiber from San Diego exhibited a wonderful set of such wings for the USITT Tech Expo in Toronto. The article is in the the Expo book. He might even help you directly if you ask nicely. :) Steve Rees,TD SUNY-Fredonia tomgrab wrote: > We are in need of a set of 5'-6' articulated wings for a production of _The Old Matador_. [snip] > Tom Grabowski University of Texas-Pan American > Designer Communication Department > Tomgrab [at] utpa.edu Edinburg, Texas 78541 > 956/381-3588 FAX 956/381-2187 ------------------------------ In-Reply-To: References: Message-Id: <1E8AAF76-EFD4-404B-AA19-5569ECDC92B9 [at] cd-romney.com> From: Jason Romney Subject: Re: Rights to music used in Plays Date: Fri, 9 Sep 2005 09:27:05 -0400 First of all, the ASCAP and BMI licenses are a scam. They only cover background music as you've mentioned and only for music they control the copyright for. In many cases, they may hold the copyright to the song but not the recording you're using. There's a lot of theatres getting ripped of by these companies. I'll give you an example. A few years ago I got a letter from BMI. They said they had visited my website and noticed that I am hosting mp3 files. The letter was basically an attempt to scare me and get me to pay a blanket license fee to them so I could continue to host the audio content on my site. The funny thing is, all the stuff on my site is copyrighted by ME. I have given myself permission to host it on my site. In the rare case there is something I don't have the copyright for, I have permission from the person who does. I wrote a letter to BMI explaining as much and asked them which of their copyrights they think I've violated and why they think me paying them money will fix it. I never heard back ;) As far as right to use copyrighted music in theatre. . . This issue has become a hot topic in the last few years. As people's awareness and understanding of intellectual property rights increases, these kinds of questions start to be asked. First of all, yes, the theatre must get permission in writing from the copyright holder in order to use copyrighted material in a play. Keep in mind that for a given recording, there may be several copyright holders (song, recording, etc.) The most important thing to realize is that it is the theatre's responsibility, not the designer's, to secure the rights to copyrighted work used in a production. Some theatre's when confronted with this try to sluff the responsibility off on the designer. When that happens, ask them if they require the director to secure the performance rights to the script. Most professional sound designers these days make sure there is a paragraph in their contract regarding this. Here's what I use: "Copyrighted Materials. Theater shall be responsible for securing all permissions for third-party copyrighted materials used in the production as part of the Sound Design, provided Designer shall notify Theater such copyrighted materials are being used and Designer furnishes to Theater a complete list of the titles, publisher and copyright holder for each and every copyrighted work prior to deliver of the complete sound media for Theater's production of Play. It is understood that should Theater not be able to secure the necessary rights for any and/or all materials for whatever reason, Theater reserves the right to prohibit use of said material(s) as part of the Sound Design for the production." If that isn't in the contract, I attach a rider when I send it back and get the signature of the General Manager. So the idea is that as a designer, I can decide to use any copyrighted material for the production as long as I tell the theatre in advance what I'm trying to use. If they decide to try and secure the rights and fail, they have the right to tell me I can't use it. My experience in LORT theatre (even the big LORT theatres) is that the rider gets signed and the designer submits the copyright information and that paper gets filed away somewhere (I always make sure I have a signed copy) and the designer never hears anything about it again. They don't try and secure the rights at all. The few theatres who try to secure the rights usually have a hard time. The record labels just don't reply in time and in most cases, don't reply at all. The rights to this stuff are usually negotiated similar to the rights to the script. The size of the audience and the price of a ticket help determine what the licensing fee is. I suspect that when most larger companies realize what the theatre is making off the performance they realize that their slice of the pie will be so small that it won't even pay their legal fees for negotiating the rights. The copyright holders are only going to pursue this if there is a buck to me made. If it costs them $100 to make that buck, they're likely not going to pursue it. Now, does that mean the theatre has the right to go ahead and use it? Technically, no. But most do anyway. _______________________________________________________ Jason Romney Sound Design Instructor - North Carolina School of the Arts Vice Commissioner for Computing Industry - USITT Sound Commission jason [at] cd-romney.com romneyj [at] ncarts.edu http://www.ncarts.edu/ncsaprod/designandproduction/dtsdw.asp http://www.cd-romney.com ------------------------------ From: "Steve Jones" Subject: RE: Graduate student displaced by Katrina seeking school Date: Fri, 9 Sep 2005 08:48:57 -0500 Organization: Plaza Theatre In-Reply-To: Message-ID: If he's looking to stay in the region, he might contact University of Memphis (where I got my MFA). Steve ************************************* Steve Jones, Director Plaza Theatre 115 E. Main Street Glasgow, KY 42141 Voice: (270) 361-2101 Fax: (270) 651-2511 http://www.glasgowplazatheatre.org > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf > Of MissWisc [at] aol.com > Sent: Thursday, September 08, 2005 11:42 PM > To: Stagecraft > Subject: Graduate student displaced by Katrina seeking school > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > I received an email about a MFA scenic design candidate from > UNO who is seeking a place to continue his studies. Needs > grant/scholarship or similar to be able to afford it. He's > originally from WI. I know UW Oshkosh has an undergrad > program available, but he's looking for GRADUATE. Ideas??? > Anyone looking for an extra set of hands? > > Kristi > > > ------------------------------ Date: Fri, 09 Sep 2005 09:22:29 -0500 Subject: Re: Asteroids (was: Re: Linux vs Microsoft and Apple) From: "Curtis L. Mortimore" Message-ID: In-Reply-To: Joe, I hate you! I thought I had finally overcome my addiction! Now look what you have done to me! -- Curtis L. Mortimore Technical Director Ball State University Department of Theatre and Dance Muncie, IN 47306 765-285-8750 > From: Joseph Champelli > Reply-To: "Stagecraft" > Date: Fri, 9 Sep 2005 09:10:25 -0400 > To: "Stagecraft" > Subject: Re: Asteroids (was: Re: Linux vs Microsoft and Apple) > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > I know I shouldn't do this to everyone, but here's one that really > plays to the problem solver/fabricator/game addict side: > > http://www.elizium.nu/scripts/lemmings/ > > > Joe > > > -- > Joseph Champelli > University of Tennessee > FTSI > ------------------------------ Reply-To: From: "David R. Krajec" Subject: ASCAP, BMI and copywright Date: Fri, 9 Sep 2005 09:55:34 -0500 Message-ID: In-Reply-To: First, I am no expert. However, I have learned a few things by calling ASCAP and BMI. I actually never talked to anyone at ASCAP but I did speak with a very nice person at BMI (NYC) and he was very grateful for the call. He said that they WANT people to use the pre-recorded music. They have no issues if a institution (theatre company, school, etc.) wants to use music under their liscense for a theatrical production. But you have to have the liscense. That said, I didn't clarify with him if I wanted to use just a portion of a song, or a mix of a song, etc. I have heard (urban theatre legend) that if you do use music, you have to use the whole thing uneditted. Hmmm. On a similar note, we were doing a melodrama and the director wanted to use some music from the era (1890's). We found the sheet music in a book published by Hal Leonard. Many of the melodies were in public domain. However, the piano score is their property. We had to pay a minimal fee ($25 per song for the run) to use the piano score. We also paid a minimal fee to have students write parts based on the piano score. Hal Leonard Publishing was a little hinky about that. They instisted that the parts be destroyed once the show closed. Hal Leonard does have some good info on-line at www.halleonard.com/permissions I would think that the financial burden of securing the rights falls on the theatre company. The parallel example would be expecting the scene designer to supply the lumber for the scene s/he designs. Why should the sound designer pay for the rights for music/sound the director wants in the show? It should be the responsibility of the company. My 3 cents (adjusted for inflation and the cost of oil) David K. ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Rights to music used in Plays Date: Fri, 9 Sep 2005 11:15:28 -0400 Message-ID: <001201c5b551$532e2a40$6701a8c0 [at] Dell> In-Reply-To: =20 > Now, does that mean the theatre has the right to go ahead and=20 > use it? =20 > Technically, no. But most do anyway. I suspect that many of them have attitudes similar to that of the = Artistic Director who, when I informed him that, legally, he needed a licensed pyrotechnician to "blow up" an actor, cried, "I've never heard of such a thing!" Of course he hadn't; he'd never asked. * Marty Petlock, you know which theatre this was. When I tell you that = the actor was Roy, you also know why I was tempted to let him go ahead and = do it anyway. Roy, if you're reading this, that was a joke. Mostly. ------------------------------ Subject: RE: ASCAP, BMI and copywright Date: Fri, 9 Sep 2005 11:25:59 -0400 Message-ID: <3CF87682970858499CA56707FB1F092B0A9243 [at] wscc-s-003000.westshore.edu> From: "Davis, Thomas J" Cc: drkrajec [at] stritch.edu I think who pays for what is a matter of contract. A theater may hire a designer to produce a design, or they may contract out the entire construction or production of a finished product. In my days in Chicago, my company might be contracted for anything from a single prop to the entire design and construction of scenery and properties for the production. In the latter case, it was clear that I was responsible for supplying a design (either designed myself or subbed out) and I did indeed buy every stick of lumber. The theater was, in essence, buying a finished product. In the last few years, I have had one occasion to purchase a sound design from a company which provided all music and effects for the show with all rights covered by that company as part of the contract. In essence, they produced a new work, and we bought the rights to that new work. =20 I do find it interesting that we work in a business that is so copyright dependent (after all, how many writers would author plays for us to produce if there were no copyright), but where many of the people involved feel free to violate the copyright of other arts. I've worked for a couple of producers who think "fair use" or an ASCAP agreement allows them use of anything, anytime. In one case, a few years ago, I believe the Tams people caught up with one of them, something about a song sung by a young Kansas girl just before a big storm hits. Personally, I'd be happier if the college I work for would even credit me when they use photos of my work in their advertising. Not to mention when someone "borrows" an effect I spent several hours putting together. Tom D.=20 ------------------------------ Message-ID: In-Reply-To: From: "Donald Robert Fox" Subject: RE: Graduate student displaced by Katrina seeking school Date: Fri, 09 Sep 2005 15:42:18 +0000

Has he looked at Wayne State with the Hilberry Repertory? They offer a pretty fair package and it is decent program?

Donald Robert Fox, M.F.A.

USA-AEA-IALD

Asst. Professor of Design

University of the Incarnate Word

Dept. of Theatre Arts

From:  MissWisc [at] aol.com
Reply-To:  "Stagecraft" <stagecraft [at] theatrical.net>
To:  "Stagecraft" <stagecraft [at] theatrical.net>
Subject:  Graduate student displaced by Katrina seeking school
Date:  Fri, 9 Sep 2005 00:42:07 EDT
For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

I received an email about a MFA scenic design candidate from UNO who is
seeking a place to continue his studies. Needs grant/scholarship or similar to  be
able to afford it. He's originally from WI. I know UW Oshkosh has an
undergrad program available, but he's looking for GRADUATE. Ideas??? Anyone  looking
for an extra set of hands?

Kristi

------------------------------ Subject: RE: Rights to music used in Plays Date: Fri, 9 Sep 2005 12:57:45 -0400 Message-ID: <3CF87682970858499CA56707FB1F092B0A9245 [at] wscc-s-003000.westshore.edu> From: "Davis, Thomas J" -----Original Message----- Jeffrey E. Salzberg wrote: I suspect that many of them have attitudes similar to that of the Artistic Director who, when I informed him that, legally, he needed a licensed pyrotechnician to "blow up" an actor, cried, "I've never heard of such a thing!" Of course he hadn't; he'd never asked. One is lead to wonder what has happened to theater training recent years. "Blowing up" an actor is expensive and often dangerous. Why, one might damage both the stage floor and the drapery, to say nothing of the expensive costume. In an earlier time, one would be trained to "sandbag" the actor. In the worst case, one may have to vacuum the stage and the costume, but a proper stage floor would not sustain so much as a dent. Although my current stage is a thrust with no flies, I do have 4 sandbags on hand in case of emergency. ------------------------------ Message-ID: <3782.70.56.84.38.1126291301.squirrel [at] webmail.peak.org> In-Reply-To: References: Date: Fri, 9 Sep 2005 11:41:41 -0700 (PDT) Subject: Re: ASCAP, BMI and copywright From: "Pat Kight" Davis, Thomas J said: > I do find it interesting that we work in a business that is so copyright > dependent (after all, how many writers would author plays for us to > produce if there were no copyright), but where many of the people > involved feel free to violate the copyright of other arts. I've worked > for a couple of producers who think "fair use" or an ASCAP agreement > allows them use of anything, anytime. While I agree with your point, I think the music industry could make things a helluva lot easier for those who are trying to do the right thing. As someone who tries to be scrupulous about tracking down rights to pre-show and incidental music, I've wasted more hours than I care to count hunting down who holds which rights to what, finding an address (never mind a phone number) to direct my inquiries and waiting - often in vain - for a response. As far as I can tell, most publishers and agents see live, non-Equity theater as such small potatoes that they can't even be bothered responding to queries. Orgtanizations that exist to handle licensing - the Harry Fox Agency, for instance - are mainly concerned with other rights, and scratch their figurative heads when they get a query from a theater. Someone could perform a great service for live theaters across the US by compiling a "how to find and acquire music rights" Web site with links to the various licensing houses and some clear information about what sort of licenses you need for what sort of use (concerts, other live performance, recording, use of existing recorded music in live stage shows, etc.) If such a thing exists, I'd love to hear about it, as Google turns up nothing of the sort. -- Pat Kight Albany, Ore. Civic Theater ------------------------------ Subject: RE: Graduate student displaced by Katrina seeking school Date: Fri, 9 Sep 2005 14:43:03 -0400 Message-ID: From: "James, Brian" I am unsure of the financial side, but the Virginia Tech Theatre Arts = Grad program is pretty good. They seem flexible it meeting student needs = and provide a lot of opportunity. I work in a separate department, but = work closely with the staff and faculty over there closely and they are = all top notch folks. http://www.vtnews.vt.edu/story.php?relyear=3D2005&itemno=3D933 The above is the press release with some information about the process. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of MissWisc [at] aol.com Sent: Friday, September 09, 2005 12:42 AM To: Stagecraft Subject: Graduate student displaced by Katrina seeking school For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I received an email about a MFA scenic design candidate from UNO who is = seeking a place to continue his studies. Needs grant/scholarship or = similar to be=20 able to afford it. He's originally from WI. I know UW Oshkosh has an =20 undergrad program available, but he's looking for GRADUATE. Ideas??? = Anyone looking=20 for an extra set of hands?=20 Kristi =20 ------------------------------ Message-Id: <6.2.3.4.0.20050909120936.03a318d0 [at] mail.insightbb.com> Date: Fri, 09 Sep 2005 13:44:18 -0500 From: Mike Brubaker Subject: Re: Rights to music used in Plays In-Reply-To: References: Keep in mind that the liquid splatter from either is difficult to remove from drapery, masonry, scenery, and floors. One should take the precaution of preparing the stage with plastic to ease the cleanup process and avoid damaging anything important. Mike At 11:57 AM 9/9/2005, Davis, Thomas J wrote: >One is lead to wonder what has happened to theater training recent >years. "Blowing up" an actor is expensive and often dangerous. Why, >one might damage both the stage floor and the drapery, to say nothing of >the expensive costume. In an earlier time, one would be trained to >"sandbag" the actor. In the worst case, one may have to vacuum the >stage and the costume, but a proper stage floor would not sustain so >much as a dent. ------------------------------ Message-ID: <621d2eb005090911495f39b3f5 [at] mail.gmail.com> Date: Fri, 9 Sep 2005 14:49:26 -0400 From: Joseph Champelli Reply-To: joechamp [at] gmail.com Subject: Re: Asteroids (was: Re: Linux vs Microsoft and Apple) In-Reply-To: References:

: ) have a nice weekend. On 9/9/05, Curtis L. Mortimore wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- >=20 > Joe, >=20 > I hate you! >=20 > I thought I had finally overcome my addiction! >=20 > Now look what you have done to me! > -- > Curtis L. Mortimore > Technical Director > Ball State University > Department of Theatre and Dance > Muncie, IN 47306 > 765-285-8750 > >=20 > > From: Joseph Champelli > > Reply-To: "Stagecraft" > > Date: Fri, 9 Sep 2005 09:10:25 -0400 > > To: "Stagecraft" > > Subject: Re: Asteroids (was: Re: Linux vs Microsoft and Apple) > > > > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > > > I know I shouldn't do this to everyone, but here's one that really > > plays to the problem solver/fabricator/game addict side: > > > > http://www.elizium.nu/scripts/lemmings/ > > > > > > Joe > > > > > > -- > > Joseph Champelli > > University of Tennessee > > FTSI > > >=20 >=20 --=20 Joseph Champelli University of Tennessee FTSI ------------------------------ Subject: RE: Rights to music used in Plays Date: Fri, 9 Sep 2005 15:20:10 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C935 [at] exchange.rmwc.edu> From: "Paul Schreiner" > >One is lead to wonder what has happened to theater training recent=20 > >years. "Blowing up" an actor is expensive and often=20 > >dangerous. In an earlier time, one would be=20 > >trained to "sandbag" the actor. =20 >=20 > Keep in mind that the liquid splatter from either is difficult to=20 > remove from drapery, masonry, scenery, and floors. One should take=20 > the precaution of preparing the stage with plastic to ease the=20 > cleanup process and avoid damaging anything important. I always thought that's what traps were for, and why I've always been jealous when I never was able to work with a fully-functioning floor. Oh...wait. You mean the trap room has a door in it? Damn. ------------------------------ Message-ID: <20050909201043.14056.qmail [at] web30210.mail.mud.yahoo.com> Date: Fri, 9 Sep 2005 13:10:43 -0700 (PDT) From: Jacqueline Haney Kidwell Subject: Re: ASCAP, BMI and copyright In-Reply-To: --- Pat Kight wrote: about time wasted hunting down the correct agency: > mainly concerned with > other rights, and scratch their figurative heads > when they get a query from a theater. > Even more fun is trying to find out where to get permission in order to set a particular poem to music. By the way, BMI takes 18+ months to send royalty payments to composers. My husband just got the check last week for two performances of an orchestral work that were played in 2003 & early 2004. Amazing bureaucracy, considering he conducted both performances. Jacki ______________________________________________________ Click here to donate to the Hurricane Katrina relief effort. http://store.yahoo.com/redcross-donate3/ ------------------------------ Message-Id: <29115ce17cdc1edad1bee86ba61e50bb [at] nyu.edu> From: Mike Voytko Subject: FT Job Opening--Technical Fabricator (Master Carp.) at NYU Date: Fri, 9 Sep 2005 16:38:51 -0400 Hi all, Thought I'd pass the word along.... We have a vacancy in our scene shop. This is a 10-month position with benefits, for approx. 7 shows/season. See below for a copy of the position description. If interested, You must apply **via the web** at http://www.nyu.edu/hr/employment/apply.html. Please don't call or e-mail me with application materials. Search for the listing by the official job title ("technical fabricator") or by req #3837BR. FYI, the application pages only work in Internet Explorer. Cheers, -- Mike Voytko Lighting & Sound Supervisor TSOA Theatrical Production New York University Title Technical Fabricator (Master Carpenter) Date Posted 22-Aug-2005 Req # 3837BR School/Division Tisch School of the Arts Job Category Technical (includes computer support staff) - 104/114 Grade 43 F/T or P/T FT Key Responsibilities Theatre Production. Perform a variety of technical fabrications for stage scenery and infrastructure resources such as scaffolds and curtains for theatre productions, conventional stage and TV building and rigging systems. Assist with the modification and implementation of construction for departmental facilities such as theaters, workshops, studios, and office support spaces, including new construction and improvements to existing structures. Ensure security of facilities and equipment. Maintain inventory of wood, steel, paints hardware, soft goods (paper, brushes, glue, etc.) Monitor daily activities of production workshops to ensure provision of services for departmental facilities. Instruct students, faculty, and staff on proper use of equipment and tools. Oversee receipt of materials inventory. Complete other related duties. Report to the Assistant Technical Director. Qualifications 3 years experience with technical fabrication for theatre. Demonstrated knowledge of scenic carpentry, rigging, basic steel arc and/or MIG welding, and basic sewing. Ability to read mechanical drawings and assess materials' specification. Proficiency in the use of operating saws, power tools, welding equipment, and other pneumatic and/or hydraulic equipment. Ability to meet deadlines and follow schedules and instructions. Knowledge of job-related health and safety issues to identify potential hazards. Please note: evenings and weekends hours may be necessary during production schedule. ------------------------------ Message-Id: <6.2.3.4.0.20050909163704.03911348 [at] mail.insightbb.com> Date: Fri, 09 Sep 2005 16:42:14 -0500 From: Mike Brubaker Subject: Counterweight Rigging Operation In-Reply-To: References:

Oh, wise list. A crazy thought just occurred to me. Here's the scenario: picture a typical counterweight rigging system, with the arbors and guides against the off-stage wall. The operator is typically torn between two conflicting things: the desire to not twist his or her neck around 180 degrees, and the necessity to see what they are doing with whatever is hanging on the batten. Has anyone tried putting a mirror on the wall behind the T-bar so that the operator can work in the most efficient way possible? It would probably need to be plexi or metal, above head height, and perhaps curved (so you can see the majority of the travel of the batten). I'll try it out in the next week or so, but I'd like to know if anyone has already done this and whether it was helpful or not. Mike ------------------------------ Subject: Re: Graduate student displaced by Katrina seeking school Date: Fri, 9 Sep 2005 17:52:00 -0400 Message-ID: <346414591B50EE4299DB6686321B8CC701D29324 [at] FACSTAFF.facultystaff.eku.edu> From: "Secore, Scott" May want to check out Florida Atlantic. Assuming of course they are willing to return to a hurricane friendly area :) FAU usually tries to accept 2-3 design/tech (spread over scenic, light, costume and TD) students a year. So it is a fairly tight, hands on program. Last I knew, they were seeking to increase that number by a couple of students here and there. They're pretty good about tuition waivers/assistantships. 9 out of 10 grads can/do receive.=20 Call 561-297-3000 and ask for Dr. Richard Gamble, he's a pretty swell guy. -Scott TTS EKU ------------------------------ Message-Id: <200509100037.j8A0bS0R071546 [at] mail02.peak.org> From: "The Elliotts" Subject: RE: ASCAP, BMI and copyright Date: Fri, 9 Sep 2005 17:37:52 -0700 In-Reply-To: AHHHHHHHHHHHHH! I've been through this hellhole when I taught dance!!! This was in the early 1990s. The dance teacher organization I belonged to had thousands of members. ASCAP, BMI and the then-new SESAC, were all invited to come and talk to us about rights and what we needed to be aware of. Only ASCAP deemed to come. The ASScap rep basically told us that even playing a song from a CD to *anyone* who did not actually purchase that CD was infringement. God forbid you had the radio on and ANYONE (including yourself) walked into the room--because no one in hearing distance would have actually purchased the right to hear those songs (even if you owned the CDs the songs were from)! Just how can the radio get away with this? In other words, according to the ASCAP rep, purchasing the CD--as an example--only permitted you (the purchaser) had the right to hear the songs off that CD. Nobody else, even is just passing thru the room, had obtained those rights. Imagine, if you will, how that effects dance instructors and DJs who REQUIRE music to do practice their art or teach, or... You may think I'm joking. I am very much NOT joking. The situation got so absurd that the rep eventually said, Yes, you can play the music if others are around, but only if they are your family. To which one very astute member of our Country Western dance teachers organization replied, "We're just one big family." Warmest regards, and that's the end of my rant,... --John Albany, Oregon Yahoo! chat handle: Ymir20000000 --------------------------------------------------------------------- Eliminate annoying spam! My mailbox is protected by iHateSpam, the #1-rated spam buster. http://www.ihatespam.net -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Pat Kight Sent: Friday, September 09, 2005 11:42 AM To: Stagecraft Subject: Re: ASCAP, BMI and copywright For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Davis, Thomas J said: > I do find it interesting that we work in a business that is so copyright > dependent (after all, how many writers would author plays for us to > produce if there were no copyright), but where many of the people > involved feel free to violate the copyright of other arts. I've worked > for a couple of producers who think "fair use" or an ASCAP agreement > allows them use of anything, anytime. While I agree with your point, I think the music industry could make things a helluva lot easier for those who are trying to do the right thing. As someone who tries to be scrupulous about tracking down rights to pre-show and incidental music, I've wasted more hours than I care to count hunting down who holds which rights to what, finding an address (never mind a phone number) to direct my inquiries and waiting - often in vain - for a response. As far as I can tell, most publishers and agents see live, non-Equity theater as such small potatoes that they can't even be bothered responding to queries. Orgtanizations that exist to handle licensing - the Harry Fox Agency, for instance - are mainly concerned with other rights, and scratch their figurative heads when they get a query from a theater. Someone could perform a great service for live theaters across the US by compiling a "how to find and acquire music rights" Web site with links to the various licensing houses and some clear information about what sort of licenses you need for what sort of use (concerts, other live performance, recording, use of existing recorded music in live stage shows, etc.) If such a thing exists, I'd love to hear about it, as Google turns up nothing of the sort. -- Pat Kight Albany, Ore. Civic Theater ------------------------------ Message-ID: From: "Laura McMeley" Subject: dwg viewer Date: Fri, 09 Sep 2005 19:58:15 -0500 I've just recieved a dwg file that I can't import into my Vectorworks 9. Does anyone have a favorite free DWG viewer? Laura McMeley Resident Lighting Supervisor The Dallas Opera 972-333-5016 www.geocities.com/lmcmeley/ _________________________________________________________________ Don�t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ------------------------------ Date: Sat, 10 Sep 2005 02:04:53 +0100 (BST) From: Charlie Richmond Subject: Re: dwg viewer In-Reply-To: Message-ID: References: On Fri, 9 Sep 2005, Laura McMeley wrote: > I've just recieved a dwg file that I can't import into my Vectorworks 9. Does > anyone have a favorite free DWG viewer? Check out eDrawings Viewer: http://www.edrawingsviewer.com/ Enjoy! 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 ------------------------------ Subject: RE: dwg viewer Date: Fri, 9 Sep 2005 21:06:11 -0400 Message-ID: From: "James, Brian" http://www.bravaviewer.com/ That where I got mine. It seems to work well -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Laura McMeley Sent: Friday, September 09, 2005 8:58 PM To: Stagecraft Subject: dwg viewer For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I've just recieved a dwg file that I can't import into my Vectorworks 9. = Does anyone have a favorite free DWG viewer? Laura McMeley Resident Lighting Supervisor The Dallas Opera 972-333-5016 www.geocities.com/lmcmeley/ _________________________________________________________________ Don't just search. Find. Check out the new MSN Search!=20 http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ------------------------------ Message-ID: <15552634.1126316730847.JavaMail.root [at] elwamui-muscovy.atl.sa.earthlink.net> Date: Fri, 9 Sep 2005 21:45:30 -0400 (GMT-04:00) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: Counterweight Rigging Operation Mike... Your thought is good, but you'll end up having to deal with unintended refl= ection of light (everything from backstage flashlights to lights on booms f= rom the other side of the stage). At least with the booms, you'll end up w= ith shadows of the people in the wings moving in the reflected beams of lig= ht. It's usually a space issue, but one of the better setups (at least for oper= ator view) is to have the handline on the OFFSTAGE side of the set--rail in= stalled 180=B0 from the usual. So, one would stand behind the rail and run= the set in and out WHILE facing the stage. If the rail is on deck level, = it means the operator doesn't need to dodge scenery in the wing (in all of = our "not quite big enough" spaces). Of course, then you get into the suppo= rt of said system w/o being up against a nice solid wall for the T-track, e= tc. Steve Boone? Chime in? The mainstage at Bowling Green State University in= Ohio has an elevated rail oriented as I described above. --Sean Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- From: Mike Brubaker Has anyone tried putting a mirror on the wall behind the T-bar so=20 that the operator can work in the most efficient way possible? It=20 would probably need to be plexi or metal, above head height, and=20 perhaps curved (so you can see the majority of the travel of the batten). Mike ------------------------------ Message-Id: <6.2.3.4.0.20050909204921.043e2520 [at] mail.insightbb.com> Date: Fri, 09 Sep 2005 20:50:44 -0500 From: Mike Brubaker Subject: Re: Counterweight Rigging Operation In-Reply-To: References: Thought of that, about 5 minutes after I sent the post. What about on an elevated operating platform (proscenium height or so)? Mike At 08:45 PM 9/9/2005, seanrmc [at] earthlink.net wrote: >Your thought is good, but you'll end up having to deal with >unintended reflection of light (everything from backstage >flashlights to lights on booms from the other side of the >stage). At least with the booms, you'll end up with shadows of the >people in the wings moving in the reflected beams of light. ------------------------------ Message-ID: <33123244.1126318493127.JavaMail.root [at] elwamui-muscovy.atl.sa.earthlink.net> Date: Fri, 9 Sep 2005 22:14:53 -0400 (GMT-04:00) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Re: Counterweight Rigging Operation I'm sure that would be _better_ (than floor level), but I'd think you could be more selective than the whole rail. Perhaps a few vanity size mirrors (with DS masking) by the linesets in question. Often, only a few pipes are moved during a particular show. Just place a few portables. Thoughts? --Sean Sean R. McCarthy seanrmc [at] earthlink.net -----Original Message----- RE: Reflections, etc in Mirrors From: Mike Brubaker Thought of that, about 5 minutes after I sent the post. What about on an elevated operating platform (proscenium height or so)? ------------------------------ Message-ID: <31750449.1126319622638.JavaMail.root [at] elwamui-muscovy.atl.sa.earthlink.net> Date: Fri, 9 Sep 2005 22:33:42 -0400 (GMT-04:00) From: seanrmc [at] earthlink.net Reply-To: seanrmc [at] earthlink.net Subject: Carpenter & Prop Shop jobs Hello all... Our prop shop and our scene shop are each looking for one more person. If you're interested, please see this listing at http://www.shakespearedc.org/employ.html#car I can answer basic questions if anyone is interested. The benefit package is pretty good (hey, I've stayed around here approaching 6 years!!!!), and we are all proud of our production values. We are in the process of building an additional space that will essentially increase our production calendar by about 60-75%, and working on increasing staffing in anticipation of that. The space _should_ be open in the '07/08 season barring large construction delays. Oh, if you want to see a daily picture of the building's progress: http://www.shakespearedc.org/newtheatre.html#const Again, let me know if you have any questions.... --Sean Sean R. McCarthy seanrmc [at] earthlink.net Master Electrician/Lighting Supervisor Shakespeare Theatre Company Washington, DC ------------------------------ End of Stagecraft Digest #515 *****************************