Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net X-ListServer: CommuniGate Pro LIST 4.2 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #88 Date: Sun, 01 Aug 2004 03:00:32 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #88 1. Out of Office AutoReply: Stagecraft Digest #87 by "Schaefer, Alan" 2. Re: triangular truss by Boyd Ostroff 3. Re: =20 by "Paul Guncheon" 4. Re: MSDS was:Olympic Torch Help by StevevETTrn [at] aol.com 5. Subject: RE: artificial lawn - take two by "Levy, Adriane" 6. Re: Genesee Theatre: Help! by "Bruce Cooper" 7. Those darn balloon drops by Jeff Forbes 8. Re: =20 by Boyd Ostroff 9. Re: Those darn balloon drops by "Jon Ares" 10. Re: Those darn balloon drops by "Jason" 11. Re: Olympic Torch Help by "Jason" 12. Re: Dimmers Needed by "C. Andrew Dunning" 13. Re: Those darn balloon drops by Bsapsis [at] aol.com 14. Re: Those darn balloon drops by "Alf Sauve" 15. scenography in relation to puppetry by "ayusaya" 16. Re: Those darn balloon drops by Fred Fisher 17. Re: Those darn balloon drops by Bsapsis [at] aol.com 18. Re: Those darn balloon drops by Fred Fisher 19. Re: scenography in relation to puppetry by "Big Fred Schoening" 20. Re: Those darn balloon drops by "Jason" 21. Re: Those darn balloon drops by "Jason" 22. Re: Those darn balloon drops by "Jon Ares" 23. Re: Education Discussion by June Abernathy 24. Re: scenography in relation to puppetry by "ayusaya" 25. Re: Olympic Torch Help by Richard Niederberg 26. Re: Those darn balloon drops by Richard Niederberg *** 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: <0347ABE6A545D3118E2B0000C10054C20617C19F [at] discovery.unv.campus.wpunj.edu> From: "Schaefer, Alan" Subject: Out of Office AutoReply: Stagecraft Digest #87 Date: Sat, 31 Jul 2004 06:00:26 -0400 I'm out of the office and will return on 8/4.. ------------------------------ Date: Sat, 31 Jul 2004 08:25:19 -0400 (EDT) From: Boyd Ostroff Subject: Re: triangular truss In-Reply-To: Message-ID: Thanks guys for the help. Looks like we've found what I'm looking for. Boyd Ostroff ooo Opera Company of Philadelphia Director of Design & Technology ooooooo 1420 Locust St, Suite 210 ostroff [at] operaphilly.com ooooooo Philadelphia, PA 19102 http://tech.operaphilly.com ooo (215) 893-3600 x225 ------------------------------ Message-ID: <000901c47700$29cde040$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: =20 Date: Sat, 31 Jul 2004 03:13:24 -1000 >=20Hey,=20gang...=20I've=20got=20a=20fun=20one=20for=20those=20of=20you >=20who've=20done=20"Miracle=20Worker"=20since=20we=20started=20writing >=20our=20history...=20I'm=20looking=20for=20a=20nice-looking >=20artificial=20grass.=20Durable=20is=20good...=20I'm=20in=20Virginia, >=20so=20the=20more=20local,=20the=20better... "So many things equal twenty these days" said a too tense Tom. ...couldn't resist. Laters, Paul ------------------------------ From: StevevETTrn [at] aol.com Message-ID: <78.5d0a1829.2e3cfde6 [at] aol.com> Date: Sat, 31 Jul 2004 09:51:34 EDT Subject: Re: MSDS was:Olympic Torch Help Richard writes: >it uses FOOD GRADE paraffin, so there are no toxic fumes... I am always puzzled by this line of reasoning. "Route of exposure" is a key component in evaluating toxicity. Ingestion (eating) and inhalation (breathing) are not the same thing. Absorption (through skin) is also different. Some thing that may be "safe" via one route of exposure is not automatically safe for the other routes. As far as I know, the FDA is concerned with products for human consumption. But even so, they are prohibited by law from looking at some things (dietary supplements and tobacco for example). And, an MSDS (OSHA) is not mandated for "food" nor cosmetics (FDA). There is an additional concern. When products are burned a chemical change occurs. The end products have an entirely different toxicity than the original product. Always read Material Safety Data Sheets carefully to evaluate what the hazard may be and then take the appropriate steps to reduce the risk of adverse reactions. Steve Vanciel Orlando, FL ------------------------------ Subject: Subject: RE: artificial lawn - take two Date: Sat, 31 Jul 2004 08:51:01 -0500 Message-ID: <83BE23B75CE13C438D99EF7B4E9D41B80198F119 [at] act1.guthrietheater.org> From: "Levy, Adriane" OK,=20going=20to=20try=20and=20re-post=20this=20in=20a=20way=20that=20is=20= readable!=20=20Sorry=20for the=20bad=20first=20try... Adriane >=20Hey,=20gang...=20I've=20got=20a=20fun=20one=20for=20those=20of=20you >=20who've=20done=20"Miracle=20Worker"=20since=20we=20started=20writing >=20our=20history...=20I'm=20looking=20for=20a=20nice-looking >=20artificial=20grass.=20Durable=20is=20good...=20I'm=20in=20Virginia, >=20so=20the=20more=20local,=20the=20better... > >=20Thanks, >=20Steven=20R.=20Hood >=20TD/PM,=20Regent=20Uni We=20have=20done=20a=20number=20of=20shows=20here=20in=20the=20last=20few=20= seasons=20that=20call for=20grass=20onstage.=20=20Here=20are=203=20successful=20solutions: 1.=20=20For=20the=20most=20realistic=20look,=20try=20AstroLawn=20(www.astr= olawn.com).=20=20It is=20sold=20by=20the=20same=20company=20that=20makes=20astroturf.=20=20Ast= rolawn=20is=20a plastic,=20very=20realistic=20looking=20grass=20that=20is=20backed=20on=20= a=20rubber=20mat. It=20is=20very=20expensive,=20but=20is=20also=20re-usable.=20=20It=20comes= =20with=20bags=20of=20tiny rubber=20granules=20that=20you=20rake=20into=20the=20blades=20of=20grass=20= that=20help=20them stand=20up=20and=20not=20get=20matted=20down.=20=20It=20produces=20very=20= realistic=20results that=20require=20no=20watering!=20 2.=20=20Funeral=20grass:=20=20available=20in=20many=20colors=20from=20yell= ow/brown=20to=20bright green,=20depending=20on=20how=20"dead"=20you=20want=20the=20grass=20to=20l= ook=20(no=20pun intended!).=20=20It's=20usually=20made=20from=20Raffia,=20which=20is=20muc= h=20less=20durable than=20the=20astrolawn,=20but=20is=20usually=20much=20cheaper=20to=20buy. 3.=20=20For=20a=20more=20stylized=20look,=20try=20green=20shag=20carpet.=20= =20Sounds=20crazy,=20but it=20can=20look=20really=20great.=20=20We=20used=20a=20Tuftex=20green=20sh= ag=20carpet=20that=20was "flecked"=20(made=20with=20a=20few=20different=20types=20of=20yarns)=20for= =20a=20recent=20John Lee=20Beatty=20show.=20=20It=20was=20also=20expensive,=20but=20again,=20is= =20reusable.=20=20The carpet=20helped=20muffle=20sound=20onstage,=20and=20was=20easy=20to=20inst= all.=20=20The=20long fibers=20of=20the=20shag=20help=20to=20mask=20seams=20in=20the=20carpet=20= where=20we=20had=20butted pieces=20up=20to=20each=20other.=20=20That=20carpet=20has=20made=20its=20w= ay=20into=20at=20least=202 subsequent=20shows,=20and=20I=20have=20gotten=20many=20calls=20from=20othe= r=20TDs=20about where=20to=20get=20it.=20=20Try=20ifloor.com=20or=20the=20Tuftex=20homepag= e.=20=20 Feel=20free=20to=20contact=20me=20offline=20for=20more=20info. Good=20luck! Adriane Adriane=20M.=20Levy Assistant=20Technical=20Director Guthrie=20Theater (612)=20341-1393 adrianeml [at] guthrietheater.org ______________________________________________________________________ This=20email=20has=20been=20scanned=20by=20the=20MessageLabs=20Email=20Sec= urity=20System. For=20more=20information=20please=20visit=20http://www.messagelabs.com/ema= il=20 ______________________________________________________________________ ------------------------------ Subject: Re: Genesee Theatre: Help! From: "Bruce Cooper" Message-Id: <20040731154921.BA4C4B6DC [at] xprdmailfe19.nwk.excite.com> Date: Sat, 31 Jul 2004 11:49:21 -0400 (EDT) >Is the board trying to save bucks by having LESS performances? Do they >want LESS rental income? Or do they think that is imprudent to advance >production costs when ticket sales are speculative? The answer to these questions, at present [for me] is an unfortunate I don't know. I'm trying to gather supporting data for the council meeting and or individual meetings with aldermen. Any if/then scenarios that could be provided surrounding this topic would help. Reply to me off-list if you have this kind of scenario, please. >The increase of bar revenue is enough to justify certain performance >choices. Plus, it is imperative to 'grow your own' (audience). I know this, and you know this, intuitively. I need some resources to back this up to a city council who has exactly ZERO experience in the industry. I'm not asking for people to make my argument for me, just to point me toward hard data/facts that I can use. > I am surprised that no one on the board has tried to match cost >centers with revenue streams. We need more info, please! This board seems strangely concerned with little more than getting the building physically open. No visible effort at fundraising, nothing. I'm trying to do what you suggest [matching cost/revenue] but am a little inexperienced. I shouldn't have to, but I'm going to. I'll do all I can to provide whatever info is needed. Just ask if I haven't given it [sorry, my inexperience on the management-of-a-structure / raise-the-money side of the industry is showing] :Bruce Cooper For those interested http://geneseetheatre.org _______________________________________________ Join Excite! - http://www.excite.com The most personalized portal on the Web! ------------------------------ Message-Id: In-Reply-To: References: Date: Sat, 31 Jul 2004 09:22:32 -0700 From: Jeff Forbes Subject: Those darn balloon drops From yesterdays Washington Post: LOS ANGELES - CNN gave its viewers an unscripted and unexpected moment in the final minutes of the Democratic convention Thursday when it aired a producer's profanity-laced rant as he demanded that crews speed up the release of balloons and confetti. Don Mischer, a veteran of Olympic broadcasts and televised awards shows making his debut as convention executive producer for the Democrats, was heard yelling over his headset as the balloon drop at the end John Kerry's acceptance speech on Thursday night got off to a slow start. "Come on guys, let's move it. Jesus. We need more balloons. I want all balloons to go. Goddammit. Go confetti. Go confetti," Mischer shouted. "There's not enough coming down. All balloons. Why the hell is nothing falling? What the (expletive) are you guys doing up there?" At that point, CNN's Wolf Blitzer broke in to explain the the gaffe, the apparent result a communications mix-up, to the estimated 4 million viewers watching CNN. "What you heard was the voice of Don Mischer," Blitzer said. "He's the organizer of this convention. He's been giving instructions to let the balloons come down." Co-anchor Judy Woodruff then chimed in that "it was an accident to leave the microphone open." Before signing off from the telecast, Blitzer apologized to viewers who "may have been offended by that bad word." "We just want to make sure that our viewers understand that it wasn't us," he said. "Somebody else was saying it. These things happen when the balloons don't come down as rapidly as a director would like them to be coming down." Network spokeswoman Edna Johnson said Mischer apparently was unaware, or forgot in the heat of the moment, that CNN had arranged to carry a live feed of his voice from the control room during the balloon drop. "We had permission to air the live audio of the convention producer directing the balloon drop to give the viewers a behind-the-scenes feel of the convention," she said. But Mischer, himself, told Reuters, he had no idea that anyone planned to use his voice on the air, or that the headset channel he used to communicate with the pool of commercial network producers had been left open. "Obviously, had I known that my voice was being broadcast around the world, I would have chosen some other option to deal with my frustration," a contrite Mischer said in a telephone interview. "I just feel terrible about it." He also lamented that the snafu occurred after four days in which the convention played out with hardly a hitch. -- Jeff A Forbes PMB 124 6820 SE Foster Rd Portland, OR 97206 (503) 888-5619 ------------------------------ Date: Sat, 31 Jul 2004 13:07:09 -0400 (EDT) From: Boyd Ostroff Subject: Re: =20 In-Reply-To: Message-ID: What's your "20"?... Boyd Ostroff ooo Opera Company of Philadelphia Director of Design & Technology ooooooo 1420 Locust St, Suite 210 ostroff [at] operaphilly.com ooooooo Philadelphia, PA 19102 http://tech.operaphilly.com ooo (215) 893-3600 x225 ------------------------------ Message-ID: <000701c47721$a7f5dab0$0201a8c0 [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: Those darn balloon drops Date: Sat, 31 Jul 2004 10:13:09 -0700 > LOS ANGELES - CNN gave its viewers an unscripted and unexpected > moment in the final minutes of the Democratic convention Thursday > when it aired a producer's profanity-laced rant as he demanded that > crews speed up the release of balloons and confetti. Ahh, so that's what happened. I was wondering why there were zillions of balloons up there, and only a piddly amount coming down. I was thinking maybe there was going to be another 'big' dump at some point. I always pity the cleanup folk when I see events like this... hundreds of pounds of confetti and balloon droppings to clean up.... -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative ------------------------------ From: "Jason" References:

Subject: Re: Those darn balloon drops Date: Sat, 31 Jul 2004 10:09:34 -0700 Message-ID: Must have used a non-union company! ----- Original Message ----- From: "Jeff Forbes" > From yesterdays Washington Post: > > LOS ANGELES - CNN gave its viewers an unscripted and unexpected > moment in the final minutes of the Democratic convention Thursday > when it aired a producer's profanity-laced rant as he demanded that > crews speed up the release of balloons and confetti. > > > > Don Mischer, a veteran of Olympic broadcasts and televised awards > shows making his debut as convention executive producer for the > Democrats, was heard yelling over his headset as the balloon drop at > the end John Kerry's acceptance speech on Thursday night got off to a > slow start. > > "Come on guys, let's move it. Jesus. We need more balloons. I want > all balloons to go. Goddammit. Go confetti. Go confetti," Mischer > shouted. "There's not enough coming down. All balloons. Why the hell > is nothing falling? What the (expletive) are you guys doing up there?" > > At that point, CNN's Wolf Blitzer broke in to explain the the gaffe, > the apparent result a communications mix-up, to the estimated 4 > million viewers watching CNN. > > "What you heard was the voice of Don Mischer," Blitzer said. "He's > the organizer of this convention. He's been giving instructions to > let the balloons come down." > > Co-anchor Judy Woodruff then chimed in that "it was an accident to > leave the microphone open." > > Before signing off from the telecast, Blitzer apologized to viewers > who "may have been offended by that bad word." > > "We just want to make sure that our viewers understand that it > wasn't us," he said. "Somebody else was saying it. These things > happen when the balloons don't come down as rapidly as a director > would like them to be coming down." > > Network spokeswoman Edna Johnson said Mischer apparently was > unaware, or forgot in the heat of the moment, that CNN had arranged > to carry a live feed of his voice from the control room during the > balloon drop. > > "We had permission to air the live audio of the convention producer > directing the balloon drop to give the viewers a behind-the-scenes > feel of the convention," she said. > > But Mischer, himself, told Reuters, he had no idea that anyone > planned to use his voice on the air, or that the headset channel he > used to communicate with the pool of commercial network producers had > been left open. > > "Obviously, had I known that my voice was being broadcast around the > world, I would have chosen some other option to deal with my > frustration," a contrite Mischer said in a telephone interview. "I > just feel terrible about it." > > He also lamented that the snafu occurred after four days in which > the convention played out with hardly a hitch. > -- > Jeff A Forbes > PMB 124 > 6820 SE Foster Rd > Portland, OR 97206 > > (503) 888-5619 > > > ------------------------------ From: "Jason" References: Subject: Re: Olympic Torch Help Date: Sat, 31 Jul 2004 09:57:46 -0700 Message-ID: Oh like M&M's won't melt in your hands ----- Original Message ----- From: "Richard Niederberg" > Plus, it uses FOOD GRADE paraffin, so there are no toxic fumes to deal > with! (Food grade paraffin is a significant ingredient in most boxed > chocolates, so the chocolate coating does not stick to your hand) Always > look for a MSDS! > /s/ Richard ------------------------------ From: "C. Andrew Dunning" Subject: RE: Dimmers Needed Date: Sat, 31 Jul 2004 14:21:01 -0500 Organization: Landru Design In-Reply-To: Message-ID: Steven - Thanks. You've got some good resources there. - Andy >-----Original Message----- >From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf >Of Steven Haworth >Sent: Friday, July 30, 2004 9:56 AM >To: Stagecraft >Subject: Re: Dimmers Needed > >For info, archives & UNSUBSCRIBE, see > >--------------------------------------------------- > >I've got used equipment dealers listed on my site as well: > http://www.stagelights.info > >- Steven > ------------------------------ From: Bsapsis [at] aol.com Message-ID: <1de.262d41ab.2e3d50cf [at] aol.com> Date: Sat, 31 Jul 2004 15:45:19 EDT Subject: Re: Those darn balloon drops In a message dated 7/31/04 3:16:47 PM, OneOccy [at] hotmail.com writes: << Must have used a non-union company! >> In the Fleet Center? I don't think so. And do you really want to start that one again? Bill S. Sapsis Rigging, Inc. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Message-ID: <012701c4773f$64b5af50$0600a8c0 [at] alf> From: "Alf Sauve" References:

Subject: Re: Those darn balloon drops Date: Sat, 31 Jul 2004 16:44:24 -0400 Cleanup? In many cases the bigger the mess the easier it is. Backpack blowers or even larger ones make quick work of large areas. Speaking of which I think one of the larger "balloon" industry shows is coming up in August in LV. Alf ----- Original Message ----- From: "Jon Ares" To: "Stagecraft" Sent: Saturday, July 31, 2004 13:13 PM Subject: Re: Those darn balloon drops > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > LOS ANGELES - CNN gave its viewers an unscripted and unexpected > > moment in the final minutes of the Democratic convention Thursday > > when it aired a producer's profanity-laced rant as he demanded that > > crews speed up the release of balloons and confetti. > > > Ahh, so that's what happened. I was wondering why there were zillions of > balloons up there, and only a piddly amount coming down. I was thinking > maybe there was going to be another 'big' dump at some point. > > I always pity the cleanup folk when I see events like this... hundreds of > pounds of confetti and balloon droppings to clean up.... > > -- Jon Ares > Program Director, West Linn HS Theatre Arts > www.hevanet.com/acreative > ------------------------------ Message-ID: <008d01c47746$bfcb3c00$78b2673e [at] fasoulein> From: "ayusaya" References:

Subject: scenography in relation to puppetry Date: Sun, 1 Aug 2004 00:37:16 +0300 Organization: ayusaya puppet theatre hello colleagues, I am a puppeteer and puppet maker. I just subscribed to the list in order to place a request for advise and help. My wife is a scenographer. She is doing now her Doctora research on a subject like this: "Puppetry in relation to theatre scenography". To make it more clear, the research's object is not puppet scenography (scenography for the puppet theatre). Her object is to trace, identify, think of relations between actor's theatre scenography (scenery, props, mask, costume etc) with puppet theatre techniques (especially the object animation techniques but also construction and mechanical techniques). I wonder if anybody on Stagecraft could suggest any recent (late 20th century - today) work dealing with the same or similar subject (of any language). (it could be books, articles, MA works etc) But also it would be very interesting to hear personal opinons and suggestions on the subject. Thanks in advance Any help would be much appreciated... Stathis (+ Hermione) Ayusaya Puppet Company e-mail: ayusaya [at] otenet.gr site: www.geocities.com/ayusayapup tel/fax: +030-210-5141252 ------------------------------ Date: Sat, 31 Jul 2004 18:02:42 -0500 From: Fred Fisher Subject: Re: Those darn balloon drops In-reply-to: Message-id: <5.2.1.1.2.20040731175219.00bbaf38 [at] wiscmail.wisc.edu> References:

It's my understanding that front end loaders and dump trucks make quick work of every thing that is on the floor after the conventions. I'd love to get confetti cannons for my facility but I'd have to make my crew clean it up because I don't want to put an extra burden on the building staff. I don't know what they do after a balloon drop before the last day of the convention, but at Lambeau Field they have volunteers come in to shovel off the stands if there is a snowstorm during the football season. They start at the top, move all the snow to the bottom where it is loaded into dump trucks that empty it into the Fox River. Fred >Cleanup? In many cases the bigger the mess the easier it is. > > > > I always pity the cleanup folk when I see events like this... hundreds of > > pounds of confetti and balloon droppings to clean up.... > > > > -- Jon Ares ------------------------------ From: Bsapsis [at] aol.com Message-ID: <144.2f913ca2.2e3d84dc [at] aol.com> Date: Sat, 31 Jul 2004 19:27:24 EDT Subject: Re: Those darn balloon drops Anybody remember the summer Olympics in Seoul? I don't remember if it opening or closing ceremonies, but they had the field covered with kids doing a martial arts thing that ended with a zillion boards being broken. As the kids left the field, running, they picked up the pieces on their way. There wasn't a splinter left on the field. Took about 30 seconds. It was pretty cool. Bill S. ------------------------------ Date: Sat, 31 Jul 2004 19:22:49 -0500 From: Fred Fisher Subject: Re: Those darn balloon drops In-reply-to: Message-id: <5.2.1.1.2.20040731192020.00b825c0 [at] wiscmail.wisc.edu> > >Anybody remember the summer Olympics in Seoul? I don't remember if it >opening or closing ceremonies, but they had the field covered with kids >doing a >martial arts thing that ended with a zillion boards being broken. As the >kids >left the field, running, they picked up the pieces on their way. There >wasn't a >splinter left on the field. Took about 30 seconds. > >It was pretty cool. > >Bill S. Hey that's a great idea. I'll have the corps de ballet pick up the mylar snow on their exit, next Nutcracker season. That stuff melds with the dance floor. Fred ------------------------------ From: "Big Fred Schoening" Subject: RE: scenography in relation to puppetry Date: Sat, 31 Jul 2004 22:30:45 -0500 Message-ID: <000901c47777$f165a300$330110ac [at] PRODIGALBRAIN> In-reply-to: You should contact the Center for Puppetry Arts in Atlanta, GA. Their website is www.puppet.org . They are one of the best puppetry organizations in the U.S., and ought to be able to give you a lot of good information. "Big Fred" Schoening Technical Director Dallas Theater Center Dallas, Texas, USA "...a root word of technology, techne, originally meant 'art.' The ancient Greeks never separated art from manufacture in their minds, and so never developed separate words for them." - Robert M. Pirsig, Zen and the Art of Motorcycle Maintenance ------------------------------ From: "Jason" References:

Subject: Re: Those darn balloon drops Date: Sat, 31 Jul 2004 22:19:17 -0700 Message-ID: Blame the Disney folks they started it ----- Original Message ----- From: "Jon Ares" > > > Ahh, so that's what happened. I was wondering why there were zillions of > balloons up there, and only a piddly amount coming down. I was thinking > maybe there was going to be another 'big' dump at some point. > > I always pity the cleanup folk when I see events like this... hundreds of > pounds of confetti and balloon droppings to clean up.... > > -- Jon Ares > Program Director, West Linn HS Theatre Arts > www.hevanet.com/acreative > > ------------------------------ From: "Jason" References:

Subject: Re: Those darn balloon drops Date: Sat, 31 Jul 2004 22:38:32 -0700 Message-ID: Boy if they did that in California they be fined majorly. > --------------------------------------------------- > > It's my understanding that front end loaders and dump trucks make quick > work of every thing that is on the floor after the conventions. I'd love > to get confetti cannons for my facility but I'd have to make my crew clean > it up because I don't want to put an extra burden on the building staff. I > don't know what they do after a balloon drop before the last day of the > convention, but at Lambeau Field they have volunteers come in to shovel off > the stands if there is a snowstorm during the football season. They start > at the top, move all the snow to the bottom where it is loaded into dump > trucks that empty it into the Fox River. > Fred > ------------------------------ Message-ID: <000401c4778a$634fe8b0$0201a8c0 [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: Those darn balloon drops Date: Sat, 31 Jul 2004 22:42:51 -0700 > > don't know what they do after a balloon drop before the last day of the > > convention, but at Lambeau Field they have volunteers come in to shovel > off > > the stands if there is a snowstorm during the football season. They start > > at the top, move all the snow to the bottom where it is loaded into dump > > trucks that empty it into the Fox River. > Boy if they did that in California they be fined majorly. > Where would the snow come from in California?!? (Guess I'm missing your point.) -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative ------------------------------ Message-ID: <20040801060550.8757.qmail [at] web14101.mail.yahoo.com> Date: Sat, 31 Jul 2004 23:05:50 -0700 (PDT) From: June Abernathy Subject: Re: Education Discussion In-Reply-To: Do you need a degree to get into the business, or get what you want out of it? Well, no. Is is helpful? Usually, yes. Is there a middle ground? Actually, from what I've seen, the middle ground is a four year degree in SOMETHING, even if it isn't entertainment related, because then you have a degree, a state which makes you much more acceptable to a certain segment of people in a hiring position. You need skills, of course, and you have to acquire them somewhere. Either by formal training in college, a trade school, or an apprentice program, or by informal training on the job. Most people have some mixture of both. The old saying is that contacts get you the job, but it's up to you (and your skills) to keep it. So, to succeed in the business, you need skills and contacts. Contacts are deceptively important. People who can teach you things, people who can connect you with people who can teach you things, and people who can hire you or admit you to their program. The more people you know, the better, because this business is very people oriented. Generally, acquiring skills and contacts is done in one of two ways - one, going to school and learning and making contacts there, who you will use (as they will use you) as a network. This is why it is often desirable to go to a school where you have the opportunity to interface with not only your fellow students and teachers, but outside designers, directors, and/or travelling road crews, who can serve as valuable future contacts, or at least points of reference in an interview. Also, you can learn ways of doing things, terms for things, and ideas about priorities that may be different from what the administration generally offers. Of course, your teachers, fellow students, and the alumni of the program form your core "just out of school" network, and among those people, they can often steer you towards internships or jobs or whatever, where you meet NEW people . . . Just the fact that you are from a given school tells a lot of people who you know, what kind of stuff you have worked on, and what they can expect of you. It's a useful shortcut, which gets less useful as you get older. It is often useful as an interview ice-breaker though "Oh, UMass - Do you know...?" The other time honored way of acquiring skills and a contact network is by showing up to work at local theaters, either community theaters or local regional theaters, or at local bars/clubs/etc. Often, your early jobs don't pay you at all. You work your way up to paid work, then better paid work as you go. Freelancing is a tough way to make a living, particularly if you don't have the protection of a union. The other (or next) option is looking for work at the touring road houses or large commercial concert venues. Usually, this is accomplished by becoming an extra on the local IA worklist. This can be as easy as a call to the local office listed in the phone book, or following your dad to work, or as difficult as having to, frankly, move. Working as an extra is not the same as joining the union, although it is a necessary first step if you do want to. (And depending on what you want to do for a living, you might really want to/have to.) Generally, the more skills you have/acquire, the better the jobs that come your way. And, you can gain quite a lot of experience and informal education (not to mention income) on an IA worklist, and make a bunch of useful contacts in the business. Working your way up requires showing up ready, willing and on time, paying attention, asking questions when appropriate, and playing by whatever set of rules the folk in charge have in place. Generally, smart willing people find a way to catch the eye of someone who can do them some good and give them a boost up the ladder. But, it's a slow process, and often not particularly monetarily or artistically fulfilling for the first long while. Formal degrees are important if you wish to teach or work in educational theater, and they can be important in supervisory type jobs anywhere, which are often hired by administrative types who set great store by degrees. They are a way of allying yourself with the reputation of a prestigious school, or a school with prestigious alumni. Different people in hiring capacities have different levels of reverence for degrees, but almost none of them actually dislike seeing a degree. It can't hurt you, and it might help. My .02, FWIW June Abernathy IATSE #321 (Tampa, FL) FOH Electrician The Lion King (Gazelle Company) ...and graduate of FSU __________________________________ Do you Yahoo!? New and Improved Yahoo! Mail - Send 10MB messages! http://promotions.yahoo.com/new_mail ------------------------------ Message-ID: <003f01c47798$00130f80$32d9cdd4 [at] fasoulein> From: "ayusaya" References: Subject: Re: scenography in relation to puppetry Date: Sun, 1 Aug 2004 10:19:24 +0300 Organization: ayusaya puppet theatre Thank you Big Fred, Your quoting from Robert M. Pirsig is really in the spirit of this research. We come from (and live in) Greece, and I do believe that the unseparated "techne"-art from manifacture and techno-logy in general is one of the many keys that this research should make use of. Why? Because I think that the relation of theatre scenography with objects and mater places it closer to puppetry (an art which by definition deals with inanimate objects and materials coming to a fake life) than to the human actor's art. So anything that connects art with material is a possible key. Scenography invades the world of the human actor and treats him like a puppet: it creates a small artificial universe for him (more or less alike to a "real" one) and places him inside while he does not leave his human nature behind (even though the "role" is -at least in some kinds of theatre- a kind of "puppet costume" to the actor). The whole research is at its very beggining, so still we can't exclude any lead. I addressed to the Stagecraft list to get opinions and possible leads not from the puppetry side but from the scenographers', theatre designers' and theatre technicians' side. Have you ever thought that often in your work (if not always) you deal with a world closer to puppet world than to human's one? Stathis Markopoulos Ayusaya Puppet Company e-mail: ayusaya [at] otenet.gr site: www.geocities.com/ayusayapup tel/fax: +030-210-5141252 ------------------------------ Date: Sun, 1 Aug 2004 00:40:33 -0700 Subject: Re: Olympic Torch Help Message-ID: <20040801.004312.1072.2.ladesigners [at] juno.com> From: Richard Niederberg M&Ms use a thin sugar glaze, not paraffin, to resist the chocolate from the candy from soiling your hands. /s/ Richard > Jason writes: > Oh like M&M's won't melt in your hands ________________________________________________________________ The best thing to hit the Internet in years - Juno SpeedBand! Surf the Web up to FIVE TIMES FASTER! Only $14.95/ month - visit www.juno.com to sign up today! ------------------------------ Date: Sun, 1 Aug 2004 00:34:06 -0700 Subject: Re: Those darn balloon drops Message-ID: <20040801.004312.1072.1.ladesigners [at] juno.com> From: Richard Niederberg The not-thick-enough snowpack in the Sierra Nevada mountains that melts in the spring to provide us our water. /s/ Richard > Where would the snow come from in California?!? > (Guess I'm missing your point.) > -- Jon Ares ________________________________________________________________ The best thing to hit the Internet in years - Juno SpeedBand! Surf the Web up to FIVE TIMES FASTER! Only $14.95/ month - visit www.juno.com to sign up today! ------------------------------ End of Stagecraft Digest #88 ****************************