Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2) with PIPE id 4222118; Mon, 23 Aug 2004 03:00:23 -0700 X-ListServer: CommuniGate Pro LIST 4.2 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #110 Date: Mon, 23 Aug 2004 03:00:15 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.0-pre4 (2004-08-04) on prxy.net X-Spam-Level: X-Spam-Status: No, score=-3.1 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.0-pre4 X-prxy-Spam-Filter: Scanned X-TFF-CGPSA-Version: 1.4a3 For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #110 1. Re: Tools for da road by "Samuel L. Jones" 2. Re: Tools for da road by IAEG [at] aol.com 3. New Fair Labor Standards act by Boyd Ostroff 4. multi tools by b Ricie 5. SM Blocking notation by "RICHARD FINKELSTEIN" 6. Re: SM Blocking notation by MissWisc [at] aol.com 7. Re: Tools for da road by CB 8. Re: Tools for da road by Mark O'Brien 9. San Diego Civic Theatre by Chris Warner 10. Re: After Closing by Greg Bierly 11. Re: After Closing by Richard Niederberg 12. Re: Computer-assisted blocking notation by Brad Spachman *** 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. ---------------------------------------------------------------------- In-Reply-To: References: Message-Id: <97E0EEDE-F435-11D8-B4C5-00039313C6D2 [at] ucla.edu.> From: "Samuel L. Jones" Subject: Re: Tools for da road Date: Sun, 22 Aug 2004 05:20:02 -0700 On Aug 22, 2004, at 2:12 AM, Warren Stiles wrote: > Since we're talking about multi-tools, I've noticed some patterns over=20= > the past few years concerning multi-tool/screw gun/computer=20 > preferences. > > Leatherman people like DeWalt and PCs. > > Gerber people like Makita and Macs. > > Schrade people like Porter Cable and PCs. > > Am I imagining this, or has anyone else noticed this pattern > > =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0= =A0=A0=A0=A0=A0=A0=A0 G. Warren Stiles > > > > You're imagining it. Sam Leatherman person who likes Porter Cable and Macs ------------------------------ From: IAEG [at] aol.com Message-ID: <42.564bfa86.2e59f3e5 [at] aol.com> Date: Sun, 22 Aug 2004 09:04:37 EDT Subject: Re: Tools for da road In a message dated 8/22/04 5:13:11 AM, w_stiles [at] techie.com writes: << Brian, I never go OTR without a couple of frisbees in my toolbox. Upside-down, they make great trays for anything from small hand tools to truss bolts, to the knobs and screws that your furiously trying to pull out of the sound board that's gotta be repaired in the next 10 minuts. >> harborfreight and various discount tables have those wonderful magnetic parts "bowls" gotta lov' em ! keith arsenault iaeg tampa, florida ------------------------------ Date: Sun, 22 Aug 2004 09:58:19 -0400 (EDT) From: Boyd Ostroff Subject: New Fair Labor Standards act Message-ID: Have been reading a bit about the new overtime rules which go into effect this week. Doesn't seem like it will have much impact on the people I work with. However the thing that caught my eye was that employees earning less than $23,600 will no longer be exempt. It occurs to me that this could affect some of the smaller, lower paying arts organizations that often expect long working hours for low pay. Are all these little summer stock theatres going to have to start paying their actors and crews overtime now? It's hard to separate the facts from the political spin that's coming from all sides on this issue.... 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: <20040822140039.97875.qmail [at] web50609.mail.yahoo.com> Date: Sun, 22 Aug 2004 07:00:39 -0700 (PDT) From: b Ricie Subject: multi tools In-Reply-To: >>I wish I had a dollar for each time I've been asked to loan my Leatherman to someone so they could use it to fix their Gerber.<< That is the best laugh I have had in a while... As for me I am a fan of the letherman wave, has all ya need and the outside blades are a nice option. ===== Brian Rice b_ricie [at] yahoo.com __________________________________ Do you Yahoo!? New and Improved Yahoo! Mail - 100MB free storage! http://promotions.yahoo.com/new_mail ------------------------------ From: "RICHARD FINKELSTEIN" Subject: SM Blocking notation Date: Sun, 22 Aug 2004 10:03:55 -0400 Message-ID: There are a number of systems out there that would be far far faster and more efficient than use of computers or even video. First I notice now that a few formal systems of SM blocking shorthand have been published (although alas I cannot recal which books I have seen these in). There are two systems that I have found useful. Many of you may be at least familiar in name with the system of movement notation that Rudolf Laban developed for recording dance, Labanotation. Most dance students dread studying Labanotation because as it can be totally exact it is equally complex to learn and write at that level. What many people do not know though is that Laban developed a number of notational and nesting systems. The one most applicable to the theatre is called Motif Writing which is very quick to learn and to review and to write and has a number of techniques that are ideal for use in theatre Stage Management. Way back in the 1970s when I was in college, in some obscure journal I came across another system that sounded totally wacko, but at the time I was directing a two act show. I decided to test the wacko system out by notating blocking in Act I usiing traditional abbreviations and Act II in the wacko system. The wacko system won hands down but then I gave up directing and active stage managing forever so I never had a chance to replicate the system, but for those of you game to try, here it is. I suggest not using a computer at all for this, though it would be tempting: The wacko system (that works!): A. Take a floorplan of the set/s reduced and simplified to fit on one standard page. B. Using a very sharp pencil, start at one corner of the acting area (I started DSL) fill the entire acting area solid with small sequential numbers. You'll probably get to around 150 if you crem in dem numbers. C. Now using this as a key, blocking can be recorded as connect the dots coordinates, but with many fringe benefits. For instance, while a straight path (including a characters initials) could be direct: "AW x 110" (Amanda Wingfield crosses to coordinate 110), the blocking can be far more complex" "AW x 110 through 25, 52, 71" which would be a serpentine path. as doing show she could also "keep her eyes on 35" and gesture with her hand 29 when passing through 17. I thought on reading that the system was wacko because I thought the numbers would be too difficult to be constantly looking up from the key, but I was wrong. You see, soon into blocking, patterns appear. Certain actor placement, especially to furniture, repeats itself. Within a day or so I had the numbers memorized pretty much, and that was without trying. The neat thing is that since I still have both the key and the prompt script, over 30 year later I think I could reproduce the blocking exactly. I have never again heard of anyone using this system, but I have been eager to repeat the experiment to see if it really works (to me one success doesn't make the conclusion sound). This semester though I am about to teach a huge Stage Management Class and all will be SMing actual productions, so it would be nifty if I could get one or more of the students to try the system. If they do, I will report back the results. One caveat. I think that if a computer were used, say CAD to produce the number key, that it would be a disaster. One reason I feel why I was able to learn the numbers without trying is that their layout had a very organic arrangement; the page was just filled with the numbers and they had somewhat of a grain like fingerprint lines, in placement that related to the set. In a computer the tendancy would be to have rows and columns which I feel would be harder for the eye to relate to. Also those who have notated drafting by hand and by computer would probably agree with me, that it is amazing what can be squeezed readably into a drawing when doing by hand, where the font size and width and word/line spacing is dynamic too with the hand variety. If anyone tries this system I'd like to hear back, but in my work as LD I still use the Laban motif writing elements quite often. Richard Finkelstein http://www.rfdesigns.org/ ------------------------------ From: MissWisc [at] aol.com Message-ID: <1e8.2867b57f.2e5a4ccf [at] aol.com> Date: Sun, 22 Aug 2004 15:23:59 EDT Subject: Re: SM Blocking notation What about using the kinds of data capture systems that animators are using.. where actors wear sensors/refectors on their clothing and the computer records the movements of those items with a still camera? Would be very expensive, but would give you accurate records. How about the cheaper film solution... with every major move of people on stage, take a Polariod snapshot? Great for continuity. Kristi ------------------------------ Message-Id: <3.0.6.32.20040822140903.018350c8 [at] pop.west.cox.net> Date: Sun, 22 Aug 2004 14:09:03 From: CB Subject: RE: Tools for da road >But after an eight-hour drive beind >the wheel of a twenty-three foot truck, or stuck behind the tech table >during a long focus call, my butt needs some comfort. I'll double that emotion, however I'll add that you could use two. One to sit on, and one to use as a lumbar support. If you use both of these on the eight hour (or ten, or whatever) truck drive, you won't need them so much at the end of the drive. Then, when they screw up hotel, you can still find some comfort in the green room, back of the truck, whatever. Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ Message-ID: <1093215062.01a58cde60762 [at] www.email.arizona.edu> Date: Sun, 22 Aug 2004 15:51:02 -0700 From: Mark O'Brien Subject: Re: Tools for da road References: In-Reply-To: Quoting CB : > I'll double that emotion, however I'll add that you could use two. One to > sit on, and one to use as a lumbar support. If you use both of these on > the eight hour (or ten, or whatever) truck drive, you won't need them so > much at the end of the drive. Then, when they screw up hotel, you can > still find some comfort in the green room, back of the truck, whatever. > Chris "Chris" Babbie > Location Sound > MON AZ > The last time they screwed up my hotel, In Laguna Beach, CA, they overbooked the Mariott that our show was in, and sent the road crew to the Ritz down the road. We hated it because we would rather be on campus. 8 hours of sleep was better than a chandelier in the bathroom. (Hot tub in the room ALMOST made up for it) -- Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile Quoting CB : > I'll double that emotion, however I'll add that you could use two. One to > sit on, and one to use as a lumbar support. If you use both of these on > the eight hour (or ten, or whatever) truck drive, you won't need them so > much at the end of the drive. Then, when they screw up hotel, you can > still find some comfort in the green room, back of the truck, whatever. > Chris "Chris" Babbie > Location Sound > MON AZ > ------------------------------ Message-Id: <5.2.0.9.0.20040822160616.00a49dd0 [at] pop.west.cox.net> Date: Sun, 22 Aug 2004 16:07:56 -0700 Cc: THEATRE-SOUND [at] LISTSERV.AOL.COM From: Chris Warner Subject: San Diego Civic Theatre Hey everyone, being a San Diego local, anyone working a show at the Civic Theatre? I'd like to take a tour of the facility! Thanks in advance Chris WArner ------------------------------ In-Reply-To: References: Message-Id: <1E81F969-F4B8-11D8-90D1-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: After Closing Date: Sun, 22 Aug 2004 22:54:23 -0500 > Kristi commented that, "someone has forgotten that a student's job is > to > study, not run a theater." While I agree that a student must study to > increase their knowledge base, I believe that a significant portion of > the > "study" is the running of a theater. This will differ from College to High School student unless you have a specialized arts program. It would also be debatable if the student is not a theatre major. I was just asked about adding two separate rentals. One falls on a Sunday that follows our fall play performances of Friday and Sat. nights (then Monday is a band concert) but it is also my anniversary (I know I already harped on this). I have a full time salaried position and make my own hours to roughly equal 40 hours per week over the year. I get vacation days but I can take all the time I want as comp time and never have to do the paperwork for a vacation day if I want. I can also strongly recommend that dates are not available for outside rentals and would only be overridden if an administrator would step in. It is "possible" to accommodate this rental but I don't want to. What other factors should I take into account to make my decision? I feel like a schmuck to turn them down for personal reasons but until I can come up with a better solution I feel like I am being taken advantage of. ------------------------------ Date: Sun, 22 Aug 2004 20:55:28 -0700 Subject: Re: After Closing Message-ID: <20040822.205541.3048.0.ladesigners [at] juno.com> From: Richard Niederberg Can you assemble a week of comp time for an extended anniversary 'vacation' to make up for the inconvenience? On the other hand, will you receive 'Brownie Points' by assisting your institution in the generation of rental income? In the long term, will you gain a promotional advantage over colleagues if you are perceived as a 'team player' who will give 200%? /s/ Richard > It is "possible" to accommodate this rental but I > don't want to. What other factors should I take into > account to make my decision? > I feel like a schmuck to turn them down for personal > reasons but until I can come up with a better solution > I feel like I am being taken advantage of. ________________________________________________________________ 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! ------------------------------ Message-Id: In-Reply-To: References: Date: Mon, 23 Aug 2004 01:58:45 -0400 From: Brad Spachman Subject: Re: Computer-assisted blocking notation At 10:03 AM -0400 8/22/04, RICHARD FINKELSTEIN wrote: >There are a number of systems out there that would be far far faster >and more efficient than use of computers or even video. First I >notice now that a few formal systems of SM blocking shorthand have >been published (although alas I cannot recall which books I have >seen these in). [snippage about Labanotation & the 'wacky' number system] I tend to agree about NOT using a computer for notating blocking. Generally, we can write it down pretty quickly the old-fashioned way. I admit to being intrigued by the "wacky numbering" method. If I ever work on a small show, I may give it a shot. I don't know that it would be particularly useful for the types of complex musicals we generally stage. We are trying to experiment with computers and blocking notation in order to simplify and standardize shows that we are particularly interested in archiving. For example, on our current show, we wrote blocking in the "normal" way, and then found ourselves wanting to make it more legible and intelligible to other SMs. As a result, we have ended up retyping and rewriting a lot of blocking notes--that's a big time investment. So...I'm still looking for ideas that aren't too time-consuming, yet give us a better legible/intelligible factor as we are notating things. Bonuses will include only keeping one version of the script updated, drawing abilities, and the ability to selectively print or export pages or items. The current leading solution is to use a program like Adobe InDesign to set up the virtual blocking book. The script is on the left and is fully editable as changes are made. The blocking is on the right, and can include mini-maps and notes galore. I still have significant hurdles to overcome, but many of them are due to the fact I am not familiar with InDesign. Even simple things like page numbering are deceptively difficult (how do you auto-number just the spreads, instead of every page?) However, things look promising so far.... At 10:14 AM -0700 8/21/04, Jon Ares wrote: >I'm no Word wizard (like most of the planet, I probably only flex about 15% >of its muscle) but what about doing some sort of 2-column thing? Again, >note my disclaimer, I'm not a Word Wizard. Thanks for the thoughts! I've considered this as a possibility. My problem here is that I'm trying to keep the script pagination the same as the version that is distributed to the cast & creative staff, so constraining the text to a column either requires a lot more tree-killing, or messing around with complicated pagination schemes so that my page numbers remain the same as the cast's--and then I need to maintain 2 versions of the script. Diagrams are also very difficult to deal with in Word. At 2:22 PM -0400 8/21/04, Herrick wrote: >How about using one of the built in apple apps ,like I-movie or >something, with a small webcam to take snapshots of the stage (or >short video) and then notate text in the bottom of the screen. This >can't be too hard and you get an exact image from moment to moment. I love this idea! A little outside the box, but probably do-able. I think that snapshots would be a great idea (continuity tracking-type things) and using iPhoto/iMovie, etc. would be a neat way to annotate things. However, AEA tends to be quite strict about pictures & videos, and I know this would be pushing the envelope of allowability. We've had difficulty in the past being allowed to videotape fight sequences in order to maintain the safety of the fights, so I'm sure this would be disallowed--but I'm definitely remembering the idea! At 3:23 PM -0400 8/22/04, MissWisc [at] aol.com wrote: >What about using the kinds of data capture systems that animators are using.. >where actors wear sensors/refectors on their clothing and the computer >records the movements of those items with a still camera? Would be >very expensive, >but would give you accurate records. Neat! I hadn't thought of this type of thing either.... I'll be remembering it for the off chance I get a large budget! Thanks for the ideas! Best, Brad -- Brad Spachman bspachman [at] att.net Stage Manager Goodspeed Musicals ------------------------------ End of Stagecraft Digest #110 *****************************