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 24679069; Tue, 13 Sep 2005 03:01:54 -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 #518 Date: Tue, 13 Sep 2005 03:00:50 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Status: No, score=-5.5 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00, SARE_WEOFFER autolearn=unavailable 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 #518 1. Re: Counterweight Rigging Operation by Brian Munroe 2. Lights fall on catwalk at fashion show by "Michael S. Eddy" 3. Re: Counterweight Rigging Operation by "Bill Conner" 4. Singin' In The Rain by "Jeb Bruce" 5. Graduate student displaced by Katrina seeking school by "Thomas Schraeder" 6. Re: Counterweight Rigging Operation by Greg Bierly 7. Re: Counterweight Rigging Operation by "Peter Scheu" 8. Teatronics dimmers by Paul Marsland 9. Re: 1987 Teatronics lighting system by Richard Bakos 10. Re: Help with show selection by "Storms, Randy" 11. Re: Help with show selection by "Maurice Moe Conn" 12. DALI ballasts by Jerry Durand 13. Rental/Liability by "GEOFFREY KAUFMAN" 14. Wings by "Dougherty, Jim" 15. Re: Rental/Liability by "Peter Scheu" 16. Re: DALI ballasts by "Paul Sanow" 17. Re: Counterweight Rigging Operation by "Eric Huss" 18. Re: Help with show selection by "C. Dopher" 19. Counterweight Rigging Operation by b Ricie 20. Re: Lights for the deaf in Music Performances by "C. Dopher" 21. Re: Lights for the deaf in Music Performances by "Jeffrey E. Salzberg" 22. Re: DALI ballasts by Jerry Durand 23. Re: 1987 Teatronics lighting system by "Aaron W. Braun" 24. Fwd: Stagecraft by Greg Williams 25. Re: Help with show selection by "Paul Schreiner" 26. Re: Stagecraft by "Jeffrey E. Salzberg" 27. Re: Web based calendaring solution... by "Steve Jones" 28. In search of sieves by Jerry Durand 29. Re: Web based calendaring solution... by "LES LIND" 30. Re: Web based calendaring solution... by "LES LIND" 31. Re: Counterweight Rigging Operation by "Dan Culhane" 32. Headphone Use May Worsen Hearing Loss by Jennie and Jerry Gorrell 33. Re: Headphone Use May Worsen Hearing Loss by "Davis, Thomas J" 34. Re: Headphone Use May Worsen Hearing Loss by "Robert Bruemmer" 35. Re: Rental/Liability by "Jeffrey Kanyuck" 36. Tech theatre games by "JAMES CRAIG" 37. Counterweight Rigging Operation by 38. Re: Stagecraft by FrankWood95 [at] aol.com 39. Re: Stagecraft by "Jeffrey E. Salzberg" 40. Re: Graduate student displaced by Katrina seeking school by "Curtis L. Mortimore" 41. Re: Tech theatre games by Mat Goebel 42. Re: Headphone Use May Worsen Hearing Loss/fair use by MissWisc [at] aol.com 43. Re: Lights for the deaf in Music Performances by "Occy" 44. Re: dwg viewer by "Laura McMeley" 45. Re: Rental/Liability by "ladesigners [at] juno.com" 46. Re: ASCAP, BMI and copywright by MissWisc [at] aol.com 47. Re: ASCAP, BMI and copywright by Pat Kight 48. Re: dwg viewer by Charlie Richmond 49. Fwd: Lights Fall on Catwalk Show (on behalf of Bill Sapsis) by Greg Williams *** 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: Mon, 12 Sep 2005 06:46:37 -0400 From: Brian Munroe Reply-To: bpmunroe [at] gmail.com Subject: Re: Counterweight Rigging Operation In-Reply-To: References:

On 9/12/05, Greg Bierly wrote: > Continuing downward it passes > through another single rope block mounted under the onstage side of the > operations catwalk and the handline turns 90 degrees offstage where it > runs 10' to the bottom block that would normally be the tensioning > block in a normal t-bar system.=20 In this concept you only have the front line (In) on the onstage side of the flyman. The back line (out) is still offstage by the t-track.=20 So the flyman can only save neck cramps on peices coming in, and still has to twist around for taking pipes out? You certainly can't pull up on the in line very effeciently. Also, there is no place for a tension block in this description. The Uihlein Hall at The Marcus Center in Milwaukee has the arbors onstage of the flyfloor (double purchase, I think). Throws out the whole "Front line in, back line out" drill. Brian Munroe bpmunroe [at] gmail.com ------------------------------ Message-ID: Reply-To: From: "Michael S. Eddy" Cc: bpmunroe [at] gmail.com Subject: Lights fall on catwalk at fashion show Date: Mon, 12 Sep 2005 08:56:11 -0400 In-Reply-To: Herrick and listers, Know anybody that worked on this show? I lost the bid to put the grid in a few years back. Thank goodness I lost it, the install was a bit low-budget shall we say. I don't know if this is part of the permanent grid or a temp pipe that was added. From today's New York Daily News: (Includes a pic of hubby Barry Diller guarding the lights. http://www.nydailynews.com/front/story/345648p-295075c.html Catwalk chaos erupted last night as a bank of lights fell during the finale of Diane von Furstenberg's Fall Fashion Week show, injuring at least two spectators. Leggy supermodel Alek Wek and several other beauties were forced to scamper when the U-shaped lighting crashed down as they paraded in von Furstenberg's studio in the Meatpacking District about 6:45 p.m. "We were a little scared," said perfume executive Jean Madar. Blood was dripping from the face of one man, who was taken to St. Vincent's Hospital Manhattan for treatment, FDNY sources said. A woman was struck on the shoulder and was treated backstage, witnesses said. The accident came at the show's end as models made their final sashays down the runway that curves through the studio's rooms. The strutting stunners gasped, then scrambled as the lights came down. Von Furstenberg was forced to scrap her usual sendoff to the fashion critics as the crowd rushed out of the showroom on Washington St. after the accident. The high-fashion guru was disconsolate after the incident marred the introduction of her spring 2006 line. Still, the incident seemed more distraction than disaster. "There were a couple of people backstage that were kind of upset, but I think they were just upset - rather than hurt," said one model. Michael S. Eddy Eddy Marketing & Consulting ------------------------------ Message-ID: <001901c5b79d$a4ce2910$6601a8c0 [at] BCA1> Reply-To: "Bill Conner" From: "Bill Conner" Subject: Re: Counterweight Rigging Operation Date: Mon, 12 Sep 2005 08:26:48 -0500 The onstage lockrail and off stage arbors would have a significant draw back in that I believe most operators use the rear purchase line to fly something out. In other words, it's a lot harder to pull up out of a tension block than it is to reach back and pull down. There are a number of reversed rigged systems with t-bar where the operator looks through the t-bar. Not that hard. Besides, in the described system, where would one apply the Uncle Buddy? :-) Bill ------------------------------ From: "Jeb Bruce" Subject: Singin' In The Rain Date: Mon, 12 Sep 2005 07:34:55 -0600 Message-ID: Our school is doing SITR. Does anyone have suggestion on how to protect the set pieces from water damage? Any great lighting angles found with water? Anyone have details on rain systems they have made/used? Any suggestions would be great! Thanks! Jeb Bruce ------------------------------------------------- Networld's Email is Powered by ModusGate and Spamhaus Project. For more information about Networld's Services visit http://www.networld.com ------------------------------------------------- ------------------------------ Message-ID: From: "Thomas Schraeder" Subject: Graduate student displaced by Katrina seeking school Date: Mon, 12 Sep 2005 09:42:03 -0400 Hello, I'm head of Graduate Design at Wayne State University / Hilberry Repertory Theatre. Universities are odd animals and its tough to say what WSU would be willing to let us do, but I know there's been some movement to help Katrina displaced students on the undergrad level here. I'm not certain who this may reach,(I'm a newbie to this list) but I know we have several openings - 2 scenic, 1 costume, 2 lighting in our M.F.A. programs. The issues of transferrable credits and getting started for the fall 05 term would need to be addressed, and we would need to do some kind of accelerated admission interview, but I'm willing to try for anyone out there who is interested. We offer full assistantships to all MFA students. Coverage for all tuition, medical/Dental benefits, and about $11000 as a stipend. We're very production oriented - not a conservatory - three year program. More details at: http://www.theatre.wayne.edu/graduate.php If you're interested, contact me. We'll start the exploration together. We are one week into classes, and have already opened one production, so please act quickly if you're looking. Please pass this on if you know of anyone who's caught in this situation. Tom Schraeder Lighting Design Wayne State University Theatre 4841 Cass Ave., Suite 3225 Detroit, MI 48202 313-577-7908 - office 313-577-0935 - fax ------------------------------ In-Reply-To: References:

Message-Id: <84f53842200b52b535122ce6251c23ea [at] dejazzd.com> From: Greg Bierly Subject: Re: Counterweight Rigging Operation Date: Mon, 12 Sep 2005 09:48:17 -0400 > The back line (out) is still offstage by the t-track. > Also, there is no place for a tension block in this description. DOH! I knew there had to be something I was missing! Still, battens coming in would be slightly more critical you be facing the stage (IMHO) but out still has a lot of hazards. Ok how about this. Add 4 blocks instead of adding 2. Handline runs: Top of arbor to headblock and turns 90 degrees onstage 10' to single block 90 degrees down to onstage side of catwalk locking rail Runs to (opt tension) block below onstage side of catwalk and turns 180 degrees back to grid hits single block (beside and offset slightly) and turns 90 back towards headblock 10' hits next block located just before the headblock and turns 90 degrees down. runs to normal lower (tensioning) block turns 180 degree up to arbor. You could optionally put the tension block in its normal location or below the locking rail. Cost wise it would probably make more sense to locate it on the T-bar side instead of making a "rig" for the lower catwalk beam. This entire run would add 20' of rope PLUS 2 times the distance from the grid to the catwalk. depending on the angle from the head block to the front of the catwalk you could possibly delete the two blocks above the onstage side of the catwalk (at the grid). It would be different but that would put the running lines running diagonally over your head. I could see this as an advantage to reaching directly above you and using your weight in an almost straight downward pull without reaching out over the locking rail. Bill, you should be able to use an uncle buddy now if you so desire. Now what am I missing other than even more cost and handline? Greg Bierly Technical Director Hempfield HS ------------------------------ Reply-To: From: "Peter Scheu" Subject: RE: Counterweight Rigging Operation Date: Mon, 12 Sep 2005 09:58:39 -0400 Organization: Scheu Consulting Services, Inc. Message-ID: In-reply-to: Bill Conner wrote: >There are a number of reversed rigged systems with t-bar where=20 >the operator=20 >looks through the t-bar. Not that hard. Yes, this is easy to accomplish, as long as you realize that "easy" is a subjective term. ;-) The best, and least expensive way to do this is to create a 2 sheave headblock, with the sheaves of equal diameter. The onstage sheave = carries the lifting cables, the offstage sheave the purchase line. Both "meet" = in the center of the assembly and attach to the top of the arbor. This can = even be done double purchase, but the design of the block is a bit more difficult. The operator faces the stage, with the t-bar and locking rail between = them and the stage. The t-bar would need to be supported by some sort of structural framing. Arbors travel their normal path between the t-bar = and the rail. Another drawback to this - and it is significant - is that the operator still has to look though the narrow "slots" created by the vertical t's, = and their view of the stage is blocked by arbors that may be at the rail = level. Frankly, IMHO, it's not worth all the expense and effort just so the operator doesn't have to turn around to see what's going on onstage. In = a standard counterweight rigging set-up, they'd actually have a clearer = view than a reverse operation set-up. There's just the "inconvenience" of = having to turn one's head around constantly. BTW - one previous poster motioned accommodating actors onstage who = wanted to watch the show, and that by moving the rail up (or wherever) the = milling throngs wouldn't block their view. Well, (again IMHO) that's just bad = stage management as far as I'm concerned. Any performer not having an upcoming entrance should be off the stage. Period. Backstage during a show is not = a place for tourists. It's distracting to everyone and potentially = dangerous. Peter Scheu =20 Scheu Consulting Services, Inc. Syracuse, NY www.scheuconsulting.com ------------------------------ Message-ID: <20050912141805.9434.qmail [at] web52203.mail.yahoo.com> Date: Mon, 12 Sep 2005 07:18:05 -0700 (PDT) From: Paul Marsland Subject: Teatronics dimmers In-Reply-To: > > > 'Producer' lightboard, (2 scene 24 channel) with > Teatronics > > Genesis dimmers that > > were put in about 1987. > > I had Genesis dimmers in Sarasota, but mine were AMX > and analog. If yours > also have an analog input, Dove makes a decent, > low-priced converter (and > ETC makes a better, higher-priced one). > > You might also contact Doug Fleenor Design. He has a whole host of DMX goodies. Doug was one of the chief product engineers for Teatronics back in the day. Doug Fleenor Design, Inc. 396 Corbett Canyon Road Arroyo Grande, CA 93420 (805) 481-9599 voice and FAX (888) 4-DMX512 toll free www.dfd.com Paul __________________________________ Yahoo! Mail - PC Magazine Editors' Choice 2005 http://mail.yahoo.com ------------------------------ Message-ID: <4325933C.1050900 [at] StudioOneSB.com> Date: Mon, 12 Sep 2005 09:39:56 -0500 From: Richard Bakos Organization: Studio One Inc. Subject: Re: 1987 Teatronics lighting system References: In-Reply-To: Have you tried contacting the company? http://www.teatronics.com/ We have done retro fits for older dimmers where we have placed new control cards that were dmx compatible in an existing dimmer frame to bring them up to standards. This might be a work around for you. How many dimmer packs of what configuration are we talking about? Rick. BKHAIN [at] aol.com wrote: >However right now, I work at a community college that has a Teatronics >'Producer' lightboard, (2 scene 24 channel) with Teatronics Genesis dimmers that >were put in about 1987. When we tried bringing in a new lightboard it was >discovered that the system uses a signal protocol called 'TMUX' and that no converter >is available. (My ignorance shows; I thought any 5 pin XLR was a DMX >plug...guess not...) > > -- Richard Bakos President Studio One Inc. 25833 State Road 2 South Bend, In 46619-4736 VOICE 574-232-9084 FAX 574-232-2220 Rick [at] StudioOneSB.com www.StudioOnesb.com ------------------------------ Subject: RE: Help with show selection Date: Mon, 12 Sep 2005 07:56:15 -0700 Message-ID: <555928311F8B2943B65FC7197942C3B70538C01E [at] es1.bsdnet.wednet.edu> From: "Storms, Randy" Cc: stagecraft [at] jeffsalzberg.com We did this show last year as a student-directed one act. It's a funny = show, but I don't think it's inappropriate or disrespectful. -- r. Randy Storms rstorms [at] bham.wednet.edu -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Jeffrey E. Salzberg Sent: Sunday, September 11, 2005 2:59 PM To: Stagecraft Cc: joechamp [at] gmail.com Subject: Re: Help with show selection For info, archives & UNSUBSCRIBE, see --------------------------------------------------- =20 > >ASAP. I am thinking about The Boys Next Door, but I have=20 > never seen it=20 > >and am afraid I may not strike the right balance with the characters=20 > >... meaning I don't want the play to be taken as though we=20 > are making=20 > >light of mentally challenged individuals. Can you provide insight=20 > >here? Suggestions? Is there a copy of the play or a movie=20 > version I=20 > >might purchase? I know there's a video of The Boys Next Door, because I've seen the box. Did the play at Saint Michael's Playhouse a couple of years ago. You'll need lots of prop doughnuts. My suggestion: involve representatives of local agencies who serve the developmentally disabled. My experience is that they're happy to help, = if only for the opportunity to dispel some of the myths about the = disability. If you can, make one performance a benefit for one or more agencies. Arrange a field trip for your actors (ours, alas, came back). ------------------------------ Message-ID: In-Reply-To: From: "Maurice Moe Conn" Subject: Re: Help with show selection Date: Mon, 12 Sep 2005 15:16:00 +0000 I designed, built, and directed this a few years ago at a small college, which happens to be located in the same town one of the State Schools/Hospitals for the mentally challanged. THe Production was well recieved by everyone except one person. A member of the College admin. who has a Down Syndrom son. Believe me when I say I was devistated by her reaction and response. Kind of a How dare you make it ok to laugh at those people lecture. It almost brought me to tears since that was far from my goal. IMHO The Boys Next Door is not so much about the fact the main players are mentally challenged, but rather the reality that they too just want to have a "normal" life, to love and be loved, to live from day to day without being taken advantage of, and most of all they characters are human with human qualities which unfortunatially society either ingnores or takes advantage of. HTH Moe Mauri ce "Moe" Conn Designer/TD University of the Cumberlands Long Reach Long Riders announce dates for the 2006 Charlty Ride. Check out www.sapsis-rigging.com/LRLR.html for more information. >From: "Storms, Randy" >Reply-To: "Stagecraft" >To: "Stagecraft" >CC: stagecraft [at] jeffsalzberg.com >Subject: Re: Help with show selection >Date: Mon, 12 Sep 2005 07:56:15 -0700 > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >We did this show last year as a student-directed one act. It's a funny >show, but I don't think it's inappropriate or disrespectful. >-- r. > >Randy Storms >rstorms [at] bham.wednet.edu > >-----Original Message----- >From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Jeffrey >E. Salzberg >Sent: Sunday, September 11, 2005 2:59 PM >To: Stagecraft >Cc: joechamp [at] gmail.com >Subject: Re: Help with show selection > > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > > > > >ASAP. I am thinking about The Boys Next Door, but I have > > never seen it > > >and am afraid I may not strike the right balance with the characters > > >... meaning I don't want the play to be taken as though we > > are making > > >light of mentally challenged individuals. Can you provide insight > > >here? Suggestions? Is there a copy of the play or a movie > > version I > > >might purchase? > >I know there's a video of The Boys Next Door, because I've seen the box. >Did the play at Saint Michael's Playhouse a couple of years ago. You'll >need lots of prop doughnuts. > >My suggestion: involve representatives of local agencies who serve the >developmentally disabled. My experience is that they're happy to help, if >only for the opportunity to dispel some of the myths about the disability. >If you can, make one performance a benefit for one or more agencies. >Arrange a field trip for your actors (ours, alas, came back). > > ------------------------------ Message-Id: <6.2.3.4.0.20050912081005.029cbaa0 [at] 192.168.0.13> Date: Mon, 12 Sep 2005 08:15:53 -0700 From: Jerry Durand Subject: DALI ballasts Oh great and knowledgeable list... I'm looking for some DALI-controlled ballasts and/or luminaries to test/demo our new DALI controllers before we start shipping them. I have questions in to Advance and Osram but haven't heard back. Does anyone know of any actual model numbers I could look for (any brand) or where to actually buy any? I sent a question into the GE "Ballast Questions" address using their on-line contact form. I received a reply that the Ballast person can only answer questions about lamps (???). They sent me off to my local GE representative, but that e-mail bounced. I looked up their phone number and called...they don't rep. the ballast line and don't know who does. Scratch GE. -- 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 web: www.interstellar.com ------------------------------ Message-Id: Date: Mon, 12 Sep 2005 10:38:26 -0500 From: "GEOFFREY KAUFMAN" Subject: Rental/Liability I am a theatre teacher at a large high school with a 2000-seat proscenium stage. We have ongoing issues with our school district renting the auditorium to community groups. They do not coordinate with our theatre faculty (except to beg us to solve problems) and of course there is no technical supervision provided at the event. The community groups help themselves to any and all backstage equipment (fly, lights, sound, props, etc) because the custodians give them access. We've had giant church/gospel concerts, ballets, etc. Do you know where I could find info about liability issues in this area? I have heard from several sources=20 corroborating my concerns; are there any particular cases or incidents I = could draw my administration's attention to in hopes of changing their policy? What I need is a source my superiors might listen to, i.e. a legal = document,=20 news story, something other than another 'theatre person' to tell them=20 what we've been telling them over and over.=20 ------------------------------ Date: Mon, 12 Sep 2005 11:44:45 -0400 Subject: Wings From: "Dougherty, Jim" Message-ID: This website contains links to several others, all on how to make your own wings. Some are angels, some bats, but you can look and judge for yourself. http://www.fursuit.org/faq/17wings.htm - Jim Dougherty ATD, Middlebury College Theatre Department ------------------------------ Reply-To: From: "Peter Scheu" Subject: RE: Rental/Liability Date: Mon, 12 Sep 2005 11:57:34 -0400 Organization: Scheu Consulting Services, Inc. Message-ID: In-reply-to: GEOFFREY KAUFMAN wrote: >are there any particular cases or=20 >incidents I could draw my administration's attention to in=20 >hopes of changing their policy?=20 Mr. Sapsis and Doom can tell you of many, many horror stories, I'm sure. I'll leave that to them (though I do have some of my own). You could try this analogy with them... What liability issues would = arise if the school custodians gave unsupervised community access to the = Industrial Arts or Chemistry labs? The stage is full of equipment (like the other spaces) that can cause serious bodily harm or even death, not to mention damage to equipment done by misuse. If there is a Risk Management = Department or position in your district, I'd explore the issues with them as well. Peter Scheu =20 Scheu Consulting Services, Inc. Syracuse, NY www.scheuconsulting.com ------------------------------ Subject: RE: DALI ballasts Date: Mon, 12 Sep 2005 12:19:18 -0400 Message-ID: From: "Paul Sanow" > I'm looking for some DALI-controlled ballasts and/or luminaries to=20 > test/demo our new DALI controllers before we start shipping them. I=20 > have questions in to Advance and Osram but haven't heard back. Does=20 > anyone know of any actual model numbers I could look for (any brand)=20 > or where to actually buy any? Jerry: Another manufacturer of DALI ballasts that I'm aware of is Tridonic = (www.tridonicatco.com). I have very little personal experience. I'm = pretty sure brightline (Fluorescent Studio luminaires) uses them for = DALI applications. An interesting article that mentions a few others is at:=20 http://www.aboutlightingcontrols.org/education/papers/dalibuzz.shtml [most of the links are broken] Good Luck Paul *********************************************************** Paul Sanow psanow [at] vls.com Technical Sales www.vincentlighting.com Vincent Lighting Systems 1420 Jamike Ln. #2 Erlanger, KY 41018 (859) 525-2000 x211 FAX (859) 525-2050 *********************************************************** ------------------------------ Subject: Re: Counterweight Rigging Operation Date: Mon, 12 Sep 2005 12:23:46 -0400 Message-ID: <8D0F4F12534EC940AF0C5732BF5BDC060DCF78 [at] smsserver.SMSStudio.local> From: "Eric Huss" "Continuing downward it passes through another single rope block mounted under the onstage side of the operations catwalk and the handline turns 90 degrees offstage where it runs 10' to the bottom block that would normally be the tensioning block in a normal t-bar system. From here the handline turns 90 degrees....." Without ANY personal research into your design I was wondering how the system would stay in tension. Is there a tension pulley that operates with 45 degree resultant forces? Any Clancy/Secoa/Sapsis riggers know? Regardless, the system idea is an interesting one, but not the "standard." With that said, is it a good idea to have a non-standard system in an educational facility? Or should your students learn on a standard system in preparation for the rest of the industry? I tend to swing toward the second. Eric Huss Sachs Morgan Studio Theatre Design Specialists V: 212.765.4144 F: 212.765.4142 ------------------------------ Date: Mon, 12 Sep 2005 12:22:01 -0400 Subject: Re: Help with show selection From: "C. Dopher" Message-ID: In-Reply-To: <001a01c5b71c$026e0860$6701a8c0 [at] Dell> On 9/11/05 5:58 PM, "Jeffrey E. Salzberg" wrote: > >>> ASAP. I am thinking about The Boys Next Door, but I have >> never seen it >>> and am afraid I may not strike the right balance with the characters >>> ... meaning I don't want the play to be taken as though we >> are making >>> light of mentally challenged individuals. Can you provide insight >>> here? Suggestions? Is there a copy of the play or a movie >> version I >>> might purchase? > > I know there's a video of The Boys Next Door, because I've seen the box. > Did the play at Saint Michael's Playhouse a couple of years ago. You'll > need lots of prop doughnuts. > > My suggestion: involve representatives of local agencies who serve the > developmentally disabled. My experience is that they're happy to help, if > only for the opportunity to dispel some of the myths about the disability. > If you can, make one performance a benefit for one or more agencies. > Arrange a field trip for your actors (ours, alas, came back). I've seen this show; it requires very good actors. If your people aren't up to it, don't do it. However, with a good cast and a light directorial touch, the show can be outstanding and won't be perceived as "making fun of retards". Cris Dopher, LD ------------------------------ Message-ID: <20050912162730.68806.qmail [at] web50614.mail.yahoo.com> Date: Mon, 12 Sep 2005 09:27:30 -0700 (PDT) From: b Ricie Subject: Counterweight Rigging Operation In-Reply-To: If I read your post correctly, it seems that rigging your rail that way would add a lot of extra tension. It also seems like your operator would only be able to watch the pipe coming "in" and not "out". The added tension seems like the biggest problem to me. Would not the extra tension make the pipe a 'Bear' to move in any direction? Brian Rice 508-685-0716 b_ricie [at] yahoo.com "Blessed are the cracked: For it is they who let in the light." __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Date: Mon, 12 Sep 2005 12:32:22 -0400 Subject: Re: Lights for the deaf in Music Performances From: "C. Dopher" Message-ID: In-Reply-To: <1126499858.432506128baf7 [at] webmail.iu.edu> On 9/12/05 12:37 AM, "nwwheatl [at] ius.edu" wrote: > I am a college student wishing to find more information on the use of stage > lights to enhance music performances for the deaf. An example of this is in > Mr. Holland's Opus, stage lighting is used to signify moods of the music, > intenseness, and rhythm. I would like to implement this into my current > studies, but am unable to find any research starting point. Any help anyone > has would be greatly appreciated. Nate, I suspect most of the time lighting for orchestral performance isn't overly fancy for the simple reason that, for hearing audiences, it would get in the way. Set the mood, sure... But really _illustrate_ the piece? That goes beyond the needs and wants of most orchestras. However, some of the jazzier institutions tweak their lighting toward something more excited and illustrative, such as what I've seen of the Metropol Orkest. Fantasia did it pretty well, I seem to recall...but that's not strictly lighting, is it? Have you talked to any fireworks people about how they create their shows in time with the music? That seems very close to the mark. Cris Dopher, LD ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Lights for the deaf in Music Performances Date: Mon, 12 Sep 2005 12:40:50 -0400 Message-ID: <005201c5b7b8$bfc60ba0$6701a8c0 [at] Dell> In-Reply-To: > Nate, I suspect most of the time lighting for orchestral > performance isn't overly fancy for the simple reason that, > for hearing audiences, it would get in the way. Also: You absolutely *may not* do anything that negatively impacts the players' ability to read their music. This includes anything that would cast a shadow or even change colors on the scores; at least one orchestra that I know of has a contract provision that prohibits this. ------------------------------ Message-Id: <6.2.3.4.0.20050912093454.029e0228 [at] 192.168.0.13> Date: Mon, 12 Sep 2005 09:39:44 -0700 From: Jerry Durand Subject: Re: DALI ballasts In-Reply-To: References: At 09:19 AM 9/12/2005, you wrote: >Jerry: > >Another manufacturer of DALI ballasts that I'm aware of is Tridonic >(www.tridonicatco.com). Thanks, I'll check them out. >I have very little personal experience. I'm pretty sure brightline >(Fluorescent Studio luminaires) uses them for DALI applications. They used to use our boxes but we had payment problems, so I'm reluctant to send them money. >An interesting article that mentions a few others is at: >http://www.aboutlightingcontrols.org/education/papers/dalibuzz.shtml >[most of the links are broken] Seems to be the modern way, I constantly run into manufacturers who haven't got a clue how to contact their distributors and won't sell direct. -- 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 web: www.interstellar.com ------------------------------ From: "Aaron W. Braun" Subject: RE: 1987 Teatronics lighting system Date: Mon, 12 Sep 2005 11:47:19 -0500 Message-ID: In-Reply-To: Ben, IIRC, Doug Fleenor used to work at Teatronics many years ago. He may very well have the ability to make a protocol converter for you. You can get his contact info at http://www.dfd.com/contact.html . I highly recommend his DMX converters and optos. They are extremely robust and reliable. The other option is to contact http://www.teatronics.com/ . Some of the old Teatronics guys bought the company's assets and are still selling new products. You might be able to get a newer comstar card for your pack that would make it speak DMX natively. Sincerely, Aaron Braun VP, Systems Integration Ardee Design Group Nashville, TN -----Original Message----- From: BKHAIN [at] aol.com Subject: 1987 Teatronics lighting system However right now, I work at a community college that has a Teatronics 'Producer' lightboard, (2 scene 24 channel) with Teatronics Genesis dimmers that were put in about 1987. When we tried bringing in a new lightboard it was discovered that the system uses a signal protocol called 'TMUX' and that no converter is available. (My ignorance shows; I thought any 5 pin XLR was a DMX plug...guess not...) Is it possible to upgrade the dimmers to DMX? How many of you would even recommend trying? ------------------------------ Date: Mon, 12 Sep 2005 12:57:45 -0400 From: Greg Williams Subject: Fwd: Stagecraft Message-id: <768F70B0-EE5F-48C5-8D72-9341BDCBA997 [at] appstate.edu> References: Forwarded on behalf of Unka Bill, who is currently on the road in London. -=G=- Begin forwarded message: > > << > I am a theatre teacher at a large high school with a 2000-seat > proscenium > stage. We have ongoing issues with our school district renting the > auditorium to community groups. They do not coordinate with our > theatre > faculty (except to beg us to solve problems) and of course there is no > technical supervision provided at the event. The community groups > help > themselves to any and all backstage equipment (fly, lights, sound, > props, > etc) because the custodians give them access. We've had giant > church/gospel concerts, ballets, etc. Do you know where I could > find info > about liability issues in this area? I have heard from several > sources > corroborating my concerns; are there any particular cases or > incidents I > could > draw my administration's attention to in hopes of changing their > policy? > What I need is a source my superiors might listen to, i.e. a legal > document, > news story, something other than another 'theatre person' to tell them > what we've been telling them over and over. > >>> >>> > > Contact a lawyer. Regretfully, it's the only person the admin. > will listen > to. I'm sure the school district has one who would be thrilled to > hear > about this. By thrilled I mean very happy to know this is going on so > he/she can put a stop to it. The district's liability here is huge, > bordering on the criminal. > > Bill S. > > > > ------------------------------ Subject: RE: Help with show selection Date: Mon, 12 Sep 2005 09:13:02 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C93C [at] exchange.rmwc.edu> From: "Paul Schreiner" Cc: stagecraft [at] jeffsalzberg.com > I know there's a video of The Boys Next Door, because I've=20 > seen the box. > Did the play at Saint Michael's Playhouse a couple of years=20 > ago. You'll > need lots of prop doughnuts. And keys. You can't get into things without your keys! > My suggestion: involve representatives of local agencies who serve the > developmentally disabled. My experience is that they're=20 > happy to help, if > only for the opportunity to dispel some of the myths about=20 > the disability. > If you can, make one performance a benefit for one or more agencies. > Arrange a field trip for your actors (ours, alas, came back). We did this a loooong time ago back in my college days, and not only did our actors & director take a couple of field trips, but we had a professional who worked in the field of developmentally-disabled adult care act as a consultant for the show. She'd come in regularly to watch rehearsals and give pointers, and became a wonderful resource. One of the finest productions I've ever had the pleasure of being involved with... ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Stagecraft Date: Mon, 12 Sep 2005 13:11:16 -0400 Message-ID: <005501c5b7bc$ffb05cd0$6701a8c0 [at] Dell> In-Reply-To: > > The district's liability here is huge, > > bordering on the criminal. Assuming the district changes its policy and requires that outside users be supervised, what liability is being incurred by the staff supervisor? ------------------------------ From: "Steve Jones" Subject: RE: Web based calendaring solution... Date: Mon, 12 Sep 2005 12:13:21 -0500 Organization: Plaza Theatre In-Reply-To: Message-ID: We have found a service that is fairly inexpensive and full feautred. It is located at localendar.com. It is very customizable, includes advanced features, such as discussion boards, allowing others to post, searching for events by zip code, etc. We have integrated it into out web site while we test it. You can view it at http://www.glasgowplazatheatre.org and click on the "NEW - Interactive Online Calendar of Events" link on the home page. Thanks to all for their input and suggestions. 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 ------------------------------ Message-Id: <6.2.3.4.0.20050912102954.029deda8 [at] 192.168.0.13> Date: Mon, 12 Sep 2005 10:30:45 -0700 From: Jerry Durand Subject: In search of sieves Anybody know of a better place to get sieves than http://www.hogentogler.com/sieves/ ? I need 20 mesh and 40 mesh, stainless screens. -- 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 web: www.interstellar.com ------------------------------ Message-Id: Date: Mon, 12 Sep 2005 13:35:33 -0400 From: "LES LIND" Subject: Re: Web based calendaring solution... Which service is it you've chosen? Les Lind, TD NHS Dramatics Northeastern High School Manchester, PA >>> steve.jones [at] glasgowplazatheatre.org 9/12/05 1:13 PM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- We have found a service that is fairly inexpensive and full feautred. It is located at localendar.com. It is very customizable, includes advanced features, such as discussion boards, allowing others to post, searching for events by zip code, etc. We have integrated it into out web site while we test it. You can view it at http://www.glasgowplazatheatre.org and click on the "NEW - Interactive Online Calendar of Events" link on the home page. Thanks to all for their input and suggestions. 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 ------------------------------ Message-Id: Date: Mon, 12 Sep 2005 13:40:43 -0400 From: "LES LIND" Subject: Re: Web based calendaring solution... Sorry I read the post too fast... Les Lind, TD NHS Dramatics Northeastern High School Manchester, PA >>> lindl [at] nesd.k12.pa.us 9/12/05 1:35 PM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Which service is it you've chosen? Les Lind, TD NHS Dramatics Northeastern High School Manchester, PA >>> steve.jones [at] glasgowplazatheatre.org 9/12/05 1:13 PM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- We have found a service that is fairly inexpensive and full feautred. It is located at localendar.com. It is very customizable, includes advanced features, such as discussion boards, allowing others to post, searching for events by zip code, etc. We have integrated it into out web site while we test it. You can view it at http://www.glasgowplazatheatre.org and click on the "NEW - Interactive Online Calendar of Events" link on the home page. Thanks to all for their input and suggestions. 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 ------------------------------ From: "Dan Culhane" Cc: d.culhane [at] secoa.com (Dan Culhane) Subject: Re: Counterweight Rigging Operation Date: Mon, 12 Sep 2005 13:47:39 -0500 Message-ID: Greg, I can see where this would work for flying the piece "in" but trying to fly the piece "out" would be difficult. Either you are pulling up on the purchase line or you are turning around and pulling down on the rope tied off to the bottom of the arbor. A problem happens when you run out of rope and have to start pulling on the arbor, or more likely you are grabbing the arbor trying to stop the line set. SECOA did install a system about 5 years ago where the architect insisted that the lock rail on a single purchase system be located on an elevated platform on the other side of the stage. There is about 2-3 inches of line pull before the batten starts to move. Dan Culhane SECOA >From: Greg Bierly >Subject: Re: Counterweight Rigging Operation >Date: Mon, 12 Sep 2005 01:30:54 -0400 > >The handline is fixed to the top of the arbor (located in the normal >t-bar, wall mount location) runs up through the headblock and instead >of turning 180 degrees and running down to the locking rail it turns 90 >degrees towards the stage and runs the width of the catwalk (lets say >10' in this example) then it hits a single rope block and turns 90 >degrees downward to where it runs to the locking rail located on the >onstage side of the operations catwalk. Continuing downward it passes >through another single rope block mounted under the onstage side of the >operations catwalk and the handline turns 90 degrees offstage where it >runs 10' to the bottom block that would normally be the tensioning >block in a normal t-bar system. From here the handline turns 90 >degrees again and attaches to the bottom of the arbor as normal. Now I >had a few other nifty extras that would make the system even "cooler" >but Clancy, Secoa, etc will have to contact me directly for those. ------------------------------ Message-Id: <6.2.3.4.2.20050912132635.020d5008 [at] mail.earthlink.net> Date: Mon, 12 Sep 2005 13:28:53 -0700 From: Jennie and Jerry Gorrell Subject: Headphone Use May Worsen Hearing Loss Interesting article from the AP Headphone Use May Worsen Hearing Loss September 12, 2005 1:11 PM EDT CHICAGO - Everywhere she turns, Angella Day sees people carrying portable music players, often with the ear buds stuffed firmly in place. "They're very widespread," says Day, a senior at Chicago's DePaul University who regularly listens to music on her own iPod while studying or working out. "So addicting." What she and others may not realize is that many people their age have already damaged their hearing. And researchers fear that the growing popularity of portable music players and other items that attach directly to the ears - including cell phones - is only making it worse. "It's a different level of use than we've seen in the past," says Robert Novak, director of clinical education in audiology at Purdue University in Indiana. "It's becoming more of a full-day listening experience, as opposed to just when you're jogging." Increasingly, Novak says he's seeing too many young people with "older ears on younger bodies" - a trend that's been building since the portable Walkman made its debut a few decades back. To document the trend, he and colleagues have been randomly examining students and found a disturbing and growing incidence of what is known as noise-induced hearing loss. Usually, it means they've lost the ability to hear higher frequencies, evidenced at times by mild ear-ringing or trouble following conversations in noisy situations. Hearing specialists say they're also seeing more people in their 30s and 40s - many of them among the first Walkman users - who suffer from more pronounced tinnitus, an internal ringing or even the sound of whooshing or buzzing in the ears. "It may be that we're seeing the tip of the iceberg now," says Dr. John Oghalai, director of The Hearing Center at Texas Children's Hospital in Houston, who's treating more of this age group. "I would not be surprised if we start to see even more of this." Noise-induced hearing loss happens any number of ways, from attending noisy concerts and clubs to using firearms or loud power tools and even recreational vehicles (snowmobiles and some motorcycles are among the offenders). Today, doctors say many people also are wearing headphones, not just to enjoy music, but also to block out ambient noise on buses, trains or just the street. And all of it can contribute to hearing loss. "The tricky part is that you don't know early on. It takes multiple exposures and sometimes years to find out," says Dr. Colin Driscoll, an otologist at Minnesota's Mayo Clinic. One telltale sign that you've done damage to your ears is when you leave a loud venue with ringing ears. If you rest your ears, they might recover, at least partially, doctors say. But with repeated exposure comes more damage to the hair cells in the inner ear, which are key to good hearing. With long-lasting rechargeable batteries, people who use portable music players also are listening longer - and not giving their ears a rest, says Deanna Meinke, an audiologist at the University of Northern Colorado who heads the National Hearing Conservation Association's task force on children and hearing. Often, she says, people also turn up the volume to ear-damaging levels. A survey published this summer by Australia's National Acoustic Laboratories found, for instance, that about 25 percent of people using portable stereos had daily noise exposures high enough to cause hearing damage. And further research by Britain's Royal National Institute for Deaf People determined that young people, ages 18 to 24, were more likely than other adults to exceed safe listening limits. How much is too much? Meinke says a good rule of thumb comes from a study published in December: Researchers at Boston Children's Hospital determined that listening to a portable music player with headphones at 60 percent of its potential volume for one hour a day is relatively safe. Experts also recommend protecting hearing in other ways - standing away from loud speakers, for instance, and using hearing protection when using machinery at work, home or for recreation. Day, the DePaul student, concedes that she's never thought to carry ear plugs with her, as Driscoll at Mayo Clinic and others suggest. "So what if you gave them out at the door at the concert? Would people wear them more?" Driscoll asks. "I think some would." To that end, professional musicians have formed Hearing Education and Awareness for Rockers (HEAR) to promote hearing protection. And Meinke's committee is developing a teacher kit with a meter to show dangerous levels of sound - something educators in Oregon also have demonstrated with a Web-based program called Dangerous Decibels. "In the future," Meinke says, "I hope people will wear ear plugs the same as they wear their bike helmets or wear a seat belt." --- On the Net: Dangerous Decibels: http://www.dangerousdecibels.org Martha Irvine is a national writer specializing in coverage of people in their 20s and younger. She can be reached at mirvine(at)ap.org ------------------------------ Subject: RE: Headphone Use May Worsen Hearing Loss Date: Mon, 12 Sep 2005 16:57:45 -0400 Message-ID: <3CF87682970858499CA56707FB1F092B0A9248 [at] wscc-s-003000.westshore.edu> From: "Davis, Thomas J" -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jennie and Jerry Gorrell Sent: Monday, September 12, 2005 4:29 PM To: Stagecraft Subject: Headphone Use May Worsen Hearing Loss For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Interesting article from the AP Headphone Use May Worsen Hearing Loss September 12, 2005 1:11 PM EDT CHICAGO - Everywhere she turns, Angella Day sees people carrying=20 portable music players, often with the ear buds stuffed firmly in=20 place..... Thanks for posting this. I wonder how many copyrights I will violate if I show this to my own kids and the students here at the college. They did forget to mention the upside. I can tell when the levels go over 100 dB because my right ear shuts down. And I am not bothered by the high pitched whine from the heating system that drives some of the music students up the wall. I suspect most of the hearing damage I've had was machinery in the scene shop versus headsets, but it is one of the major occupational hazards we face in this business. Tom D ------------------------------ Message-Id: <200509122133.j8CLXBnf086708 [at] oz.plymouth.edu> From: "Robert Bruemmer" Subject: RE: Headphone Use May Worsen Hearing Loss Date: Mon, 12 Sep 2005 17:33:11 -0400 Organization: Plymouth State University In-Reply-To: This fits me to a "t", walkmans machinery, my tinnitus started when I was 10 years ago in my 30's..... It wasn't until two years ago that I was educated about the importance of hearing protection and I really started to pay attention to the level of the noise around me. I now insist that everyone in my shop wear hearing protection, It's no less important than eyewear.... Bob -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jennie and Jerry Gorrell Sent: Monday, September 12, 2005 4:29 PM To: Stagecraft Subject: Headphone Use May Worsen Hearing Loss For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Interesting article from the AP Headphone Use May Worsen Hearing Loss September 12, 2005 1:11 PM EDT CHICAGO - Everywhere she turns, Angella Day sees people carrying portable music players, often with the ear buds stuffed firmly in place. "They're very widespread," says Day, a senior at Chicago's DePaul University who regularly listens to music on her own iPod while studying or working out. "So addicting." ------------------------------ Message-Id: Date: Mon, 12 Sep 2005 17:41:42 -0400 From: "Jeffrey Kanyuck" Subject: Re: Rental/Liability >>> gkaufman [at] topeka.k12.ks.us 09/12/05 11:38 AM >>> For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I am a theatre teacher at a large high school with a 2000-seat proscenium stage. We have ongoing issues with our school district renting the auditorium to community groups. What I need is a source my superiors might listen to, i.e. a legal document, news story, something other than another 'theatre person' to tell them what we've been telling them over and over. Your best bet seems to be to hire a consultant on this. One that specializes in insurance or something of that sort. Jeff Kanyuck ------------------------------ Message-ID: From: "JAMES CRAIG" Subject: Tech theatre games Date: Mon, 12 Sep 2005 15:55:39 -0600 Does anyone on the list know any fun/educational technical theatre games for high school students? Jim ------------------------------ Message-ID: <000901c5b7e6$684fd2b0$0500a8c0 [at] lpt> From: References: Subject: Counterweight Rigging Operation Date: Mon, 12 Sep 2005 12:00:02 -0500 Organization: Minnesota Ballet Steve Boone wrote: yep, we do have such a critter. It's called a wire guide, double purchase, reverse rigged system. The one advantage is the newbie operators are facing the stage. The problems are many (arbors colliding, lots of weight in the arbors, the danger of dropped bricks heading straight for the wing, &tc.). I've seen many theaters with the wire guides in both single and double purchase and never liked the idea. Too many of the wire guides were loose and allowed the arbors to sway. In all the wire guide systems I've seen, only one impressed me. It was in a Mason Temple and had so many lines crammed that there was no room for the arbor to sway. You couldn't even get a pinky finger between the arbors, and with all of them down, it looked as solid as a wall. It was amazing to see how many lines they had stuffed into the small stage space. Each scene had a full backdrop and two sets of legs. The drops were impressive as well. Many mason temples keep their theaters in good order and love to give tours of their theater. Ken PSM / TM Minnesota Ballet ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <206.92aa0c9.30575755 [at] aol.com> Date: Mon, 12 Sep 2005 18:12:37 EDT Subject: Re: Stagecraft In a message dated 12/09/05 18:13:43 GMT Daylight Time, stagecraft [at] jeffsalzberg.com writes: > > > The district's liability here is huge, > > > bordering on the criminal. I'll say! Letting a crowd of people, of unknown competence, loose in a large theatre is criminally stupid. Even with trained and competent staff, and proper management, the theatre can be a dangerous place. We are an amateur theatre, and do better than that. Evry visiting company has s supervising TD, and a supervising LD, at least. If they have requested workshop facilities, a Workshop Supervisor will also be around. From a selfish point of view, these are there to stop them wrecking the place, and its equipment. But they also try to enforce safe working practices. How well they can do this depends on the letting contract. > > Assuming the district changes its policy and requires that outside users be > supervised, what liability is being incurred by the staff supervisor? Very large. Running around shows such as described needs a serious polymath. I've done most jobs in theatre, from time to time, but I shouldn't care to do this one, particularly the way safety rules are going. Who among us can check the construction of elevated platforms, flying, and electrics, to name only three aspects. Fire exits, pyro safety, evacuation procedures, are others that come to mind, plus ensuring the integrity of the premises ("No, you can't drill holes there!") You would need someone who knows the theatre from cellar to flies, and has all the technical skills. This is not a one man job. Three, or maybe four supervisors are neded, all with authority to say, "STOP!". Short of that, you are planning a feast for the lawyers if something goes badly wrong. Members of the visiting company sueing each other; everybody sueing the theatre management. Get the lawyers in early. Let the various responsabilities be defined. This will save you money. Frank Wood ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Stagecraft Date: Mon, 12 Sep 2005 18:21:54 -0400 Message-ID: <005f01c5b7e8$64e7b690$6701a8c0 [at] Dell> In-Reply-To: > In a message dated 12/09/05 18:13:43 GMT Daylight Time, > stagecraft [at] jeffsalzberg.com writes: > > > > > The district's liability here is huge, > > > > bordering on the criminal. No, I didn't...but I don't disagree. ------------------------------ Date: Mon, 12 Sep 2005 17:55:37 -0500 Subject: Re: Graduate student displaced by Katrina seeking school From: "Curtis L. Mortimore" Message-ID: In-Reply-To: Hello all, I realize this may be a few days late and it has nothing to do with Graduate study. That being said, Ball State University is among the numerous colleges and universities offering aid to students displaced by hurricane Katrina. The following is a link to the "starting point" for students interested in attending BSU. Feel free to contact me on or off list for further information. http://www.bsu.edu/update/article/0,1384,--35954,00.html Important note: We do not have any graduate programs of study in the Department of Theatre and Dance. Here is the link to our department website. http://www.bsu.edu/theatre/ Hope this finds you well, Regards. -- Curtis L. Mortimore Technical Director Ball State University Department of Theatre and Dance Muncie, IN 47306 765-285-8750 ------------------------------ Message-ID: Date: Mon, 12 Sep 2005 18:07:21 -0700 From: Mat Goebel Reply-To: mgoebel [at] gmail.com Subject: Re: Tech theatre games In-Reply-To: References: Some from out local community college theatre festival: Tech Tac Toe: Participants are given a 3x3 grid with the names of different tools/pieces of hardware on the grid. They have to dig through a big road case to find the correct pieces to place on a large grid that is painted on the ground. Give them a simple lighting plot. Time how long it takes to get it hung and circuited. Points are deducted for inaccuracies. Give them a stage plot. Time how long it takes them to spike it out, given only the centre line. Set them down at a lighting console in a theatre with a basic plot hung. Give them the paper work, have them programme a chase or other dynamic effect. Judge based on originality, coolness, etc. That's all that comes to mind; I know there's more that I can't think of right now. I'll post again if/when I remember. On 9/12/05, JAMES CRAIG wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- >=20 > Does anyone on the list know any fun/educational technical theatre games = for > high school students? >=20 >=20 > Jim >=20 >=20 >=20 --=20 Mat Goebel www.matgoebel.com Mobile: 510.693.1448 ------------------------------ From: MissWisc [at] aol.com Message-ID: <1aa.3e2b8941.305784cf [at] aol.com> Date: Mon, 12 Sep 2005 21:26:39 EDT Subject: Re: Headphone Use May Worsen Hearing Loss/fair use _TJDavis [at] westshore.edu_ (mailto:TJDavis [at] westshore.edu) writes: <> None, if you do it the right way! Fair use for educational purposes from printed media: As a TEACHER, you may make a SINGLE copy per student up to the number of students in your largest class (so if you teach 4 sections of a class with enrollements of 25, 26, 28 and 30, you can make 30 copies) and use it in class for instruction and testing purposes assuming it is less than 10% of the original source. A newspaper article should easily meet that criteria. After the class is completed, all copies must be distroyed. If you want to put it in an anthology, you need to secure the rights. If you want to have your local copy shop make the copies to sell to the students, you need to secure the rights. If you want to put it on your web page, you need to secure rights. If you want to use it as the basis of a play, you need to secure rights. Starting to make sense? See page 8 of this for more info: _http://www.copyright.gov/circs/circ21.pdf_ (http://www.copyright.gov/circs/circ21.pdf) (Guidelines I. B. and "Cumulative Effect" ii and iii.) Disclaimer: This is based on training received a few years back and a fast review of the US government publicaion cited above. I am not a lawyer nor do I play one on TV. Your educational institution should have a policy and if you follow that, they should back you. I AM one teacher, frustrated to the point of tears many times in the last 20 years, from trying to follow the rules to the best of my ability while being told "it's a school -- we can do whatever we want" or "no one will catch me." Bless you for caring enough to ask! Kristi ------------------------------ Message-ID: From: "Occy" Cc: stagecraft [at] jeffsalzberg.com References: Subject: Re: Lights for the deaf in Music Performances Date: Mon, 12 Sep 2005 18:34:00 -0700 That's why we have and use music stand lights for concerts that use colored light on the orchestra. ----- Original Message ----- From: "Jeffrey E. Salzberg" Subject: Re: Lights for the deaf in Music Performances >> You absolutely *may not* do anything that negatively impacts the players' > ability to read their music. This includes anything that would cast a > shadow or even change colors on the scores; at least one orchestra that I > know of has a contract provision that prohibits this. > > > ------------------------------ Message-ID: From: "Laura McMeley" Subject: RE: dwg viewer Date: Mon, 12 Sep 2005 22:35:44 -0500 In-Reply-To: I checked out the edrawings viewer because it was the only one which was truly free and not just a trial version. It works really nicely. Thanks Charlie. Laura 972-333-5016 > 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 ------------------------------ From: "ladesigners [at] juno.com" Date: Tue, 13 Sep 2005 05:00:20 GMT Subject: Re: Rental/Liability Message-Id: <20050912.220055.9571.397366 [at] webmail03.lax.untd.com> That person is Dr. Randall Davidson. Need I say more? /s/ Richard ___________________________________ Your best bet seems to be to hire a consultant on this. One that specializes in insurance or something of that sort. Jeff Kanyuck ------------------------------ From: MissWisc [at] aol.com Message-ID: Date: Tue, 13 Sep 2005 02:17:00 EDT Subject: Re: ASCAP, BMI and copywright _kightp [at] peak.org_ (mailto:kightp [at] peak.org) writes: <> If someone were to offer that as a service... a "copyright search" kind of like a title search on a home... what would you be willing to pay? $25? $50? per item. Kristi ------------------------------ Message-ID: <432671E4.7080803 [at] peak.org> Date: Mon, 12 Sep 2005 23:29:56 -0700 From: Pat Kight Subject: Re: ASCAP, BMI and copywright References: In-Reply-To: MissWisc [at] aol.com wrote: > _kightp [at] peak.org_ (mailto:kightp [at] peak.org) writes: > < 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.>> > If someone were to offer that as a service... a "copyright search" kind of > like a title search on a home... what would you be willing to pay? $25? $50? > per item. In order for it to be truly useful, it would need to be more than just a "who holds the rights" servicel as noted, information about how to acquire rights to use the music for various purposes would also be important. On our theater's budget, $10 per title would probably be our upper limit, considering how many shows we produce each year (9-10) and the fact that most of them need incidental/preshow music. -- Pat Kight kightp [at] peak.org ------------------------------ Date: Tue, 13 Sep 2005 08:28:49 +0100 (BST) From: Charlie Richmond Subject: Re: dwg viewer In-Reply-To: Message-ID: References: On Mon, 12 Sep 2005, Laura McMeley wrote: > I checked out the edrawings viewer because it was the only one which was > truly free and not just a trial version. It works really nicely. Thanks > Charlie. You are most welcome, Laura! Charlie ------------------------------ References: Message-Id: <375E4626-D288-4252-8A2F-0D5B5FDD1BA3 [at] appstate.edu> From: Greg Williams Subject: Fwd: Lights Fall on Catwalk Show (on behalf of Bill Sapsis) Date: Tue, 13 Sep 2005 04:18:26 -0400 From Bill in Merrie Olde England: Begin forwarded message: > I've been waiting to hear from my folks back home if we were > involved in > this one, or not. We weren't. > > On another note....I just saw "Billy Elliot". What a riot! Great > fun. A > real live singing and dancing musical. The kid playing Billy is > beyond > phenomenal and they do a send up on Margaret Thatcher that'll have you > rolling in the aisles. I'm sure this one will make it to the > States in the > near future but it won't be the same. If you're heading this way > you should > definitely put it on your 'to see' list > > Bill S. > > << > Herrick and listers, > > Know anybody that worked on this show? I lost the bid to put the > grid in a > few years back. Thank goodness I lost it, the install was a bit low- > budget > shall we say. I don't know if this is part of the permanent grid or > a temp > pipe that was added. > > <> > > "There were a couple of people backstage that were kind of upset, > but I > think they were just upset - rather than hurt," said one model. > ------------------------------ End of Stagecraft Digest #518 *****************************