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For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Stagecraft Digest, Issue #1127

 1. Re: Fire Doors...
    by "Bill Nelson" <billn [at] peak.org>
 2. Re: High School curriculum
    by "Eric Rouse" <erictd [at] gmail.com>
 3. Re: Operating line size
    by "Eric Rouse" <erictd [at] gmail.com>
 4. Re: Operating line size
    by "Delbert Hall" <delbert.hall [at] gmail.com>
 5. Re: High School curriculum
    by Al Fitch <fitchal [at] yahoo.com>
 6. Re: Outdoor Lighting Fixtures
    by Jerry Durand <jdurand [at] interstellar.com>
 7. Re: Outdoor Lighting Fixtures
    by Simon Shuker <simon [at] ef-ae.com>
 8. Portfolios
    by "Anneke Ciup" <annekeciup [at] gmail.com>
 9. Re: Nehemiah Scudder
    by Mick Alderson <alderson [at] uwosh.edu>
10. Re: Portfolios
    by Steve Shelley <mrtemplate [at] earthlink.net>
11. AARP
    by "Bill Conner" <bill-conner [at] att.net>
12. Re: High School curriculum
    by "RD" <doomster [at] worldnet.att.net>
13. Internships
    by seanrmc [at] earthlink.net
14. Re: inside-out electrical tape
    by CB <psyd [at] cox.net>
15. Re: how old
    by CB <psyd [at] cox.net>
16. Re: AARP
    by Rigger <rigger [at] tds.net>
17. Re: inside-out electrical tape
    by Rigger <rigger [at] tds.net>
18. Re: Internships
    by Steve Shelley <mrtemplate [at] earthlink.net>
19. Automated Alarms (was: Re: Powered Speakers)
    by CB <psyd [at] cox.net>
20. Re: L Hand/R Hand
    by CB <psyd [at] cox.net>
21. Re: Rosco Image Pro
    by CB <psyd [at] cox.net>
22. Re: Outdoor Lighting Fixtures
    by <frank.wood95 [at] ntlworld.com>
23. Re: Cello Platform
    by CB <psyd [at] cox.net>
24. Re: L Hand/R Hand
    by SS <cueonego [at] gmail.com>
25. Re: Outdoor Lighting Fixtures
    by Pat Kight <kightp [at] peak.org>
26. Re: Nehemiah Scudder
    by <frank.wood95 [at] ntlworld.com>
27. Re: Automated Alarms (was: Re: Powered Speakers)
    by Bruce Purdy <bpurdy [at] rochester.rr.com>
28. Re: L Hand/R Hand
    by "Don Taco" <taco [at] peak.org>
29. Re: how old
    by <frank.wood95 [at] ntlworld.com>
30. Re: Rosco Image Pro
    by "Don Taco" <taco [at] peak.org>
31. Re: Internships
    by seanrmc [at] earthlink.net
32. Re: Automated Alarms (was: Re: Powered Speakers)
    by <frank.wood95 [at] ntlworld.com>
33. Re: L Hand/R Hand
    by Rigger <rigger [at] tds.net>
34. Re: Portfolios
    by Chris Warner <cdw.lighting [at] gmail.com>
35. Re: Nehemiah Scudder
    by gregg hillmar <gregg [at] hillmardesign.com>
36. Re: Nehemiah Scudder
    by Chip Wood <chip.a.wood [at] gmail.com>
37. Re: Portfolios
    by "Thea Cooper" <kairoslighting [at] gmail.com>
38. Re: Portfolios
    by "Thea Cooper" <kairoslighting [at] gmail.com>
39. Re: Portfolios
    by Steve Shelley <mrtemplate [at] earthlink.net>
40. Re: Nehemiah Scudder
    by Herrick Goldman <Herrick [at] HGLightingDesign.com>
41. 'til you smoke yourself to death.
    by "Rob Riddle" <stagecraft [at] stageshirt.com>
42. Re: 'til you smoke yourself to death.
    by Rigger <rigger [at] tds.net>
43. politics (which includes smoking)
    by Jacqueline Haney Kidwell <jacki14fr [at] yahoo.com>
44. Re: politics (which includes smoking)
    by Charlie Richmond <charlier [at] RichmondSoundDesign.com>
45. Re: Portfolios
    by Michael Heinicke <mheinicke [at] sbcglobal.net>
46. Re: politics (which includes smoking)
    by Rigger <rigger [at] tds.net>
47. Re: politics (which includes smoking)
    by "John Bracewell" <j_brace [at] earthlink.net>
48. Drop boxes?
    by "Ben Truong" <bentruong [at] gmail.com>
49. Re: Nehemiah Scudder
    by "Bill Nelson" <billn [at] peak.org>
50. Re: Outdoor Lighting Fixtures
    by "Bill Nelson" <billn [at] peak.org>
51. Re: Automated Alarms (was: Re: Powered Speakers)
    by "Bill Nelson" <billn [at] peak.org>
52. Socopex Alternative
    by "Joel Harari" <harari_j [at] adelphia.net>
53. Re: politics (which includes smoking)
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>

*** 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: <1447.205.215.253.64.1170505792.squirrel [at] webmail.peak.org>
In-Reply-To: <list-41983717 [at] prxy.net>
References: <list-41975431 [at] prxy.net> <list-41983717 [at] prxy.net>
Date: Sat, 3 Feb 2007 04:29:52 -0800 (PST)
Subject: Re: Fire Doors...
From: "Bill Nelson" <billn [at] peak.org>

> What is the distance from the existing doors to the
> outside? What is the distance from the new exit to the
> outside? I know that there are usually maximum
> distances allowed from an exit to the outside, maybe
> that was the cause?

All the doors already existed. There is no new exit.

As Don Taco stated, the door was previously blocked and unusable. While not
necessary for safety, it certainly does not hurt anything by being there. It has
even been used a couple of times recently.

Bill







------------------------------

Message-ID: <41f080680702030525g332c9ea4sa3780b5d786a8597 [at] mail.gmail.com>
Date: Sat, 3 Feb 2007 08:25:34 -0500
From: "Eric Rouse" <erictd [at] gmail.com>
Cc: doomster [at] worldnet.att.net
Subject: Re: High School curriculum
In-Reply-To: <list-41894396 [at] prxy.net>
References: <list-41864817 [at] prxy.net> <list-41894396 [at] prxy.net>

Sorry I dropped out folks, had tech....Well these responses answer a
bunch of my questions.  We are in process of making relationships with
many high schools in our immediate area.  Sounds like this is the
place to start.

Doom, I would love any info you can share.  Your book is at the top of
my purchase list at USITT.

Thanks to all for the info.

Eric

On 1/31/07, RD <doomster [at] worldnet.att.net> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I have gone through my files ....and files and files, and find that since
> 1958 with the L.A. City Schools, until many years later, I am still writing
> and developing Curriculums for colleges, schools, industry oriented theater
> people, .... and on and on. It will take time to sort, but I can share, and
> of course, hint, there is my new book ....he said. 800 of them sold already.
> Thank you all for that. Doom
>
> -----Original Message-----
> From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jeffrey
> Kanyuck
> Sent: Wednesday, January 31, 2007 7:24 AM
> To: Stagecraft
> Subject: Re: High School curriculum
>
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Eric,
>    Where I'm from most of the high school teachers don't know the tech
> side of theater so they only teach the acting. Whatever experience the
> students gain in tech in the high schools is from working productions
> and figuring out what they need to do by either talking to other shop
> teachers or learning from the "Theater Manager" the school disctricts
> have. Some will go out and do some research on their own. But, yes, high
> schools in many areas lack technical theater or ANY theater experience
> at all.
>    Maybe you can start to get the high schools in your area to realize
> there is more that can be taught. Or even groom some of them at your
> theater space. Give them tours as a class to show them equipment and
> what it can do either by itself or after a show that high school
> students come to see in a fieldtrip.
>
> Jeff Kanyuck
>
>
>
> I have two questions:
>
> 1. Being in my 2nd year here I am getting heavy into recruiting for
> our BFA TD program.  One of the main issues I seem to have is that few
> high school students realize that Technical Direction is even an
> option of a career path.  In fact, I was speaking to a senior BFA TD
> student today and he told me the same thing.   He came to school
> wanting to do something in technical theatre, and didn't know that
> being a TD was an option.
>
> Does anyone know why this is?  Can anything be done to help raise
> awareness?
>
> 2. Are there specific technical theatre classes taught in public high
> schools in the US?  If so, what kind of classes are they?  Or do they
> get most of their knowledge from working on their productions?  I grew
> up in Puerto Rico, so I have absolutely no idea.
>
> --
> Eric Rouse
> TD-Penn State University
> State College, PA
>
>
> Jeff Kanyuck
> Technical Director
> Cultural Events & Performing Arts
> Harford Community College
> 401 Thomas Run Road
> Bel Air, MD 21015
> 410-836-4369 Office
> 410-836-4251 Fax
> jkanyuck [at] harford.edu
>
>


-- 
Eric Rouse
TD-Penn State University
State College, PA

------------------------------

Message-ID: <41f080680702030533v43b88472obd1317e00c5deda5 [at] mail.gmail.com>
Date: Sat, 3 Feb 2007 08:33:04 -0500
From: "Eric Rouse" <erictd [at] gmail.com>
Subject: Re: Operating line size
In-Reply-To: <list-41920672 [at] prxy.net>
References: <list-41920672 [at] prxy.net>

This is interesting.  For flying rigs I usually like to use 1"
Multiline II.  If Bill had a bigger diameter I might try that too.  In
my mind, the bigger diameter makes it easier on the hands when you are
doing a lot of flying.  I see a big difference going from 3/4" to 1".
However, on a lineset I think I would still like 3/4" or 7/8".  It's a
different motion and I want more of my hand on the rope..........Does
that make any sense???

Eric

> I may have missed this discussion previously but I was curious on opinions
> as to handline diameter.  I'm a big fan of something larger than the
> "standard" 3/4" of whatever material.  I recall that when the Lyric Opera in
> Chicago was renovated, the consultant had several different handlines
> installed before they closed for the work and the preference was for 1 1/8"
> manila.  I usually specify 7/8" Multiline II.  (With major manufacturers all
> having new rope lock designs that accommodate 1", I will change to 1", but
> for a while only one or two manufacturers had locks that would accommodate
> larger than 7/8".)

-- 
Eric Rouse
TD-Penn State University
State College, PA

------------------------------

Message-ID: <b7318c480702030612n29c461fhf23156f510c3994a [at] mail.gmail.com>
Date: Sat, 3 Feb 2007 09:12:40 -0500
From: "Delbert Hall" <delbert.hall [at] gmail.com>
Subject: Re: Operating line size
In-Reply-To: <list-42002198 [at] prxy.net>
References: <list-41920672 [at] prxy.net> <list-42002198 [at] prxy.net>

> This is interesting.  For flying rigs I usually like to use 1"
> Multiline II.  If Bill had a bigger diameter I might try that too.  In
> my mind, the bigger diameter makes it easier on the hands when you are
> doing a lot of flying.  I see a big difference going from 3/4" to 1".
> However, on a lineset I think I would still like 3/4" or 7/8".  It's a
> different motion and I want more of my hand on the rope..........Does
> that make any sense???
>
> Eric

Yes, and I agree.

-Delbert

-- 
Delbert L. Hall
ETCP Certified Rigger - Theatre
423-773-4255

------------------------------

Date: Sat, 3 Feb 2007 07:32:26 -0800 (PST)
From: Al Fitch <fitchal [at] yahoo.com>
Subject: Re: High School curriculum
In-Reply-To: <list-42001945 [at] prxy.net>
Message-ID: <868948.80423.qm [at] web84011.mail.mud.yahoo.com>


> 
> Sorry I dropped out folks, had tech....Well these
> responses answer a
> bunch of my questions.  We are in process of making
> relationships with
> many high schools in our immediate area.  Sounds
> like this is the
> place to start.
>

Eric:

Last year I learned few things in my curriculm
development course (probably shouldn't admit that but
if you were in the class I think you would agree). 
One thing I did learn is that in order for a
high-school program in technology to survive and
flourish there has to be local connections to industry
and support for the program comes from the
relationships between the local industry that are
forged with a give and take of resources.  

What I got from that was that there has to be
opportunity for the students to intern or work within
the industry locally.  Both parties would benefit.
It sounds like your plan of reaching out to the local
high schools will do just this.

Forging relationships with high school administrators
and teachers in the technology departments,
drama/theatre departments if any would help.

In my limited experience with high school drama
teachers or technology teachers who build theatre sets
I have not seen a tremendous amount of technical
knowledge directly related to theatre.  The result is
a lack of accurate learning experiences for the kids
learning how to build sets, rig sets etc.  

One thing I hope to influence is a course on basic
theatre technology for Technology educators.  It
wouldn't be a hard course for technology education
majors who might find themselves responsible and being
paid stipends to build their high-school's theatre
sets.  

Maybe that is a course you could offer on a weekend or
over the high school's spring/summer break for
science/technology teachers.  

I know that Scott Parker at Pace in NYC taught NYC
Board of education teachers a course on how to use
tools in Art and Theatre courses.  You might not have
to reinvent the wheel if you talked to him about it.

Al Fitch

Be Kind, Smile and Have Fun.

------------------------------

Date: Sat, 03 Feb 2007 10:10:13 -0800
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Outdoor Lighting Fixtures
In-reply-to: <list-41986897 [at] prxy.net>
Message-id: <20070203181013.A383C18EC45 [at] smtp.interstellar.com>
References: <list-41925243 [at] prxy.net> <list-41964778 [at] prxy.net>
 <list-41969842 [at] prxy.net> <list-41976356 [at] prxy.net> <list-41986897 [at] prxy.net>

At 07:03 PM 2/2/2007, Pat Kight wrote:
>Between the new fire marshall's "OK, all you downtown businesses 
>that have been getting by on grandfathered building codes, it's time 
>to install sprinkler systems" mandate

Low budget sprinkler system:  interns with hudson sprayers or pass 
out squirt guns to the audience?


-- 
Jerry Durand, Durand Interstellar, Inc.  www.interstellar.com
tel: +1 408 356-3886, USA toll free: 1 866 356-3886
Skype:  jerrydurand


------------------------------

Message-ID: <45C4D2EB.8000908 [at] ef-ae.com>
Date: Sat, 03 Feb 2007 22:22:35 +0400
From: Simon Shuker <simon [at] ef-ae.com>
Organization: The Events Factory
Subject: Re: Outdoor Lighting Fixtures
References: <list-41925243 [at] prxy.net> <list-41964778 [at] prxy.net> <list-41969842 [at] prxy.net> <list-41976356 [at] prxy.net> <list-41986897 [at] prxy.net> <list-42011422 [at] prxy.net>
In-Reply-To: <list-42011422 [at] prxy.net>

I guess its always rocky horror picture show then

Jerry Durand wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> At 07:03 PM 2/2/2007, Pat Kight wrote:
>> Between the new fire marshall's "OK, all you downtown businesses that 
>> have been getting by on grandfathered building codes, it's time to 
>> install sprinkler systems" mandate
>
> Low budget sprinkler system:  interns with hudson sprayers or pass out 
> squirt guns to the audience?
>
>

------------------------------

Message-ID: <b6bcbcb00702031049u40dadb63x415c60261e0fea19 [at] mail.gmail.com>
Date: Sat, 3 Feb 2007 13:49:35 -0500
From: "Anneke Ciup" <annekeciup [at] gmail.com>
Subject: Portfolios

Hi,
  I'm kinda new here, so I guess I should introduce myself, even
though I missed the introductions bandwagon last week (or was it the
week before?)
  Anyway, my name is Anneke Ciup (pronounce Ah-Neh-Kah See-oop...it's
weird, I know) and  I'm a Technical Theatre  student at John  Abbott
College (it's a  CEGEP, which is kinda like a junior college...sorta,
but not really) in Montreal (Quebec, Canada).
  At any rate I am applying to a couple of universities and the Work
Study program at the Banff Center (that's in Alberta, Canada) and I
need to put together a portfolio. I tried searching the archives, but
the search function is down, so I'm really sorry if you've answered
this question a million times before but...it would really help me out
if any of you who look at/have/judge portfolios could let me know what
you hate/love to see in them.
Thanks a million!

-Anneke

------------------------------

Message-ID: <45C4FB90.4070204 [at] uwosh.edu>
Date: Sat, 03 Feb 2007 15:16:00 -0600
From: Mick Alderson <alderson [at] uwosh.edu>
Subject: Re: Nehemiah Scudder

Frank Wood wrote:

> For interest, who knows about Nehemiah Scudder, apart from Chris and me? Those who don't should read Robert Heinlein's "Revolt in 2100".

Probably quite a few of us, as Heilein quotes are not uncommon in this
group. My wife and I were afraid we'd elected "Nehemiah Scudder" six
years ago, and as Chris is pointing out, it could still happen.

Heilein sometimes had depressingly accurate insight into the human
condition, and as a romantic, he may have been too optimistic.

-- 
Mick Alderson

TD, Fredric March Theatre
University of Wis. Oshkosh


------------------------------

Date: Sat, 03 Feb 2007 16:18:55 -0500
Subject: Re: Portfolios
From: Steve Shelley <mrtemplate [at] earthlink.net>
Message-ID: <C1EA666F.C141%mrtemplate [at] earthlink.net>
In-Reply-To: <list-42012766 [at] prxy.net>

Hello Anneke;

Welcome to the list. Your question is a huge topic that has filled chapters,
papers, seminars, and so forth.

one potential short answer is: include pieces that demonstrate what you have
done and what you can do. Provide the viewer with the information that shows
that you have an "eye" for composition, color, and contrast, to name a few.
Include examples that show you are organized. And present your work in a
clean and professional manner.

This can be graphic drawings, color renderings, collages, possibly compared
with  pictures or production photographs ("this is what I envisioned, this
is what the final product looked like"). Or it may include paperwork ("this
is the list of steps or tasks in order to achieve the final product").

Sometimes this is represented by show designs. Since you don't list your
focus or objective, let it be said that different design diciplines require
different information. Costume designs usually have sketches and photos,
while scenic portfolios often combine drafting, sketches, color renderings,
and photos. On the other hand, I've seen young portfolios that contain no
show photography, and instead show only class assignments.

Whatever you present, it's usually a good idea to have your work packaged in
some kind of book or large notebook so that pages and pieces stay in place
and in sequential order. Then you can design the sequence of the
presentation. Using that kind of format also provides a universal background
for all of your work (often black pages) so that the focus is on what's on
the page, not the background. Many portfolio books and binders have plastic
covers on each page, so you can quickly rearrange your work under the
plastic.

Usually the front page includes your resume (with copies to be kept by the
observer. The portfolio always has embedded in it your name and contact
information for when you accidentally leave it on the bus.

Most important, the portfolio is a representation of you, what you know, and
by omission, what you don't know. Include things that you think make you
look good and show you in a good light.

Have your present instructors and other mentors look at your portfolio
before you go on the actual interview. Showing your work, and talking about
your work, can be very difficult. Going through the experience at least a
couple of times before the actual interviews will allow you to rehearse the
presentation, and also allows you to form responses to some of the same
questions. The repetition will hopefully allow you to feel more relaxed
during the actual interview. That way, when you're in the interview, you can
hear what's being said to you, rather than just freaking out about being in
the interview.

No doubt many on this list will contribute additional information. You're
starting on a very long road. Listen and consider all advice, and apply what
seems right for you. Good luck.

Hth,

shelley


On 2/3/07 1:49 PM, "Anneke Ciup" <annekeciup [at] gmail.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Hi,
>   I'm kinda new here, so I guess I should introduce myself, even
> though I missed the introductions bandwagon last week (or was it the
> week before?)
>   Anyway, my name is Anneke Ciup (pronounce Ah-Neh-Kah See-oop...it's
> weird, I know) and  I'm a Technical Theatre  student at John  Abbott
> College (it's a  CEGEP, which is kinda like a junior college...sorta,
> but not really) in Montreal (Quebec, Canada).
>   At any rate I am applying to a couple of universities and the Work
> Study program at the Banff Center (that's in Alberta, Canada) and I
> need to put together a portfolio. I tried searching the archives, but
> the search function is down, so I'm really sorry if you've answered
> this question a million times before but...it would really help me out
> if any of you who look at/have/judge portfolios could let me know what
> you hate/love to see in them.
> Thanks a million!
> 
> -Anneke

-- 
Steve Shelley
SoftSymbols Designer
MrTemplate [at] Earthlink.net
www.fieldtemplate.com



------------------------------

Message-ID: <026b01c747d9$5685c0b0$6a01a8c0 [at] BCA1>
Reply-To: "Bill Conner" <bill [at] bcaworld.com>
From: "Bill Conner" <bill-conner [at] att.net>
Subject: AARP
Date: Sat, 3 Feb 2007 15:21:58 -0600

Well, Chris,  my $10 gets me about $750 or there abouts in savings each 
year.  I suppose I could reduce contributions to charities but seems like 
what I give does a lot more good than any harm of $10, but I'm open.  What 
positions that AARP advocates do you specifically object to?

Bill Conner ASTC, ETCP CR-T 


------------------------------

Reply-To: <doomster [at] worldnet.att.net>
From: "RD" <doomster [at] worldnet.att.net>
References: <list-42001945 [at] prxy.net> <list-42006238 [at] prxy.net>
Subject: RE: High School curriculum
Date: Sat, 3 Feb 2007 15:02:30 -0700
Message-ID: <041f01c747df$2db1e1e0$6501a8c0 [at] doom1>
In-Reply-To: <list-42006238 [at] prxy.net>

Right. And you could use my new book. Doom 
And I have many courses of study that I have written for a number of large
school districts ...like L.A. et al. Doom 

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Al Fitch
Sent: Saturday, February 03, 2007 8:32 AM
To: Stagecraft
Subject: Re: High School curriculum

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------


> 
> Sorry I dropped out folks, had tech....Well these
> responses answer a
> bunch of my questions.  We are in process of making
> relationships with
> many high schools in our immediate area.  Sounds
> like this is the
> place to start.
>

Eric:

Last year I learned few things in my curriculm
development course (probably shouldn't admit that but
if you were in the class I think you would agree). 
One thing I did learn is that in order for a
high-school program in technology to survive and
flourish there has to be local connections to industry
and support for the program comes from the
relationships between the local industry that are
forged with a give and take of resources.  

What I got from that was that there has to be
opportunity for the students to intern or work within
the industry locally.  Both parties would benefit.
It sounds like your plan of reaching out to the local
high schools will do just this.

Forging relationships with high school administrators
and teachers in the technology departments,
drama/theatre departments if any would help.

In my limited experience with high school drama
teachers or technology teachers who build theatre sets
I have not seen a tremendous amount of technical
knowledge directly related to theatre.  The result is
a lack of accurate learning experiences for the kids
learning how to build sets, rig sets etc.  

One thing I hope to influence is a course on basic
theatre technology for Technology educators.  It
wouldn't be a hard course for technology education
majors who might find themselves responsible and being
paid stipends to build their high-school's theatre
sets.  

Maybe that is a course you could offer on a weekend or
over the high school's spring/summer break for
science/technology teachers.  

I know that Scott Parker at Pace in NYC taught NYC
Board of education teachers a course on how to use
tools in Art and Theatre courses.  You might not have
to reinvent the wheel if you talked to him about it.

Al Fitch

Be Kind, Smile and Have Fun.


------------------------------

Message-ID: <20693394.1170541270377.JavaMail.root [at] elwamui-hybrid.atl.sa.earthlink.net>
Date: Sat, 3 Feb 2007 17:21:10 -0500 (EST)
From: seanrmc [at] earthlink.net
Reply-To: seanrmc [at] earthlink.net
Subject: Internships

Hi all,

Below you'll find the ad copy for our internship program.  Though I am bias=
ed, I do think it's a very good program overall.  It provides a good transi=
tion from academic to professional theatre.  As far as my department, I kno=
w that many of our former Lighting interns have moved on to good jobs in th=
e industry (I know there's at least one former Lighting intern on this list=
).

I'm happy to answer any questions anyone has, especially about the lighting=
 internship.  Please cc me on any emailed questions, as I have way too many=
 list posts to wade through right now and wouldn't want to miss your email.

--Sean

Sean R. McCarthy
Master Electrician
Shakespeare Theatre Company
Washington, DC

seanrmc [at] earthlink.net



INTERNSHIPS-Shakespeare Theatre Company in the Nation's Capital is acceptin=
g
applications for the 2007-2008 season. Internships include Artistic, Audien=
ce Development,
Company Management, Development, Education, General Management, Graphic Des=
ign,=20
PR/Marketing, Costumes, Lighting, Production Management, Sound, Stage Manag=
ement,
Stage Properties and Technical Direction. Full season internships preferabl=
e (August
-June); part-time and for-credit internships are available. Weekly stipend =
provided;
most positions include housing.=20

For information on how to apply, visit www.shakespearetheatre.org/education=
/training/internships
or contact the Education Department at 202.547.5688. To apply send applicat=
ion,=20
r=C3=A9sum=C3=A9 and two letters of recommendation to: Internships, Shakesp=
eare Theatre Company,
516 8th Street SE, Washington, DC 20003-2834.


------------------------------

Message-Id: <3.0.6.32.20070203150414.00c9dc10 [at] pop.west.cox.net>
Date: Sat, 03 Feb 2007 15:04:14
From: CB <psyd [at] cox.net>
Subject: Re: inside-out electrical tape

Richard wrote:
>Next time, buy Scotch 33+

Naw, 12 y.o. is old enough.  18 is great, but you don't really *need* 33
y.o. or older...
				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...

Nehemiah Scudder for President in 2012

------------------------------

Message-Id: <3.0.6.32.20070203151037.00c9dc10 [at] pop.west.cox.net>
Date: Sat, 03 Feb 2007 15:10:37
From: CB <psyd [at] cox.net>
Subject: Re: how old

>It seems you are running low on countries to indulge your filthy habit

It's only a filthy habit when practices by filthy people.  I still smoke
occasionally, and I'm very careful where I ash, where the smoke goes, that
no one is offended by the smoke, and where I butt. 
Be careful with that wide brush, y'all.  There are (granted, you only see
the notice the other ones) clean and considerate smokers out there.
				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...

Nehemiah Scudder for President in 2012

------------------------------

Message-Id: <p06240808c1eaba135e59 [at] [192.168.0.2]>
In-Reply-To: <list-42017794 [at] prxy.net>
References: <list-42017794 [at] prxy.net>
Date: Sat, 3 Feb 2007 17:35:40 -0500
From: Rigger <rigger [at] tds.net>
Subject: Re: AARP

At 3:21 PM -0600 2/3/07, Bill Conner wrote:

>  What positions that AARP advocates do you specifically object to?


Their position with respect to Medicade, Medicare, and retirement 
would bankrupt the nation. If they had their way, we'd see increases 
in federal taxes of 30-50% to finance their blueprint.

In backing the recent Medicare Prescription Drug, Improvement, and 
Modernization Act, AARP took a position directly in opposition with 
the best interests of its memebrship. Do a Google Search for "Dale 
Van Atta" and read his article, "This Isn't The Old AARP" (L.A. 
TImes, Nov. 24 2003)

With respect to their their commercial interests seem at odds with 
the interests of their membership; BusinessWeek magazine found that 
the AARP sold insurance policies to its members at higher rates and 
with lower benefits than a considerable number of those members could 
have negitiated on their own.

I find this noteworthy, considering the AARP generates more revenue - 
*MUCH* more - from sales of life and health insurance policies to its 
membership than from its membership fees.  Look around for a report 
on this from the Annenberg Policy Center.

AARP manages an investment portfolio of over $900 million. In 2003, 
it invested $737 million in stocks and mutual funds, generating a 
profit of $60 million in returns on investment. Last year, they ran a 
$5 million campaign to derail the privatization-of-Social-Security 
movement, stating that younger workers should not have the choice of 
diverting a portion of their retirement investments into the stock 
market. Well, I'm far from being a fan of privatizing SSA for a 
number of reasons, but if AARP can make money on the market, why 
can't I? This is the height of hypocracy; AARP thinks capitalism is 
fine, as long as they're the only ones practicing it, it seems.

I find them also to be fiercely anti-2nd Amendment, which may not 
mean anything to anyone else here, but it's a big no-no in my book; 
it's the 1st and 2nd Amendments that protect all the rest of the 
Constitution, AFAIC.

Anyway; you asked, I answered.
Let's talk about something else, okay?

-- 
Dave Vick
rigger [at] tds.net

   Some say the glass is half empty.
   Some say the glass is half full.
   I say the glass is too big.

------------------------------

Message-Id: <p06240809c1eabed47bae [at] [192.168.0.2]>
In-Reply-To: <list-42019957 [at] prxy.net>
References: <list-42019957 [at] prxy.net>
Date: Sat, 3 Feb 2007 17:37:02 -0500
From: Rigger <rigger [at] tds.net>
Subject: Re: inside-out electrical tape

At 3:04 PM -0500 2/3/07, CB wrote:

>Richard wrote:
>
>>Next time, buy Scotch 33+
>
>Naw, 12 y.o. is old enough.  18 is great, but you don't really *need* 33
>y.o. or older...


Chris, Chris, Chris....
How many times do we gotta tell ya; it's not a question of "need."

-- 
Dave Vick
rigger [at] tds.net

  I almost don't feel the way I do.

------------------------------

Date: Sat, 03 Feb 2007 17:37:41 -0500
Subject: Re: Internships
From: Steve Shelley <mrtemplate [at] earthlink.net>
Message-ID: <C1EA78E5.C15E%mrtemplate [at] earthlink.net>
In-Reply-To: <list-42019691 [at] prxy.net>

Will anyone from STC be at setc's or usitt? I have already forwarded to one
potential recruit.

shelley


On 2/3/07 5:21 PM, "seanrmc [at] earthlink.net" <seanrmc [at] earthlink.net> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>=20
> Hi all,
>=20
> Below you'll find the ad copy for our internship program.  Though I am bi=
ased,
> I do think it's a very good program overall.  It provides a good transiti=
on
> from academic to professional theatre.  As far as my department, I know t=
hat
> many of our former Lighting interns have moved on to good jobs in the ind=
ustry
> (I know there's at least one former Lighting intern on this list).
>=20
> I'm happy to answer any questions anyone has, especially about the lighti=
ng
> internship.  Please cc me on any emailed questions, as I have way too man=
y
> list posts to wade through right now and wouldn't want to miss your email=
.
>=20
> --Sean
>=20
> Sean R. McCarthy
> Master Electrician
> Shakespeare Theatre Company
> Washington, DC
>=20
> seanrmc [at] earthlink.net
>=20
>=20
>=20
> INTERNSHIPS-Shakespeare Theatre Company in the Nation's Capital is accept=
ing
> applications for the 2007-2008 season. Internships include Artistic, Audi=
ence
> Development,
> Company Management, Development, Education, General Management, Graphic
> Design,=20
> PR/Marketing, Costumes, Lighting, Production Management, Sound, Stage
> Management,
> Stage Properties and Technical Direction. Full season internships prefera=
ble
> (August
> -June); part-time and for-credit internships are available. Weekly stipen=
d
> provided;
> most positions include housing.
>=20
> For information on how to apply, visit
> www.shakespearetheatre.org/education/training/internships
> or contact the Education Department at 202.547.5688. To apply send
> application,=20
> r=E9sum=E9 and two letters of recommendation to: Internships, Shakespeare The=
atre
> Company,
> 516 8th Street SE, Washington, DC 20003-2834.
>=20

--=20
Steve Shelley
SoftSymbols Designer
MrTemplate [at] Earthlink.net
www.fieldtemplate.com



------------------------------

Message-Id: <3.0.6.32.20070203152037.00c9dc10 [at] pop.west.cox.net>
Date: Sat, 03 Feb 2007 15:20:37
From: CB <psyd [at] cox.net>
Subject: Automated Alarms (was: Re: Powered Speakers)

>In the theatres where I work, I suspect the recorded announcement would be
>superior, as house staff and tech crew have little or no training in
>crisis management  (community theatre).

So, in a crisis, they become part of the problem instead of part of the
solution.  I've worked at those kinda places once.  Once.
This isn't so much an endorsement of automated alarms as muych as it is an
endorsement of emergency training.  Automated alarms has the distinct
flavor of 'Concession a Stupidit=E9'.
Hey, if it works for you,go for it.  I just said that I'd rather have
something with a thinking, adapting brain guiding souls to safety than a
computer.  Probably colored by my experiences with computers.  Hmmm...
looking back on my experiences with people, maybe I'll just run.
				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...

Nehemiah Scudder for President in 2012

------------------------------

Message-Id: <3.0.6.32.20070203152535.00ca1f48 [at] pop.west.cox.net>
Date: Sat, 03 Feb 2007 15:25:35
From: CB <psyd [at] cox.net>
Subject: Re: L Hand/R Hand

>> The point being, that if you were to make a mark without something in your
>> right hand, you'd be using your right hand to do it. A 'proper'
>> right-handed tape would allow you to 'write' with your right hand, and 
>> hold
>> the tape in your left, is the theory.

>  That's not how I do it.  I measure off from the most inconveneint end of 
>the material, using the tape in whichever hand it was closest to... 

No, no, no.  Don, you're just not paying attention!  What you describe is
'practice'.  I was describing the 'theory', as my post clearly indicates
("...is the theory").  Of course, I do it in a  remarkably similar fashion
to what you described, as I'm sure so do many of the rest of us.
				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...

Nehemiah Scudder for President in 2012

------------------------------

Message-Id: <3.0.6.32.20070203154524.00ca1f48 [at] pop.west.cox.net>
Date: Sat, 03 Feb 2007 15:45:24
From: CB <psyd [at] cox.net>
Subject: RE: Rosco Image Pro

>It's audible, but quiet. It will probably fade into the background noise
>pretty quickly

*sigh*  Whatever the sound level is, remember that two of them will be
three dB louder than one, four will be three dB louder than that or +6 dB,
eight, etc.  'Quiet' being relative, anyone have the spec on the actual
level of noise that this thing will produce?  Mike, (can I call ya 'Mike?)
I don't mean to point at you, I'm just using your post as a stepping-off
point for a general rant, here, brother.
(Cheez, what if I told somone that then new orch lights with LEDs didn't
produce "that different a glow" and suggested everyone buy them?)
"Fade into the background noise" will also be dependant on a number of
variables, one of which will be the house HVAC and another, the type of
show you'll be doing. Still another; the acoustics of where you'll be
placing them (think free standing lamp or one in a reflector with a lens in
front of it...).  I went to see "M. Butterfly" last night and was impressed
by the audience.  There were only about fifty with respiritory issues, and
only three within earshot that absolutely had to have that hard candy in
teh quieter periods of the opera.  And, get this, only one that had to have
the opera explained to them *during* the opera!  Fortunately, some
free-thinking bast... er patron shushed that in the bud. Any noise made in
that room would have been part of the show, most of the time.
Ehm, could you describe 'quiet'?
				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...

Nehemiah Scudder for President in 2012

------------------------------

From: <frank.wood95 [at] ntlworld.com>
Subject: Re: Re: Outdoor Lighting Fixtures
Date: Sat, 3 Feb 2007 23:13:10 +0000
Message-Id: <20070203231310.DCBA29112.aamtaout04-winn.ispmail.ntl.com [at] smtp.ntlworld.com>


> 
> From: Jerry Durand <jdurand [at] interstellar.com>
> Date: 2007/02/03 Sat PM 06:10:13 GMT
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Outdoor Lighting Fixtures
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
 
> Low budget sprinkler system:  interns with hudson sprayers or pass 
> out squirt guns to the audience?

I agree with Jerry. Useful sprinkler system are not something you can retrofit, and certainly not at low cost. If they are designed into a new building, or a complete rebuild, maybe. But when I contemplate what would be involved in installing one in our theatre, I tremble. The theatre is dark for the month of August only. I do not believe that that gives time to do the work, and certainly not at reasonable cost. 

> 
> 
> -- 
> Jerry Durand, Durand Interstellar, Inc.  www.interstellar.com
> tel: +1 408 356-3886, USA toll free: 1 866 356-3886
> Skype:  jerrydurand
> 
> 

Frank Wood

-----------------------------------------
Email sent from www.ntlworld.com
Virus-checked using McAfee(R) Software 
Visit www.ntlworld.com/security for more information


------------------------------

Message-Id: <3.0.6.32.20070203155234.00ca1f48 [at] pop.west.cox.net>
Date: Sat, 03 Feb 2007 15:52:34
From: CB <psyd [at] cox.net>
Subject: Re: Cello Platform

>Chris asked:   > Now, why do the Germans call a viola a  'bratsch'?

> this was the 
>stringed instrument for the arm! 

Ehm, no, Kristi, it's named after the sound it makes when you sit on it.


				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...

Nehemiah Scudder for President in 2012

------------------------------

Message-ID: <8231e7ea0702031530l4a3e838bs8f95eb0a4278bdc6 [at] mail.gmail.com>
Date: Sat, 3 Feb 2007 18:30:46 -0500
From: SS <cueonego [at] gmail.com>
Subject: Re: L Hand/R Hand
In-Reply-To: <list-41974736 [at] prxy.net>
References: <list-41973555 [at] prxy.net> <list-41974736 [at] prxy.net>

--Chuckle, Snort---

True.

Thanks Don!

-SS
TTS-EKU
"When a thing ceases to be a subject of controversy, it ceases to be a
subject of interest."  -William Hazlitt

> That's not how I do it.  I measure off from the most inconveneint end of
> the material, using the tape in whichever hand it was closest to when I went
> to grab it from the pile of tools, and often getting the tip of the tape
> wedged into some kind of crack or joint in the material, forcing me to stop
> and free it.  Then I peer at the material and visually memorize some spot or
> defect or mark or pattern in the grain next to the measurement I need, then
> I put down the tape measure and scramble around in the pile of tools looking
> for a pencil, rejecting the ones that are easy to locate, since they all
> need to be sharpened.  Once I've found a pencil, I return to the material
> and look for my mark, which nearly always looks exactly like a dozen others
> in the vicinity, and so I grab the tape measure and start over, and then
> look all around me for the pencil, which I have forgotten that I put behind
> my ear when I started looking for the tape.  Once I remember where the
> pencil is and go to make the mark, generally, the tip breaks off of that
> pencil, and I look for a distinctive mark in the wood, put down the tape,
> and go back to looking for a sharp pencil.  Which side the numbers are
> facing is the least of my problems.

------------------------------

Message-ID: <45C51BE2.3010600 [at] peak.org>
Date: Sat, 03 Feb 2007 15:33:54 -0800
From: Pat Kight <kightp [at] peak.org>
Subject: Re: Outdoor Lighting Fixtures
References: <list-42021447 [at] prxy.net>
In-Reply-To: <list-42021447 [at] prxy.net>

frank.wood95 [at] ntlworld.com wrote:


>> From: Jerry Durand <jdurand [at] interstellar.com> Date: 2007/02/03 Sat
>> PM 06:10:13 GMT To: "Stagecraft" <stagecraft [at] theatrical.net> 
>> Subject: Re: Outdoor Lighting Fixtures
>> 
>> For info, archives & UNSUBSCRIBE, see
>> <http://stagecraft.theprices.net/> 
>> ---------------------------------------------------
> 
> 
> 
>> Low budget sprinkler system:  interns with hudson sprayers or pass
>>  out squirt guns to the audience?
> 
> 
> I agree with Jerry. Useful sprinkler system are not something you can
> retrofit, and certainly not at low cost. If they are designed into a
> new building, or a complete rebuild, maybe. But when I contemplate
> what would be involved in installing one in our theatre, I tremble.
> The theatre is dark for the month of August only. I do not believe
> that that gives time to do the work, and certainly not at reasonable
> cost.

We're lucky that the fire marshall allowed us to do the retrofit (in a 
1906 building) in stages; the first stage involved the basement/pit area 
and getting the appropriate water service to the building (which wound 
up being much costlier and more complex than expected, but at least 
didn't disrupt the production schedule).

The fire marshall is gone; we don't yet know what his replacement will 
require.

-- 
Pat Kight
kightp [at] peak.org



------------------------------

From: <frank.wood95 [at] ntlworld.com>
Subject: Re: Re: Nehemiah Scudder
Date: Sat, 3 Feb 2007 23:40:25 +0000
Message-Id: <20070203234025.VMUO219.aamtaout01-winn.ispmail.ntl.com [at] smtp.ntlworld.com>


> 
> From: Mick Alderson <alderson [at] uwosh.edu>
> Date: 2007/02/03 Sat PM 09:16:00 GMT
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: Nehemiah Scudder
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Frank Wood wrote:
> 
> > For interest, who knows about Nehemiah Scudder, apart from Chris and me? Those who don't should read Robert Heinlein's "Revolt in 2100".
> 
> Probably quite a few of us, as Heilein quotes are not uncommon in this
> group. My wife and I were afraid we'd elected "Nehemiah Scudder" six
> years ago, and as Chris is pointing out, it could still happen.
> 
> Heilein sometimes had depressingly accurate insight into the human
> condition, and as a romantic, he may have been too optimistic.

Very true. I don't want to post on US politics, but I cannot help expressing the view that a teetotal, puritan Evangelist is not the best leader of a world class country. We have our own problems, over here. At least Bush is honest, which I cannot say for Blair. His putative successor is, but also something of a puritan. To refuse to wear evening dress, even at the low level of a dinner jacket, to a major public occasion seems churlish to me, especially when he is a guest rather than the host. We shall see.

I should like to see both countries led by men, or women, of the world, rather than by people with restricted mindsets. Those who can accept that there are other world views, and can learn to live with them. Islam, Judaism, Buddhism,Confucianism and Christianity all offer workable moral codes by which to conduct your life. All different, but all viable. They have served their communities well for thousands of years.

> 

Frank Wood

-----------------------------------------
Email sent from www.ntlworld.com
Virus-checked using McAfee(R) Software 
Visit www.ntlworld.com/security for more information


------------------------------

In-Reply-To: <list-42020575 [at] prxy.net>
References: <list-42020575 [at] prxy.net>
Message-Id: <8C3477E0-7986-45BB-BB0D-D29EA56C3B97 [at] rochester.rr.com>
From: Bruce Purdy <bpurdy [at] rochester.rr.com>
Subject: Re: Automated Alarms (was: Re: Powered Speakers)
Date: Sat, 3 Feb 2007 18:51:22 -0500


On 3 Feb 2007, at 10:20, CB wrote:

> I just said that I'd rather have
> something with a thinking, adapting brain guiding souls to safety  
> than a
> computer.  Probably colored by my experiences with computers.  Hmmm...
> looking back on my experiences with people, maybe I'll just run.

	Please Walk - DON'T RUN to the nearest emergency exit door. They are  
at the front, middle and back of both sides of the auditorium right  
under the "EXIT" signs that light up so pretty!

Bruce
____________________
Bruce Purdy
Technical Director
Smith Opera House




------------------------------

Message-ID: <06ec01c747ee$44b6d5d0$e28aaa43 [at] DonTaco>
From: "Don Taco" <taco [at] peak.org>
References: <list-42020798 [at] prxy.net>
Subject: Re: L Hand/R Hand
Date: Sat, 3 Feb 2007 15:51:47 -0800


>
>>  That's not how I do it.  I measure off from the most inconveneint end of
>>the material, using the tape in whichever hand it was closest to...
>
> No, no, no.  Don, you're just not paying attention!  What you describe is
> 'practice'.  I was describing the 'theory', as my post clearly indicates
> ("...is the theory").  Of course, I do it in a  remarkably similar fashion
> to what you described, as I'm sure so do many of the rest of us.
> Chris "Chris" Babbie


   Was it on another list, or weren't we just reminded of the old quotation, 
'The gulf between theory and practice is much bigger in practice than in 
theory.'  (I think I've heard that said more elegantly, but I can't recall 
the wording.) 


------------------------------

From: <frank.wood95 [at] ntlworld.com>
Subject: Re: Re: how old
Date: Sat, 3 Feb 2007 23:54:14 +0000
Message-Id: <20070203235414.EKBI26699.aamtaout03-winn.ispmail.ntl.com [at] smtp.ntlworld.com>


> 
> From: CB <psyd [at] cox.net>
> Date: 2007/02/03 Sat PM 03:10:37 GMT
> To: "Stagecraft" <stagecraft [at] theatrical.net>
> Subject: Re: how old
> 
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> >It seems you are running low on countries to indulge your filthy habit

Like you, I deeply resent its being called a 'filthy habit'. It is not 'filthy'. For the greater part of the twentieth century, it was regarded as quite normal.
> 
> It's only a filthy habit when practices by filthy people.  I still smoke
> occasionally, and I'm very careful where I ash, where the smoke goes, that
> no one is offended by the smoke, and where I butt. 
> Be careful with that wide brush, y'all.  There are (granted, you only see
> the notice the other ones) clean and considerate smokers out there.
> 				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...
> 
> Nehemiah Scudder for President in 2012
> 

Frank Wood

-----------------------------------------
Email sent from www.ntlworld.com
Virus-checked using McAfee(R) Software 
Visit www.ntlworld.com/security for more information


------------------------------

Message-ID: <06f401c747ef$17cee7a0$e28aaa43 [at] DonTaco>
From: "Don Taco" <taco [at] peak.org>
References: <list-42021368 [at] prxy.net>
Subject: Re: Rosco Image Pro
Date: Sat, 3 Feb 2007 15:57:41 -0800

> Any noise made in
> that room would have been part of the show, most of the time.
> Ehm, could you describe 'quiet'?
> Chris "Chris" Babbie


  I once had the unimaginable good luck of having an opportunity to hear 
Andres Segovia play.  In a relatively small community college hall.  I would 
swear to you that the audience members refused to breathe while he was 
playing, to demonstrate their respect and to hear every note.  I have never 
witnessed such a quiet and focused audience as that one. 


------------------------------

Message-ID: <17911824.1170547101752.JavaMail.root [at] elwamui-hybrid.atl.sa.earthlink.net>
Date: Sat, 3 Feb 2007 18:58:21 -0500 (EST)
From: seanrmc [at] earthlink.net
Reply-To: seanrmc [at] earthlink.net
Subject: Re: Internships

I believe someone will be at SETC.

I know we're sending folks to USITT.

Thanks Steve
(by the way, I still have to update you on those ACL rigs we built)

--Sean

Sean R. McCarthy
seanrmc [at] earthlink.net

-----Original Message-----
>From: Steve Shelley <mrtemplate [at] earthlink.net>
>
>Will anyone from STC be at setc's or usitt? I have already forwarded to one
>potential recruit.
>
>shelley
>

------------------------------

From: <frank.wood95 [at] ntlworld.com>
Subject: Re: Automated Alarms (was: Re: Powered Speakers)
Date: Sun, 4 Feb 2007 0:02:51 +0000
Message-Id: <20070204000251.LEDV17393.aamtaout02-winn.ispmail.ntl.com [at] smtp.ntlworld.com>



> 
> Nehemiah Scudder for President in 2012
> 
Chris, do you really mean this? A non-smoking, non-drinking puritan? Both you and I smoke and drink. How should we have fared under him?


Frank Wood

-----------------------------------------
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------------------------------

Message-Id: <p06240801c1ead35d4bc3 [at] [192.168.0.2]>
In-Reply-To: <list-42022548 [at] prxy.net>
References: <list-42020798 [at] prxy.net> <list-42022548 [at] prxy.net>
Date: Sat, 3 Feb 2007 19:04:37 -0500
From: Rigger <rigger [at] tds.net>
Subject: Re: L Hand/R Hand

At 3:51 PM -0800 2/3/07, Don Taco wrote:

>  Was it on another list, or weren't we just reminded of the old
>  quotation, 'The gulf between theory and practice is much bigger
>  in practice than in theory.'  (I think I've heard that said more
>  elegantly, but I can't recall the wording.)


"In theory, there's no difference between theory and practice. In 
practice, however, there is."

-- 
Dave Vick
rigger [at] tds.net

   "No one gets to Heaven 'til they've lived a while in Hell"
		--Dio, "Magica"


------------------------------

Message-ID: <45C52517.1000204 [at] gmail.com>
Date: Sat, 03 Feb 2007 16:13:11 -0800
From: Chris Warner <cdw.lighting [at] gmail.com>
Subject: Re: Portfolios
References: <list-42017694 [at] prxy.net>
In-Reply-To: <list-42017694 [at] prxy.net>

Steve, I know I am probably taking this out of context, but I was 
wondering what the physical format of this portfolio should be?  I have 
the artist portfolio, but am wondering if perhaps a bound book is 
better.  I have seen a couple of my professors portfolio's but primariy 
they were work shoved into an artists portfolio.  I am a interested in 
the area of lighting design and am hoping to go to grad school in 2008 
any suggestions for me?  I am unfortunately thin on production photo's 
but have most of my lihting plots for work I have done.

On another subject, how valuable is work done at smaller community theatres?

Thanks in advance.
Chris Warner

Steve Shelley wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Hello Anneke;
>
> Welcome to the list. Your question is a huge topic that has filled chapters,
> papers, seminars, and so forth.
>
> one potential short answer is: include pieces that demonstrate what you have
> done and what you can do. Provide the viewer with the information that shows
> that you have an "eye" for composition, color, and contrast, to name a few.
> Include examples that show you are organized. And present your work in a
> clean and professional manner.
>
> This can be graphic drawings, color renderings, collages, possibly compared
> with  pictures or production photographs ("this is what I envisioned, this
> is what the final product looked like"). Or it may include paperwork ("this
> is the list of steps or tasks in order to achieve the final product").
>
> Sometimes this is represented by show designs. Since you don't list your
> focus or objective, let it be said that different design diciplines require
> different information. Costume designs usually have sketches and photos,
> while scenic portfolios often combine drafting, sketches, color renderings,
> and photos. On the other hand, I've seen young portfolios that contain no
> show photography, and instead show only class assignments.
>
> Whatever you present, it's usually a good idea to have your work packaged in
> some kind of book or large notebook so that pages and pieces stay in place
> and in sequential order. Then you can design the sequence of the
> presentation. Using that kind of format also provides a universal background
> for all of your work (often black pages) so that the focus is on what's on
> the page, not the background. Many portfolio books and binders have plastic
> covers on each page, so you can quickly rearrange your work under the
> plastic.
>
> Usually the front page includes your resume (with copies to be kept by the
> observer. The portfolio always has embedded in it your name and contact
> information for when you accidentally leave it on the bus.
>
> Most important, the portfolio is a representation of you, what you know, and
> by omission, what you don't know. Include things that you think make you
> look good and show you in a good light.
>
> Have your present instructors and other mentors look at your portfolio
> before you go on the actual interview. Showing your work, and talking about
> your work, can be very difficult. Going through the experience at least a
> couple of times before the actual interviews will allow you to rehearse the
> presentation, and also allows you to form responses to some of the same
> questions. The repetition will hopefully allow you to feel more relaxed
> during the actual interview. That way, when you're in the interview, you can
> hear what's being said to you, rather than just freaking out about being in
> the interview.
>
> No doubt many on this list will contribute additional information. You're
> starting on a very long road. Listen and consider all advice, and apply what
> seems right for you. Good luck.
>
> Hth,
>
> shelley
>
>
> On 2/3/07 1:49 PM, "Anneke Ciup" <annekeciup [at] gmail.com> wrote:
>
>   
>> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>> ---------------------------------------------------
>>
>> Hi,
>>   I'm kinda new here, so I guess I should introduce myself, even
>> though I missed the introductions bandwagon last week (or was it the
>> week before?)
>>   Anyway, my name is Anneke Ciup (pronounce Ah-Neh-Kah See-oop...it's
>> weird, I know) and  I'm a Technical Theatre  student at John  Abbott
>> College (it's a  CEGEP, which is kinda like a junior college...sorta,
>> but not really) in Montreal (Quebec, Canada).
>>   At any rate I am applying to a couple of universities and the Work
>> Study program at the Banff Center (that's in Alberta, Canada) and I
>> need to put together a portfolio. I tried searching the archives, but
>> the search function is down, so I'm really sorry if you've answered
>> this question a million times before but...it would really help me out
>> if any of you who look at/have/judge portfolios could let me know what
>> you hate/love to see in them.
>> Thanks a million!
>>
>> -Anneke
>>     
>
>   


------------------------------

In-Reply-To: <list-42022252 [at] prxy.net>
References: <list-42022252 [at] prxy.net>
Message-Id: <CE99A078-C050-4E53-904B-012E23427B32 [at] hillmardesign.com>
From: gregg hillmar <gregg [at] hillmardesign.com>
Subject: Re: Nehemiah Scudder
Date: Sat, 3 Feb 2007 19:13:18 -0500


On Feb 3, 2007, at 6:40 PM, <frank.wood95 [at] ntlworld.com>  
<frank.wood95 [at] ntlworld.com> wrote:

>
> Very true. I don't want to post on US politics, but I cannot help  
> expressing the view that a teetotal, puritan Evangelist is not the  
> best leader of a world class country. We have our own problems,  
> over here. At least Bush is honest,

regardless of the point of your post, there are perhaps millions of  
people who would disagree with that last statement...

... or at the very least substituting "Bush's administration" of  
which he is the "commander."

gregg

------------------------------

Message-ID: <45C52908.2070505 [at] gmail.com>
Date: Sat, 03 Feb 2007 17:30:00 -0700
From: Chip Wood <chip.a.wood [at] gmail.com>
Subject: Re: Nehemiah Scudder
References: <list-42022252 [at] prxy.net>
In-Reply-To: <list-42022252 [at] prxy.net>

frank.wood95 [at] ntlworld.com wrote:

> Islam, Judaism, Buddhism,Confucianism and Christianity all offer workable moral codes by which to conduct your life. They have served their communities well for thousands of years.

> 
When they don't live by those moral codes, you have the Crusades of 
Christians vs Islam, the Spanish Inquisition of Catholics vs Jews, the 
post-partum India massacre of Hindus vs Islam, and too many more to 
list, proves they don't work when under duress.

Chip

------------------------------

Message-ID: <6ef616600702031632l151b4e05n42e145dcef61e38a [at] mail.gmail.com>
Date: Sat, 3 Feb 2007 19:32:33 -0500
From: "Thea Cooper" <kairoslighting [at] gmail.com>
Subject: Re: Portfolios
In-Reply-To: <list-42023122 [at] prxy.net>
References: <list-42017694 [at] prxy.net> <list-42023122 [at] prxy.net>

Chris, I know I am not Steve, but I thought I'd add my piece. My
lighting portfolio is 24x36. I think it works pretty well, for fitting
a whole show (photos, research, etc) on a page, and you don't have to
reduce plots much to fit them on the page (though mine are mostly
folded and in sleeves in between). It's a little bulky for taking
places, but not too bad.
~Thea

On 2/3/07, Chris Warner <cdw.lighting [at] gmail.com> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Steve, I know I am probably taking this out of context, but I was
> wondering what the physical format of this portfolio should be?  I have
> the artist portfolio, but am wondering if perhaps a bound book is
> better.  I have seen a couple of my professors portfolio's but primariy
> they were work shoved into an artists portfolio.  I am a interested in
> the area of lighting design and am hoping to go to grad school in 2008
> any suggestions for me?  I am unfortunately thin on production photo's
> but have most of my lihting plots for work I have done.
>
> On another subject, how valuable is work done at smaller community theatres?
>
> Thanks in advance.
> Chris Warner
>
> Steve Shelley wrote:
> > For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> > ---------------------------------------------------
> >
> > Hello Anneke;
> >
> > Welcome to the list. Your question is a huge topic that has filled chapters,
> > papers, seminars, and so forth.
> >
> > one potential short answer is: include pieces that demonstrate what you have
> > done and what you can do. Provide the viewer with the information that shows
> > that you have an "eye" for composition, color, and contrast, to name a few.
> > Include examples that show you are organized. And present your work in a
> > clean and professional manner.
> >
> > This can be graphic drawings, color renderings, collages, possibly compared
> > with  pictures or production photographs ("this is what I envisioned, this
> > is what the final product looked like"). Or it may include paperwork ("this
> > is the list of steps or tasks in order to achieve the final product").
> >
> > Sometimes this is represented by show designs. Since you don't list your
> > focus or objective, let it be said that different design diciplines require
> > different information. Costume designs usually have sketches and photos,
> > while scenic portfolios often combine drafting, sketches, color renderings,
> > and photos. On the other hand, I've seen young portfolios that contain no
> > show photography, and instead show only class assignments.
> >
> > Whatever you present, it's usually a good idea to have your work packaged in
> > some kind of book or large notebook so that pages and pieces stay in place
> > and in sequential order. Then you can design the sequence of the
> > presentation. Using that kind of format also provides a universal background
> > for all of your work (often black pages) so that the focus is on what's on
> > the page, not the background. Many portfolio books and binders have plastic
> > covers on each page, so you can quickly rearrange your work under the
> > plastic.
> >
> > Usually the front page includes your resume (with copies to be kept by the
> > observer. The portfolio always has embedded in it your name and contact
> > information for when you accidentally leave it on the bus.
> >
> > Most important, the portfolio is a representation of you, what you know, and
> > by omission, what you don't know. Include things that you think make you
> > look good and show you in a good light.
> >
> > Have your present instructors and other mentors look at your portfolio
> > before you go on the actual interview. Showing your work, and talking about
> > your work, can be very difficult. Going through the experience at least a
> > couple of times before the actual interviews will allow you to rehearse the
> > presentation, and also allows you to form responses to some of the same
> > questions. The repetition will hopefully allow you to feel more relaxed
> > during the actual interview. That way, when you're in the interview, you can
> > hear what's being said to you, rather than just freaking out about being in
> > the interview.
> >
> > No doubt many on this list will contribute additional information. You're
> > starting on a very long road. Listen and consider all advice, and apply what
> > seems right for you. Good luck.
> >
> > Hth,
> >
> > shelley
> >
> >
> > On 2/3/07 1:49 PM, "Anneke Ciup" <annekeciup [at] gmail.com> wrote:
> >
> >
> >> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> >> ---------------------------------------------------
> >>
> >> Hi,
> >>   I'm kinda new here, so I guess I should introduce myself, even
> >> though I missed the introductions bandwagon last week (or was it the
> >> week before?)
> >>   Anyway, my name is Anneke Ciup (pronounce Ah-Neh-Kah See-oop...it's
> >> weird, I know) and  I'm a Technical Theatre  student at John  Abbott
> >> College (it's a  CEGEP, which is kinda like a junior college...sorta,
> >> but not really) in Montreal (Quebec, Canada).
> >>   At any rate I am applying to a couple of universities and the Work
> >> Study program at the Banff Center (that's in Alberta, Canada) and I
> >> need to put together a portfolio. I tried searching the archives, but
> >> the search function is down, so I'm really sorry if you've answered
> >> this question a million times before but...it would really help me out
> >> if any of you who look at/have/judge portfolios could let me know what
> >> you hate/love to see in them.
> >> Thanks a million!
> >>
> >> -Anneke
> >>
> >
> >
>
>

------------------------------

Message-ID: <6ef616600702031638u4be5492aw4cb196e8402ceaf3 [at] mail.gmail.com>
Date: Sat, 3 Feb 2007 19:38:38 -0500
From: "Thea Cooper" <kairoslighting [at] gmail.com>
Subject: Re: Portfolios
In-Reply-To: <list-42023629 [at] prxy.net>
References: <list-42017694 [at] prxy.net> <list-42023122 [at] prxy.net>
	 <list-42023629 [at] prxy.net>

My apologies for the million posts. Gmail is cranky sometimes.

On 2/3/07, Thea Cooper <kairoslighting [at] gmail.com> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Chris, I know I am not Steve, but I thought I'd add my piece. My
> lighting portfolio is 24x36. I think it works pretty well, for fitting
> a whole show (photos, research, etc) on a page, and you don't have to
> reduce plots much to fit them on the page (though mine are mostly
> folded and in sleeves in between). It's a little bulky for taking
> places, but not too bad.
> ~Thea
>
> On 2/3/07, Chris Warner <cdw.lighting [at] gmail.com> wrote:
> > For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> > ---------------------------------------------------
> >
> > Steve, I know I am probably taking this out of context, but I was
> > wondering what the physical format of this portfolio should be?  I have
> > the artist portfolio, but am wondering if perhaps a bound book is
> > better.  I have seen a couple of my professors portfolio's but primariy
> > they were work shoved into an artists portfolio.  I am a interested in
> > the area of lighting design and am hoping to go to grad school in 2008
> > any suggestions for me?  I am unfortunately thin on production photo's
> > but have most of my lihting plots for work I have done.
> >
> > On another subject, how valuable is work done at smaller community theatres?
> >
> > Thanks in advance.
> > Chris Warner
> >
> > Steve Shelley wrote:
> > > For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> > > ---------------------------------------------------
> > >
> > > Hello Anneke;
> > >
> > > Welcome to the list. Your question is a huge topic that has filled chapters,
> > > papers, seminars, and so forth.
> > >
> > > one potential short answer is: include pieces that demonstrate what you have
> > > done and what you can do. Provide the viewer with the information that shows
> > > that you have an "eye" for composition, color, and contrast, to name a few.
> > > Include examples that show you are organized. And present your work in a
> > > clean and professional manner.
> > >
> > > This can be graphic drawings, color renderings, collages, possibly compared
> > > with  pictures or production photographs ("this is what I envisioned, this
> > > is what the final product looked like"). Or it may include paperwork ("this
> > > is the list of steps or tasks in order to achieve the final product").
> > >
> > > Sometimes this is represented by show designs. Since you don't list your
> > > focus or objective, let it be said that different design diciplines require
> > > different information. Costume designs usually have sketches and photos,
> > > while scenic portfolios often combine drafting, sketches, color renderings,
> > > and photos. On the other hand, I've seen young portfolios that contain no
> > > show photography, and instead show only class assignments.
> > >
> > > Whatever you present, it's usually a good idea to have your work packaged in
> > > some kind of book or large notebook so that pages and pieces stay in place
> > > and in sequential order. Then you can design the sequence of the
> > > presentation. Using that kind of format also provides a universal background
> > > for all of your work (often black pages) so that the focus is on what's on
> > > the page, not the background. Many portfolio books and binders have plastic
> > > covers on each page, so you can quickly rearrange your work under the
> > > plastic.
> > >
> > > Usually the front page includes your resume (with copies to be kept by the
> > > observer. The portfolio always has embedded in it your name and contact
> > > information for when you accidentally leave it on the bus.
> > >
> > > Most important, the portfolio is a representation of you, what you know, and
> > > by omission, what you don't know. Include things that you think make you
> > > look good and show you in a good light.
> > >
> > > Have your present instructors and other mentors look at your portfolio
> > > before you go on the actual interview. Showing your work, and talking about
> > > your work, can be very difficult. Going through the experience at least a
> > > couple of times before the actual interviews will allow you to rehearse the
> > > presentation, and also allows you to form responses to some of the same
> > > questions. The repetition will hopefully allow you to feel more relaxed
> > > during the actual interview. That way, when you're in the interview, you can
> > > hear what's being said to you, rather than just freaking out about being in
> > > the interview.
> > >
> > > No doubt many on this list will contribute additional information. You're
> > > starting on a very long road. Listen and consider all advice, and apply what
> > > seems right for you. Good luck.
> > >
> > > Hth,
> > >
> > > shelley
> > >
> > >
> > > On 2/3/07 1:49 PM, "Anneke Ciup" <annekeciup [at] gmail.com> wrote:
> > >
> > >
> > >> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> > >> ---------------------------------------------------
> > >>
> > >> Hi,
> > >>   I'm kinda new here, so I guess I should introduce myself, even
> > >> though I missed the introductions bandwagon last week (or was it the
> > >> week before?)
> > >>   Anyway, my name is Anneke Ciup (pronounce Ah-Neh-Kah See-oop...it's
> > >> weird, I know) and  I'm a Technical Theatre  student at John  Abbott
> > >> College (it's a  CEGEP, which is kinda like a junior college...sorta,
> > >> but not really) in Montreal (Quebec, Canada).
> > >>   At any rate I am applying to a couple of universities and the Work
> > >> Study program at the Banff Center (that's in Alberta, Canada) and I
> > >> need to put together a portfolio. I tried searching the archives, but
> > >> the search function is down, so I'm really sorry if you've answered
> > >> this question a million times before but...it would really help me out
> > >> if any of you who look at/have/judge portfolios could let me know what
> > >> you hate/love to see in them.
> > >> Thanks a million!
> > >>
> > >> -Anneke
> > >>
> > >
> > >
> >
> >
>

------------------------------

Date: Sat, 03 Feb 2007 20:03:31 -0500
Subject: Re: Portfolios
From: Steve Shelley <mrtemplate [at] earthlink.net>
Message-ID: <C1EA9B13.C180%mrtemplate [at] earthlink.net>
In-Reply-To: <list-42023122 [at] prxy.net>

Hello Chris;

===================

It seems to me that just as there is no lack of opinions as to what should
be included in a portfolio, or how material should be presented in a
portfolio, there's also an abundance of how it should be packaged. More
often than not, it also seems that these opinions are usually offered by
those who have not had to either construct or transport a portfolio for some
time.

When I constructed and transported my first portfolio, I was convinced that
bigger was better; having a larger format meant that the draftings,
pictures, and so on could all be larger to provide more visual "oomph" and
detail. After dragging that 36 x 48 boat anchor around for 10 years it was
retired and now still supports the bookcase in the office.

Were I to do it all over again, I would find **something like** an 11 x 17,
or certainly larger than a letter sized portfolio book, but something that
could be taken as carry-on on a plane, or comfortably carried in a shoulder
bag all day on a convention floor.

It would have a zipper cover and pouches; the zipper to stop stuff from
falling out, and pouches for the two or three full-scale draftings.

It would have interchangable pages for quick rearrangement, and elimination
of blank ones at the end. Each page would be black, and wrapped in
non-reflective plastic, so after someone's pointed out a change in layout I
could rearrange without the angst of glue.

I would decide which way I wanted to view the portfolio, either landscape or
portrait, and then design the layout of each page so that the entire book
could be viewed on a table or on a lap, without twisting the book from one
layout to the other.

I would re-do all of my photos so that they were large enough to fill the
page. I would redraft my basic "see I can draft" drawings so that they were
readable even at a reduced scale (increasing the font size as needed).

I would divide my portfolio into two sections; one chunk that would be shown
to producers (see, I can design!) and one chunk that would be shown to
lighting designers (see, I can be your ALD and make you look good! Look at
my paperwork!)

The producer's chunk would have one or two draftings but would focus more on
pretty stage shots. Dramatic, musical, opera, box set. For the ALD, I would
focus more on one or two complete shows, with reduced drafting, magic and
cheat sheet, other paperwork, and pictures.

And of course, there would be extra copies of the resume in one of the
pouches.

That's what my portfolio would look like. Is that the only way? Of course
not. YMMV.

===============

Though you feel short on production photos, you have recognized that fact
now. Get a camera or borrow a camera and start shooting. Or get a friend to
do it for you. But start now. In the past, I have stood up in the middle of
the final dress with camera in hand and shot the two or three "moments" of
the show I wanted to make sure were recorded for me.

These days with digital cameras I'm still learning (after you've checked a
shot, turn the flash off AGAIN); but I now take a tripod to the tech table,
or when in a complete pinch, I discovered that the threaded rod that
supports the shade in most table lamps also fits most cameras.

Do whatever you can to get the shots (within reason and not completely
disrupting the rehearsal). I still regret the two or three that, at the
time, I thought "oh, well, there will always be the next time". There may
not be the next time.

==============

For my money, the only people that dismiss work done in smaller situations
are the folks that have forgotten the lessons that can be learned there. If
you can make a good-looking, balanced, well-composed light cue in a small
situation, you can do it in a big one as well. Whatever work you do, no
matter how small, should not be dismissed. That said, it needs to be well
documented, clean, and clearly presented.

Hth,

shelley

==================

On 2/3/07 7:13 PM, "Chris Warner" <cdw.lighting [at] gmail.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> Steve, I know I am probably taking this out of context, but I was
> wondering what the physical format of this portfolio should be?  I have
> the artist portfolio, but am wondering if perhaps a bound book is
> better.  I have seen a couple of my professors portfolio's but primariy
> they were work shoved into an artists portfolio.  I am a interested in
> the area of lighting design and am hoping to go to grad school in 2008
> any suggestions for me?  I am unfortunately thin on production photo's
> but have most of my lihting plots for work I have done.
> 
> On another subject, how valuable is work done at smaller community theatres?
> 
> Thanks in advance.
> Chris Warner
> 
> Steve Shelley wrote:
>> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>> ---------------------------------------------------
>> 
>> Hello Anneke;
>> 
>> Welcome to the list. Your question is a huge topic that has filled chapters,
>> papers, seminars, and so forth.
>> 
>> one potential short answer is: include pieces that demonstrate what you have
>> done and what you can do. Provide the viewer with the information that shows
>> that you have an "eye" for composition, color, and contrast, to name a few.
>> Include examples that show you are organized. And present your work in a
>> clean and professional manner.
>> 
>> This can be graphic drawings, color renderings, collages, possibly compared
>> with  pictures or production photographs ("this is what I envisioned, this
>> is what the final product looked like"). Or it may include paperwork ("this
>> is the list of steps or tasks in order to achieve the final product").
>> 
>> Sometimes this is represented by show designs. Since you don't list your
>> focus or objective, let it be said that different design diciplines require
>> different information. Costume designs usually have sketches and photos,
>> while scenic portfolios often combine drafting, sketches, color renderings,
>> and photos. On the other hand, I've seen young portfolios that contain no
>> show photography, and instead show only class assignments.
>> 
>> Whatever you present, it's usually a good idea to have your work packaged in
>> some kind of book or large notebook so that pages and pieces stay in place
>> and in sequential order. Then you can design the sequence of the
>> presentation. Using that kind of format also provides a universal background
>> for all of your work (often black pages) so that the focus is on what's on
>> the page, not the background. Many portfolio books and binders have plastic
>> covers on each page, so you can quickly rearrange your work under the
>> plastic.
>> 
>> Usually the front page includes your resume (with copies to be kept by the
>> observer. The portfolio always has embedded in it your name and contact
>> information for when you accidentally leave it on the bus.
>> 
>> Most important, the portfolio is a representation of you, what you know, and
>> by omission, what you don't know. Include things that you think make you
>> look good and show you in a good light.
>> 
>> Have your present instructors and other mentors look at your portfolio
>> before you go on the actual interview. Showing your work, and talking about
>> your work, can be very difficult. Going through the experience at least a
>> couple of times before the actual interviews will allow you to rehearse the
>> presentation, and also allows you to form responses to some of the same
>> questions. The repetition will hopefully allow you to feel more relaxed
>> during the actual interview. That way, when you're in the interview, you can
>> hear what's being said to you, rather than just freaking out about being in
>> the interview.
>> 
>> No doubt many on this list will contribute additional information. You're
>> starting on a very long road. Listen and consider all advice, and apply what
>> seems right for you. Good luck.
>> 
>> Hth,
>> 
>> shelley
>> 
>> 
>> On 2/3/07 1:49 PM, "Anneke Ciup" <annekeciup [at] gmail.com> wrote:
>> 
>>   
>>> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
>>> ---------------------------------------------------
>>> 
>>> Hi,
>>>   I'm kinda new here, so I guess I should introduce myself, even
>>> though I missed the introductions bandwagon last week (or was it the
>>> week before?)
>>>   Anyway, my name is Anneke Ciup (pronounce Ah-Neh-Kah See-oop...it's
>>> weird, I know) and  I'm a Technical Theatre  student at John  Abbott
>>> College (it's a  CEGEP, which is kinda like a junior college...sorta,
>>> but not really) in Montreal (Quebec, Canada).
>>>   At any rate I am applying to a couple of universities and the Work
>>> Study program at the Banff Center (that's in Alberta, Canada) and I
>>> need to put together a portfolio. I tried searching the archives, but
>>> the search function is down, so I'm really sorry if you've answered
>>> this question a million times before but...it would really help me out
>>> if any of you who look at/have/judge portfolios could let me know what
>>> you hate/love to see in them.
>>> Thanks a million!
>>> 
>>> -Anneke
>>>     
>> 
>>   
> 

-- 
Steve Shelley
(212) 865-2969 home
(917) 334-7625 cell
(212) 749-9117 fax
MrTemplate [at] Earthlink.net
www.fieldtemplate.com



------------------------------

Date: Sat, 03 Feb 2007 20:55:32 -0500
Subject: Re: Nehemiah Scudder
From: Herrick Goldman <Herrick [at] HGLightingDesign.com>
Message-ID: <C1EAA744.168F5%Herrick [at] HGLightingDesign.com>
In-Reply-To: <10827010.1170548608009.JavaMail.root [at] m41>

Um...yeah....he wasn't even elected...

On 2/3/07 7:13 PM, "gregg hillmar" <gregg [at] hillmardesign.com> wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> 
> On Feb 3, 2007, at 6:40 PM, <frank.wood95 [at] ntlworld.com>
> <frank.wood95 [at] ntlworld.com> wrote:
> 
>> 
>> Very true. I don't want to post on US politics, but I cannot help
>> expressing the view that a teetotal, puritan Evangelist is not the
>> best leader of a world class country. We have our own problems,
>> over here. At least Bush is honest,
> 
> regardless of the point of your post, there are perhaps millions of
> people who would disagree with that last statement...
> 
> ... or at the very least substituting "Bush's administration" of
> which he is the "commander."
> 
> gregg
> 

-- 
Herrick Goldman
Lighting Designer, NYC
www.HGLightingDesign.com
917-797-3624
"To the scores of silent alchemists who wreak their joy in darkness and in
light bringing magic to life, we bow most humbly. "-CDS



------------------------------

Message-ID: <004701c74805$eb846ff0$6701a8c0 [at] amd2200>
From: "Rob Riddle" <stagecraft [at] stageshirt.com>
References: <list-42022630 [at] prxy.net>
Subject: 'til you smoke yourself to death.
Date: Sat, 3 Feb 2007 21:41:05 -0500

I have, for 38 years, smoked. I still smoke.
I am a considerate smoker.
I smoke only outside or in an allowed bar / area
I pocket my butt when necessary.

My clothes stink
My breath stinks.

Sucking smoke into your lungs is not normal.
Coughing up chunks of phlegm every morning is not normal.
Having minimized sense of taste and smell is not normal.
I am my grandson's "stinky" Grandpa
It IS a filthy habit / addiction.

To my knowledge, the American Indians used it in only ceremonial
instances.  They didn't have "pack a day" smokers.
Only from the 20's to 70's was it considered "normal" and I think that
was due to Madison Ave and the Tobacco Industry.

And when I quit, hell, I do it now, I will be one of those people who
preach to the choir about the nastiness of it.
No humour, No apologies.
My own cruel self-indulgence.

Whew.... I'm out of breath.  Yeah that, too.

sorry about the rant.
Rob't


> > >It seems you are running low on countries to indulge your filthy
habit
>
> Like you, I deeply resent its being called a 'filthy habit'. It is
not 'filthy'. For the greater part of the twentieth century, it was
regarded as quite normal.
> >
> > It's only a filthy habit when practices by filthy people.  I still
smoke
> > occasionally, and I'm very careful where I ash, where the smoke
goes, that
> > no one is offended by the smoke, and where I butt.
> > Be careful with that wide brush, y'all.  There are (granted, you
only see
> > the notice the other ones) clean and considerate smokers out
there.
> > Chris "Chris" Babbie
>
> Frank Wood
>



------------------------------

Message-Id: <p06240802c1eafaa89934 [at] [192.168.0.2]>
In-Reply-To: <list-42026842 [at] prxy.net>
References: <list-42022630 [at] prxy.net> <list-42026842 [at] prxy.net>
Date: Sat, 3 Feb 2007 21:53:16 -0500
From: Rigger <rigger [at] tds.net>
Subject: Re: 'til you smoke yourself to death.

At 9:41 PM -0500 2/3/07, Rob Riddle wrote:

>I have, for 38 years, smoked. I still smoke.
>
>  <rant snipped>


Well, bully for you.
Now take your holier-than-thou attitude and piss off.

-- 
Dave Vick
rigger [at] tds.net

  Since 1983, more than 30 people have been killed in Post Offices.
   Ya wanna know why? Because the price of postage keeps changing.

------------------------------

Date: Sat, 3 Feb 2007 18:56:02 -0800 (PST)
From: Jacqueline Haney Kidwell <jacki14fr [at] yahoo.com>
Subject: politics (which includes smoking)
Message-ID: <615142.95422.qm [at] web36210.mail.mud.yahoo.com>

With all due respect, folks, let's please cut
short the discussions of smoking, religion,
politics, and the like that seem to be trying to
take root.  There is no position on any of these
which is not going to tick off someone or several
someones on this list.  While I certainly agree
that it is important to know one's beliefs, this
forum is not the appropriate arena for the
inevitable arguments.  Theatre, new babies,
technology, motorcycles, beer, technology in
theatre, babies with motorcycles; these are the
topics to which this list is supposed to be
devoted.  Thank you kindly.

         Jacki


 
____________________________________________________________________________________
TV dinner still cooling? 
Check out "Tonight's Picks" on Yahoo! TV.
http://tv.yahoo.com/

------------------------------

Date: Sat, 3 Feb 2007 19:02:40 -0800 (PST)
From: Charlie Richmond <charlier [at] RichmondSoundDesign.com>
Subject: Re: politics (which includes smoking)
In-Reply-To: <list-42027293 [at] prxy.net>
Message-ID: <Pine.LNX.4.64.0702031902091.28531 [at] valour.domainvanhorn.com>
References: <list-42027293 [at] prxy.net>

On Sat, 3 Feb 2007, Jacqueline Haney Kidwell wrote:

> theatre, babies with motorcycles; these are the
> topics to which this list is supposed to be
> devoted.  Thank you kindly.

I'm really glad this has finally been formalized!

C

------------------------------

Message-ID: <20070204031307.9723.qmail [at] web82214.mail.mud.yahoo.com>
Date: Sat, 3 Feb 2007 19:13:07 -0800 (PST)
From: Michael Heinicke <mheinicke [at] sbcglobal.net>
Subject: Re: Portfolios
In-Reply-To: <list-42023122 [at] prxy.net>

--- Chris Warner <cdw.lighting [at] gmail.com> wrote:
> On another subject, how valuable is work done at
> smaller community theatres?

My opinion is that like many things, their value is
relative. If most or all of your work has been at
small community theatres or you have done some great
productions there, then they are very valuable. If you
have done a lot of bigger and better productions, then
I would say not very valuable. I believe that the
QUALITY of your work should be more important than the
LOCATION of the work. That being said, recognizable
names tend to carry more weight so you should keep in
mind who your intended audience is also.

My $.02,
Mike Heinicke

------------------------------

Message-Id: <p06240806c1eafdcd55d7 [at] [192.168.0.2]>
In-Reply-To: <list-42027293 [at] prxy.net>
References: <list-42027293 [at] prxy.net>
Date: Sat, 3 Feb 2007 22:26:12 -0500
From: Rigger <rigger [at] tds.net>
Subject: Re: politics (which includes smoking)

At 6:56 PM -0800 2/3/07, Jacqueline Haney Kidwell wrote:

>With all due respect, folks, let's please cut
>short the discussions of smoking, religion,
>politics, and the like that seem to be trying to
>take root.  There is no position on any of these
>which is not going to tick off someone or several
>someones on this list.  While I certainly agree
>that it is important to know one's beliefs, this
>forum is not the appropriate arena for the
>inevitable arguments.  Theatre, new babies,
>technology, motorcycles, beer, technology in
>theatre, babies with motorcycles; these are the
>topics to which this list is supposed to be
>devoted.


Time once again for the Modified Paddlefoot Rant, I see...

[*ahem*]

The list is pretty much analogous to a stagehands' bar, such as the 
one my Local frequents apres-show in E. Lansing.  Walk in and what do 
you see?  Lots of people talking about lots of things, many but not 
all of them theatre-related. There are people from all walks of life, 
Ph.Ds chilling with people who can't even spell Ph.D, people with any 
and all different interests

What do these people have in common, aside from the location? They're 
theatre people.

Now, I don't know about any of you, but a large part of what makes me 
"Me" has nothing to do with theatre. And I understand that there are 
a number of people who don't care to discuss politics or tobacco 
policy or the AARP or whatever; that's fine.  I, on the other hand, 
couldn't possibly care less about new babies or Latin or binary 
digits or any of a number of other topics that get tossed out there 
as a part of the Calendar of Recurring Threads. (Most especially new 
babies; yuck!)

Sure, we have a community of interest and share ideas and concepts in 
our chosen craft here, but that's not exclusively who we are, any 
more than any other person worth dealing with is uni-dimensional. And 
part of the yardstick we measure each others' ideas in stagecraft by, 
like it or not, is whether we respect each other as people. And we 
get to *that* place by comparing more than just our tradecraft...

So what's it gonna be? Nothing at all off-topic, or the moderated 
shades of off-topichood (if that's a word) lurking 'round the edges, 
adding colo(u)r to the mix and character to the participants?

That being said, I'll now say this:

Jacki, when you lump such non-theatrical topics as babies, bikes, and 
beer into the "okay" category, while casting the taboo on other 
non-theatrical topics like public policy, it sounds like maybe a 
touch of hypocracy has leaked in. Is that really how you wanted to 
sound? I don't think so, but since I haven't read much of your 
writing, I just don't know.

-- 
Dave Vick
IATSE #274
Pull Rope, Get Banana

------------------------------

Message-ID: <380-2200720444254201 [at] earthlink.net>
Reply-To: j_brace [at] earthlink.net
From: "John Bracewell" <j_brace [at] earthlink.net>
Subject: Re: politics (which includes smoking)
Date: Sat, 3 Feb 2007 23:42:54 -0500

OK,  I haven't posted anything to Stagecraft in a LONG time.  I just have
to put in my 2/100 of a dollar here.

First off, well said, Dave Vick.  I'd hate to see this list devolve into
something so strictly moderated that nothing that didn't directly concern
some aspect of technical theatre would ever show up here.  After all,
folks, theatre is about the most universal thing ever.  There is,
literally, no subject that can't relate to theatre in some way, and even
though we're about the _supporting_ technology, the more we think about the
widest possible range of topics, the better we all are in understanding and
furthering the art we try to support.

Now, a bit about the evil weed, if no one minds.  (Though some certainly
will.)  I smoked for a lot of years.  I was lucky that one day I simply
decided that the damned things tasted bad, were ruining my sense of taste
and smell, had wreaked havoc on my lungs (and I still don't have the breath
support that I once did as a brass player), and everything I wore and
everything in my house and my office (we could smoke in school buildings at
that time) stunk.  I quit cold-turkey thirty years ago.  I suppose I can't
really say that it's not a person's right to indulge in slow suicide, if
that's their desire.  The trouble with tobacco is that it's not just
something that you take into your own body without inflicting it on anyone
else.  If you smoke, some of your poison reaches others.  We all know this,
even though some of us would like to close our eyes to that fact.

As a former smoker, I know that smoking can be extremely pleasant and
relaxing (until the inevitable happens).  That really doesn't change one
damned thing!  The collateral effects don't go away, whether it's personal
health, the health of others, the stale odor of old tobacco and the mess
from ashes, tar, and butts.  No matter what side you are on, it's still a
filthy, stinking habit.  No make that addiction.  Habits, though tough, can
be broken with less trauma.

Rant off and apologies to those I now I've offended, but no apology for the
point of view.

John Bracewell
j_brace [at] earthlink.net




------------------------------

Message-ID: <c04f808d0702032057p3d3c33c1ld4ff4f902a665813 [at] mail.gmail.com>
Date: Sat, 3 Feb 2007 23:57:16 -0500
From: "Ben Truong" <bentruong [at] gmail.com>
Subject: Drop boxes?

Hello. I was wondering if anyone knew how to construct  a Drop Box. I
will be making 2 different kinds. one to drop a piece of fabric 8 feet
by 20 feet and the other one will be dropping 1.5" circle confetti.
the box will probably be 8" in width. I would like a pull string one.
I don't really want to get into the electrical things. Thanks

Ben Truong

------------------------------

Message-ID: <1145.205.215.253.15.1170581703.squirrel [at] webmail.peak.org>
In-Reply-To: <list-42022252 [at] prxy.net>
References: <list-42022252 [at] prxy.net>
Date: Sun, 4 Feb 2007 01:35:03 -0800 (PST)
Subject: Re: Nehemiah Scudder
From: "Bill Nelson" <billn [at] peak.org>

> I should like to see both countries led by men, or women, of the world, rather than
> by people with restricted mindsets. Those who can accept that there are other world
> views, and can learn to live with them. Islam, Judaism, Buddhism,Confucianism and
> Christianity all offer workable moral codes by which to conduct your life. All
> different, but all viable. They have served their communities well for thousands of
> years.

The religions have served segments of THEIR communities well, at times. With the
possible exceptions of Buddhism and Confucianism, they have often mistreated/killed
neighboring communities.

Bill


------------------------------

Message-ID: <1151.205.215.253.15.1170582114.squirrel [at] webmail.peak.org>
In-Reply-To: <list-42021447 [at] prxy.net>
References: <list-42021447 [at] prxy.net>
Date: Sun, 4 Feb 2007 01:41:54 -0800 (PST)
Subject: Re: Outdoor Lighting Fixtures
From: "Bill Nelson" <billn [at] peak.org>

> I agree with Jerry. Useful sprinkler system are not something you can retrofit, and
> certainly not at low cost. If they are designed into a new building, or a complete
> rebuild, maybe. But when I contemplate what would be involved in installing one in
> our theatre, I tremble. The theatre is dark for the month of August only. I do not
> believe that that gives time to do the work, and certainly not at reasonable cost.

Tell that to the Albany Fire Marshal. We have completed the first phase, and done it
without impacting our production schedule. It was done without a remodeling, much
less a rebuild. The installers were rather braindead about a few things, but that is
a different matter.

Bill


------------------------------

Message-ID: <1175.205.215.253.15.1170583611.squirrel [at] webmail.peak.org>
In-Reply-To: <list-42020575 [at] prxy.net>
References: <list-42020575 [at] prxy.net>
Date: Sun, 4 Feb 2007 02:06:51 -0800 (PST)
Subject: Re: Automated Alarms (was: Re: Powered Speakers)
From: "Bill Nelson" <billn [at] peak.org>

>>In the theatres where I work, I suspect the recorded announcement would be
>>superior, as house staff and tech crew have little or no training in
>>crisis management  (community theatre).
>
> So, in a crisis, they become part of the problem instead of part of the
> solution.  I've worked at those kinda places once.  Once.
> This isn't so much an endorsement of automated alarms as muych as it is an
> endorsement of emergency training.  Automated alarms has the distinct
> flavor of 'Concession a Stupidité'.

When there is a permanent house staff, then such training is practical. It is not
when all the people are volunteers, many whom volunteer one or two nights a year.

An automated alarm would be better than nothing.

> Hey, if it works for you,go for it.  I just said that I'd rather have
> something with a thinking, adapting brain guiding souls to safety than a
> computer.  Probably colored by my experiences with computers.  Hmmm...
> looking back on my experiences with people, maybe I'll just run.

And I have commented on the unreliability of people, in crisis situations. There is
no way to tell how a person will respond, until they actually experience an
emergency. And how they act during that instance is not a perfect indication of how
they will respond in the future.

Managing unruly bands or cast/crew members is completely different than managing an
audience in a potential panic situation.

Bill


------------------------------

From: "Joel Harari" <harari_j [at] adelphia.net>
References: <list-42030268 [at] prxy.net>
Subject: Socopex Alternative
Date: Sun, 4 Feb 2007 02:12:10 -0800
Message-ID: <000001c74844$ef009fc0$b5e1544b [at] Tigger>
In-Reply-To: <list-42030268 [at] prxy.net>

So currently we are using a Veam connection which is just like a 19 pin
Socopex except it only needs a quarter turn to make the connection. 

My question is does anyone know of another alternative?

It needs to be able to handle 6 circuits of 20 amps  [at]  120 volts, and be able
to take some abuse.

Thanks in Advance

Joel Harari



------------------------------

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: politics (which includes smoking)
Date: Sun, 4 Feb 2007 05:46:33 -0500
Message-ID: <000001c74849$bd0ac2c0$6501a8c0 [at] Dell>
In-Reply-To: <list-42028129 [at] prxy.net>


 
> Jacki, when you lump such non-theatrical topics as babies

I could be wrong (no, really), but I don't believe that Jacki's point was
that smoking and politics are non-theatrical; her point, I think, was that
those topics are inflammatory (no pun intended) and will cause ill will, to
no good purpose.


------------------------------
 
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