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 #89 Date: Mon, 02 Aug 2004 03:00:54 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #89 1. Re: Scenography by "Paul Guncheon" 2. How to be creative... by Paul Masck 3. Re: chocolate by "Paul Guncheon" 4. Re: Need for a degree/formal education? by 5. Stage-acceptable Cigars (herbal?) by "Elliott Family" 6. Re: Stage-acceptable Cigars (herbal?) by "Jon Ares" 7. Hello and lineset question by Greg Persinger 8. Re: Stage-acceptable Cigars (herbal?) by "Alf Sauve" 9. Re: Stage-acceptable Cigars (herbal?) by "Joe Meils" 10. Re: Hello and lineset question by "Jason" 11. Re: Hello and lineset question by Mark O'Brian 12. Re: Hello and lineset question by Bsapsis [at] aol.com 13. Re: Scenography by "ayusaya" 14. Lineset question revisited by Greg Persinger 15. Those darn balloon drops by CB 16. Re: Lineset question revisited by Bsapsis [at] aol.com 17. Re: Those darn balloon drops by "Joe Meils" 18. Re: Those darn balloon drops by Bsapsis [at] aol.com 19. Re: FCC Fines (was: Those darn balloon drops) by "Alf Sauve" 20. Re: Cigar post by "Alf Sauve" 21. Re: MSDS was:Olympic Torch Help by Richard Niederberg 22. Re: Dimmers Needed by "C. Andrew Dunning" 23. Re: Lineset question revisited by Greg Persinger 24. Puppet scenography by "RICHARD FINKELSTEIN" 25. Re: Hello and lineset question by "Jason" *** 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: <002b01c477db$24d8fd00$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: Scenography Date: Sun, 1 Aug 2004 05:20:56 -1000 <> Please give us your definition of "scenography". Thanks, Paul "I'll dust the furniture tomorrow!" Tom pledged. ------------------------------ In-Reply-To: References: Message-Id: <98C940EC-E3CE-11D8-AE20-00039301A716 [at] masck.com> From: Paul Masck Subject: How to be creative... Date: Sun, 1 Aug 2004 11:22:27 -0400 Here's a link everyone should check out: http://www.gapingvoid.com/Moveable_Type/archives/000876.html It was written by a blog writer, he has a fantastic list of thoughts for all of us, especially those of us trying to find the balance between creativity and "day-jobs." P... ---------------------------------------------------------------------- Paul Masck paul [at] masck.com www.masck.com slave to the misshapen chaos of well-seeming forms ----------------------------------------------------------------------- ------------------------------ Message-ID: <002f01c477db$fbf224b0$0202a8c0 [at] MyLastPC> From: "Paul Guncheon" References: Subject: Re: chocolate Date: Sun, 1 Aug 2004 05:26:57 -1000 > Jason writes: > Oh like M&M's won't melt in your hands It has been my experience that if you melt chocolate, in morsels or other forms, it will remain "tacky" or "gooey" upon cooling. One must add paraffin to get it to set so that one can pick it up without having the chocolate stick to everything. Laters, Paul "Well, my job is to mark off the names of the oarsmen as they finish." said Tom romantically. ------------------------------ From: Subject: RE: Need for a degree/formal education? Date: Sun, 1 Aug 2004 12:06:29 -0400 Message-ID: In-Reply-To: Do you need a degree to be successful? No, but you do need an education, and they are not neccessarily the same thing. There are a number of fine institutions here in the US which offer both, but in looking at a school it would be wise to examine this. I was fortunate enough to go to one of the schools that offer both a degree and an education, but I am frequently appaled by what people coming out of some MFA programs don't know. (I do not understand how you can be a lighting designer and not understand black body theory, but maybe that's just me) There is of course no substitute for experience. I remember reading an interview with Tharon Musser where she said she learned about fuses by blowing some. And here is where formal education has some advantage vs. learning on the job. The mistake made in an academic setting is just that, a mistake, a chance to learn what works and what doesn't. The mistake made on the job costs somebody money. A big enough mistake can sink an entire company or production. The other thing to consider is the difference between understanding the technology and understanding the material you are trying to bring to life. Most directors are not the least bit interested in discussing the system of diagonal backlights, or the nifty paint treatment you are planning to use. They want to talk about what the play means, and how that idea will be visually expressed. Just my 2 pennies. Klyph ------------------------------ From: "Elliott Family" Subject: Stage-acceptable Cigars (herbal?) Date: Sun, 1 Aug 2004 09:30:59 -0700 Message-ID: <000801c477e4$f119b860$6400a8c0 [at] chicago1927> In-Reply-To: Hello! I am directing a production of Charley's Aunt this coming Nov./Dec. and am seeking cigars I can use (AND LIGHT and SMOKE) on stage that will be acceptable in No Smoking Indoors situations such as we have here in Oregon, and also might be more pleasant to those who may be cast that are not smoking-friendly. I.e.: are there herbal cigars out there, like herbal cigarettes? I don't see how the many cigar-smoking moments in Charley's Aunt can be "logically" done without real smoke. These moments are lengthy and the characters talk about the cigars and how much they enjoy them as they light up and blow smoke, etc. Hoping to hear from you in this matter. Warmest regards, John Elliott Albany Civic Theater Albany, Oregon "I've always wanted to be normal, but lately I've had a strong suspicion that this is it." --T. Skinner. --------------------------------------------------------------------- Eliminate annoying spam! My mailbox is protected by iHateSpam, the #1-rated spam buster. http://www.ihatespam.net ------------------------------ Message-ID: <000801c477e6$f07269f0$0201a8c0 [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Stage-acceptable Cigars (herbal?) Date: Sun, 1 Aug 2004 09:45:22 -0700 > > I.e.: are there herbal cigars out there, like herbal cigarettes? > > I don't see how the many cigar-smoking moments in Charley's Aunt can be > "logically" done without real smoke. These moments are lengthy and the > characters talk about the cigars and how much they enjoy them as they light > up and blow smoke, etc. If herbal cigars exist, I wouldn't want one of those near me! I'm very reactive to regular cigarette smoke, but the herbal types are worse in my opinion.... usually smell like burning yard debris (including doggy doo) or pot. Not long ago I watched a show (at a high school no less) where the characters lit up herbals, and the stink got the audience into a fervent rush of covert whispering: "Is that pot?" "Your daughter is smoking pot!" "Whoa dude, they're smoking pot!" But back to your question.... I think you need to get creative with the staging. Check out the archives on this forum, this issue has come up a lot in the past. Several times, for stage use, I've used the "puff puff" type novelty cigarettes (blows a bit of powder out the end) - and I do know there are cigars that do this, but I don't know if there are any 'realistic' looking ones. I have about 20 of them - but they're called something like "Big Shot" or "Head Honcho" or some such - they're obscenely large phallic smokers - more CEO-prank like. The puff-puff cigarettes work pretty well though, but you can't make volumes and volumes of smoke, just subtle wisps. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative ------------------------------ Date: Sun, 01 Aug 2004 12:25:27 -0500 Subject: Hello and lineset question From: Greg Persinger Message-ID: In-Reply-To: Hello All, I know I am way behind the times, but it is nice to have the board back up. I'm sorry I didn't get back sooner. Thanks Noah, Steve and all others involved with the production of this list. So my real question is is about counterweighted lineset installation. Why is it that if you only want to install 4 linesets, but might want to come back and add an additional 18 linesets in the future when you get the budget, you can't do it without installing the T-bar grid for all 22 linesets now? Isn't there a way to install 4 T-bar tracks without a full T-bar grid? If the client ever does come up with the budget to build the full fly system they would have to take out the 4 existing T-bar tracks and reinstall them on the new T-bar grid but this is acceptable to them. I'm not a rigger and have never watched a counterweighted system being installed but the concepts seem simple enough in theory. A friend of mine is trying to do this in a space he is building but the couple of companies he has talked to will not consider installing the 4 linesets. Any ideas? Thanks. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-ID: <035901c477ec$aff60660$0600a8c0 [at] alf> From: "Alf Sauve" References: Subject: Re: Stage-acceptable Cigars (herbal?) Date: Sun, 1 Aug 2004 13:22:18 -0400 Uh, what do you think cigars are made of? Why would trading one herb (tobacco) for another be better? Smoking is smoking. You're still releasing "smoke". There's no such think as a "better" smoke. Sure "puffing" some baby powder out the end of tube is a substitute, but it just isn't the same. It isn't smoke. I'm sorry, if the play calls for smoking and it's a serious part of the scene and the director feels the actor must smoke......then smoke. Smoke a big, ugly, stinky stogy. If it's illegal, if it will offend too many people, if you can't figure how to redirect airflow to keep it out of the audience, then don't do the play! Alf [stepping off my high horse and soap box for the moment] ----- Original Message ----- From: "Elliott Family" To: "Stagecraft" Sent: Sunday, August 01, 2004 12:30 PM Subject: Stage-acceptable Cigars (herbal?) > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Hello! > > I am directing a production of Charley's Aunt this coming Nov./Dec. and am > seeking cigars I can use (AND LIGHT and SMOKE) on stage that will be > acceptable in No Smoking Indoors situations such as we have here in Oregon, > and also might be more pleasant to those who may be cast that are not > smoking-friendly. > > I.e.: are there herbal cigars out there, like herbal cigarettes? > > I don't see how the many cigar-smoking moments in Charley's Aunt can be > "logically" done without real smoke. These moments are lengthy and the > characters talk about the cigars and how much they enjoy them as they light > up and blow smoke, etc. > > Hoping to hear from you in this matter. > > Warmest regards, > > John Elliott > Albany Civic Theater > Albany, Oregon > > "I've always wanted to be normal, > but lately I've had a strong suspicion that > this is it." --T. Skinner. > --------------------------------------------------------------------- > Eliminate annoying spam! > > My mailbox is protected by iHateSpam, the #1-rated spam buster. > http://www.ihatespam.net > > > ------------------------------ Message-ID: <000901c477f2$dccf9880$52edbed0 [at] hppav> From: "Joe Meils" References:

Subject: Re: Stage-acceptable Cigars (herbal?) Date: Sun, 1 Aug 2004 13:10:43 -0500 To me, this is just an example of how so many people have become "PC" sheep. A few puffs on a cigar is not going to destroy your health, nor is it going to addict you to niccotine. The real thing is cheap, easy to find, and relatively safe for short runs. The greater danger in smoking on stage is the fire used in lighting them, frankly. If you are really concerned for the cast, I suggest having a box of altoids, and a bottle of mouthwash available in the makeup area. No one wants to go to the cast parties with a mouth that smells like an ash tray. Joe Meils UCA Theatre Conway, AR ------------------------------ From: "Jason" References: Subject: Re: Hello and lineset question Date: Sun, 1 Aug 2004 11:58:33 -0700 Message-ID: From: "Greg Persinger" > So my real question is is about counterweighted lineset installation. > > Why is it that if you only want to install 4 linesets, but might want to > come back and add an additional 18 linesets in the future when you get the > budget, you can't do it without installing the T-bar grid for all 22 > linesets now? How are the line sets of the 4 spaced? Do you really need a Tbar track system? I have installed line sets that just a Rope (line) and sand bags do the job.Even used chain motors attached to the ground to work line sets. > Isn't there a way to install 4 T-bar tracks without a full T-bar grid? If > the client ever does come up with the budget to build the full fly system > they would have to take out the 4 existing T-bar tracks and reinstall them > on the new T-bar grid but this is acceptable to them. ------------------------------ In-Reply-To: References:

Message-Id: <03919644-E3F0-11D8-908D-000393897332 [at] email.arizona.edu> From: Mark O'Brian Subject: Re: Hello and lineset question Date: Sun, 1 Aug 2004 12:21:39 -0700 Greetings, As for only installing 4 linesets, I can imagine putting only for in, If the space only need 4. However, if you want the ability to put in more later, I would not recommend only putting in 4 sets of T track. That said, why not put in all of the HORIZONTAL members of the T track system, as well as the steel for the locking rail. It would not save as much money, but it would make expansion very straightforward. > From: "Greg Persinger" > I have installed line sets that just a Rope (line) and sand bags do > the job.Even used chain motors attached to the ground to work line > sets. > Like a half pint of Guiness.... Why bother? Just my opinion... Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ From: Bsapsis [at] aol.com Message-ID: <129.4789dcea.2e3ea2c7 [at] aol.com> Date: Sun, 1 Aug 2004 15:47:19 EDT Subject: Re: Hello and lineset question In a message dated 8/1/04 3:22:27 PM, marko [at] email.arizona.edu writes: << As for only installing 4 linesets, I can imagine putting only for in, If the space only need 4. However, if you want the ability to put in more later, I would not recommend only putting in 4 sets of T track. That said, why not put in all of the HORIZONTAL members of the T track system, as well as the steel for the locking rail. It would not save as much money, but it would make expansion very straightforward. >> Speaking with my installer hat on, this plan makes the most sense. Installing the horizontal members (they're called wall battens) and the entire locking rail will not add a significant cost to the current plan of installing 4 linesets. having to go back and re-do the work when you want to install the balance of the line sets will incur a considerable expense. And while we're at it.....T-bar is becoming more and more scarce these days. Most new installations are using an aluminum track that is usually a "J" shape. BTW, track guided systems are required for any installation where the arbor travel is more than 35 feet. Zat help? Bill 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: <002901c47809$9bd3bc00$be6aa7c3 [at] fasoulein> From: "ayusaya" References:

Subject: Re: Scenography Date: Sun, 1 Aug 2004 23:50:30 +0300 Organization: ayusaya puppet theatre Hello Paul and all, You are right to ask for a definition of "scenography" after reading what I wrote. It probably sounds strange (I hope not offensive in anyway!) With "Theatre Scenography" I mean the theatre art which -as part of and in close collaboration with the Direction- builds (in visual, spacial, lighting, aesthetical etc. terms) the universe in which the play (the actors' action) will take place. In Greek language we use only this word. "Theatre design" does not exist as a separate word, it is included in Scenography. As far as I have understood during my stay in London for a year, in English there is a difference between the two terms: "theatre design" allows less freedom to the designer, who proposes, suggests and materializes the direction decidedby the director of the play, while "scenography" implies more directing responsibilities if not the possibility that the scenographer materializes his/her own direction of the play. Is that correct? Perhaps not absolutely... Well, in my language, both meanings come in one term which includes all the possibilities. What you quoted from my message was writen not as an absolute thesis but as an idea to think of. I am a puppeteer trying to help a scenographer with her research. Apart from performing myself, I also design and construct props and scenery for puppet and actrors' theatre of other companies. In puppetry, things like scenography, music, light etc can be thought of and treated as separate puppets on stage, as separate independent characters of the play (this doesn't mean that they should speak, have eyes, noses etc). I will try to explain better what I wrote about the "invasion" of scenography (an art deeply connected with inanimate mater and its transformation to imaginary wolrds) to the world of the human actor (a living creature which claims to be animate -has a soul in it): The Actor has the same human nature in his/her "real" life as well as in his/her theatrical life. Scenography is a theatrical world built to support this and only this play. These two natures do not belong originaly to the same system. The Actor has to "pretend" to be part of the scenography. Directors and Actors of the various kinds of theatre have reacted in many ways to this contradiction: Either they have completely discarded the notion of the scenographic artificial look-like-real world, leaving the actor alone with his human nature on stage, or they have stylized the Actor (in a higher or lower degree - which could be said in other words "puppetized") so that the human nature could better fit in the artificial world, or they have clearly separated the role from the human actor on stage so he/her could express himself towards the role in real time but without the obligation to pretend that he is part of the scenography or they have transfered the stage outside the theatrical space and used as a scenography the real world (happenings etc) so that again the actor could well fit... Probably this idea sounds too exaggerating (and in fact it is - is it?), but please take it as a puppeteer's first thinkings on a research and express yourself... Thanks, Stathis Ayusaya Puppet Company e-mail: ayusaya [at] otenet.gr site: www.geocities.com/ayusayapup tel/fax: +030-210-5141252 ------------------------------ Date: Sun, 01 Aug 2004 16:35:25 -0500 Subject: Lineset question revisited From: Greg Persinger Message-ID: In-Reply-To: Bill, Mark, and Jason, While I agree that putting in the wall battens and locking rail now makes the most sense design wise, economically the client is out of money to spend. The client feels as though they could raise the needed funds in 2 - 3 years to complete the rigging system. According to my friend who is actually doing the project, he has been given quotes in the $125,000 range for just the wall battens. Is this amount unrealistic? It seems to me that if you are only installing the hardware for 4 linesets that you could significantly lower that number. Maybe these quotes include the track as well as the wall battens. Thanks. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-Id: <3.0.6.32.20040801151945.0183ecc0 [at] pop.west.cox.net> Date: Sun, 01 Aug 2004 15:19:45 From: CB Subject: Those darn balloon drops > 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. The stage (even conventions) is rather like a battlefield in its pace, intensity, its fierceness, and it necessity to follow orders explicitly and promptly. Not to mention the similarities in the expletives that are used. Backstage is NOT (I repeat, NOT) for the faint of heart nor is it for the easily offended. People are just as likely to use some strikingly blue language in frustration as they are in fun, and there is always the likelyhood of someone getting naked. Any good television producer should be aware of this. No-one should be put on-air without being advised that they are hot. NO-ONE should be put on air without permission! This is not the responsibility of the producer of the event, but of the producer of the television show. Obviously, none of these comments ere supposed to be a part of the presentation of the event. I wonder, however, who will pay the new FCC mandated fine? 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... ------------------------------ From: Bsapsis [at] aol.com Message-ID: <1ed.26b9b3f6.2e3ed4bb [at] aol.com> Date: Sun, 1 Aug 2004 19:20:27 EDT Subject: Re: Lineset question revisited In a message dated 8/1/04 5:36:34 PM, gregpersin [at] comcast.net writes: << While I agree that putting in the wall battens and locking rail now makes the most sense design wise, economically the client is out of money to spend. The client feels as though they could raise the needed funds in 2 - 3 years to complete the rigging system. According to my friend who is actually doing the project, he has been given quotes in the $125,000 range for just the wall battens. Is this amount unrealistic? It seems to me that if you are only installing the hardware for 4 linesets that you could significantly lower that number. Maybe these quotes include the track as well as the wall battens. >> $125,000.00!!!!!!!!!!! Do you mean US Dollars?????? Where is this job....Mars???? I really, really, really want this job. OK. Seriously now. I have NOT seen this job nor have I read the specs. BUT........... I usually ballpark a quote for something like this at $4,000.00 to $5,000.00 per lineset. Installed. And that includes the T-bar or J-Guide or whatever. So let's see. $125,000.00 for just the wall battens - vs - $25,000.00 for the whole job. Hmmmmm. something is more than a little fishy here. Bill S. Sapsis Rigging, Inc. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Message-ID: <000f01c4781d$f18ab2c0$0eedbed0 [at] hppav> From: "Joe Meils" References: Subject: Re: Those darn balloon drops Date: Sun, 1 Aug 2004 18:19:06 -0500 I say we call it a "Producer Malfunction", and use it as an excuse to curb freedom of expression in America. It's the "in" thing to do! Joe Meils UCA Theatre PS Vote John Kerry. Why settle for the failure we have? > > > 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. ------------------------------ From: Bsapsis [at] aol.com Message-ID: Date: Sun, 1 Aug 2004 19:26:36 EDT Subject: Re: Those darn balloon drops In a message dated 8/1/04 7:21:30 PM, bipolarber [at] cyberback.com writes: << PS Vote John Kerry. Why settle for the failure we have? >> Sigh. 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: <03a901c4782a$9c4629e0$0600a8c0 [at] alf> From: "Alf Sauve" References: Subject: Re: FCC Fines (was: Those darn balloon drops) Date: Sun, 1 Aug 2004 20:37:23 -0400 Would CNN be subject to a fine since they are not a broadcast station? Alf ----- Original Message ----- From: "CB" To: "Stagecraft" Sent: Sunday, August 01, 2004 15:19 PM Subject: Those darn balloon drops > I wonder, however, who will pay the new FCC mandated fine? ------------------------------ Message-ID: <03b201c4782a$e7d93d70$0600a8c0 [at] alf> From: "Alf Sauve" References: Subject: Re: Cigar post Date: Sun, 1 Aug 2004 20:51:52 -0400 I was a little over the top with my previous cigar post. I appologize to the group and the original poster, for sounding off in such a harsh way. It wasn't meant to be harsh and I'll try to do better in the future. Alf ------------------------------ Date: Sun, 1 Aug 2004 18:01:26 -0700 Subject: Re: MSDS was:Olympic Torch Help Message-ID: <20040801.180126.792.1.ladesigners [at] juno.com> From: Richard Niederberg That's true, but how does your comment specifically relate to the use of generic unscented, uncolored, food grade paraffin candles under discussion? My grandmother, who would dip her severely arthritic hands into melted paraffin under her doctor's orders, appeared to enjoy only positive results by this exposure. My files are also devoid of any notices from the Consumer Product Safety Commission specifically regarding exposure to airborne fumes or other particulate matter that is the byproduct of the combustion or melting of food grade paraffin. Are there any? /s/ Richard > >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. > Steve Vanciel ________________________________________________________________ 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! ------------------------------ From: "C. Andrew Dunning" Subject: RE: Dimmers Needed Date: Sun, 1 Aug 2004 20:15:51 -0500 Organization: Landru Design In-Reply-To: Message-ID: Steve - All of ours have the DMX upgrade. - Andy >-----Original Message----- >From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf >Of StevevETTrn [at] aol.com >Sent: Friday, July 30, 2004 9:39 PM >To: Stagecraft >Subject: Re: Dimmers Needed > >For info, archives & UNSUBSCRIBE, see > >--------------------------------------------------- > >C. Andrew Dunning writes: > >>I am helping the LD [at] my church look for used dimmer packs. He >>already has multiple CD80 and Genesis 12x2.4 kW. > >Do you know if the Genesis 1224 control boards are AMX only or >do they have the DMX option? > >It just so happens that I'm refurbishing a rack of 6 Genesis >1224 dimmers for my church and have 10 spare AMX only boards >that I don't need. > >Am interested in getting some more boards with the DMX option. >I have five Genesis II, C60-05 REV E boards now. > >Steve Vanciel >Orlando, FL > ------------------------------ Date: Sun, 01 Aug 2004 23:30:25 -0500 Subject: Re: Lineset question revisited From: Greg Persinger Message-ID: In-Reply-To: Bill, He was told that each lineset would be in the $3500 range but that is after the support grid for the T-bar guides was installed to the wall which he didn't know to budget for. It seems like it shouldn't be that difficult. Everyone he has talked to has agreed that all of the structural steel is in the correct place. The wall for the rigging is cinder block and clear of obstructions. It is also pretty well plumb. Arbor travel is approximately 44' and there is a loading gallery at the top level around 40'. The guy has the tools, expertise, and crew to attach anything to the wall while being able to keep it plumb, level, secure and structurally sound. Maybe I should have him give you a call about the job. I will talk to my friend about it tomorrow and see where it all stands. Thanks. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ From: "RICHARD FINKELSTEIN" Subject: Puppet scenography Date: Mon, 02 Aug 2004 02:32:20 -0400 Message-ID: >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 >wo>rld than to human's one? === 1. Sounds like you should certainly look into the work of Gordon Craig with his theories of actor as "Uber Marionette" 2. Then there's the whole world of directors and Designers that meld the use of live acting and puppetry. Julie Taymore ("The Lion King") is but the latest exponent but there is a large group of such artists. 3. In the film world there is of course a huge melding of live action and puppetry especially in modern special effects work. 4. In the world of dance there are also many examples including the obvious ones of Coppelia and Petruchka. An even better example comes with the Jerome Robbins' Choreographed, Eugene Berman designed Pulcinella. There is a scene with a giant feast. A huge pot of spaghetti is rolled onto the stage and within the scene the townsfolk get into a big pasta fight. The pasts looks as though it is made from plastic clothesline. It comes from the pot and it eventually fills the entire stage tangling all the humans in it. They tire and fall into a sleep tangled on the floor in the pasta. A green follow spot then shines on the pot and the lights get dramatic. The devil climbs out of the pot and wanders around the stage looking at the remnants of the humanity. He picks up some of the pasta and voila he is able to manipulate the humans as the pasta now assumes the role of marionette strings. It is a stunning sequence of dance which includes a number of other surprises but one of my favorites is the end of the scene where the dancers get up, grab the "spaghetti" and using it, drags the entirety of the set off stage! How's that for using puppetry ambiance in live performance?! 5. Another neat melding that I have seen came with the giant megaflop one performance only Broadway version of Frankenstein with most excellent sets by Doug Schmidt. They attempted a more accurate version of Mary Shelley's book and so the show started with the big blizard and the treck towards the North pole. To make the mountains look bigger and more desolate they switched to puppets in all the fog effects. It made the mountains look thousands of feet high! 6. This idea of manipulating space on the Broadway stage was also used brilliantly in the musical "On the Twentieth Century". There was a now famous sequence right out of the Vaudeville era where a chase scene through the train required about 7 set changes within 30 or so seconds. The sequence even made the cover of Theatre Crafts and was astonishing to see live. The crazy lady (played by Imogene Cocoa) would first be on the nd of the train one instant, and in a flash she would be on the front of the locomotive coming at the audience, then in another flash she'd be in the giant engine cab, and then, most remarkably it would be like in a film in a long long shot! This was done by dumping the stage lights at the appropriate time timed perfectly with the crecendo of the music and going to black light as a MODEL train is made to traverse the stage. Those seeing it live were made to feel like their seats were ripped of the floor and flung a mile back! Such a simple effect, with astonishing results. 7. Back in the 1970s I designed a nifty production of Alice in Wonderland adapted and Directed by William Martin. I think I did exactly as you described. In this production, conceptually, it was as though Alice was trapped inside a marionette theatre. Everything was mechanized only we could all see the mechanics. Alice too could see the mechanics but none of the other characters could. She sees the artificial nature of the world from the start. It worked great conceptually. The show also had a lot of pop-up book elements and this is another theme used by a lot of designers. I hope these ideas help with your research. Richard Finkelstein Richard Finkelstein http://www.rfdesigns.org ------------------------------ From: "Jason" References: Subject: Re: Hello and lineset question Date: Mon, 2 Aug 2004 00:38:17 -0700 Message-ID: Bill is that a new law or regulation that some of us are not aware of? From: > BTW, track guided systems are required for any installation where the arbor > travel is more than 35 feet. > > Zat help? > Bill > > 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. > > > ------------------------------ End of Stagecraft Digest #89 ****************************