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X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 28736172; Wed, 22 Mar 2006 23:08:29 -0800 X-Spam-Level: X-Spam-Checker-Version: SpamAssassin 3.1.0 (2005-09-13) on prxy.net X-Spam-Status: No, score=-2.2 required=5.0 tests=ADVANCE_FEE_1,AWL,BAYES_00, DISGUISE_PORN,INFO_TLD,NO_RECEIVED,NO_RELAYS,SARE_ADULT2 autolearn=no version=3.1.0 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 #740 Date: Wed, 22 Mar 2006 23:06:37 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-TFF-CGPSA-Version: 1.4 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #740 1. Re: Sore spot...Forte.....The Survey Says by Andy Ciddor 2. Re: micromanaging directors by Jim Hyslop 3. Re: Sore spot...Forte.....The Survey Says by Jim Hyslop 4. Re: Technical Timeline by Jim Hyslop 5. Re: Elipscan Motor Question by 6. Re: Technical Timeline by Charles Fraser 7. Re: Sore spot...Forte.....The Survey Says by "Jeffrey E. Salzberg" 8. Re: Lamp Recycling by "Delbert Hall" 9. Sore spot..Scrabble by "Stephen E. Rees" 10. Re: Sore spot..Scrabble by "Jeffrey E. Salzberg" 11. Re: Sore spot..Scrabble by Kevin Lee Allen 12. Re: micromanaging directors by "Jon Ares" 13. Re: "Broadway Bond" fiberglass repair? by Noemi Ybarra 14. Re: Sore spot..Scrabble by "chip.a.wood" 15. Re: Sore spot..Scrabble by "Zirngibl, Ryan John" 16. Re: [Fwd: Re: Anyone heard of the play?] by Noemi Ybarra 17. Re: Sore spot...Forte.....The Survey Says by Bruce Purdy 18. Re: Technical Timeline by Jim Hyslop 19. Re: Sore spot..Scrabble by Kevin Lee Allen 20. Re: Sore spot..Scrabble by Kevin Lee Allen 21. Re: Sore spot..Scrabble by Jim Hyslop 22. Re: Sore spot..Scrabble by "Paul Schreiner" 23. Tempest Tost by "Stephen E. Rees" 24. Re: Sore spot..Scrabble by "richard j. archer" 25. Re: Sore spot..Scrabble by SS 26. Re: micromanaging english speakers by "Don Taco" 27. Re: micromanaging english speakers by "Jeffrey E. Salzberg" 28. Re: Technical Timeline by Clive Mitchell 29. Re: micromanaging english speakers by "G. D. George" 30. Re: micromanaging english speakers by Clive Mitchell 31. Re: MO drama teacher resigns in play flap - Background by CB 32. Re: MO drama teacher resigns in play flap - Background by "Jeffrey E. Salzberg" 33. Re: micromanaging directors by "Kurt Cypher" 34. Re: Sore spot...Forte.....The Survey Says by MissWisc [at] aol.com 35. Re: Technical Timeline by Jim Hyslop 36. Re: Sore spot...Forte.....The Survey Says by "Jeffrey E. Salzberg" 37. Re: Sore spot...Forte.....The Survey Says by "Don Taco" 38. Re: Technical Timeline by Charles Fraser 39. Re: Technical Timeline by CB 40. TinyURL (was: Re: Mo. Drama Teacher Resigns in Play Flap) by CB 41. Re: Technical Timeline by "RD" 42. Re: Sore spot...Forte.....The Survey Says by CB 43. Re: Technical Timeline by CB 44. Re: TinyURL (was: Re: Mo. Drama Teacher Resigns in Play Flap) by Bruce Purdy 45. Re: Sore spot..Scrabble by "chip.a.wood" 46. Re: Ellipscan Problem by Robert Graham 47. Re: D.C. Fan Motor by "Steven Haworth" 48. Re: Technical Timeline by "RD" 49. Re: Tempest Tost by "Laurie Swigart" 50. Re: TinyURL (was: Re: Mo. Drama Teacher Resigns in Play Flap) by "Patrick Immel" 51. rehearsal cube drawing by "Patrick Immel" 52. Re: Technical Timeline by Clive Mitchell 53. Re: MO drama teacher resigns in play flap - Background by Charlie Richmond 54. Bunny Ears by "Ryan Bible" 55. Re: Technical Timeline by Charlie Richmond 56. Quilter's quilt by "Kirk Wahamaki" 57. Re: Bunny Ears by "Bill Brinsley" 58. Re: Sore spot...Forte.....The Survey Says by Charlie Richmond 59. Re: directors taking over as lighting designers. by "Riter, Andrew $Head Ltg$" 60. Re: micromanaging directors by FrankWood95 [at] aol.com 61. Re: Sore spot...Forte.....The Survey Says by FrankWood95 [at] aol.com 62. Re: Sore spot...Forte.....The Survey Says by FrankWood95 [at] aol.com 63. Re: Technical Timeline by FrankWood95 [at] aol.com 64. Re: micromanaging english speakers by FrankWood95 [at] aol.com 65. Re: Ellipscan Problem by "Jeffrey E. Salzberg" 66. Re: Ellipscan Problem by "Scott Parker" 67. Re: Sore spot...Forte.....The Survey Says by Stephen Litterst 68. Entertainment Industry Drafting Survey by "Dennis Dorn" 69. Re: rehearsal cube drawing by Dale Farmer 70. Re: Sore spots by Paul Guncheon 71. Re: Pneumatics Help... by Paul Guncheon 72. Re: Pneumatics Help... by Bruce Purdy 73. Re: Sore spots by Bruce Purdy 74. Re: micromanaging english speakers by "Don Taco" *** 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: <4.3.2.7.2.20060322224458.02d8e458 [at] pop3.kilowatt.com.au> Date: Wed, 22 Mar 2006 23:08:35 +1100 From: Andy Ciddor Subject: Re: Sore spot...Forte.....The Survey Says In-Reply-To: References:

The English language is what we are speaking today, not something enshrined in a decades-old dictionary. As every lexicographer will tell you, a dictionary is an attempt to capture a snapshot of the language at a particular moment in time. Some even give you the origins and usages of words at various times in their history. (Of the 7 or 8 dictionaries within arm's reach, the two volume Shorter Oxford, with its wonderful historical notes, is my very favourite). Despite the impression many of us were given when we were learning about our language at school/college/university, dictionaries are not a definitive model for all future language use. If common usage of the moment pronounces the word as "forteh" or "fortee" or even "fore", than that is the *correct* pronunciation for now. Has anybody noticed that we no longer speak Chaucer's English? It happened in little steps, and at each of those steps someone was complaining that people just don't have any respect for the correct usage of language any more. Andy ------------------------------ Message-ID: <4421472F.6030700 [at] dreampossible.ca> Date: Wed, 22 Mar 2006 07:46:39 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: micromanaging directors References:

In-Reply-To: Don Taco wrote: > Hmm. I don't 'communicate artistic ideas' when I play director. I > 'boss actors around.' I didn't see a smiley, so I don't know whether you were joking or not. Maybe that's your problem - you're just "playing" director, instead of "being" a director :-) There's a lot more to directing a show than just bossing actors around. The director has to set the artistic vision for the show, and must be able to communicate that idea to everyone. -- Jim Hyslop ------------------------------ Message-ID: <4421523F.6030305 [at] dreampossible.ca> Date: Wed, 22 Mar 2006 08:33:51 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: Sore spot...Forte.....The Survey Says References:

In-Reply-To: Paul Guncheon wrote: > So what is being said here? That people who don't know how to correctly > use the language are going to determine the rules? Aren't the goals set > by the highest achiever rather than the lowest? The rules for language usage are set by common use. If that were not the case, then we would all still be speaking Babylonian or some other ancient language. Languages are living things - they evolve, and morph into other languages. For example, Latin became Roman which became the Romance languages. Nobody speaks Latin or Roman anymore, but plenty of people speak French, Italian, Romanian, and so on. For that reason, I think it will not be long before acceptable usage will include using an apostrophe to indicate plural . -- Jim Hyslop ------------------------------ Message-ID: <44215362.9000705 [at] dreampossible.ca> Date: Wed, 22 Mar 2006 08:38:42 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: Technical Timeline References:

In-Reply-To: Kate Daly wrote: [noisy, inconsiderate crew] > One of them said "yeah, well, lady, it's not like we're getting > paid much" Ah, they haven't grasped what I frequently push: you don't have to /be/ a professional to /act/ professionally. > -- to which I replied "Well, dear, I'm not getting paid at > all. And I'm getting my money's worth." Which made *no* sense, > actually, but had the desired effect. Well, you know what they say - if you can't dazzle them with brilliance, baffle them with bulls**t. -- Jim Hyslop ------------------------------ Message-ID: <001301c64db6$9fa846f0$e4eb490a [at] lpt> From: References: Subject: Re: Elipscan Motor Question Date: Wed, 22 Mar 2006 07:34:33 -0600 Organization: Minnesota Ballet I have one and it's only loud when it's starting up. Once it's done doing it's warm-up routine, it's really quiet. What type of theatre are you using it in? I could understand if you were in a black box with the Elipscan only 10 feet over head, but with a normal 25' trim and behind a couple of thick black borders I've never heard it Kenneth Pogin Production Manager Minnesota Ballet ------------------------------ Message-ID: <44215524.2060603 [at] charliefraser.com> Date: Wed, 22 Mar 2006 08:46:12 -0500 From: Charles Fraser Subject: Re: Technical Timeline References:

In-Reply-To: If they worked for me they would be the quickest ex tech people in NJ. And, if they were student's getting credit I would be meeting their prof ;-) Charlie Kate Daly wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > At 09:05 AM 3/21/2006, Jim Hyslop wrote: > >> I'm not convinced you're actually fooling them. I suspect a lot of them >> (or some of them, at least) will later kvetch about how patronizing >> young people are these days. > > > A-yup. I went to a show recently and (since we arrived late) had to > sit right in front of the console where the young light ops were > running the lights ... and turning the pages of their magazines loudly > ... and eating their crunchy pretzels ... and slurping their sodas. I > was furious, and embarrassed for the actors. At intermission I asked > them (politely, I swear) if they could be a little quieter in the > second half. One of them said "yeah, well, lady, it's not like we're > getting paid much" -- to which I replied "Well, dear, I'm not getting > paid at all. And I'm getting my money's worth." Which made *no* > sense, actually, but had the desired effect. They piped the flock down. > -Kate > > > ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Sore spot...Forte.....The Survey Says Date: Wed, 22 Mar 2006 08:51:01 -0500 Message-ID: <000001c64db7$a7b02290$6501a8c0 [at] Dell> In-Reply-To: > For that reason, I think it will not be long before > acceptable usage will include using an apostrophe to indicate > plural . As Dave Barry says, "An apostrophe does not mean, 'Yikes! Here comes an ess!'" ------------------------------ Message-ID: Date: Wed, 22 Mar 2006 09:42:10 -0500 From: "Delbert Hall" Subject: Re: Lamp Recycling In-Reply-To: References:

Check your yellow pages under "recycling." We have a facility in my town (Southeast Recycling Technologies, Inc.) that recycles florescent and HID lamps, and CRT screens. Call them at 423-282-2022, and they can probably answer all your questions -Delbert -- Delbert L. Hall ZFX Flying Director Phone: 714-585-7070 ------------------------------ Message-ID: <442165AF.30905 [at] fredonia.edu> Date: Wed, 22 Mar 2006 09:56:47 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Sore spot..Scrabble References:

However, I do love those aged "snapshots" of the language found in those old dictionaries because they are a font of two and three letter words for Scrabble. :) The fun ones are not necessarily in the newer dictionaries. Steve Andy Ciddor wrote: > The English language is what we are speaking today, not something > enshrined in a decades-old dictionary. > As every lexicographer will tell you, a dictionary is an attempt to > capture a snapshot of the language at a particular moment in time. ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Cc: Rees [at] fredonia.edu Subject: RE: Sore spot..Scrabble Date: Wed, 22 Mar 2006 10:04:21 -0500 Message-ID: <000301c64dc1$e6a9ea80$6501a8c0 [at] Dell> In-Reply-To: > > The English language is what we are speaking today, not something > > enshrined in a decades-old dictionary. > > As every lexicographer will tell you, a dictionary is an attempt to > > capture a snapshot of the language at a particular moment in time. When language evolves as a necessity, that's a Good Thing; when mutations are the result of ignorance, laziness, and stupidity, that's a Bad Thing, and communication suffers by having a lower level of specificity. ------------------------------ Date: Wed, 22 Mar 2006 10:10:29 -0500 From: Kevin Lee Allen Subject: Re: Sore spot..Scrabble In-reply-to: Message-id: References:

what r u s8ing? On Mar 22, 2006, at 10:04 AM, Jeffrey E. Salzberg wrote: > When language evolves as a necessity, that's a Good Thing; when =20 > mutations > are the result of ignorance, laziness, and stupidity, that's a Bad =20 > Thing, > and communication suffers by having a lower level of specificity. ----- Kevin Lee Allen Architect of Dreams http://www.klad.com 973.744.6352.voice 201.280.3841.mobile klad [at] klad.com =F0 ------------------------------ Message-ID: <000801c64dc3$551fd9b0$0600000a [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: micromanaging directors Date: Wed, 22 Mar 2006 07:14:36 -0800 > Don Taco wrote: >> Hmm. I don't 'communicate artistic ideas' when I play director. I >> 'boss actors around.' > > I didn't see a smiley, so I don't know whether you were joking or not. > Don's humor is fairly dry and sardonic. Don't read too much into his actor-bashing. :) - Jon Ares www.hevanet.com/acreative ------------------------------ Message-ID: <44216B61.F1B287EB [at] jonesphillips.com> Date: Wed, 22 Mar 2006 10:21:05 -0500 From: Noemi Ybarra Subject: Re: "Broadway Bond" fiberglass repair? References:

If Broadway Bond is no longer made, there are certainly lots of fiberglass/epoxy products in the marine industry. Noemi Ybarra -- Jones & Phillips Associates, Inc. http://www.jonesphillips.com 301 North 5th Street Lafayette, Indiana 47901 765-423-1123 (Voice) 765-742-4013 (Fax) Allison Koster wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Is anyone familiar with a product that used to be available called > "Broadway Bond", which was a mini fiberglass product that was very useful > for repairing prop-type items (example: broken cup handles)? Is the > product still made? If so, where can it be purchased? Any help would be > appreciated.... > > Allison Koster > LD/ATD > Carleton College > Northfield, MN ------------------------------ Reply-To: From: "chip.a.wood" Cc: stagecraft [at] jeffsalzberg.com Subject: RE: Sore spot..Scrabble Date: Wed, 22 Mar 2006 08:28:59 -0700 Message-ID: In-Reply-To: Ah, but you have jumped to a possible wrong conclusion- "...having a lower level of specificity." Often it is the refining of specificity that is leading the way to language evolving. We need a new word or different nuance of an old word or a change in grammar to get exactly the right meaning. The emoticons are an example. Since we are dealing here with ONLY printed language, they quickly evolved to help express our exact meaning or at least a close approximation. Show me an emoticon in ANY dictionary! How do we parse them? The Internet chat rooms, "texting" on a phone, and yes, listserves have been the biggest change in printed language since the Guttenberg Bible. Chip > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Jeffrey > When language evolves as a necessity, that's a Good Thing; when mutations > are the result of ignorance, laziness, and stupidity, that's a Bad Thing, > and communication suffers by having a lower level of specificity. > ------------------------------ Subject: RE: Sore spot..Scrabble Date: Wed, 22 Mar 2006 09:32:27 -0600 Message-ID: <5CF1C3D95785A143A3E33ACFD864609B03834705 [at] PEPSI.uwec.edu> From: "Zirngibl, Ryan John" Cc: stagecraft [at] jeffsalzberg.com <<<>>> I remember not all that long ago when the word "ain't" well....wasn't a = word and in school we were punished for using such poor English. About = a year and a half ago in one dictionary or another I noticed that it = made it's way in, that was a sad day in my opinion.=20 =20 Ryan J. Zirngibl University of Wisconsin-Eau Claire Student-Theatre Arts Scenic Designer =20 --=20 No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.1.385 / Virus Database: 268.2.6/287 - Release Date: 3/21/2006 =20 ------------------------------ Message-ID: <44216DC0.B4EFFAB8 [at] jonesphillips.com> Date: Wed, 22 Mar 2006 10:31:12 -0500 From: Noemi Ybarra Subject: Re: [Fwd: Re: Anyone heard of the play?] References: I just finished reading the BOOK Tempest Tost. 'Twas very entertaining. Noemi Jim Hyslop wrote: > Michael Beyer has this additional bit of information about the play I > mentioned. > > Jim, > > For somereason my gmail account won't send stuff to the listserve, it always > sends it back. The play you talk about is called Tempest Tost. I just > closed it on Sunday. We were the American Premeir. It was only > performed one other time at Stratford about three or so years ago. Written > by Richard Rose of Toronto. > > It is about a Canadian Community theatre putting on the tempest with a > Hometown Director who had gone to NYC and is desparate for work. Fairly > funny. > > Michael > > On 3/9/06, Jim Hyslop wrote: > > --------------------------------------------------- > > > > Steve Jones wrote: > > > Looking for info on a play I believe is titled "Off-Staged". Supposedly > > > about a community theatre group trying to put on a play? Couldn't find it > > > > on Sam French or Dramatists. > > > > > > Any pointers toward getting a copy of the script appreciated! > > > > Haven't heard of that one, but I thought I'd heard of one called > > "Tempest Tossed," which takes place backstage of a community theatre > > group putting on "The Tempest". I can't find any references through > > google or on Sam French, though. > > > > -- > > Jim Hyslop ------------------------------ Date: Wed, 22 Mar 2006 10:41:09 -0500 Subject: Re: Sore spot...Forte.....The Survey Says From: Bruce Purdy Message-ID: In-Reply-To: > The English language is what we are speaking today, not something enshrined > in a decades-old dictionary. > This is certainly true. At the same time, the language also depends on us old curmudgeons to keep it from changing *too* fast. Just because it is abused by many doesn't make it right to do so ourselves. The organic nature of language is often cited as an "excuse", when in reality it's a anarchistic cop-out. Otherwise, Jim Hyslop's example: > Anyways, I dont think its much use in complaining. People are going to > misuse thing's irregardless. could be considered perfectly acceptable! > Despite the impression many of us were given when we were learning about > our language at school/college/university, dictionaries are not a > definitive model for all future language use. > True again, but I believe a differentiation could be made between definitions, and rules for the use of the language. Definitions of words change and evolve rapidly - too rapidly for me at times - but are part of the way language works. "My what a gay outfit you're wearing!" has changed it's meaning a bit in my lifetime. Proper punctuation and other language rules evolve much more slowly. Language rules, like most rules can certainly be bent and even broken if for a good (artistic?) reason. Before doing so, you must first understand the rules, know that you are bending/breaking them, and why you are doing so. To haphazardly disregard the rules as so many do, is simply sloppy and lazy. > If common usage of the moment pronounces the word as "forteh" or "fortee" > or even "fore", than that is the *correct* pronunciation for now. > Pronunciation is yet another area - which also varies widely at any given time, based on regional as well as socio-economic considerations. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <44217524.50703 [at] dreampossible.ca> Date: Wed, 22 Mar 2006 11:02:44 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: Technical Timeline References:

In-Reply-To: Charles Fraser wrote: > If they worked for me they would be the quickest ex tech people in NJ. > And, if they were student's getting credit I would be meeting their prof Oh, yes, students getting credit - that reminds me. Last year I worked on a production of "Sleuth", and we arranged for some students to come in to make latex appliances for one of the actors. The students spent $400 on molding stuff, latex, etc., took a cast of the actor's face, then disappeared. We didn't get anything out of them, not even the casts they had made (as I recall, they screwed up the first one and had to make a second cast). The producer, to put it mildly, was furious. We ended up calling in a friend of the actor, who happens to have connections in the local film industry. Those two students are now blacklisted with Toronto's IATSE film local. -- Jim Hyslop ------------------------------ Date: Wed, 22 Mar 2006 11:03:49 -0500 From: Kevin Lee Allen Subject: Re: Sore spot..Scrabble In-reply-to: Message-id: <8A6B73B5-DE93-4813-984C-9B46C8844A8B [at] klad.com> References:

and what would Dickens, Fitzgerald, Hemmingway or >insert favorite =20 author here< have been without emoticons? On Mar 22, 2006, at 10:28 AM, chip.a.wood wrote: > The emoticons are an example. Since we are dealing here with ONLY =20 > printed > language, they quickly evolved to help express our exact meaning or =20= > at least > a close approximation. Show me an emoticon in ANY dictionary! How =20= > do we > parse them? The Internet chat rooms, "texting" on a phone, and yes, > listserves have been the biggest change in printed language since the > Guttenberg Bible. ----- Kevin Lee Allen Architect of Dreams http://www.klad.com 973.744.6352.voice 201.280.3841.mobile klad [at] klad.com =F0 ------------------------------ Date: Wed, 22 Mar 2006 11:05:25 -0500 From: Kevin Lee Allen Subject: Re: Sore spot..Scrabble In-reply-to: Message-id: <8C020A52-9A6F-4B4B-ABA1-199394110C55 [at] klad.com> References: absolutely agreed. I hate to even admit I use the term, but only i =20 cases where I am trying to draw attention to stupidity. On Mar 22, 2006, at 10:32 AM, Zirngibl, Ryan John wrote: > I remember not all that long ago when the word "ain't" =20 > well....wasn't a word and in school we were punished for using such =20= > poor English. About a year and a half ago in one dictionary or =20 > another I noticed that it made it's way in, that was a sad day in =20 > my opinion. ----- Kevin Lee Allen Architect of Dreams http://www.klad.com 973.744.6352.voice 201.280.3841.mobile klad [at] klad.com =F0 ------------------------------ Message-ID: <442176BA.7070800 [at] dreampossible.ca> Date: Wed, 22 Mar 2006 11:09:30 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: Sore spot..Scrabble References: In-Reply-To: chip.a.wood wrote: > Ah, but you have jumped to a possible wrong conclusion- "...having a lower > level of specificity." Often it is the refining of specificity that is > leading the way to language evolving. We need a new word or different > nuance of an old word or a change in grammar to get exactly the right > meaning. On the other hand, words that have a specific meaning are sometimes abused to the point that their usage becomes meaningless. The word "unique" is a case in point. Thanks to the abuse it's received by the advertising industry, it no longer means one-of-a-kind, but is a synonym for unusual, extraordinary, exotic, etc. While there are many synonyms for "extraordinary", "unique" is the only word in the English language (that I'm aware of) which means one-of-a-kind. So now we have to say "unique and one-of-a-kind" when we really mean "unique." -- Jim Hyslop ------------------------------ Subject: RE: Sore spot..Scrabble Date: Wed, 22 Mar 2006 11:12:24 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A042A9BAC [at] exchange.rmwc.edu> From: "Paul Schreiner" > absolutely agreed. I hate to even admit I use the term, but only i =20 > cases where I am trying to draw attention to stupidity. >=20 > > I remember not all that long ago when the word "ain't" > > well....wasn't a word and in school we were punished for=20 > using such =20 > > poor English. About a year and a half ago in one dictionary or =20 > > another I noticed that it made it's way in, that was a sad day in =20 > > my opinion. I once thought so, too...but then I find that there are times where "ain't" carries *just* the right connotation...think of the slight difference in emphasis between, for example, "That's not going to work," and "That just ain't gonna fly!" As someone else posted earlier, it's all about specificity in communication. We've got an infinite number of variables and emotions and so forth to communicate, and a finite number of words and language constructs to do it with. Bending the rules and the definitions and the terms of "acceptable" usage are really the only ways (short of inventing new words out of thin air) to help get that perfect point across. ------------------------------ Message-ID: <44217D9F.2050601 [at] fredonia.edu> Date: Wed, 22 Mar 2006 11:38:55 -0500 From: "Stephen E. Rees" Reply-To: Rees [at] fredonia.edu Subject: Tempest Tost References:

Robertson Davies (author of the BOOK) is one of my favorite writers of all time. Was not aware it had become a play. I saw so many of the amateur theatricals of my youth in the pages of that book. Steve Rees Noemi Ybarra wrote: > I just finished reading the BOOK Tempest Tost. 'Twas very entertaining. ------------------------------ Message-Id: In-Reply-To: References: Date: Wed, 22 Mar 2006 11:54:03 -0500 From: "richard j. archer" Subject: Re: Sore spot..Scrabble I always liked pointing out to my learned associates here that when I learned how to spell semeiotics it was spelled as I have just written; it's etymology from the Greek observant/interpret signs. Now it is commonly spelled semiotics which, if you did not know the meaning, one might suppose was from a Latin root and had something to do with half of something else, maybe an ear or vision. This from people who supposedly look for meaning in texts through artificial and natural constructions of language. Of course, this means you'd need some knowledge of Greek or Latin so that probably leaves out most of us (I might have learned some but that was eons ago--- some would tell me that it was about when it was spoken) Dick A TD, Cornell U ------------------------------ Message-ID: <8231e7ea0603220935q69b0058fl6f348241f27e7f50 [at] mail.gmail.com> Date: Wed, 22 Mar 2006 12:35:46 -0500 From: SS Subject: Re: Sore spot..Scrabble In-Reply-To: References: >>>>Bending the rules and the definitions and the terms of "acceptable" usage are really the only ways (short of inventing new words out of thin air) to help get that perfect point across.<<<< As is the case with my new favorite word, coined by Stephen Colbert and voted as "word of the year" by the American Dialect Society: Truthiness. http://tinyurl.com/dlkfe -SS TTS-EKU "Just for the record...The weather today is slightly sarcastic with a good chance of A) Indifference and B) Disinterest in what the critics say" --BU ------------------------------ Message-ID: <02af01c64ddb$27001050$e28aaa43 [at] DonTaco> From: "Don Taco" References:

Subject: Re: micromanaging english speakers Date: Wed, 22 Mar 2006 10:05:05 -0800 > Don's humor is fairly dry and sardonic. Don't read too much into his > actor-bashing. :) > > - Jon Ares Hmm again. That's the second time lately that I've been called sardonic. Don't make me buy a new dictionary and find out what it means this year. What I love about having this 60 year old 12 pound dictionary handy is that you never know what you'll stumble into that is or isn't there, or that has changed over time or been forgotten (what modern dictionary bothers to record words that were obsolete 100 years ago? Only a very good one.) Forte is a good example. This dictionary does not support the pronunciation I was taught in school, which I believe to be common usage now. That's an interesting disvovery. Adolph Hitler is a German statesman who hasn't a date of death. And then there's the things you find by accident, like riffing through the huge daunting old wooden box library card catalogs. Things related solely by their proximity in the alphabet. Such as segar noun, See cigar or seggar noun Same as saggar. Fascinating. ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: micromanaging english speakers Date: Wed, 22 Mar 2006 13:11:09 -0500 Message-ID: <000601c64ddb$ff074180$6501a8c0 [at] Dell> In-Reply-To: =20 > Hmm again. That's the second time lately that I've been=20 > called sardonic.=20 > Don't make me buy a new dictionary and find out what it means=20 > this year. sar=B7don=B7ic (s=E4r-dnk) adj: Of or about a New York City restaurant. ------------------------------ Message-ID: Date: Wed, 22 Mar 2006 18:24:57 +0000 From: Clive Mitchell Subject: Re: Technical Timeline References:

In-Reply-To: In message , Jim Hyslop writes >Oh, yes, students getting credit - that reminds me. Last year I worked >on a production of "Sleuth", and we arranged for some students to come >in to make latex appliances for one of the actors. The students spent >$400 on molding stuff, latex, etc., took a cast of the actor's face, >then disappeared. We didn't get anything out of them, not even the >casts they had made (as I recall, they screwed up the first one and had >to make a second cast). The producer, to put it mildly, was furious. > The key word here being "students". If they were doing appliances for the first time then they had a steep learning curve, since the whole process of taking the cast then making the appliances is punctuated throughout with things that can go wrong. They may have tried several times without success, and the professional materials cost an absolute fortune. The industry experts have all been through the disasters involved in prosthetics and it's the long term experience that counts. >We ended up calling in a friend of the actor, who happens to have >connections in the local film industry. Those two students are now >blacklisted with Toronto's IATSE film local. That was well out of order. We've all f*cked up at some point in the early stages of our careers and it doesn't deserve that. It doesn't say much about the union if it went along with that. -- Clive Mitchell http://www.bigclive.com ------------------------------ From: "G. D. George" Subject: RE: micromanaging english speakers Date: Wed, 22 Mar 2006 13:28:51 -0500 In-Reply-To: Message-ID: A saggar is a now obsolete anti-tank missile. Isn't it? :-) Jerry G. D. George Assistant Professor and Technical Director Capital University Theatre Department of Communications 1 College and Main Columbus, OH 43209 (614) 236-6498 ggeorge [at] capital.edu -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Don Taco Sent: Wednesday, March 22, 2006 1:05 PM To: Stagecraft Subject: Re: micromanaging english speakers For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > Don's humor is fairly dry and sardonic. Don't read too much into his > actor-bashing. :) > > - Jon Ares Hmm again. That's the second time lately that I've been called sardonic. Don't make me buy a new dictionary and find out what it means this year. What I love about having this 60 year old 12 pound dictionary handy is that you never know what you'll stumble into that is or isn't there, or that has changed over time or been forgotten (what modern dictionary bothers to record words that were obsolete 100 years ago? Only a very good one.) Forte is a good example. This dictionary does not support the pronunciation I was taught in school, which I believe to be common usage now. That's an interesting disvovery. Adolph Hitler is a German statesman who hasn't a date of death. And then there's the things you find by accident, like riffing through the huge daunting old wooden box library card catalogs. Things related solely by their proximity in the alphabet. Such as segar noun, See cigar or seggar noun Same as saggar. Fascinating. ------------------------------ Message-ID: <5bFnanSbfZIEFwcr [at] ntlworld.com> Date: Wed, 22 Mar 2006 18:30:51 +0000 From: Clive Mitchell Subject: Re: micromanaging english speakers References:

In-Reply-To: >sar=B7don=B7ic (s=E4r-dnk) adj: Smelling strongly of fish. As in pussy. --=20 Clive Mitchell http://www.bigclive.com ------------------------------ Message-Id: <3.0.6.32.20060322120757.00d36208 [at] pop.west.cox.net> Date: Wed, 22 Mar 2006 12:07:57 From: CB Subject: Re: MO drama teacher resigns in play flap - Background > Sorry to dredge up old threads, and I'll admit that these things both >happen all the time, but I'm just a bit surprised that no one else mentioned >their appearance in the article. I thought about both issues, and the fact that the principal got to approve the stage choices, and then did so without reading the script, but all that paled in the harsh light of the religious zealotry doing its fascist totalitarian dictator imitation. I'm all for folks having a strong belief structure, undtil it starts to believe that I'm bad becauseI don't share it. It's just downright un-American! Remember, it was religious xealotry that brought us the death of Jesus *and* the Inquisition *and* the destruction of teh twin towers of the WTC. You can take things too far. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: MO drama teacher resigns in play flap - Background Date: Wed, 22 Mar 2006 14:16:02 -0500 Message-ID: <000b01c64de5$0f9af1a0$6501a8c0 [at] Dell> In-Reply-To: =20 > I'm all for folks having a strong belief=20 > structure, undtil it starts to believe that I'm bad becauseI=20 > don't share it. I don't care if they think I'm bad for not sharing their beliefs...it's = when they try to impose such sharing upon me that I object.=20 ------------------------------ Message-ID: Date: Wed, 22 Mar 2006 14:24:24 -0500 From: "Kurt Cypher" Subject: Re: micromanaging directors In-Reply-To: References:

On 3/21/06, Jim Hyslop wrote: > FrankWood95 [at] aol.com wrote: > > If, and only if, they can TELL you what they want. Some can, and some = can't. > > Pardon my naivete, but how can someone become a director if they are not > able to communicate their artistic ideas? > > -- > Jim Hyslop I see it happen a lot in community theater, where someone thinks they're ready to direct, has built up experience in various aspects of putting on a play, the powers-that-be give them the opportunity to direct a show, and THEN you find out that they couldn't direct their way out of a wet paper bag with one end wide open. Or, a show is coming up and the person who was scheduled to direct has to back out, so the powers-that-be are desperate to find a director, and will take the first person who agrees to do it, no matter their experience. In both cases, been there, done that, both as an actor and as a part of the crew. Kurt ------------------------------ From: MissWisc [at] aol.com Message-ID: <29d.7b8eb25.3152fea8 [at] aol.com> Date: Wed, 22 Mar 2006 14:25:28 EST Subject: Re: Sore spot...Forte.....The Survey Says theatre [at] dreampossible.ca writes: << For that reason, I think it will not be long before acceptable usage will include using an apostrophe to indicate plural . >> I think it was EB White in Elements of Style that suggested < 's > be plural for everything. We're already seeing "nite" and "lite" and "site" (as in something seen, not location) as accepted usage. Double negatives, street slang, and "ad-ease" are accpeted, depending on the culture being marketed too. New inventions add new words - Computer is "computer" in most languages. More English words (or cognates of them) are added to non-English languages. (Much to the chagrin of the French!) In some parts of the USA, "Spanglish" or "Chicano speak" are the predominant language. My two closet friends both grew up speaking Spanish at home and English at school. Both still ask me what the correct English term is sometimes. They also teaching me street Spanish, which has come in handy several times already. Just as with theatre, communication is getting your audience to understand what you mean to say. Ryan said << I remember not all that long ago when the word "ain't" well....wasn't a word and in school we were punished for using such poor English. >> Juse please use it correctly! It's a plural negative contraction for "are not" "You (all) ain't going to the movies with me." is correct. "I ain't taking you." isn't. (LOL!) My personal pet peeves... people using "that" when "who" (or whom) is appropriate. Geroge is the employee that you need. (becomming accepted, but not the best choice) George is the employee who(m) you need. (better) Using "was" with conditions contratry to fact If I was a rich man ... (wrong!) If I were a rich man ... (correct!!! The song has it right!) "Valley Girl" use of like... It was like so like cool to like see him in person, like you know? And finally... stagehands (or anyone else) who can't get through a sentence without the F word. It's a verb, not an adjective, and should be used rarely if at all. The exception is the noun usage in "cluster f_ _ _" because "tangled mess of cables" doesn't adequately describe the situation, even if you are using the phrase to describe someone's lack of organization. Finally - about IA and the two students who stole from an employer and disappeared. I wouldn't want to work with them, and wouldn't want the IA to send them to me as part of the crew. They are thieves and unreliable. If they were really out to get the kids, they would have turned the matter over to the police as theft. I'd also stop accpeting recommendations from their teacher and would have a LONG talk with him/her about what is expected on the job. Kristi ------------------------------ Message-ID: <4421A5A8.2070903 [at] dreampossible.ca> Date: Wed, 22 Mar 2006 14:29:44 -0500 From: Jim Hyslop Organization: Dreampossible Inc. Subject: Re: Technical Timeline References:

In-Reply-To: Clive Mitchell wrote: > If they were doing appliances for the first time then they had a steep > learning curve, since the whole process of taking the cast then making > the appliances is punctuated throughout with things that can go wrong. > They may have tried several times without success, and the professional > materials cost an absolute fortune. One thing I neglected to mention - the producer tried many times to get hold of them to find out what the status was. These students did not return any calls. We had no feedback from them whatsoever - *that* is what got the producer the most upset, and there's no excuse for it. -- Jim Hyslop ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Sore spot...Forte.....The Survey Says Date: Wed, 22 Mar 2006 14:30:42 -0500 Message-ID: <000c01c64de7$1c229390$6501a8c0 [at] Dell> In-Reply-To: > George is the employee who(m) you need. (better) "Who". It's objective case ( you wouldn't say, "I need he"). I reject the premise, though, as I've never much cared for George.... ------------------------------ Message-ID: <030301c64de8$89690370$e28aaa43 [at] DonTaco> From: "Don Taco" References: Subject: Re: Sore spot...Forte.....The Survey Says Date: Wed, 22 Mar 2006 11:40:47 -0800 From: "Jeffrey E. Salzberg" > >> George is the employee who(m) you need. (better) > > "Who". It's objective case ( you wouldn't say, "I need he"). > > I reject the premise, though, as I've never much cared for George.... > Curiously enough, George is the first baseman you need. Who? ------------------------------ Message-ID: <4421A86E.1050603 [at] charliefraser.com> Date: Wed, 22 Mar 2006 14:41:34 -0500 From: Charles Fraser Subject: Re: Technical Timeline References:

In-Reply-To: Perhaps it is youth, when I was a student it was known if you were anything less than 150% on your best behavior and 150% reliable on outside engagements your success in the academic program was in serious danger. If our teacher got any negative feedback whatsoever there were big problems. Also, it was not uncommon for Bob to pop in unannounced on outside assignments to check up. Charlie Jim Hyslop wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Clive Mitchell wrote: > > >>If they were doing appliances for the first time then they had a steep >>learning curve, since the whole process of taking the cast then making >>the appliances is punctuated throughout with things that can go wrong. >>They may have tried several times without success, and the professional >>materials cost an absolute fortune. >> >> > >One thing I neglected to mention - the producer tried many times to get >hold of them to find out what the status was. These students did not >return any calls. We had no feedback from them whatsoever - *that* is >what got the producer the most upset, and there's no excuse for it. > > > ------------------------------ Message-Id: <3.0.6.32.20060322125821.00d36208 [at] pop.west.cox.net> Date: Wed, 22 Mar 2006 12:58:21 From: CB Subject: Re: Technical Timeline >I'm not convinced you're actually fooling them. I suspect a lot of them >(or some of them, at least) will later kvetch about how patronizing >young people are these days. It sure put the brakes on the guy that was screaming at me, red-faced with veins pulsing in his neck and forehead and a hearing aide in each ear, that I don't know how to mix klesmer and that it should never be that loud. Again, this isn't how I deal with every patron, just those that suggest that I don't know what I'm doing, and won't be assuaged unless they get their way. I usually try to give everyone the benefit of the doubt, and truly believe that honesty and courtesy are the best tools in my arsenal to deal with almost any social problem. As with any problem, though, after a while of not getting results that you need to get with teh delicate adjustment tools, you end up with the big hammer! If I have to be patronizing to get someone to leave me alone without making a scene, you can be assured they've earned it. Ask the little old ladies that usher at the opera. They love me. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20060322130517.00d36208 [at] pop.west.cox.net> Date: Wed, 22 Mar 2006 13:05:17 From: CB Subject: TinyURL (was: Re: Mo. Drama Teacher Resigns in Play Flap) >TinyURL now has a permanent home on my Safari toolbar. > >Thanks! I knew about TinyURL already, but the automatic TURL maker in the bookmarks was a contribution of another lister, who shall remain nameless (alright, I forgot who...) Its all part of the service! Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Reply-To: From: "RD" Subject: RE: Technical Timeline Date: Wed, 22 Mar 2006 13:04:20 -0700 Message-ID: <01c601c64deb$d1378d90$f5ee0918 [at] doom1> In-Reply-To: I seem to recall, way back, the same requirements, and did not seem to mind them, as part of the process. Doom -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Charles Fraser Sent: Wednesday, March 22, 2006 12:42 PM To: Stagecraft Subject: Re: Technical Timeline For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Perhaps it is youth, when I was a student it was known if you were anything less than 150% on your best behavior and 150% reliable on outside engagements your success in the academic program was in serious danger. If our teacher got any negative feedback whatsoever there were big problems. Also, it was not uncommon for Bob to pop in unannounced on outside assignments to check up. Charlie Jim Hyslop wrote: >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >Clive Mitchell wrote: > > >>If they were doing appliances for the first time then they had a steep >>learning curve, since the whole process of taking the cast then making >>the appliances is punctuated throughout with things that can go wrong. >>They may have tried several times without success, and the professional >>materials cost an absolute fortune. >> >> > >One thing I neglected to mention - the producer tried many times to get >hold of them to find out what the status was. These students did not >return any calls. We had no feedback from them whatsoever - *that* is >what got the producer the most upset, and there's no excuse for it. > > > ------------------------------ Message-Id: <3.0.6.32.20060322131036.00d36208 [at] pop.west.cox.net> Date: Wed, 22 Mar 2006 13:10:36 From: CB Subject: Re: Sore spot...Forte.....The Survey Says >So what is being said here? That people who don't know how to >correctly use the language are going to determine the rules? Aren't >the goals set by the highest achiever rather than the lowest? When has that ever happened? Remember the 'new' millenuium> December 31st, 1999, right about midnight? Yeah... Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-Id: <3.0.6.32.20060322131444.00d36208 [at] pop.west.cox.net> Date: Wed, 22 Mar 2006 13:14:44 From: CB Subject: Re: Technical Timeline >One of them >said "yeah, well, lady, it's not like we're getting paid much" And your reply, next time, would be "How will that compare to the 'not at all' that you'll be making tomorrow"? >I went to a show recently and (since we arrived late) And you expect this to go by without an explanation? How does a pro arrive late for a curtain? Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Date: Wed, 22 Mar 2006 15:26:06 -0500 Subject: Re: TinyURL (was: Re: Mo. Drama Teacher Resigns in Play Flap) From: Bruce Purdy Message-ID: In-Reply-To: > I knew about TinyURL already, but the automatic TURL maker in the bookmarks > was a contribution of another lister, who shall remain nameless (alright, I > forgot who...) Just curious - Does anyone know for how long the TinyURL is valid? I may be wrong, but I'm guessing it has a "Limited shelf life" as opposed to using the actual URL. This is no problem for most of our needs, but referring back to a post a year or two later (if you saved it, or when the archives actually work) might be problematic. In any event, TinyURL is great for those long URLs that are either database driven or buried deep within a site, but for simple short URLs, I'd prefer to see the real one. Like any tool, use it - don't abuse it. ;-) Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Reply-To: From: "chip.a.wood" Subject: RE: Sore spot..Scrabble Date: Wed, 22 Mar 2006 13:30:33 -0700 Message-ID: In-Reply-To: They evolved quickly because none of us are Dickens, Fitzgerald, Hemmingway, or even Grisham. We don't have their talents to express ourselves. Chip > -----Original Message----- > From: Stagecraft [mailto:stagecraft [at] theatrical.net]On Behalf Of Kevin > Lee Allen > and what would Dickens, Fitzgerald, Hemmingway or >insert favorite > author here< have been without emoticons? > > > On Mar 22, 2006, at 10:28 AM, chip.a.wood wrote: > > The emoticons are an example. Since we are dealing here with ONLY > > printed > > language, they quickly evolved to help express our exact meaning or > > at least > > a close approximation. > ------------------------------ Message-ID: <4421B80D.5020202 [at] gmail.com> Date: Wed, 22 Mar 2006 15:48:13 -0500 From: Robert Graham Subject: RE:Ellipscan Problem Ok, so the speed values are diminished. The DMX processor speed has been set to low on our ETC Express 48/96. Still noisy. Color me unimpressed and dissatisfied with this product. Any other suggestions. Email to meteor bounces back, so they're of no help. -R Graham ------------------------------ Subject: RE: D.C. Fan Motor Date: Wed, 22 Mar 2006 15:00:30 -0600 Message-ID: <5D5187063B6B8B46A99E8C0D36E0EB097B61D4 [at] danube.river.idm.com> From: "Steven Haworth" Is this by chance a Toyota from the early 90s? A friend of mine has a similar problem, and after digging for info it turned out to the solder joints on the heater/cooling control circuit board were breaking. Apparently, something in the material used to build those boards expands/contracts, and eventually it breaks the solder joints. =20 He pulled the card (much trouble!) and resolder everything, but it only held for a few weeks, and then the problem returned. I guess the answer is to replace the card, but it's expensive. NOT a problem I would've predicted... - Steven (sjh [at] idm.com) --------------------------- http://www.stagelights.info =20 >Curiosity here,=20 >The heater fan in my car seems to have a mind of its >own. The fan works great while the car is warming up >but, when it gets to operating temp. the fan decides >to go on strike.=20 >Anyone have any idea on the malfunction? Why will it >work when cold but not hot? >As we still have a few months of cold to look forward >to here in the North East, I would like to at least >keep the window from fogging up. >Thanks, ------------------------------ Reply-To: From: "RD" Subject: RE: Technical Timeline Date: Wed, 22 Mar 2006 14:11:12 -0700 Message-ID: <021b01c64df5$261192d0$f5ee0918 [at] doom1> In-Reply-To: My kind of lady. Doom -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Kate Daly Sent: Tuesday, March 21, 2006 11:11 PM To: Stagecraft Subject: Re: Technical Timeline For info, archives & UNSUBSCRIBE, see --------------------------------------------------- At 09:05 AM 3/21/2006, Jim Hyslop wrote: >I'm not convinced you're actually fooling them. I suspect a lot of them >(or some of them, at least) will later kvetch about how patronizing >young people are these days. A-yup. I went to a show recently and (since we arrived late) had to sit right in front of the console where the young light ops were running the lights ... and turning the pages of their magazines loudly ... and eating their crunchy pretzels ... and slurping their sodas. I was furious, and embarrassed for the actors. At intermission I asked them (politely, I swear) if they could be a little quieter in the second half. One of them said "yeah, well, lady, it's not like we're getting paid much" -- to which I replied "Well, dear, I'm not getting paid at all. And I'm getting my money's worth." Which made *no* sense, actually, but had the desired effect. They piped the flock down. -Kate ------------------------------ Reply-To: From: "Laurie Swigart" Cc: Rees [at] fredonia.edu Subject: RE: Tempest Tost Date: Wed, 22 Mar 2006 15:28:45 -0600 Organization: Upstage Review Theatre Company Message-ID: <001c01c64df7$9de32dd0$0301a8c0 [at] SWIGART> In-Reply-To: Can anyone tell us who holds the rights to this play? -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Stephen E. Rees Sent: Wednesday, March 22, 2006 10:39 AM To: Stagecraft Subject: Tempest Tost For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Robertson Davies (author of the BOOK) is one of my favorite writers of all time. Was not aware it had become a play. I saw so many of the amateur theatricals of my youth in the pages of that book. Steve Rees Noemi Ybarra wrote: > I just finished reading the BOOK Tempest Tost. 'Twas very > entertaining. ------------------------------ Message-ID: Date: Wed, 22 Mar 2006 15:33:02 -0600 From: "Patrick Immel" Subject: Re: TinyURL (was: Re: Mo. Drama Teacher Resigns in Play Flap) In-Reply-To: References:

On 3/22/06, Bruce Purdy wrote: > For info, archives & UNSUBSCRIBE, see > Just curious - Does anyone know for how long the TinyURL is valid? I m= ay > be wrong, but I'm guessing it has a "Limited shelf life" as opposed to us= ing > the actual URL. > I've had a "tiny" now for about 3 or 4 months. I use it fairly regularly, maybe it is a floating life, ie, everytime the link is used the "counter" resets....I don't know! Pat -- Patrick Immel Lighting and Scenic Designer Northwest Missouri State University patrickimmel.com ------------------------------ Message-ID: Date: Wed, 22 Mar 2006 15:39:11 -0600 From: "Patrick Immel" Subject: rehearsal cube drawing Hey all, I am wondering if anybody had a drawing of a rehearsal cube that they'd be willing to share! I've used good ones before AND not so good ones and I figure that somebody here has a good design!! TIA, Pat -- Patrick Immel Lighting and Scenic Designer Northwest Missouri State University patrickimmel.com ------------------------------ Message-ID: <4vZnXcWoQcIEFwvS [at] ntlworld.com> Date: Wed, 22 Mar 2006 21:39:52 +0000 From: Clive Mitchell Subject: Re: Technical Timeline References: In-Reply-To: In message , CB writes >If I have to be patronizing to get someone to leave me alone without >making a scene, you can be assured they've earned it. Ask the little >old ladies that usher at the opera. They love me. That reminds me of the time an old lady came up to the sound desk and said the sound was very quiet. I pointed out that she had a suppository stuck in one of her ears, and she said "Oh dear! No wonder I couldn't find my hearing aid this morning." -- Davie Dimmers. Super top head theatre techie and rectal feedback eliminator. ------------------------------ Date: Wed, 22 Mar 2006 21:42:21 +0000 (GMT) From: Charlie Richmond Subject: Re: MO drama teacher resigns in play flap - Background In-Reply-To: Message-ID: References: On Wed, 22 Mar 2006, Jeffrey E. Salzberg wrote: >> I'm all for folks having a strong belief >> structure, undtil it starts to believe that I'm bad becauseI >> don't share it. > > I don't care if they think I'm bad for not sharing their beliefs...it's when > they try to impose such sharing upon me that I object. I'm with CB on this one - you're being too generous ;-) Charlie ------------------------------ Message-ID: <16956f6b0603221344p57711723u4569ca8d485aa4b5 [at] mail.gmail.com> Date: Wed, 22 Mar 2006 16:44:48 -0500 From: "Ryan Bible" Subject: Bunny Ears Hey does anyone have an autocad or Vectorworks drawing of a thing ive heard referred to as a bunny ear, its used to suspend a temporary masking batton. Thanks a lot everybody in advance! -- Ryan Bible 614-496-1075 ------------------------------ Date: Wed, 22 Mar 2006 21:45:10 +0000 (GMT) From: Charlie Richmond Subject: Re: Technical Timeline In-Reply-To: Message-ID: References:

On Wed, 22 Mar 2006, Jim Hyslop wrote: > One thing I neglected to mention - the producer tried many times to get > hold of them to find out what the status was. These students did not > return any calls. We had no feedback from them whatsoever - *that* is > what got the producer the most upset, and there's no excuse for it. It sounds possible that they felt just as burned by the situation - in which case being blacklisted MAY not have even fazed them.... but only they know.. Charlie ------------------------------ Reply-To: From: "Kirk Wahamaki" Subject: Quilter's quilt Date: Wed, 22 Mar 2006 16:30:54 -0500 Organization: Muskegon Civic Theatre Message-ID: <000b01c64df7$e97f1b00$2101a8c0 [at] computer3> In-Reply-To: We are cleaning our storage areas and divesting ourselves many things we have accumulated over the years. We have the quilt which was made for our production of Quilters. 16, 2'x 2'quilt blocks which were used individually in the show and then attached together to form the large hanging quilt at the end of the show. Any offers accepted. K Kirk M. Wahamaki Artistic Director, Muskegon Civic Theatre kwahamaki [at] muskegoncivictheatre.org Phone (231) 722-3852 Fax (231) 727-8154 ------------------------------ From: "Bill Brinsley" Subject: RE: Bunny Ears Date: Thu, 23 Mar 2006 09:48:45 +1200 Organization: Light FX Limited Message-ID: In-Reply-To: Try here........ http://delberthall.tripod.com/rabbit_ears/ Bill Brinsley, Light Fx Ltd Auckland, New Zealand. -----Original Message----- Hey does anyone have an autocad or Vectorworks drawing of a thing ive heard referred to as a bunny ear, its used to suspend a temporary masking batton. Thanks a lot everybody in advance! -- Ryan Bible 614-496-1075 ------------------------------ Date: Wed, 22 Mar 2006 22:09:26 +0000 (GMT) From: Charlie Richmond Subject: Re: Sore spot...Forte.....The Survey Says In-Reply-To: Message-ID: References:

On Wed, 22 Mar 2006, Don Taco wrote: > Curiously enough, George is the first baseman you need. Who? I think it may be time again for my annual elocution exercise: Abbott and Costello's "Who's on First?" *************************************** Abbott: Alright, now whaddya want? Costello: Now look, I'm the head of the sports department. I gotta know the baseball players' names. Do you know the guys' names? Abbott: Oh sure. Costello: So you go ahead and tell me some of their names. Abbott: Well, I'll introduce you to the boys. You know sometimes nowadays they give ballplayers peculiar names. Costello: You mean funny names. Abbott: Nicknames, pet names, like Dizzy Dean - Costello: His brother Daffy - Abbott: Daffy Dean - Costello: And their cousin! Abbott: Who's that? Costello: Goofy! Abbott: Goofy, huh? Now let's see. We have on the bags - we have Who's on first, What's on second, I Don't Know's on third. Costello: That's what I wanna find out. Abbott: I say Who's on first, What's on second, I Don't Know's on third - Costello: You know the fellows' names? Abbott: Certainly! Costello: Well then who's on first? Abbott: Yes! Costello: I mean the fellow's name! Abbott: Who! Costello: The guy on first! Abbott: Who! Costello: The first baseman! Abbott: Who! Costello: The guy playing first! Abbott: Who is on first! Costello: Now whaddya askin' me for? Abbott: I'm telling you Who is on first. Costello: Well, I'm asking YOU who's on first! Abbott: That's the man's name. Costello: That's who's name? Abbott: Yes. Costello: Well go ahead and tell me. Abbott: Who. Costello: The guy on first. Abbott: Who! Costello: The first baseman. Abbott: Who is on first! Costello: Have you got a contract with the first baseman? Abbott: Absolutely. Costello: Who signs the contract? Abbott: Well, naturally! Costello: When you pay off the first baseman every month, who gets the money? Abbott: Every dollar. Why not? The man's entitled to it. Costello: Who is? Abbott: Yes. Sometimes his wife comes down and collects it. Costello: Who's wife? Abbott: Yes. Costello: All I'm tryin' to find out is what's the guy's name on first base. Abbott: Oh, no - wait a minute, don't switch 'em around. What is on second base. Costello: I'm not askin' you who's on second. Abbott: Who is on first. Costello: I don't know. Abbott: He's on third - now we're not talkin' 'bout him. Costello: Now, how did I get on third base? Abbott: You mentioned his name! Costello: If I mentioned the third baseman's name, who did I say is playing third? Abbott: No - Who's playing first. Costello: Never mind first - I wanna know what's the guy's name on third. Abbott: No - What's on second. Costello: I'm not askin' you who's on second. Abbott: Who's on first. Costello: I don't know. Abbott: He's on third. Costello: Aaah! Would you please stay on third base and don't go off it? Abbott: What was it you wanted? Costello: Now who's playin' third base? Abbott: Now why do you insist on putting Who on third base? Costello: Why? Who am I putting over there? Abbott: Yes. But we don't want him there. Costello: What's the guy's name on third base? Abbott: What belongs on second. Costello: I'm not askin' you who's on second. Abbott: Who's on first. Costello: I don't know. Abbott & Costello: THIRD BASE! Costello: You got an outfield? Abbott: Oh yes! Costello: The left fielder's name? Abbott: Why. Costello: I don't know, I just thought I'd ask you. Abbott: Well, I just thought I'd tell you. Costello: Alright, then tell me who's playin' left field. Abbott: Who is playing fir- Costello: STAY OUTTA THE INFIELD! I wanna know what's the left fielder's name. Abbott: What's on second. Costello: I'm not askin' you who's on second. Abbott: Who's on first. Costello: I don't know. Abbott & Costello: THIRD BASE! Costello: The left fielder's name? Abbott: Why. Costello: Because! Abbott: Oh, he's center field. Costello: Look, you gotta pitcher on this team? Abbott: Now wouldn't this be a fine team without a pitcher. Costello: The pitcher's name. Abbott: Tomorrow. Costello: You don't wanna tell me today? Abbott: I'm tellin' you now. Costello: Then go ahead. Abbott: Tomorrow. Costello: What time? Abbott: What time what? Costello: What time tomorrow are you going to tell me who's pitching? Abbott: Now listen. Who is not pitching. Who is on fir- Costello: I'll break your arm if you say Who's on first. I wanna know what's the pitcher's name. Abbott: What's on second. Costello: I don't know. Abbott & Costello: THIRD BASE! Costello: You got a catcher? Abbott: Oh, absolutely. Costello: The catcher's name. Abbott: Today. Costello: Today. And Tomorrow's pitching. Abbott: Now you've got it. Costello: All we've got is a couple of days on the team. Abbott: Well, I can't help that. Costello: Well, I'm a catcher too. Abbott: I know that. Costello: Now suppose that I'm catching, Tomorrow's pitching on my team and their heavy hitter gets up. Abbott: Yes. Costello: Tomorrow throws the ball. The batter bunts the ball. When he bunts the ball, me being a good catcher, I wanna throw the guy out at first base. So I pick up the ball and throw it to who? Abbott: Now that's the first thing you've said right. Costello: I don't even know what I'm talkin' about! Abbott: Well, that's all you have to do. Costello: Is to throw the ball to first base. Abbott: Yes. Costello: Now who's got it? Abbott: Naturally! Costello: If I throw the ball to first base, somebody's gotta catch it. Now who caught it? Abbott: Naturally! Costello: Who caught it? Abbott: Naturally. Costello: Who? Abbott: Naturally! Costello: Naturally. Abbott: Yes. Costello: So I pick up the ball and I throw it to Naturally. Abbott: NO, NO, NO! You throw the ball to first base and Who gets it? Costello: Naturally. Abbott: That's right. There we go. Costello: So I pick up the ball and I throw it to Naturally. Abbott: You don't! Costello: I throw it to who? Abbott: Naturally. Costello: THAT'S WHAT I'M SAYING! Abbott: You're not saying it that way. Costello: I said I throw the ball to Naturally. Abbott: You don't - you throw the ball to Who? Costello: Naturally! Abbott: Well, say that! Costello: THAT'S WHAT I'M SAYING! I throw the ball to who? Abbott: Naturally. Costello: Ask me. Abbott: You throw the ball to Who? Costello: Naturally. Abbott: That's it. Costello: SAME AS YOU!! I throw the ball to first base and who gets it? Abbott: Naturally! Costello: Who has it? Abbott: Naturally! Costello: HE BETTER HAVE IT! I throw the ball to first base. Whoever it is grabs the ball, so the guy runs to second. Who picks up the ball and throws it to What, What throws it to I Don't Know, I Don't Know throws it back to Tomorrow - triple play. Abbott: Yes. Costello: Another guy gets up - it's a long fly ball to Because. Why? I don't know. He's on third and I don't give a darn! Abbott: What was that? Costello: I said I don't give a darn! Abbott: Oh, that's our shortstop. | 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 | | ShowMan List: http://www.RichmondSoundDesign.com/smlist.html | | "Let distribution undo excess - And each man have enough" | | - King Lear | ------------------------------ Subject: RE: directors taking over as lighting designers. Date: Wed, 22 Mar 2006 14:31:27 -0800 Message-ID: <0E0CDE94AC5F92428C823684D00244E602038F7D [at] exchange10.mercury.ad.ubc.ca> From: "Riter, Andrew $Head Ltg$" June wrote: > > >I finally got the message when the designer laid down > >on a row of chairs for a nap. (I kept working with > >the director.) >=20 > This is what comes of letting directors wear headsets. > IMO, they should sit near enough to the LD to talk to > them, but they don't get a headset. Ever. No headset involved. Small theatre (500+, Warner S-90 saddleback tent). Didn't need headsets. >=20 > For me, this is a time when, as a board op, I become > really stupid. "What's the channel on that section? > Umm, I'm not sure. Let me check the plot. I think I > have a magic sheet up here. [shuffle papers] (LD) has > all that stuff. [shuffle] 35 maybe? (Move wrong > channel) Nope. Let me see . . . 40! There you go. What > level did you want?" > Like I said, only 48 channels, doesn't take long to flip through them on a strand 2S. Andrew M. Riter Head Lighting Technician Chan Centre, UBC 604-822-2372 =20 *********************** You understand, we are tied down to a language which makes up in obscurity what it lacks in style. Stoppard, R&G are Dead ************************ =20 =20 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <2aa.36ffbf.315331f5 [at] aol.com> Date: Wed, 22 Mar 2006 18:04:21 EST Subject: Re: micromanaging directors In a message dated 22/03/06 03:59:47 GMT Standard Time, theatre [at] dreampossible.ca writes: > > If, and only if, they can TELL you what they want. Some can, and some can' > t. > > Pardon my naivete, but how can someone become a director if they are not > able to communicate their artistic ideas? Most are quite good at communicating with actors. Some with set designers, although I have known one walk over the selection of paint colour. Not many with the more technical people. They go woolly and imprecise, using terms such as 'spooky' or 'threatening', rather like hi-fi buffs. What they understand by such terms may not be what I understand them to mean. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <2e2.45d802e.31533561 [at] aol.com> Date: Wed, 22 Mar 2006 18:18:57 EST Subject: Re: Sore spot...Forte.....The Survey Says In a message dated 22/03/06 04:45:25 GMT Standard Time, taco [at] peak.org writes: > I was taught, 'for-tay.' One's strong point. And that would have been in > the early 1960s. I grabbed my BDD (Big Desk Dictionary), published 1945, > and it says I was taught wrong, and that you are correct. Interesting > dilemma, can I unlearn something I've almost always known? I think you were taught right. It is the Italian word for 'strong', and an Italian would certainly pronounce it as two syllables. But neither English nor American spelling is particularly logical, or indeed bears any consistent relationship to pronunciation. Few other languages are better. As far as I know, Welsh is the only language where one phoneme is denoted by one symbol or symbol group. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <220.9ecefea.31533a87 [at] aol.com> Date: Wed, 22 Mar 2006 18:40:55 EST Subject: Re: Sore spot...Forte.....The Survey Says In a message dated 22/03/06 13:34:37 GMT Standard Time, theatre [at] dreampossible.ca writes: > The rules for language usage are set by common use. If that were not the > case, then we would all still be speaking Babylonian or some other > ancient language. Languages are living things - they evolve, and morph > into other languages. For example, Latin became Roman which became the > Romance languages. Nobody speaks Latin or Roman anymore, but plenty of > people speak French, Italian, Romanian, and so on. > > For that reason, I think it will not be long before acceptable usage > will include using an apostrophe to indicate plural . A part of the problem is that languages were spoken well before they were written. Few people could either read or write, and the translation between the spoken word and the written word came late and slowly. The works of Homer were passed down from bard to bard for many generations before they were written down. This is why Welsh is so logical, once you understand the code. Written Welsh started in the seventeenth century. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <221.9eca613.31533fc9 [at] aol.com> Date: Wed, 22 Mar 2006 19:03:21 EST Subject: Re: Technical Timeline In a message dated 22/03/06 18:26:51 GMT Standard Time, bigclive1 [at] ntlworld.com writes: > > >We ended up calling in a friend of the actor, who happens to have > >connections in the local film industry. Those two students are now > >blacklisted with Toronto's IATSE film local. > > That was well out of order. We've all f*cked up at some point in the > early stages of our careers and it doesn't deserve that. It doesn't say > much about the union if it went along with that. Heaven forfend that I should defend a Union, but they were right. Undertaking a job, and finding it too much for you is forgiveable: Just vanishing is not. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <322.72585a.31534032 [at] aol.com> Date: Wed, 22 Mar 2006 19:05:06 EST Subject: Re: micromanaging english speakers In a message dated 22/03/06 18:29:33 GMT Standard Time, ggeorge [at] capital.edu writes: > A saggar is a now obsolete anti-tank missile. Isn't it? No, it's a clay container in which delicate pottery is fired in the kiln. Frank Wood ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Ellipscan Problem Date: Wed, 22 Mar 2006 21:19:32 -0500 Message-ID: <000001c64e20$39644370$6501a8c0 [at] Dell> In-Reply-To: > The DMX processor speed has been set to low on our ETC Express 48/96. > > Still noisy. Color me unimpressed and dissatisfied with this product. > > Any other suggestions. Email to meteor bounces back, so > they're of no help. That surprises me; I've always found them to be very helpful. If you don't want the Ellip-Scans, I'll happily take them off your hands. ------------------------------ Message-ID: <90d9c9980603221913x5a8ff1b4p32a44f3706309718 [at] mail.gmail.com> Date: Wed, 22 Mar 2006 22:13:50 -0500 From: "Scott Parker" Subject: Re: Ellipscan Problem In-Reply-To: References: I have four of these units and am quite satisfied.for the price, they do exactly what I would expect of them. As for their tech support, have you tried calling? The few times that I've called, they've been very helpful over the phone. as for trying to make these things a bit quieter, I've occasionally used some foam rubber sound baffling hodgepodge. good luck, Scott On 3/22/06, Robert Graham wrote: > Still noisy. Color me unimpressed and dissatisfied with this product. -- Thanks and take care, Scott =09Scott C. Parker =09Professor/Technical Director =09Dept. of Performing Arts =09Dyson College of Arts and Sciences [at] Pace University =09Office/shipping: 41 Park Row, 1205F =09Mailing: 1 Pace Plaza =09New York, NY 10038 =09212-346-1423 Fax: 914-989-8425 ------------------------------ Date: Wed, 22 Mar 2006 23:30:13 -0500 (EST) From: Stephen Litterst Subject: Re: Sore spot...Forte.....The Survey Says In-reply-to: Message-id: <3606.147.129.18.189.1143088213.squirrel [at] webmail.ithaca.edu> References:

> For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > On Wed, 22 Mar 2006, Don Taco wrote: > >> Curiously enough, George is the first baseman you need. Who? > > I think it may be time again for my annual elocution exercise: > > Abbott and Costello's "Who's on First?" A few weeks back I was sitting in Holman stadium in Vero Beach running through "Who's on First" with the folks around me trying to remember the outfielder's names. Couldn't come up with the right fielder. Nice to know we weren't all losing our minds. Steve L ------------------------------ From: "Dennis Dorn" Subject: Entertainment Industry Drafting Survey Date: Wed, 22 Mar 2006 22:50:49 -0600 Message-ID: In-Reply-To: Dear List members: This is our last note to ask any of you who have not yet participated in this survey to consider doing so within the next several days. In addition, please consider forwarding it to friends who also are involved in our line of work who use drafting as a means of communication within their organization. Organizations are encouraged to ask all drafters under their umbrella to respond individually, so that the net can be cast as far as possible. The survey is web-based survey. Perhaps you are already aware of it from previous posts or by other means of contact, since the survey was sent to USITT, CITT and ESTA member mailing lists. If you weren't contacted initially or have not yet responded, and/or would be interested in responding, please go to the following address: https://www.surveymonkey.com/s.asp?u=647971856606 The survey takes approximately 10-15 minutes to complete and is seeking information, both demographic and methodological, about drafter preferences and practices. It is open to folks from all entertainment-related industries or organizations, both design and technical. This project is being undertaken by Don Schneider, 3rd-year MFA technology student at UW-Madison, as his thesis project. The willingness of the previously mentioned organizations to be involved in allowing us to contact their members should be seen as an enhancement of its importance. Our goal is to have over 800 respondents. As of this writing 585 individuals have taken the survey, but that just cracks the surface of likely respondents. Everyone's responses and comments are important to this project. Please take a few minutes and let your voice be known. Thanks everyone....Dennis Dorn and Don Schneider ------------------------------ Message-ID: <44222BF8.5080003 [at] cybercom.net> Date: Thu, 23 Mar 2006 00:02:48 -0500 From: Dale Farmer Organization: I'm working on that.... Subject: Re: rehearsal cube drawing References: In-Reply-To: Patrick Immel wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hey all, > > I am wondering if anybody had a drawing of a rehearsal cube that > they'd be willing to share! I've used good ones before AND not so > good ones and I figure that somebody here has a good design!! > > TIA, > Pat > > -- > Patrick Immel > Lighting and Scenic Designer > Northwest Missouri State University > patrickimmel.com > > > When you say rehearsal cube, I envision a large cubical office with a table and chairs, with the actors and the director sitting around it doing their lines. I suspect that isn't what you mean, could you expand a bit on your request please. --Dale ------------------------------ Date: Wed, 22 Mar 2006 05:09:54 -0900 From: Paul Guncheon Subject: Re: Sore spots In-reply-to: Message-id: <96532C2B-CD9F-449F-9ACF-09BBA41B9D8D [at] verizon.net> References: > Anyways, I dont think its much use in complaining. People are going to > misuse thing's irregardless. > > (Test time - how many errors have I introduced in the previous two > sentences?). Nun? Laters, Paul "I added a lot more bacon" said Tom, hamming it up. ------------------------------ Date: Wed, 22 Mar 2006 05:30:53 -0900 From: Paul Guncheon Subject: Re: Pneumatics Help... In-reply-to: Message-id: References: One of the ways I drop light weight things is by running a length of a single strand of zip cord (one strand from regular home use lamp cord... remove the insulation and select one strand from the bundle). Wrap this around one contact then through a loop of wire supporting whatever you want to drop then wrap it around another contact. Wire the contacts to a 12v battery (with a switch in there somewhere). Throw the switch and the zip cord strand melts, and viola!, the suspended object falls. Laters, Paul "I'm a geek at heart" said Tom, cornered. ------------------------------ Date: Thu, 23 Mar 2006 00:51:05 -0500 Subject: Re: Pneumatics Help... From: Bruce Purdy Message-ID: In-Reply-To: > One of the ways I drop light weight things is by running a length of > a single strand of zip cord (one strand from regular home use lamp > cord... remove the insulation and select one strand from the bundle). > Wrap this around one contact then through a loop of wire supporting > whatever you want to drop then wrap it around another contact. Wire > the contacts to a 12v battery (with a switch in there somewhere). > Throw the switch and the zip cord strand melts, and viola!, the > suspended object falls. > Memories! That was the wire - (only using 120vac) - that I used to use back in my young and reckless days, to trigger flashpots. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Date: Thu, 23 Mar 2006 00:52:45 -0500 Subject: Re: Sore spots From: Bruce Purdy Message-ID: In-Reply-To: >> Anyways, I dont think its much use in complaining. People are going to >> misuse thing's irregardless. >> >> (Test time - how many errors have I introduced in the previous two >> sentences?). > > Nun? > Wright! Nun atol. Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Message-ID: <034401c64e42$3797a150$e28aaa43 [at] DonTaco> From: "Don Taco" References: Subject: Re: micromanaging english speakers Date: Wed, 22 Mar 2006 22:22:47 -0800 ----- Original Message ----- From: To: "Stagecraft" Sent: Wednesday, March 22, 2006 4:05 PM Subject: Re: micromanaging english speakers > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 22/03/06 18:29:33 GMT Standard Time, > ggeorge [at] capital.edu > writes: > >> A saggar is a now obsolete anti-tank missile. Isn't it? > > No, it's a clay container in which delicate pottery is fired in the kiln. > > Frank Wood > Correct! Give the man a segar! ------------------------------ End of Stagecraft Digest #740 *****************************