Return-Path: X-Scanned-By: RAE MPP/Clamd http://raeinternet.com/mpp X-Scanned-By: This message was scanned by MPP Lite Edition (www.messagepartners.com)! X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 22465792; Wed, 18 May 2005 03:00:30 -0700 X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #400 Date: Wed, 18 May 2005 03:00:21 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.3 (2005-04-27) on prxy.net X-Spam-Level: X-Spam-Status: No, score=-5.6 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.3 X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #400 1. Re: Cad Program by Delbert Hall 2. Re: students designing of faculty productions etc. by "Merel Ray-Pfeifer" 3. Folding chairs again by Gion DeFrancesco 4. Re: students designing of faculty productions etc. by "Paul Guncheon" 5. Re: Folding chairs again by "Jonathan S. Deull" 6. stage floor finish by Sunil Rajan 7. Re: stage floor finish by Stephen Litterst 8. Re: stage floor finish by IAEG [at] aol.com 9. Re: students designing of faculty productions etc. by Kevin Lee Allen 10. Re: stage floor finish by Brian Munroe 11. Re: designing... by kosteral [at] luther.edu 12. Re: designing... by Bill Sapsis 13. Re: Disney Jobs Enquiry by StevevETTrn [at] aol.com 14. Re: Disney Jobs Enquiry by "Chris Warner" 15. Re: stage floor finish by "Bill Nelson" 16. Re: Provocative comments on McCandless by "Moore, Martin W." *** 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: Date: Tue, 17 May 2005 07:32:24 -0400 From: Delbert Hall Reply-To: Delbert Hall Cc: Jonathan [at] willslighting.com Subject: Re: Cad Program In-Reply-To: References: I am had a little experience with Rhino, but I have a good friend (a mechanic engineer type) who has lots of experience with it and loves it. You are not far from Johnson City so the two of you might want to get together. Email me privately and I will try to hook the two of you up. -Delbert On 5/17/05, Jonathan Wills wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- >=20 > I am wondering if anyone has any experience with a CAD program called Rhi= no? > The website is www.Rhino3d.com I am just mainly looking for anyone with > experience with it. >=20 > Thank you, >=20 > Jonathan Wills > Wills Lighting and Stage > www.WillsLighting.com > Toll Free 866.909.4557 > Local 423.559.0606 > Fax 423.559.0071 >=20 > -- > No virus found in this outgoing message. > Checked by AVG Anti-Virus. > Version: 7.0.308 / Virus Database: 266.11.10 - Release Date: 5/13/2005 >=20 >=20 --=20 Delbert Hall Phone: 423-773-4255 ------------------------------ Message-Id: Date: Tue, 17 May 2005 10:45:15 -0500 From: "Merel Ray-Pfeifer" Subject: Re: students designing of faculty productions etc. Merel Ray-Pfeifer Production Manager Dept. of Theatre & Dance Millikin Univ. Decatur, IL 62522 217-424-3708 >>> steve.jones [at] glasgowplazatheatre.com 5/16/2005 1:16:23 PM >>> I disagree that the designer must "like" the material. I've designed lots of shows I didn't like. But liking it had nothing to do with the amount of thought, effort and creativity that went into the project. I agree with Steve likeing a show is never a choice I am given. The Directors choose the season. I get the choice of to design or not. Since it means extra money I have always choosen the money and found some thing in the show that appeals to me in some way. A technical challange can be just as exciting for me as a great script. Likeing a show will seldom be an option for a new, young designer. Finding any design gig is hard when you just start out and are trying to build a portfolio. Do you let your students choose a show in your design class based on what they like? I was always assigned a show based on what I needed to learn. A sound practice as I look back on it. ------------------------------ Message-Id: In-Reply-To: References: Date: Tue, 17 May 2005 09:16:30 -0400 From: Gion DeFrancesco Subject: Folding chairs again I know this was recently a topic, but after doing some archive searches I wasn't able to find the information - A few people posted some sources for comfortable, storable audience seating for black-box spaces. Could those people quickly send me those sources?I've looked at Wenger's models but am concerned that thier width would cause us to lose 25 seats or so... Thanks... -- +++++++++++++++++++++++++++++++++++++++ Gion DeFrancesco Assistant Professor of Theatre/Scene Designer MUT Production Manager Miami University 131 Center for Performing Arts Oxford, OH 45056 513.529.8318 On the web at http://www.users.muohio.edu/defranga ++++++++++++++++++++++++++++++++++++++ "There are no hopeless situations; there are only men who have grown hopeless about them." Clare Boothe Luce ------------------------------ Date: Tue, 17 May 2005 06:03:14 -1000 From: "Paul Guncheon" Subject: Re: students designing of faculty productions etc. Message-id: <004201c55af9$ef8451b0$0202a8c0 [at] yourxhtr8hvc4p> References: > First, the designer MUST like the material. If you don't like the > script, don't do the project. >> I have to agree that this is bull. I'm guessing that this must come from some one who doesn't design for a living... hmmm, a school perhaps? You are doing your students a MAJOR disservice if you insist on anything like the above as being realistic. Designing is not about YOU. As a designer, I have to understand the material and work with it. I certainly don't have to like it. It's nice when I do but it most certainly is not necessary. I have designed shows for scripts that were teeth gritting to read. Personally, I can't stand Shakespeare and I don't enjoy opera, but I can design both with no problems. Laters, Paul "There's no bathroom in here," Tom said uncannily. ------------------------------ From: "Jonathan S. Deull" Subject: RE: Folding chairs again Date: Tue, 17 May 2005 12:29:14 -0400 In-Reply-To: Message-ID: Look at Clarin www.clarinseating.com Jonathan S. Deull Edmund Burke School ------------------------------ In-Reply-To: References: Message-Id: <556012F8-C707-11D9-87FC-000A95BD64AC [at] earthlink.net> From: Sunil Rajan Subject: stage floor finish Date: Tue, 17 May 2005 15:10:29 -0400 Hello all! My wife was recently involved with a low/no budget musical production at a space here in NYC. Since most "spaces" that call themselves Theatres here are generally run and operated by people with little or no clue about most technical aspects of theatre, dealing with any technical snafu's usually results in bewilderment and confusion (along with the requisite "We don't have the time/money/people/money/time/supplies/money." argument). The stage floor was a mess. Your standard decking, with masonite on top. Obviously had not been painted or treated anytime recently, and was pretty slippery. My first thought when I heard one of the dancers complaining was to have the theatre re-finish the stage (which would mean an overnight call, and the usual time/money/people argument), so we knew that wasn't an option. Then, I remembered on a tour I did years ago, with a slippery raked deck that actually became an Equity issue. The solution was to swab the deck with a solution of water and some type of rosin/sticky stuff mixed in. Mind you, this wasn't the "Back in the day, we used to mix Pepsi/Coke in the mop bucket", and I was wondering what the various products are, names, etc. Just to have something quick and dirty as opposed to a full paint call and such. Cheers, Sunil Rajan Freelance Audio Mercenary ------------------------------ Date: Tue, 17 May 2005 15:15:25 -0400 From: Stephen Litterst Subject: Re: stage floor finish Message-id: <428A42CD.65B21536 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References:

Sunil Rajan wrote: > --------------------------------------------------- and I was wondering > what the various products are, names, etc. Just to have something > quick and dirty as opposed to a full paint call and such. Well, a can of coke is the quickest, dirtiest and cheapest. Next level up is a product called Slip-No-Mor. Available at most theatrical and dance suppliers I would imagine but we bought our last batch from Production Advantage. (800)424-9991. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ From: IAEG [at] aol.com Message-ID: <1d8.3d16d367.2fbb9ce0 [at] aol.com> Date: Tue, 17 May 2005 15:15:44 EDT Subject: Re: stage floor finish In a message dated 5/17/05 3:11:08 PM, squeakypig [at] earthlink.net writes: << Then, I remembered on a tour I did years ago, with a slippery raked deck that actually became an Equity issue. The solution was to swab the deck with a solution of water and some type of rosin/sticky stuff mixed in. >> SLIP NO MOR avilable from a number of different suppliers, , RoseBrand, , Stage Step, , etc etc very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Date: Tue, 17 May 2005 16:07:07 -0400 From: Kevin Lee Allen Subject: Re: students designing of faculty productions etc. In-reply-to: Message-id: <3c0e04529f645d1889d312451e932c36 [at] klad.com> References:

See, I said this was difficult lesson to learn. Seriously, although many disagree, I have to stand by my statement. I=20 am open to a discussion on semantics. Perhaps 'like' was the wrong=20 word, but there has to be something to capture the designer's=20 imagination or intrigue. That hook may be a technical challenge in a=20 terrible script. or a desire to design some beautiful backdrops, but=20 starting from a very positive place will make for better design. Same with 'liking' the director and the rest of the (at least) creative=20= staff. Perhaps 'respect' is a better term, perhaps there is something=20 to learn from a particular person. There is almost always a reason to=20 stay away from the 'screaming lunatic' we have all encountered and=20 worked with at one time or another. I do not believe that if a designer does not like the script or lthe=20 team members, he or she will not do their best work. This is not about=20= the individual designer, it is about the production. It becomes about=20 the individual designer when that person does NOT do their best work=20 and they are remembered for a finished product that is below their par.=20= Perhaps the entire team is remembered in a negative light. I work mostly in television, corporate theatre, exhibits, trade shows=20 and events, with some theatre. I earn my living as a designer. It took=20= me a long time to learn that not all business was good business. I=20 don't particularly care for sports, but for the longest time, I pursued=20= designing sports sets for television. I eventually realized, I am just=20= not the right designer for those projects. I have 'fired' clients when=20= I have been able to see that, for whatever reason, working for them has=20= had a negative effect on my quality of life. This has always had an=20 immediate, negative, impact on my pocketbook, but also always opened me=20= to other, better, opportunities. This could get very philosophical and metaphysical. While I certainly agree that students be assigned classroom projects=20 that will be challenging for them, I don't think they should be=20 assigned to productions where they might not be able to shine. If this=20= is about portfolio building and really learning to work with a=20 director, TD and other designers, thought MUST be given to the material=20= suitability and the interpersonal relations. We all encounter and learn from negative production experiences. I just=20= would endeavor not to create them, especially for other people. In our careers, we (hopefully) all find our tribe or others we like to=20= work with again and again. I believe avoiding those people, scripts and=20= situations that cause us stress leads to a better life. With the rent=20 paid. I can see where career situations make this difficult. The tenured=20 university design professor who does not work well with his or her=20 colleague, the tenured directing professor. For myself, I would suggest=20= that might indicate a time to move on. However difficult this decision. I do not disagree that this is a difficult philosophy and I will not=20 tell anyone that I am a slave to these beliefs. Sometimes, it is just=20 about the money. That does not make what I am saying wrong or not worth=20= trying to achieve. On May 17, 2005, at 12:03 PM, Paul Guncheon wrote: > For info, archives & UNSUBSCRIBE, see=20 > > --------------------------------------------------- > >> First, the designer MUST like the material. If you don't like the >> script, don't do the project. >> > > I have to agree that this is bull. > > I'm guessing that this must come from some one who doesn't design for = a > living... hmmm, a school perhaps? You are doing your students a = MAJOR > disservice if you insist on anything like the above as being = realistic. > > Designing is not about YOU. > > As a designer, I have to understand the material and work with it. I > certainly don't have to like it. It's nice when I do but it most=20 > certainly > is not necessary. I have designed shows for scripts that were teeth > gritting to read. ----- Kevin Lee Allen Production Designer http://www.klad.com 973.744.6352.voice 201.280.3841.mobile klad [at] klad.com =F0 ------------------------------ Message-ID: Date: Tue, 17 May 2005 18:16:04 -0400 From: Brian Munroe Reply-To: Brian Munroe Subject: Re: stage floor finish In-Reply-To: References:

On 5/17/05, Sunil Rajan wrote: >=20 > The stage floor was a mess. Your standard decking, with masonite on > top. Obviously had not been painted or treated anytime recently,=20 I was on tour in Detroit, in a theatre that will remain nameless but will be familiar to you touring types, and the Masonite deck was unpainted. Always. Never painted. Not once. Looked to be untempered as well, but could just be really old. "If we paint it once, then we'll have to paint it again." This is the same place where you have to back your truck up what looks like a railroad car to get to the loading dock. At the center of the US wall. Brian Munroe bpmunroe [at] gmail.com ------------------------------ Message-ID: <2630.67.1.120.96.1116376787.squirrel [at] 67.1.120.96> Date: Tue, 17 May 2005 19:39:47 -0500 (CDT) Subject: re: designing... From: kosteral [at] luther.edu Since many of us cannot afford to only design shows we like, I often find it helpful to recall the advice of my Scene Design I professor: (paraphrasing here) "You *will* find yourself having to design a show you 'don't like' or 'don't get'. Put yourself in the shoes of that poor guy in the third row who got dragged to this show by his wife--he 'doesn't like' this show either. Do whatever you can to keep him awake and give him *something* interesting to look at/wonder about/etc. Find _something_ in the script that captures your attention/interest/favor (however small), and RUN WITH IT!" With this in the back of my mind, I have been able to design some pretty (IMO) trite shows. Often I end up *really* proud of my designs for these shows because I put that extra effort/thought into the work. Similar advice holds true for working with directors or other designers that you don't necessarily "like"---find *something* about them (or their work) that you do like (or at least respect). If possible, ask them out for a drink or dinner--getting to know them personally, you might find you have more in common than you think. Take the high road---do your best to be the most cordial, professional, flexible person and you might just find that 'they' also rise to the occasion. Respect and professional attitude begets respect and professional attitude. (Or, as a cohort of mine once boiled it all down to, "If anyone is going to behave like a shit, make sure it's not you.") YMMV. Allison Koster Decorah, Iowa kosteral [at] juno.com >> While it certainly would be ideal if the designers like the >> material, I don't feel it is absolutely necessary. > > >My landlord greatly appreciates it if I don't limit my work to scores, >scripts, and choreography I like. > > >With experience, designers learn to find ways do do excellent (or at >least satisfactory) work even when less than inspired. ------------------------------ Date: Tue, 17 May 2005 20:56:05 -0400 Subject: Re: designing... From: Bill Sapsis Message-ID: In-Reply-To: Best damn advice I've seen in a very long time. Thanks Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Please support the Long Reach Long Riders on their 2nd annual benefit ride http://sapsis-rigging.com/LRLR.html on 5/17/05 8:39 PM, kosteral [at] luther.edu at kosteral [at] luther.edu wrote: > Respect and professional attitude > begets respect and professional attitude. (Or, as a cohort of mine once > boiled it all down to, "If anyone is going to behave like a shit, make > sure it's not you.") ------------------------------ From: StevevETTrn [at] aol.com Message-ID: <5b.69ead7c1.2fbc04e8 [at] aol.com> Date: Tue, 17 May 2005 22:39:36 EDT Subject: Re: Disney Jobs Enquiry The first post was primarily in response to internships but it has a parallel for full time work. Specifically, the official path is to send a resume to the Walt Disney World Casting Center (HR in non-Disney speak). Be aware, however, that this center receives something on the order of 5000 resumes a day. Unofficially, it helps to send the resume to a particular person. Which particular person depends on what your background and interests are and on where an opening happens to be at the moment. In general, some things tend to enhance one's prospects: a) having either an entertainment oriented degree or a number of years of experience in entertainment tech work, b) having a skill set (specialty) that is closely aligned with a current need, c) exhibiting a willingness to be a team player, d) living in the area already. Florida is a Right-to-work State, so IATSE membership is not required but is an option at a very reasonable rate. As Jason suggested, there are possibly some opportunities right now. Scoping them out and matching your interests would best be conducted off-line. SteveV Orl, FL >Read Steve's post. >sjl > How does one apply for a job at WDW? ------------------------------ Message-ID: <04bc01c55b5c$5709dc30$6401a8c0 [at] chris> From: "Chris Warner" References: Subject: Re: Disney Jobs Enquiry Date: Tue, 17 May 2005 20:47:40 -0700 Any experience with how one gets on as a "designer" (traditional theatre's lighting/sound/set designer) at Disney in general? Thanks for the info. Chris Warner ----- Original Message ----- From: To: "Stagecraft" Sent: Tuesday, May 17, 2005 7:39 PM Subject: Re: Disney Jobs Enquiry > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > The first post was primarily in response to internships but it has a > parallel for full time work. > > Specifically, the official path is to send a resume to the Walt Disney > World Casting Center > (HR in non-Disney speak). Be aware, however, that this center receives > something on the > order of 5000 resumes a day. > > Unofficially, it helps to send the resume to a particular person. Which > particular person > depends on what your background and interests are and on where an opening > happens to > be at the moment. > > In general, some things tend to enhance one's prospects: > a) having either an entertainment oriented degree or a number of years of > experience in > entertainment tech work, > b) having a skill set (specialty) that is closely aligned with a current > need, > c) exhibiting a willingness to be a team player, > d) living in the area already. > > Florida is a Right-to-work State, so IATSE membership is not required but is > an option > at a very reasonable rate. > > As Jason suggested, there are possibly some opportunities right now. > Scoping them out > and matching your interests would best be conducted off-line. > > SteveV > Orl, FL > > >Read Steve's post. > > >sjl > > > How does one apply for a job at WDW? > > > > -- > No virus found in this incoming message. > Checked by AVG Anti-Virus. > Version: 7.0.308 / Virus Database: 266.11.12 - Release Date: 5/17/2005 > > -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.11.12 - Release Date: 5/17/2005 ------------------------------ Message-ID: <4595.64.28.53.106.1116396674.squirrel [at] webmail.peak.org> In-Reply-To: References:

Date: Tue, 17 May 2005 23:11:14 -0700 (PDT) Subject: Re: stage floor finish From: "Bill Nelson" Unfortunately, floor finishes can be a problem, especially where dancers are concerned. Each troupe is used to practicing on a particular type of floor surface, with its own possibly unique "treatment". Also, there are many venues that will either prohibit your treating their floor or will only allow it to be treated in a specified manner (and may insist that the venue staff perform any treatment). It can take a while to adjust to the different degree of "slipperyness" at a different location, even if the same make and model of floor covering is supplied. That is why many traveling groups take their own dance floor with them, so that they can be confident they will have the characteristics they desire. Bill ------------------------------ Subject: RE: Provocative comments on McCandless Date: Wed, 18 May 2005 05:27:55 -0400 Message-ID: <52573592B96EB84CACF62C7C31D6A98EBC69BB [at] vcc-ex1.win.rpi.edu> From: "Moore, Martin W." Richard Finkelstein credits McCandless with several innovations But wasn't it more a case of McCandless writing up innovations by others before him, and then inadvertently getting the credit for the innovations himself? (e.g. Euclid) Jean Rosenthal wrote: "... McCandless was indeed the granddaddy of us all. Not because there were no others before him, ..."=20 Martin ------------------------------ End of Stagecraft Digest #400 *****************************