Designers- Summer Conservatory
------------
Designers – The Marin Theatre Company is seeking Scenery, Costume and Lighting designers for its summer conservatory program for students ages 7-12 and 12-18. The three productions will be Peter Pan and The Sound on Music on the Mainstage and Twelfth Night on the second stage. Program starts June 19th, Shows run July 15th through August 5th. Design meetings will begin in April. Please send Resume and References to Jedd de Lucia via email: production@marintheatre.org
Dates: Apr 15, 2006-Aug 1, 2006
Pay:
Thursday, March 30, 2006
New job: Designers- Summer Conservatory
Tuesday, March 28, 2006
Edited: Production Sound / Operator
Production Sound / Operator
------------
Seeking somebody to run load-in, and run the show for Naked Angels production of The Mistakes Madeline Made. The venue is 45Below (at the Culture Project - 45 Bleeker St.). This is a small playback show: CDs, small PA, a couple practicals, some com. Pay is $350/week plus hourly for load-in (still working on squeezing out some more money).
Load-In: 10 April
Tech: 12 April
1st Preview: 15 April
Open: 24 April
Close: May 13
Contact: drewlevy@omegaproductions.org
Monday, March 27, 2006
job
Hi everyone,
Its that time of the year and the Three Rivers Arts Festival is looking
to crew up again for this summer. The dates are approximately May 15th
through the end of June. Work duties include stagehand, construction,
artist support, art installation, festival operations management and
weekly water battles (mandatory). The festival takes place downtown in
and around Point State Park. Long hours, late nights, good pay, lots of
fun, and then you have the rest of the summer off. Please send me an
email at jowen@andrew.cmu.edu if you are interested. (If you talk to me
in the hallway, there are no guarantees that I will remember, so send me
an email).
Thanks!
Jen Owen
Its that time of the year and the Three Rivers Arts Festival is looking
to crew up again for this summer. The dates are approximately May 15th
through the end of June. Work duties include stagehand, construction,
artist support, art installation, festival operations management and
weekly water battles (mandatory). The festival takes place downtown in
and around Point State Park. Long hours, late nights, good pay, lots of
fun, and then you have the rest of the summer off. Please send me an
email at jowen@andrew.cmu.edu if you are interested. (If you talk to me
in the hallway, there are no guarantees that I will remember, so send me
an email).
Thanks!
Jen Owen
job
Company: OREGON SHAKESPEARE FESTIVAL
Division:
Job Title: Multiple Opportunities
Job Type: Intern/Extern
Paid Position: This is a paid position.
Wage/Salary:
Days/Hours:
Location: Ashland, OR
Openings: 1
How to Apply: visit the website or application materials.
Start Date:
When to Apply: deadline: 5-1-06 , 6-1-06
Company
Description: Founded in 1935, the Tony Award-winning Oregon Shakespeare Festival (OSF) is among the oldest and largest professional non-profit theatres in the nation. Each year OSF presents an eight-and-a-half-month season of eleven plays in three theatres plus numerous ancillary activities, and undertakes an extensive theatre education program. Operating on a budget exceeding $22,000,000, OSF presents more than 780 performances annually with attendance of approximately 360,000.
Qualifications:
Deadline: May 1, 2006 for directing all other positions is June 1, 2006. Theatre is a collaborative art form and everyone that works at OSF has a hand in producing high-quality innovative interpretations of modern and classical theatre. Everyone ? from actors to administrators and technicians to trustees ? are dedicated to the art as well as the long-term health of the organization. And while we work hard, we also understand the importance of maintaining a balance between personal and professional lives and providing company members with benefits and perks to help them achieve that balance. The Mission of the FAIR Experience is to foster the exchange of knowledge, skills and perspectives between experienced professionals and the next generation of theatre practitioners, realized through the pursuit of the following goals: To provide enrichment for a new generation of passionate theatre professionals To offer professional experience to participants from diverse cultural backgrounds within a high-caliber theatre environment To create an environment that promotes the collaborative exchange between FAIR participants and experienced theatre professionals.
Job Description:
The mission of the Oregon Shakespeare Festival is to create fresh and bold interpretations of classic and contemporary plays in repertory, shaped by the diversity of our American culture, using Shakespeare as our standard and inspiration. Fair Opportunities: Artistic-Directing- Directing,Dramaturgy and Literary management, Producing, Company and Stage Management, Arts Management-Communications, Development, Finance, Human Resource Management etc., Design & Production-Costume and Scenic Design, Lighting, Props, Sound etc., Education-Theatre in Education, Audience Enrichment, Education Support, Teacher Training.
This is an Equal Employment Opportunity
Contact:
Fair Experience Manager
OREGON SHAKESPEARE FESTIVAL
PO Box 158
Ashland, OR 97520
541-482-2111 Ext. 203
fair@osfashland.org
Division:
Job Title: Multiple Opportunities
Job Type: Intern/Extern
Paid Position: This is a paid position.
Wage/Salary:
Days/Hours:
Location: Ashland, OR
Openings: 1
How to Apply: visit the website or application materials.
Start Date:
When to Apply: deadline: 5-1-06 , 6-1-06
Company
Description: Founded in 1935, the Tony Award-winning Oregon Shakespeare Festival (OSF) is among the oldest and largest professional non-profit theatres in the nation. Each year OSF presents an eight-and-a-half-month season of eleven plays in three theatres plus numerous ancillary activities, and undertakes an extensive theatre education program. Operating on a budget exceeding $22,000,000, OSF presents more than 780 performances annually with attendance of approximately 360,000.
Qualifications:
Deadline: May 1, 2006 for directing all other positions is June 1, 2006. Theatre is a collaborative art form and everyone that works at OSF has a hand in producing high-quality innovative interpretations of modern and classical theatre. Everyone ? from actors to administrators and technicians to trustees ? are dedicated to the art as well as the long-term health of the organization. And while we work hard, we also understand the importance of maintaining a balance between personal and professional lives and providing company members with benefits and perks to help them achieve that balance. The Mission of the FAIR Experience is to foster the exchange of knowledge, skills and perspectives between experienced professionals and the next generation of theatre practitioners, realized through the pursuit of the following goals: To provide enrichment for a new generation of passionate theatre professionals To offer professional experience to participants from diverse cultural backgrounds within a high-caliber theatre environment To create an environment that promotes the collaborative exchange between FAIR participants and experienced theatre professionals.
Job Description:
The mission of the Oregon Shakespeare Festival is to create fresh and bold interpretations of classic and contemporary plays in repertory, shaped by the diversity of our American culture, using Shakespeare as our standard and inspiration. Fair Opportunities: Artistic-Directing- Directing,Dramaturgy and Literary management, Producing, Company and Stage Management, Arts Management-Communications, Development, Finance, Human Resource Management etc., Design & Production-Costume and Scenic Design, Lighting, Props, Sound etc., Education-Theatre in Education, Audience Enrichment, Education Support, Teacher Training.
This is an Equal Employment Opportunity
Contact:
Fair Experience Manager
OREGON SHAKESPEARE FESTIVAL
PO Box 158
Ashland, OR 97520
541-482-2111 Ext. 203
fair@osfashland.org
Aesthetics Out of Bounds
The Aesthetics Out of Bounds Lecture Series presents
Lorraine Daston, Director of the Max-Planck Institute for the History of
Science in Berlin and Honorary Professor at the Humboldt University in
Berlin
"Four Eyed Seeing"
Monday, April 3, 2006 - 5:00 PM
University Center, McConomy Auditorium (1st floor), on the Carnegie Mellon
campus
Professor Daston received her PhD in the History of Science at Harvard
University. She has lectured widely throughout the world, including
University of Vienna, at the Ecole des Hautes Etudes en Sciences Sociales
in Paris, University of Chicago, and Oxford University in England. She also
received a Guggenheim Fellowship, a Pfizer Prize, History of Science
Society for best book on the History of Science as well as a Bainton Prize,
16th Century Studies Conference for best book in the area of History and
Theology. The author of many wide-ranging essays, Daston's books include
Wonders and the Order of Nature (Zone, 2001) (with Katherine Park) and
Things That Talk: Object Lessons From Art and Science (Zone, 2004)
(editor). Her Classical Probability in the Enlightenment was awarded the
Pfizer Prize.
Aesthetics Out of Bounds is a series of free public lectures being offered
at Carnegie Mellon University during the fall 2005 and spring of 2006.
Sponsored by the Center for the Arts in Society with a grant from the
Andrew Mellon Foundation, the series features a distinguished group of
internationally recognized scholars who will discuss the plastic, visual,
performing, and literary arts in multiple historical contexts. Drawing
scholars from the United States and Europe, the series will chart out new
directions in the fields of aesthetics, arts historiography, critical
theory and visual culture for a broad and intellectually engaged audience.
For more information about the series please visit;
http://www.andrew.cmu.edu/user/mwitmore/aesthetics/index.html
Lorraine Daston, Director of the Max-Planck Institute for the History of
Science in Berlin and Honorary Professor at the Humboldt University in
Berlin
"Four Eyed Seeing"
Monday, April 3, 2006 - 5:00 PM
University Center, McConomy Auditorium (1st floor), on the Carnegie Mellon
campus
Professor Daston received her PhD in the History of Science at Harvard
University. She has lectured widely throughout the world, including
University of Vienna, at the Ecole des Hautes Etudes en Sciences Sociales
in Paris, University of Chicago, and Oxford University in England. She also
received a Guggenheim Fellowship, a Pfizer Prize, History of Science
Society for best book on the History of Science as well as a Bainton Prize,
16th Century Studies Conference for best book in the area of History and
Theology. The author of many wide-ranging essays, Daston's books include
Wonders and the Order of Nature (Zone, 2001) (with Katherine Park) and
Things That Talk: Object Lessons From Art and Science (Zone, 2004)
(editor). Her Classical Probability in the Enlightenment was awarded the
Pfizer Prize.
Aesthetics Out of Bounds is a series of free public lectures being offered
at Carnegie Mellon University during the fall 2005 and spring of 2006.
Sponsored by the Center for the Arts in Society with a grant from the
Andrew Mellon Foundation, the series features a distinguished group of
internationally recognized scholars who will discuss the plastic, visual,
performing, and literary arts in multiple historical contexts. Drawing
scholars from the United States and Europe, the series will chart out new
directions in the fields of aesthetics, arts historiography, critical
theory and visual culture for a broad and intellectually engaged audience.
For more information about the series please visit;
http://www.andrew.cmu.edu/user/mwitmore/aesthetics/index.html
Sunday, March 26, 2006
Saturday, March 25, 2006
Friday, March 24, 2006
Technical Design - John Henry
Session Start (eProf:CNCTD): Fri Mar 24 15:51:29 2006
[15:51] CNCTD: Hey eProf: do you want the CAD drafting and CNC part path drawings for Jon Henry to just be our own personal pieces, or do you want to see layouts for the entire deck from each of us?
[15:52] eProf: I don't believe it is possible to draw one without the other
[15:52] eProf: so perhaps what you need to submit is the full thing as a drawing, and your compoenets as additional paths
[15:53] CNCTD: Ok. Just wasn't sure what you wanted to see as the final product when we hand in our package, cause I have drafted all the part paths and deck.
[15:53] eProf: so does that answer your question?
[15:53] CNCTD: Yes, I believe so
[15:54] eProf: k
[15:54] CNCTD: Thanks :-)
[15:51] CNCTD: Hey eProf: do you want the CAD drafting and CNC part path drawings for Jon Henry to just be our own personal pieces, or do you want to see layouts for the entire deck from each of us?
[15:52] eProf: I don't believe it is possible to draw one without the other
[15:52] eProf: so perhaps what you need to submit is the full thing as a drawing, and your compoenets as additional paths
[15:53] CNCTD: Ok. Just wasn't sure what you wanted to see as the final product when we hand in our package, cause I have drafted all the part paths and deck.
[15:53] eProf: so does that answer your question?
[15:53] CNCTD: Yes, I believe so
[15:54] eProf: k
[15:54] CNCTD: Thanks :-)
Thursday, March 23, 2006
job
For whatever reason it has been a tough hiring season. Berkshire Theatre Festival is seeking people to fill summer positions. For those of you in theatres or universities that have time off in the summer can you pass on the message that we have positions available. We are seeking:
If you know of any one looking for these positions and interested in coming to western MA can you send them our way. Any help would be appreciated. I can be reached at:
Pete@berkshiretheatre.org
413 298 5536 ex 17
Assistant Technical Director
Carpenters
Props Carpenter
Master Electrician
Sound Engineer
Electrics and Sound interns
Carpenters
Props Carpenter
Master Electrician
Sound Engineer
Electrics and Sound interns
If you know of any one looking for these positions and interested in coming to western MA can you send them our way. Any help would be appreciated. I can be reached at:
Pete@berkshiretheatre.org
413 298 5536 ex 17
From Susan...
Dear Colleagues at CMU:
I urge you to contact your congressperson in an effort to help increase funding for the NEA. (More info below.) The Americans for the Arts site makes it quite easy for you to do so.
will get you to the page where they have a letter already drafted. It literally took me only one minute.
****************************************************************************
A "Dear Colleague" letter is being circulated on Capitol Hill this week by the co-chairs of the Congressional Arts Caucus, Representatives Chris Shays (R-CT) and Louise Slaughter (D-NY), to increase the funding level of the National Endowment for the Arts to $170 million in FY 2007. Representatives Shays and Slaughter are seeking additional signatories to this letter, and we ask for your assistance in gathering them. In just two minutes, you can use our E-Advocacy Center to contact your Member of Congress and ask them to sign on to the Dear Colleague letter. The deadline for your Representative to add their signature is Friday, March 31, so there is no time to lose!
The President’s FY 2007 budget requests no new funding for the NEA, but rather a "level-funding" of $124.41 million, identical to last year's total. In addition, the budget request reallocates funds at the expense of some valuable programs, such as Challenge America. This important program ensures that direct grants from the NEA reach underserved populations, including places where opportunities to experience the arts are limited by geography, ethnicity, economics or disability.
The letter currently being circulated by the Congressional Arts Caucus would urge the leaders of the House Interior Appropriations committee - which has jurisdiction over NEA funding - to increase NEA funding to $170 million in FY 2007, an increase of $45 million over current funding. As the Dear Colleague letter notes, "The American public wants and needs an affordable investment in the arts. An investment in the arts is an investment in our future."
An increase in funding for the NEA was one of several issues our arts advocates discussed with their Members of Congress during our 19th annual Arts Advocacy Day, held on Capitol Hill on March 15. Thanks so much to those of you who came to Washington, DC or participated online to make this event such a success. While Arts Advocacy Day may be over, our work to increase arts funding has just begun. Please urge your Representative to sign the Dear Colleague letter and signal their support of the arts.
I urge you to contact your congressperson in an effort to help increase funding for the NEA. (More info below.) The Americans for the Arts site makes it quite easy for you to do so.
will get you to the page where they have a letter already drafted. It literally took me only one minute.
****************************************************************************
A "Dear Colleague" letter is being circulated on Capitol Hill this week by the co-chairs of the Congressional Arts Caucus, Representatives Chris Shays (R-CT) and Louise Slaughter (D-NY), to increase the funding level of the National Endowment for the Arts to $170 million in FY 2007. Representatives Shays and Slaughter are seeking additional signatories to this letter, and we ask for your assistance in gathering them. In just two minutes, you can use our E-Advocacy Center to contact your Member of Congress and ask them to sign on to the Dear Colleague letter. The deadline for your Representative to add their signature is Friday, March 31, so there is no time to lose!
The President’s FY 2007 budget requests no new funding for the NEA, but rather a "level-funding" of $124.41 million, identical to last year's total. In addition, the budget request reallocates funds at the expense of some valuable programs, such as Challenge America. This important program ensures that direct grants from the NEA reach underserved populations, including places where opportunities to experience the arts are limited by geography, ethnicity, economics or disability.
The letter currently being circulated by the Congressional Arts Caucus would urge the leaders of the House Interior Appropriations committee - which has jurisdiction over NEA funding - to increase NEA funding to $170 million in FY 2007, an increase of $45 million over current funding. As the Dear Colleague letter notes, "The American public wants and needs an affordable investment in the arts. An investment in the arts is an investment in our future."
An increase in funding for the NEA was one of several issues our arts advocates discussed with their Members of Congress during our 19th annual Arts Advocacy Day, held on Capitol Hill on March 15. Thanks so much to those of you who came to Washington, DC or participated online to make this event such a success. While Arts Advocacy Day may be over, our work to increase arts funding has just begun. Please urge your Representative to sign the Dear Colleague letter and signal their support of the arts.
From Doc Chemers
Hey School of Drama,
I wanted to share the news that our very own award-winning Dramaturg,
Lavina Jadhwani, has just been selected as Production Dramaturg for
PICT's production of THE PILLOWMAN (directed by MFA Directing alum Stuart
Cardin).
The show opens May 4.
Congratulations, Lavina!
I wanted to share the news that our very own award-winning Dramaturg,
Lavina Jadhwani, has just been selected as Production Dramaturg for
PICT's production of THE PILLOWMAN (directed by MFA Directing alum Stuart
Cardin).
The show opens May 4.
Congratulations, Lavina!
Wednesday, March 22, 2006
Alumni Visit
Happily, though unexpectedly -- because of responsibilities to a series pilot now shooting in the area -- John Wells has offered to visit the Drama School tomorrow to speak with students.
He will be conducting a talk and Q and A in the Chosky Theatre between 2 and 4 PM, Thursday, March 23rd.
The actors and directors participating in the Pressman workshop will be released to attend the John Wells event.
Others of you who are not in class at that time are also welcome to attend.
PLEASE NOTE:
Students -- unless faculty have explicitly excused you from conflicting classes, you must attend your scheduled courses.
We did not have sufficient notice about this visit to ask faculty to determine whether they wished students to be excused.
I have included information below about John's outstanding career.
John Wells
DRAMA 1979
Producer/Writer/Director
Widely respected in the television industry as the Emmy-nominated writer-producer of the ABC drama series "China Beach" (1988-91) and now as the Emmy-winning co-executive producer of NBC's triumphant "ER" (1994-present) and "The West Wing" (1999-present), John Wells began his writing career while enrolled in the University of Southern California's film school. He went there for his master's degree (graduating in 1982) after leaving Carnegie Mellon.
Among his honors for creating the "ER" and "The West Wing" series are Emmys, the George Foster Peabody Award, the Producer's Guild Award, three People's Choice Awards and the Television Critics Society Award.
Earlier, Wells had received the Los Angeles Drama Critics' Circle Award for producing theater (1982), as well as the Los Angeles Weekly Award (1985) and the Drama-Logue Magazine Award (1985). He is a member of the Writers Guild of America and the National Academy of Television Arts and Sciences.
He will be conducting a talk and Q and A in the Chosky Theatre between 2 and 4 PM, Thursday, March 23rd.
The actors and directors participating in the Pressman workshop will be released to attend the John Wells event.
Others of you who are not in class at that time are also welcome to attend.
PLEASE NOTE:
Students -- unless faculty have explicitly excused you from conflicting classes, you must attend your scheduled courses.
We did not have sufficient notice about this visit to ask faculty to determine whether they wished students to be excused.
I have included information below about John's outstanding career.
John Wells
DRAMA 1979
Producer/Writer/Director
Widely respected in the television industry as the Emmy-nominated writer-producer of the ABC drama series "China Beach" (1988-91) and now as the Emmy-winning co-executive producer of NBC's triumphant "ER" (1994-present) and "The West Wing" (1999-present), John Wells began his writing career while enrolled in the University of Southern California's film school. He went there for his master's degree (graduating in 1982) after leaving Carnegie Mellon.
Among his honors for creating the "ER" and "The West Wing" series are Emmys, the George Foster Peabody Award, the Producer's Guild Award, three People's Choice Awards and the Television Critics Society Award.
Earlier, Wells had received the Los Angeles Drama Critics' Circle Award for producing theater (1982), as well as the Los Angeles Weekly Award (1985) and the Drama-Logue Magazine Award (1985). He is a member of the Writers Guild of America and the National Academy of Television Arts and Sciences.
ULS
UNIVERSITY LECTURE SERIES
Monday, March 27th 4:30pm
Adamson Wing, 136A Baker Hall
Karl A. Thomas, BS ChemE/EPP 1994, Executive Director of Pittsburgh
Voyager
Is Your Boat 'Green'?
Boating, Education and Sustainability for the Next Generation
A local education non-profit, a new 150-passenger boat under
construction at shipyard in Florida, CME, and a team of engineers and
companies from around the world are generating international attention
for a global first - A Green Boat. This 90-foot hybrid diesel-electric
boat will makes its splash onto the Pittsburgh riverscape in 2006. Come
hear a personal story of what it has taken to make this a reality, the
invaluable role of CMU researchers and students, and why this project is
important for the future of global development and environmental
sustainability.
Pittsburgh Voyager's mission is to provide transformational river-based
experiential education, research and adventure opportunities for
students, teachers and the public to inspire and motivate learning in
science, technology and the environment. Learn more at
www.pittsburghvoyager.org
Monday, March 27th 4:30pm
Adamson Wing, 136A Baker Hall
Karl A. Thomas, BS ChemE/EPP 1994, Executive Director of Pittsburgh
Voyager
Is Your Boat 'Green'?
Boating, Education and Sustainability for the Next Generation
A local education non-profit, a new 150-passenger boat under
construction at shipyard in Florida, CME, and a team of engineers and
companies from around the world are generating international attention
for a global first - A Green Boat. This 90-foot hybrid diesel-electric
boat will makes its splash onto the Pittsburgh riverscape in 2006. Come
hear a personal story of what it has taken to make this a reality, the
invaluable role of CMU researchers and students, and why this project is
important for the future of global development and environmental
sustainability.
Pittsburgh Voyager's mission is to provide transformational river-based
experiential education, research and adventure opportunities for
students, teachers and the public to inspire and motivate learning in
science, technology and the environment. Learn more at
www.pittsburghvoyager.org
Computer Apps - AutoCAD - Design Drawing A
[00:24] MidnightOil: hi, i have a autocad drafting question
[00:24] eProf: ok
[00:24] MidnightOil: you know how in tech draftings you have to make sure all the corners line up pretty, and on some flats you get a little overhang. do you want that extra overhang to be shown on the elevations?
[00:25] eProf: You should resolve your walls in plan however they resolve
[00:25] eProf: and then make sure your els match your plan
[00:25] MidnightOil: ok, good, than i did it right
[00:25] eProf: excellent
[00:26] MidnightOil: also, do you want the elevation and ground plan printed on one page or each on a different page?
[00:26] eProf: for the "A" assignments
[00:26] eProf: print them on seperate sheets
[00:26] MidnightOil: ok
[00:26] MidnightOil: thanks
[00:27] eProf: np
[00:24] eProf: ok
[00:24] MidnightOil: you know how in tech draftings you have to make sure all the corners line up pretty, and on some flats you get a little overhang. do you want that extra overhang to be shown on the elevations?
[00:25] eProf: You should resolve your walls in plan however they resolve
[00:25] eProf: and then make sure your els match your plan
[00:25] MidnightOil: ok, good, than i did it right
[00:25] eProf: excellent
[00:26] MidnightOil: also, do you want the elevation and ground plan printed on one page or each on a different page?
[00:26] eProf: for the "A" assignments
[00:26] eProf: print them on seperate sheets
[00:26] MidnightOil: ok
[00:26] MidnightOil: thanks
[00:27] eProf: np
CFA Weekly Announcement
Campus Events____________________________________________
Space Art: The Cultural Frontiers of Space Travel
A presentation by Lowry Burgess and Frank Pietronigro about artists whose medium is outer space.
Thursday, March 23, 2006, 7 pm
H&SS Auditorium, Room A53 Baker Hall (lower level)
Presented by the STUDIO for Creative Inquiry
***********
Distinguished fellow in the STUDIO for Creative Inquiry and professor in
the School of Art, Lowry Burgess, and collaborator Frank Pietronigro, an
associate fellow in the STUDIO, will present their work in the field of space art.
Lowry Burgess will discuss his efforts to gain support and acknowledgement for this pioneering work, and present an overview of his poetic work. In his view, "In a time of extraordinary global cultural tensions, the global community needs to reach toward and express shared human feelings--in particular, those feelings associated with the universal surrounding sky with its starry cosmos from which we derive our very being. Recently, in the middle of the last century, it became possible to displace the whole of humanity, mind, heart and body from the surface of the earth to venture into cosmic space and time. From that moment, a limited number of artists have been engaged with this new context in the service of unfolding its broader meanings."
Frank Pietronigro will describe his experience and present video of the "drift paintings" he created in microgravity during a parabolic flight aboard NASA's KC135 turbojet. He will also discuss his role as project director and co-founder of the Zero Gravity Arts Consortium (ZGAC), an international organization dedicated to fostering greater access for artists to space flight technology and zero gravity space through the creation of international partnerships with space agencies, arts organizations and universities.
The artists will also present an overview of their current project, the
"Space Art Track" of the 25th International Space Development Conference, co-sponsored by the National Space Society and Planetary Society. They will help facilitate a series of inspirational presentations and panels complimented by an exhibition, film screenings, and Zero Gravity Arts Consortium parabolic flight for artists and webcast direct from Zero Gravity Corporation's Boeing 727 jet.
For more information, please call x83454.
__________________
Carnegie Mellon Hosts Panel Discussion, “Cultural Trustees:
Their Changing Roles and Responsibilities”
PITTSBURGH-Carnegie Mellon University's Arts and Culture Observatory will present a panel discussion and open forum, “Cultural Trustees: Their Changing Roles and Responsibilities,” on Wednesday, March 29, from 9-11 a.m. in the Wright Room at the University Center on Carnegie Mellon's campus.
Panelists include Marilyn Coleman, former executive director of Greater Pittsburgh Arts Council; Jim McCarl, entrepreneur and a veteran of many local arts boards; Dana Payne, managing director of Xpressions Dance Company, and Jane Werner, director of the Children's Museum. Dan J. Martin, director of Carnegie Mellon's Institute for the Management of Creative Enterprises, will moderate the panel and the open discussion that will follow.
In addition to the panel discussion, the Observatory will release its latest report, “Board Composition of Cultural Organizations in Southwest Pennsylvania,” offering comparative data on the demographics of trustees in the region's cultural sector.
“Trusteeship is not what it was 20 years ago,” said Martin. “In most organizations, the old strategy of 'give and get money' was the central focus. It's still there today, to be sure, but many of us call upon trustees for much more than that. It will be interesting to see how these four people, each from different constituencies within the arts sector, interpret the situation and what they see as potential resolutions to these challenges,” he said.
The panel will focus on several key issues that are currently confronting cultural managers such as how the role of the board has evolved in the last fifteen years, what “good stewardship” means today, where the next generation of trustees can be found, whether or not stewardship issues in the for-profit sector- i.e. Enron, WorldCom, etc.- have affected the not-for-profit sector, and how to help trustees walk the line between governance and management.
To reserve a place at the forum, please call the Observatory at 412-268-4890 or send an email to artsobservatory@andrew.cmu.edu.
The Arts and Culture Observatory is an initiative of the Institute for the Management of Creative Enterprises at Carnegie Mellon University (IMCE). The goal of the Observatory is to provide meaningful and useful information about the arts and culture sector in Southwestern Pennsylvania. IMCE is also home to three other programs, including the Master of Arts Management degree, the Center for the Arts Management and Technology, and the Master of Entertainment Industry Management degree.
For more information about the Arts and Culture Observatory or IMCE, please contact Eric Sloss at 412-268-5765 or by email, ecs@andrew.cmu.edu.
Space Art: The Cultural Frontiers of Space Travel
A presentation by Lowry Burgess and Frank Pietronigro about artists whose medium is outer space.
Thursday, March 23, 2006, 7 pm
H&SS Auditorium, Room A53 Baker Hall (lower level)
Presented by the STUDIO for Creative Inquiry
***********
Distinguished fellow in the STUDIO for Creative Inquiry and professor in
the School of Art, Lowry Burgess, and collaborator Frank Pietronigro, an
associate fellow in the STUDIO, will present their work in the field of space art.
Lowry Burgess will discuss his efforts to gain support and acknowledgement for this pioneering work, and present an overview of his poetic work. In his view, "In a time of extraordinary global cultural tensions, the global community needs to reach toward and express shared human feelings--in particular, those feelings associated with the universal surrounding sky with its starry cosmos from which we derive our very being. Recently, in the middle of the last century, it became possible to displace the whole of humanity, mind, heart and body from the surface of the earth to venture into cosmic space and time. From that moment, a limited number of artists have been engaged with this new context in the service of unfolding its broader meanings."
Frank Pietronigro will describe his experience and present video of the "drift paintings" he created in microgravity during a parabolic flight aboard NASA's KC135 turbojet. He will also discuss his role as project director and co-founder of the Zero Gravity Arts Consortium (ZGAC), an international organization dedicated to fostering greater access for artists to space flight technology and zero gravity space through the creation of international partnerships with space agencies, arts organizations and universities.
The artists will also present an overview of their current project, the
"Space Art Track" of the 25th International Space Development Conference, co-sponsored by the National Space Society and Planetary Society. They will help facilitate a series of inspirational presentations and panels complimented by an exhibition, film screenings, and Zero Gravity Arts Consortium parabolic flight for artists and webcast direct from Zero Gravity Corporation's Boeing 727 jet.
For more information, please call x83454.
__________________
Carnegie Mellon Hosts Panel Discussion, “Cultural Trustees:
Their Changing Roles and Responsibilities”
PITTSBURGH-Carnegie Mellon University's Arts and Culture Observatory will present a panel discussion and open forum, “Cultural Trustees: Their Changing Roles and Responsibilities,” on Wednesday, March 29, from 9-11 a.m. in the Wright Room at the University Center on Carnegie Mellon's campus.
Panelists include Marilyn Coleman, former executive director of Greater Pittsburgh Arts Council; Jim McCarl, entrepreneur and a veteran of many local arts boards; Dana Payne, managing director of Xpressions Dance Company, and Jane Werner, director of the Children's Museum. Dan J. Martin, director of Carnegie Mellon's Institute for the Management of Creative Enterprises, will moderate the panel and the open discussion that will follow.
In addition to the panel discussion, the Observatory will release its latest report, “Board Composition of Cultural Organizations in Southwest Pennsylvania,” offering comparative data on the demographics of trustees in the region's cultural sector.
“Trusteeship is not what it was 20 years ago,” said Martin. “In most organizations, the old strategy of 'give and get money' was the central focus. It's still there today, to be sure, but many of us call upon trustees for much more than that. It will be interesting to see how these four people, each from different constituencies within the arts sector, interpret the situation and what they see as potential resolutions to these challenges,” he said.
The panel will focus on several key issues that are currently confronting cultural managers such as how the role of the board has evolved in the last fifteen years, what “good stewardship” means today, where the next generation of trustees can be found, whether or not stewardship issues in the for-profit sector- i.e. Enron, WorldCom, etc.- have affected the not-for-profit sector, and how to help trustees walk the line between governance and management.
To reserve a place at the forum, please call the Observatory at 412-268-4890 or send an email to artsobservatory@andrew.cmu.edu.
The Arts and Culture Observatory is an initiative of the Institute for the Management of Creative Enterprises at Carnegie Mellon University (IMCE). The goal of the Observatory is to provide meaningful and useful information about the arts and culture sector in Southwestern Pennsylvania. IMCE is also home to three other programs, including the Master of Arts Management degree, the Center for the Arts Management and Technology, and the Master of Entertainment Industry Management degree.
For more information about the Arts and Culture Observatory or IMCE, please contact Eric Sloss at 412-268-5765 or by email, ecs@andrew.cmu.edu.
Tuesday, March 21, 2006
Monday, March 20, 2006
Sunday, March 19, 2006
Saturday, March 18, 2006
Space Art: The Cultural Frontiers of Space Travel
A presentation by Lowry Burgess and Frank Pietronigro about artists whose medium is outer space.
Thursday, March 23, 2006, 7 pm H&SS Auditorium, Room A53 Baker Hall (lower level)
Presented by the STUDIO for Creative Inquiry
***********
Distinguished fellow in the STUDIO for Creative Inquiry and professor in the School of Art, Lowry Burgess, and collaborator Frank Pietronigro, an associate fellow in the STUDIO, will present their work in the field of space art.
Lowry Burgess will discuss his efforts to gain support and acknowledgement for this pioneering work, and present an overview of his poetic work. In his view, "In a time of extraordinary global cultural tensions, the global community needs to reach toward and express shared human feelings--in particular, those feelings associated with the universal surrounding sky with its starry cosmos from which we derive our very being. Recently, in the middle of the last century, it became possible to displace the whole of humanity, mind, heart and body from the surface of the earth to venture into cosmic space and time. From that moment, a limited number of artists have been engaged with this new context in the service of unfolding its broader meanings."
Frank Pietronigro will describe his experience and present video of the "drift paintings" he created in microgravity during a parabolic flight aboard NASA's KC135 turbojet. He will also discuss his role as project director and co-founder of the Zero Gravity Arts Consortium (ZGAC), an international organization dedicated to fostering greater access for artists to space flight technology and zero gravity space through the creation of international partnerships with space agencies, arts organizations and universities.
The artists will also present an overview of their current project, the "Space Art Track" of the 25th International Space Development Conference, co-sponsored by the National Space Society and Planetary Society. They will help facilitate a series of inspirational presentations and panels complimented by an exhibition, film screenings, and Zero Gravity Arts Consortium parabolic flight for artists and webcast direct from Zero Gravity Corporation's Boeing 727 jet.
For more information, please call x83454.
***********
About the artists
Lowry Burgess is an internationally renowned environmental artist/poet and educator. He created the first official non-scientific payload, the "Boundless Cubic Lunar Aperture," taken into outer space by NASA in 1989. His major 35-year opus, the "Quiet Axis," contains 8 major aspects, all containing celestial and cosmic elements. His artworks and documents are in museums, archives and collections in the US, Europe and Japan.
He is professor of art and former dean of the College of Fine Arts at Carnegie Mellon University. He is a distinguished fellow in the STUDIO for Creative Inquiry. He is also a member of Carnegie Mellon's Center for the Arts in Society. He has held other distinguished chairs in Hartford and Montreal. He has been a fellow and senior consultant at the Center for Advanced Visual Studies at MIT in Cambridge, Massachusetts for 25 years where he created and directed large collaborative projects in the US and Europe.
He is the originator of the international New Year's arts festival called "First Night." He originated the arts in the subways programs for the Department of Transportation. He has developed and advised in more than a dozen major city scale and national projects. He has been featured in television and radio broadcasts in the US, Europe and Japan, including NOVA, Smithsonian World and NPR.
His book, "Burgess, the Quiet Axis" received the prestigious Imperishable Gold Award from Le Devoir in Montreal. He has been honored with awards from the American Academy of Arts and Letters, National Institute of Arts and Letters, Guggenheim Foundation, Rockefeller Foundation, National Endowment for the Arts, Massachusetts Artist Foundation and Kellogg Foundation.
Frank Pietronigro is an interdisciplinary artist, educator and author residing in San Francisco, California. Pietronigro has achieved international recognition for projects he creates that build bridges between artists and space flight technology. As a result of "Research Project Number 33: Investigating the Creative Process in a Microgravity Environment", Frank became the first American painter to create three-dimensional "drift paintings" while floating in zero gravity aboard NASA's KC135 turbojet.
In 2004, Frank Pietronigro was appointed associate fellow at the STUDIO for Creative Inquiry and currently serves as co-founder and project director of the Zero Gravity Arts Consortium. Pietronigro also serves as co-chair for the Space Art Track of the 25th International Space Development Conference.
He was invited to participate in Paris' historic International Art Outsiders Festival: Space Arts Festival and was included in a symposium and presentation titled Visibility - Legibility of Space Art: Zero Gravity Art: The Experience of Parabolic Flight, that was held at the Maison Europeenne de la Photographie in 2003. Pietronigro's work has also been presented with museums and institutions, including the virtual Tate In Space, Tate Museum, London; Smart Project Space, Amsterdam; Museum Fur Gestaltung, Zurich; Galeria Ze Dos Bois, Lisbon; Castle Gallery, College of New Rochelle, NY; Southern Exposure Gallery, San Francisco; Blohard Gallery at Vox Populi, Philadelphia; the Mill Valley Film Festival and the Atlanta Contemporary Arts Center. He was appointed by the San Francisco Art Commission to direct the 39th Annual San Francisco Arts Festival, a month long celebration of the visual and performing arts of the Bay Area.
Pietronigro received his Bachelor of Fine Arts from the San Francisco Art Institute in Interdisciplinary Arts and also studied fine art at the Philadelphia College of Art.
***********
The STUDIO for Creative Inquiry is an interdisciplinary research facility within Carnegie Mellon's College of Fine Arts. The College of Fine Arts is a community of nationally and internationally recognized artists and professionals organized into five schools: Architecture, Art, Design, Drama and Music, and their associated centers and programs.
Thursday, March 23, 2006, 7 pm H&SS Auditorium, Room A53 Baker Hall (lower level)
Presented by the STUDIO for Creative Inquiry
***********
Distinguished fellow in the STUDIO for Creative Inquiry and professor in the School of Art, Lowry Burgess, and collaborator Frank Pietronigro, an associate fellow in the STUDIO, will present their work in the field of space art.
Lowry Burgess will discuss his efforts to gain support and acknowledgement for this pioneering work, and present an overview of his poetic work. In his view, "In a time of extraordinary global cultural tensions, the global community needs to reach toward and express shared human feelings--in particular, those feelings associated with the universal surrounding sky with its starry cosmos from which we derive our very being. Recently, in the middle of the last century, it became possible to displace the whole of humanity, mind, heart and body from the surface of the earth to venture into cosmic space and time. From that moment, a limited number of artists have been engaged with this new context in the service of unfolding its broader meanings."
Frank Pietronigro will describe his experience and present video of the "drift paintings" he created in microgravity during a parabolic flight aboard NASA's KC135 turbojet. He will also discuss his role as project director and co-founder of the Zero Gravity Arts Consortium (ZGAC), an international organization dedicated to fostering greater access for artists to space flight technology and zero gravity space through the creation of international partnerships with space agencies, arts organizations and universities.
The artists will also present an overview of their current project, the "Space Art Track" of the 25th International Space Development Conference, co-sponsored by the National Space Society and Planetary Society. They will help facilitate a series of inspirational presentations and panels complimented by an exhibition, film screenings, and Zero Gravity Arts Consortium parabolic flight for artists and webcast direct from Zero Gravity Corporation's Boeing 727 jet.
For more information, please call x83454.
***********
About the artists
Lowry Burgess is an internationally renowned environmental artist/poet and educator. He created the first official non-scientific payload, the "Boundless Cubic Lunar Aperture," taken into outer space by NASA in 1989. His major 35-year opus, the "Quiet Axis," contains 8 major aspects, all containing celestial and cosmic elements. His artworks and documents are in museums, archives and collections in the US, Europe and Japan.
He is professor of art and former dean of the College of Fine Arts at Carnegie Mellon University. He is a distinguished fellow in the STUDIO for Creative Inquiry. He is also a member of Carnegie Mellon's Center for the Arts in Society. He has held other distinguished chairs in Hartford and Montreal. He has been a fellow and senior consultant at the Center for Advanced Visual Studies at MIT in Cambridge, Massachusetts for 25 years where he created and directed large collaborative projects in the US and Europe.
He is the originator of the international New Year's arts festival called "First Night." He originated the arts in the subways programs for the Department of Transportation. He has developed and advised in more than a dozen major city scale and national projects. He has been featured in television and radio broadcasts in the US, Europe and Japan, including NOVA, Smithsonian World and NPR.
His book, "Burgess, the Quiet Axis" received the prestigious Imperishable Gold Award from Le Devoir in Montreal. He has been honored with awards from the American Academy of Arts and Letters, National Institute of Arts and Letters, Guggenheim Foundation, Rockefeller Foundation, National Endowment for the Arts, Massachusetts Artist Foundation and Kellogg Foundation.
Frank Pietronigro is an interdisciplinary artist, educator and author residing in San Francisco, California. Pietronigro has achieved international recognition for projects he creates that build bridges between artists and space flight technology. As a result of "Research Project Number 33: Investigating the Creative Process in a Microgravity Environment", Frank became the first American painter to create three-dimensional "drift paintings" while floating in zero gravity aboard NASA's KC135 turbojet.
In 2004, Frank Pietronigro was appointed associate fellow at the STUDIO for Creative Inquiry and currently serves as co-founder and project director of the Zero Gravity Arts Consortium. Pietronigro also serves as co-chair for the Space Art Track of the 25th International Space Development Conference.
He was invited to participate in Paris' historic International Art Outsiders Festival: Space Arts Festival and was included in a symposium and presentation titled Visibility - Legibility of Space Art: Zero Gravity Art: The Experience of Parabolic Flight, that was held at the Maison Europeenne de la Photographie in 2003. Pietronigro's work has also been presented with museums and institutions, including the virtual Tate In Space, Tate Museum, London; Smart Project Space, Amsterdam; Museum Fur Gestaltung, Zurich; Galeria Ze Dos Bois, Lisbon; Castle Gallery, College of New Rochelle, NY; Southern Exposure Gallery, San Francisco; Blohard Gallery at Vox Populi, Philadelphia; the Mill Valley Film Festival and the Atlanta Contemporary Arts Center. He was appointed by the San Francisco Art Commission to direct the 39th Annual San Francisco Arts Festival, a month long celebration of the visual and performing arts of the Bay Area.
Pietronigro received his Bachelor of Fine Arts from the San Francisco Art Institute in Interdisciplinary Arts and also studied fine art at the Philadelphia College of Art.
***********
The STUDIO for Creative Inquiry is an interdisciplinary research facility within Carnegie Mellon's College of Fine Arts. The College of Fine Arts is a community of nationally and internationally recognized artists and professionals organized into five schools: Architecture, Art, Design, Drama and Music, and their associated centers and programs.
Friday, March 17, 2006
PTM Squeaky Wheel Meeting
With Nathan behind us, after receiving mid-semester grades, before AYLI and Equus hit the theatres, and prior to next years registration and crew assignments let's get together for a meeting of the minds.
Just a chance to ask whatever questions you may have and air any concerns you might have about pretty much anything in the experience of PTM students.
If you are on a run crew or have an SM assignment and have rehearsal, you should check with your advisor or supervisor to see if you can be excused, BUT I CANNOT SPRING ANYONE FROM A REHEARSAL. Just the way it goes. If you want to attend and can't, get your question to someone who will be there, send it by email, or come see me another time.
Wednesday 3/22
7:00pm
PTM Squeaky Wheel Meeting - be there or be ignored :-P
PTM Classroom
Meeting capped at 2 hours.
7:00pm
PTM Squeaky Wheel Meeting - be there or be ignored :-P
PTM Classroom
Meeting capped at 2 hours.
Just a chance to ask whatever questions you may have and air any concerns you might have about pretty much anything in the experience of PTM students.
If you are on a run crew or have an SM assignment and have rehearsal, you should check with your advisor or supervisor to see if you can be excused, BUT I CANNOT SPRING ANYONE FROM A REHEARSAL. Just the way it goes. If you want to attend and can't, get your question to someone who will be there, send it by email, or come see me another time.
Computer Apllications - AutoCAD - Design Drawing A
Session Start (eProf:WorkingDuringBreak): Fri Mar 17 17:42:08 2006
[17:42] WorkingDuringBreak: hi its workingduringbreak...question...when printing out the autocad assignment, should we display the extesnsion lines in the drawing or take them out?
[17:42] WorkingDuringBreak: extension lines meaning the lines transferring the plan to the elevation
[17:55] eProf: hmm
[17:55] eProf: no extension lines
[17:55] eProf: shouldn't really even be drawing extension lines - use the point filters
[17:56] eProf: but if you do, put them on a seperate layer and turn it off for output
[17:42] WorkingDuringBreak: hi its workingduringbreak...question...when printing out the autocad assignment, should we display the extesnsion lines in the drawing or take them out?
[17:42] WorkingDuringBreak: extension lines meaning the lines transferring the plan to the elevation
[17:55] eProf: hmm
[17:55] eProf: no extension lines
[17:55] eProf: shouldn't really even be drawing extension lines - use the point filters
[17:56] eProf: but if you do, put them on a seperate layer and turn it off for output
Athletics Facilities Master Plan
On Thursday, March 23 from 5-6:30 pm in Margaret Morrison A14 there will be a Town Hall Meeting for the campus to discuss the Athletic Facilities Master Plan. The university hired an outside architecture firm to do a facility analysis, look at what our campus needs and desires are for athletic and recreation facilities, and develop a master plan.
Conservatory Hour
Monday, March 20
Intents and Insights on "As You Like It"
Find out what this production is all about straight from the director.
4:30pm in the Checco Studio A
Intents and Insights on "As You Like It"
Find out what this production is all about straight from the director.
4:30pm in the Checco Studio A
Rigging Seminar - Design Factor
Aggregated questions...
Q: What is a focus track, and where does it hang?
A: A focus track is like a traveller track used to fly stage electricians up to lighting instruments they cannot reach with a lift or ladder because of an obstruction on the deck.
Q: What is a winched wagon on a rake as opposed to on the deck?
A: You have to think about this in the context of what would happen in the case of a failure.
Q: What does "hanging the header flat of a portal" exactly mean?
A: A "Portal" is a scenic false procenium. You can think of it as a set of legs & border made of flats instead of soft goods. The "Border" in this assembly is typically called a "header." So in this context "hanging the header flat of a portal" refers to the flying of the center flat that spans the acting area.
Q: What is a focus track, and where does it hang?
A: A focus track is like a traveller track used to fly stage electricians up to lighting instruments they cannot reach with a lift or ladder because of an obstruction on the deck.
Q: What is a winched wagon on a rake as opposed to on the deck?
A: You have to think about this in the context of what would happen in the case of a failure.
Q: What does "hanging the header flat of a portal" exactly mean?
A: A "Portal" is a scenic false procenium. You can think of it as a set of legs & border made of flats instead of soft goods. The "Border" in this assembly is typically called a "header." So in this context "hanging the header flat of a portal" refers to the flying of the center flat that spans the acting area.
Tuesday, March 14, 2006
Monday, March 13, 2006
Sunday, March 12, 2006
Possible Job For Alum
JOB ANNOUNCEMENT - ONE YEAR APPOINTMENT TO COVER SABBATICAL LEAVE
Please forward this information to any qualified individuals who you know
might be available and/or interested.
Visiting Assistant Professor in Theatre Technology, University of
Wisconsin-Madison, 2006-07 Academic Year.
MFA in Theatre Technology or similar field of expertise, required;
additional professional experience desirable.
Duties include: serve as University Theatre Technical Director; teach
two classes each semester; serve as technical director for two UT
productions; advise technology students; supervise scenic studio
teaching assistants, hold office hours, and participate in associated
meetings.
To apply submit a resume/vita, cover letter and three letters of
recommendation. Applications accepted until April 5, 2006. Send
materials to: Technical Director Search Committee, University of
Wisconsin-Madison, 821 University Ave., Madison, WI 53706-1497, or call
608-263-3359.
Salary commensurate with experience, excellent health benefits.
Contract runs from August 28, 2006 thru May 27, 2007.
NOTE: Unless confidentiality is requested in writing, information
regarding the names of applicants must be released upon request.
Finalists cannot be guaranteed confidentiality.
UW-Madison is an equal opportunity/affirmative action employer. We
promote excellence through diversity and encourage all qualified
individuals to apply.
For more information on the University of Wisconsin-Madison see our home
page at http://www.wisc.edu.
Please forward this information to any qualified individuals who you know
might be available and/or interested.
Visiting Assistant Professor in Theatre Technology, University of
Wisconsin-Madison, 2006-07 Academic Year.
MFA in Theatre Technology or similar field of expertise, required;
additional professional experience desirable.
Duties include: serve as University Theatre Technical Director; teach
two classes each semester; serve as technical director for two UT
productions; advise technology students; supervise scenic studio
teaching assistants, hold office hours, and participate in associated
meetings.
To apply submit a resume/vita, cover letter and three letters of
recommendation. Applications accepted until April 5, 2006. Send
materials to: Technical Director Search Committee, University of
Wisconsin-Madison, 821 University Ave., Madison, WI 53706-1497, or call
608-263-3359.
Salary commensurate with experience, excellent health benefits.
Contract runs from August 28, 2006 thru May 27, 2007.
NOTE: Unless confidentiality is requested in writing, information
regarding the names of applicants must be released upon request.
Finalists cannot be guaranteed confidentiality.
UW-Madison is an equal opportunity/affirmative action employer. We
promote excellence through diversity and encourage all qualified
individuals to apply.
For more information on the University of Wisconsin-Madison see our home
page at http://www.wisc.edu.
Saturday, March 11, 2006
Internship Opportunity
SOUND & ELECTRICS INTERNSHIP -- Florida Studio Theatre, a professional Equity regional theatre in Sarasota, FL has an opening for a Sound & Electrics intern for the 2006 Summer Season. Duties include: lead the electrics crew during changeover, maintain sound and lighting equipment, sound editing, and equipment inventory control. This position works closely with lighting designers and the Master Electrician. The contract begins June 12. The ending date is flexible, between August 14-27. The internship provides free, furnished housing and a stipend of $75 per week. To apply, please email cover letter and resume to James Ashford, Casting & Literary Coordinator, Florida Studio Theatre. EMAIL -- james@fst2000.org. For more information on FST, please log onto our website at www.fst2000.org.
TECHNICAL THEATRE INTERSHIP - Florida Studio Theatre has an opening for a Technical Theatre Intern to begin on June 12, 2006 and work thru mid-August, 2006. This internship focuses on painting and set construction. The interns will also gain some experience in sounds and electrics. Knowledge of power tools helpful. For more information, please log onto our website at www.fst2000.org. Stipend starting at $75 per week and housing provided. Please email cover letter and resume to: James Ashford, Casting & Literary Coordinator, Florida Studio Theatre, EMAIL - james@fst2000.org
TECHNICAL THEATRE INTERSHIP - Florida Studio Theatre has an opening for a Technical Theatre Intern to begin on June 12, 2006 and work thru mid-August, 2006. This internship focuses on painting and set construction. The interns will also gain some experience in sounds and electrics. Knowledge of power tools helpful. For more information, please log onto our website at www.fst2000.org. Stipend starting at $75 per week and housing provided. Please email cover letter and resume to: James Ashford, Casting & Literary Coordinator, Florida Studio Theatre, EMAIL - james@fst2000.org
Friday, March 10, 2006
Local Internship
SUMMER 2006 INTERNSHIP
Take Back the Hill
The Center for the Arts in Society at Carnegie Mellon is seeking interns for Take Back the Hill, a youth newspaper written, produced, and distributed by students in the Hill District, a predominantly African-American neighborhood in Pittsburgh. The newspaper offers Hill teens an apprenticeship in which they are responsible for running a newspaper, from pitching stories to the final press run. They participate in reporting, editing, layout, photography, circulation, marketing, and distribution.
As mentors, consultants, critics, and readers, Carnegie Mellon interns act as curricular leaders. Center faculty may serve as advisors to and resources for interns on the project.
The Take Back the Hill program generally lasts 8-10 weeks per issue, during which times students take part in hands-on research, interviewing, analyzing, and synthesizing. They delve into thematic topics, and gain important journalistic, artistic and research skills, while pursuing issues of community importance in the Hill District.
Interns and participants in the program will decide how often to meet and hold workshops. These workshops will cover skills in writing, interviewing, photographing, and other elements of putting together a newspaper. Student interns may also invite visitors to the workshops, from the community and from Carnegie Mellon. Workshops are held in the Blakey Building of the Hill House Association, at a time that is convenient for both the participants and the student interns.
Further details:
Summer 2006: June, July, and August; approximately 4 hours a week to run workshops for Hill participants.
Requirements: Experience with investigative research/ reporting and professional or technical writing; experience with newspaper production, lay-out, and distribution and experience working with teens desirable but not required. Other skills, like photography, drawing, cartooning will be considered as well. Travel to the Hill will be necessary. Attendance at Spring workshops would be helpful for training purposes, but not required.
Application process: Send name, academic background, a brief paragraph outlining experience in writing, journalism, communications, or design, and a description of one possible workshop for participants in the project to Judith Schachter at jm1e@andrew.cmu.edu.
Take Back the Hill
The Center for the Arts in Society at Carnegie Mellon is seeking interns for Take Back the Hill, a youth newspaper written, produced, and distributed by students in the Hill District, a predominantly African-American neighborhood in Pittsburgh. The newspaper offers Hill teens an apprenticeship in which they are responsible for running a newspaper, from pitching stories to the final press run. They participate in reporting, editing, layout, photography, circulation, marketing, and distribution.
As mentors, consultants, critics, and readers, Carnegie Mellon interns act as curricular leaders. Center faculty may serve as advisors to and resources for interns on the project.
The Take Back the Hill program generally lasts 8-10 weeks per issue, during which times students take part in hands-on research, interviewing, analyzing, and synthesizing. They delve into thematic topics, and gain important journalistic, artistic and research skills, while pursuing issues of community importance in the Hill District.
Interns and participants in the program will decide how often to meet and hold workshops. These workshops will cover skills in writing, interviewing, photographing, and other elements of putting together a newspaper. Student interns may also invite visitors to the workshops, from the community and from Carnegie Mellon. Workshops are held in the Blakey Building of the Hill House Association, at a time that is convenient for both the participants and the student interns.
Further details:
Summer 2006: June, July, and August; approximately 4 hours a week to run workshops for Hill participants.
Requirements: Experience with investigative research/ reporting and professional or technical writing; experience with newspaper production, lay-out, and distribution and experience working with teens desirable but not required. Other skills, like photography, drawing, cartooning will be considered as well. Travel to the Hill will be necessary. Attendance at Spring workshops would be helpful for training purposes, but not required.
Application process: Send name, academic background, a brief paragraph outlining experience in writing, journalism, communications, or design, and a description of one possible workshop for participants in the project to Judith Schachter at jm1e@andrew.cmu.edu.
Thursday, March 09, 2006
The Voluptuous Tango
The Voluptuous Tango
an Opera Bouffe by Dominic Muldowney
directed by Di Trevis
produced by Quantum Theatre in collaboration with CMU's Schools of Music
and Drama
In The Mellon Institute, 4400 Fifth Avenue
March 17 - April 2, Wednesdays - Sundays at 8 pm.
Tickets for students are $15. CMU faculty and staff receive a $2 discount
to any show. Purchase them at the CMU Box Office in Purnell anytime.
The Voluptuous Tango is a category-defying mix of opera, theatre, and
dance... to the rhythm of the tango... in which an imaginary meeting
takes place between F.T. Marinetti, 'Father of Italian Futurism', and
Isadora Duncan, 'Mother of the Modern Dance' - a clash of titans, part
seduction, part futurist dinner party, all great theatre by two titans
visiting Pittsburgh: Di Trevis and Dominic Muldowney, power couple of
the Royal National Theatre, where Dom was Resident Composer for more than
15 years, and Di was the first woman director to be given a season.
Starring Richard Morris, Lenora Nemetz, Attack Theatre, and students from
the Schools of Music and Drama.
an Opera Bouffe by Dominic Muldowney
directed by Di Trevis
produced by Quantum Theatre in collaboration with CMU's Schools of Music
and Drama
In The Mellon Institute, 4400 Fifth Avenue
March 17 - April 2, Wednesdays - Sundays at 8 pm.
Tickets for students are $15. CMU faculty and staff receive a $2 discount
to any show. Purchase them at the CMU Box Office in Purnell anytime.
The Voluptuous Tango is a category-defying mix of opera, theatre, and
dance... to the rhythm of the tango... in which an imaginary meeting
takes place between F.T. Marinetti, 'Father of Italian Futurism', and
Isadora Duncan, 'Mother of the Modern Dance' - a clash of titans, part
seduction, part futurist dinner party, all great theatre by two titans
visiting Pittsburgh: Di Trevis and Dominic Muldowney, power couple of
the Royal National Theatre, where Dom was Resident Composer for more than
15 years, and Di was the first woman director to be given a season.
Starring Richard Morris, Lenora Nemetz, Attack Theatre, and students from
the Schools of Music and Drama.
Wednesday, March 08, 2006
Free Event
Carnegie Mellon's School of Drama Streams Live
Broadcast of “Nathan the Wise” to Qatar Audience
Broadcast To Be Followed by Moderated Talkback Session Between Qatar, Pittsburgh Attendees
The Carnegie Mellon University School of Drama will broadcast a live performance of its production of “Nathan the Wise” to an audience thousands of miles away in Qatar at NOON, Pittsburgh time; 8 p.m., Qatar time, on Saturday, March 11. A moderated live talkback discussion between audience members in Pittsburgh and Qatar will take place immediately following the performance. Tickets for the live broadcast and the moderated session can be reserved by calling 412-268-2407.
Broadcast of “Nathan the Wise” to Qatar Audience
Broadcast To Be Followed by Moderated Talkback Session Between Qatar, Pittsburgh Attendees
The Carnegie Mellon University School of Drama will broadcast a live performance of its production of “Nathan the Wise” to an audience thousands of miles away in Qatar at NOON, Pittsburgh time; 8 p.m., Qatar time, on Saturday, March 11. A moderated live talkback discussion between audience members in Pittsburgh and Qatar will take place immediately following the performance. Tickets for the live broadcast and the moderated session can be reserved by calling 412-268-2407.
Technical Design - Cargo Net
[12:21] RopeWrangler: hey david, quick question. you say on the assignment sheet that you want instructions on how to build our nets, with samples. does our build process area on estimate sheets count as instructions? or do you want like a seperate written document for it?
[12:23] eTeach: seperate
[12:23] eTeach: please
[12:23] RopeWrangler: ok, thanks
[12:23] eTeach: seperate
[12:23] eTeach: please
[12:23] RopeWrangler: ok, thanks
Tuesday, March 07, 2006
Language Question
So the other day I was bemoaning the loss of the term "safety factor" which for mostly CYA reasons has become "design factor."
This resonated particularly because I had just had a conversation with the Rosebrand rep about how we used to say "fireproof" and not we only say "fire retardant."
I've begun to think there might be the kernel of an article to be written here.
Can any of you think of other terms we used to always use that have since dropped out of favor? To be the same sort of thing I believe that the process involved has to have remained essentially the same, its just the nomenclature which has changed.
Got anything that might fit the bill?
This resonated particularly because I had just had a conversation with the Rosebrand rep about how we used to say "fireproof" and not we only say "fire retardant."
I've begun to think there might be the kernel of an article to be written here.
Can any of you think of other terms we used to always use that have since dropped out of favor? To be the same sort of thing I believe that the process involved has to have remained essentially the same, its just the nomenclature which has changed.
Got anything that might fit the bill?
Monday, March 06, 2006
Soph. Actors Jazz Presentation
COME ONE AND ALL!
Now in its second semester, Sophomore Actor?s Jazz will present a dance
lab/jury experience on THURSDAY, MARCH 9th at 4:45 in the BROWN STUDIO.
See them LEAP, TURN, JUMP, KICK, LUNGE, STRUT and on and on?.
Mark down the date - It?s an event you will not want to miss.
Come one, come all ? and be supportive!
Now in its second semester, Sophomore Actor?s Jazz will present a dance
lab/jury experience on THURSDAY, MARCH 9th at 4:45 in the BROWN STUDIO.
See them LEAP, TURN, JUMP, KICK, LUNGE, STRUT and on and on?.
Mark down the date - It?s an event you will not want to miss.
Come one, come all ? and be supportive!
Sunday, March 05, 2006
Rigging Seminar - Curtain Systems
[17:53] ModelBuilder: HI Dave
[17:53] eProf: hi
[17:53] eProf: 'sup?
[17:54] ModelBuilder: For the roll drop...The rope is attached to a sheave on the stage floor right?
[17:54] ModelBuilder: My model is having a problem because everytime I pull the rope, instead of coiling there's slack
[17:54] eProf: slack how?
[17:54] eProf: and where?
[17:55] ModelBuilder: it doesn't coil back to the sheave on the stage floor
[17:55] ModelBuilder: cant I just have the rope be tied to the stage floor?
[17:55] eProf: well
[17:55] eProf: it works two ways
[17:56] eProf: one with many wraps on the drum
[17:56] eProf: and no sheave at the floor
[17:56] eProf: just a length of line
[17:56] eProf: or
[17:56] eProf: with two or three wraps on the drum
[17:56] eProf: and then a sheave on the floor to make a closed loop
[17:58] ModelBuilder: so for the second option u were talking about, it has one rope that forms a loop so you actually see two lines where you pull on it, one that moves up and one that moves down
[17:58] eProf: yes
[17:59] ModelBuilder: for this model project do u have any specifications on which you want?
[18:00] eProf: nope
[18:00] eProf: up to you
[18:14] ModelBuilder: hmmm..
[18:14] ModelBuilder: ok thank youuuuuuu..
[18:14] eProf: np
[17:53] eProf: hi
[17:53] eProf: 'sup?
[17:54] ModelBuilder: For the roll drop...The rope is attached to a sheave on the stage floor right?
[17:54] ModelBuilder: My model is having a problem because everytime I pull the rope, instead of coiling there's slack
[17:54] eProf: slack how?
[17:54] eProf: and where?
[17:55] ModelBuilder: it doesn't coil back to the sheave on the stage floor
[17:55] ModelBuilder: cant I just have the rope be tied to the stage floor?
[17:55] eProf: well
[17:55] eProf: it works two ways
[17:56] eProf: one with many wraps on the drum
[17:56] eProf: and no sheave at the floor
[17:56] eProf: just a length of line
[17:56] eProf: or
[17:56] eProf: with two or three wraps on the drum
[17:56] eProf: and then a sheave on the floor to make a closed loop
[17:58] ModelBuilder: so for the second option u were talking about, it has one rope that forms a loop so you actually see two lines where you pull on it, one that moves up and one that moves down
[17:58] eProf: yes
[17:59] ModelBuilder: for this model project do u have any specifications on which you want?
[18:00] eProf: nope
[18:00] eProf: up to you
[18:14] ModelBuilder: hmmm..
[18:14] ModelBuilder: ok thank youuuuuuu..
[18:14] eProf: np
Rigging Seminar - Curtain Systems
[17:58] RiggingStudent: hi there
[17:58] RiggingStudent: 2 questions about rigging assignment #3:
[17:58] VirtualProfessor: uhhuh
[17:59] RiggingStudent: 1) does the model have to be in a theatre-style model box? or can it stand free as long as it has a backing for labeling?
[17:59] VirtualProfessor: whichever tells the story best
[18:00] VirtualProfessor: sometimes its nice to see the proscenium opening
[18:00] RiggingStudent: ok. cool. yeah. and 2) should be shooting for consistent scale, or just 'small
[18:00] RiggingStudent: '
[18:02] VirtualProfessor: I think consistent scale will score better
[18:02] VirtualProfessor: but working is the most important
[18:02] RiggingStudent: right.
[18:02] RiggingStudent: ok, great
[18:02] RiggingStudent: thanks
[18:03] VirtualProfessor: np
[17:58] RiggingStudent: 2 questions about rigging assignment #3:
[17:58] VirtualProfessor: uhhuh
[17:59] RiggingStudent: 1) does the model have to be in a theatre-style model box? or can it stand free as long as it has a backing for labeling?
[17:59] VirtualProfessor: whichever tells the story best
[18:00] VirtualProfessor: sometimes its nice to see the proscenium opening
[18:00] RiggingStudent: ok. cool. yeah. and 2) should be shooting for consistent scale, or just 'small
[18:00] RiggingStudent: '
[18:02] VirtualProfessor: I think consistent scale will score better
[18:02] VirtualProfessor: but working is the most important
[18:02] RiggingStudent: right.
[18:02] RiggingStudent: ok, great
[18:02] RiggingStudent: thanks
[18:03] VirtualProfessor: np
Rigging Seminar - Curtain Systems
[12:44] ModelTeam: Hi this is Hans and Franz... we have a question about building the rigging model?
[12:45] eProf: two people
[12:45] eProf: on one s/n
[12:45] eProf: how is that possible?
[12:45] ModelTeam: no comment...
[12:45] ModelTeam: we will probably find this on your blog wont we?
[12:46] eProf: perhaps
[12:46] eProf: it depends on the question
[12:47] ModelTeam: ok so if we were building a standard roll, do we have to incorporate the architecture around the drum in order to make this model actually roll? or can we just build our own system to create a functional model?
[12:48] eProf: the roll assembly needs to hang from something
[12:48] eProf: which is usually structure
[12:48] eProf: so there will have to be something
[12:48] ModelTeam: but it is up to us to figure that out or is there a standard way of doing this?
[12:48] eProf: up to you
[12:49] eProf: smoe people mount it against a pice of foamcore
[12:49] eProf: some people have build little narrom modelboxes
[12:49] eProf: norrow
[12:49] eProf: narrow
[12:49] eProf: like that
[12:49] ModelTeam: typos are fun ...thank you very much
[12:49] eProf: other people have done less successful things
[12:50] ModelTeam: and i know how random this is but my buddy and i are buying a guinnea pig and we have named it guinnea bovines...bovers + hines = guinnea pig...
[12:50] ModelTeam: sorry...just thought you would like to know
[12:50] eProf: Kevin and I have long thought that if we ever open a shop it would be Bovine Productions
[12:51] ModelTeam: oh my g-d we are genius...we will bring it in for you so we can take a picture
[12:51] ModelTeam: thanks a lot see you in class
[12:51] ModelTeam: bye
[12:45] eProf: two people
[12:45] eProf: on one s/n
[12:45] eProf: how is that possible?
[12:45] ModelTeam: no comment...
[12:45] ModelTeam: we will probably find this on your blog wont we?
[12:46] eProf: perhaps
[12:46] eProf: it depends on the question
[12:47] ModelTeam: ok so if we were building a standard roll, do we have to incorporate the architecture around the drum in order to make this model actually roll? or can we just build our own system to create a functional model?
[12:48] eProf: the roll assembly needs to hang from something
[12:48] eProf: which is usually structure
[12:48] eProf: so there will have to be something
[12:48] ModelTeam: but it is up to us to figure that out or is there a standard way of doing this?
[12:48] eProf: up to you
[12:49] eProf: smoe people mount it against a pice of foamcore
[12:49] eProf: some people have build little narrom modelboxes
[12:49] eProf: norrow
[12:49] eProf: narrow
[12:49] eProf: like that
[12:49] ModelTeam: typos are fun ...thank you very much
[12:49] eProf: other people have done less successful things
[12:50] ModelTeam: and i know how random this is but my buddy and i are buying a guinnea pig and we have named it guinnea bovines...bovers + hines = guinnea pig...
[12:50] ModelTeam: sorry...just thought you would like to know
[12:50] eProf: Kevin and I have long thought that if we ever open a shop it would be Bovine Productions
[12:51] ModelTeam: oh my g-d we are genius...we will bring it in for you so we can take a picture
[12:51] ModelTeam: thanks a lot see you in class
[12:51] ModelTeam: bye
Showcase
YOU'RE INVITED
to see
The program runs about an hour.
Come and support the Senior Actors and MT's
before they go to NY to meet
Agents, Casting Directors and Personal Managers
at the
www.cmushowcase.com
for more info
to see
The 2006 ACTOR SHOWCASE
in the
RAUH STUDIO THEATER
THURSDAY, March 9
at
either
1:30 pm
or
3:30 pm
in the
RAUH STUDIO THEATER
THURSDAY, March 9
at
either
1:30 pm
or
3:30 pm
The program runs about an hour.
Come and support the Senior Actors and MT's
before they go to NY to meet
Agents, Casting Directors and Personal Managers
at the
LAMB'S THEATER
in Midtown
on
Monday, March 13
or
Tuesday March 14
visitin Midtown
on
Monday, March 13
or
Tuesday March 14
www.cmushowcase.com
for more info
Saturday, March 04, 2006
Friday, March 03, 2006
Rigging Seminar - Curtain Systems
[16:15] NewbieRigger: Hi Dave!
[16:15] eRigger: hi
[16:15] NewbieRigger: I have a question...for roll drops
[16:16] NewbieRigger: where is the drum rigged to?
[16:16] eRigger: which kind of drop
[16:16] NewbieRigger: just roll drops..not oleo..
[16:17] eRigger: ok
[16:17] eRigger: rigged how?
[16:17] NewbieRigger: Since it doesn't need to fly...it wouldnt be on the batten
[16:17] eRigger: it could be
[16:17] NewbieRigger: so would it be attached to the architecture of the theater itself??
[16:17] eRigger: but yes, usually not
[16:17] eRigger: yes, architecture
[16:17] eRigger: or a piece of scenery
[16:18] NewbieRigger: ohhh ok so for the model..can i just attach it to a piece of balsa wood or something
[16:18] NewbieRigger: and say that it's a batten, and not build a counterweight system supporting it?
[16:18] eRigger: I suppose
[16:18] eRigger: ok
[16:18] eRigger: I would think of this installation more how it would appear in the Rauh
[16:19] eRigger: someplace with a lower ceiling
[16:19] eRigger: as thats when you most need to use this kind of device
[16:19] NewbieRigger: oooh okkk...
[16:19] NewbieRigger: hmmm
[16:20] NewbieRigger: okays
[16:20] NewbieRigger: thank u!
[16:20] NewbieRigger: :-D
[16:20] eRigger: np
[16:15] eRigger: hi
[16:15] NewbieRigger: I have a question...for roll drops
[16:16] NewbieRigger: where is the drum rigged to?
[16:16] eRigger: which kind of drop
[16:16] NewbieRigger: just roll drops..not oleo..
[16:17] eRigger: ok
[16:17] eRigger: rigged how?
[16:17] NewbieRigger: Since it doesn't need to fly...it wouldnt be on the batten
[16:17] eRigger: it could be
[16:17] NewbieRigger: so would it be attached to the architecture of the theater itself??
[16:17] eRigger: but yes, usually not
[16:17] eRigger: yes, architecture
[16:17] eRigger: or a piece of scenery
[16:18] NewbieRigger: ohhh ok so for the model..can i just attach it to a piece of balsa wood or something
[16:18] NewbieRigger: and say that it's a batten, and not build a counterweight system supporting it?
[16:18] eRigger: I suppose
[16:18] eRigger: ok
[16:18] eRigger: I would think of this installation more how it would appear in the Rauh
[16:19] eRigger: someplace with a lower ceiling
[16:19] eRigger: as thats when you most need to use this kind of device
[16:19] NewbieRigger: oooh okkk...
[16:19] NewbieRigger: hmmm
[16:20] NewbieRigger: okays
[16:20] NewbieRigger: thank u!
[16:20] NewbieRigger: :-D
[16:20] eRigger: np
Job
Sound Engineer
------------
Lorraine Hansberry Theatre (downtown SF) needs a sound engineer for \\\"I just stopped by to see the man.\\\"
See website for more info: www.lhtsf.org
Dates: Dec 31, 1969-Apr 9, 2006
Pay: negotiable
------------
Lorraine Hansberry Theatre (downtown SF) needs a sound engineer for \\\"I just stopped by to see the man.\\\"
See website for more info: www.lhtsf.org
Dates: Dec 31, 1969-Apr 9, 2006
Pay: negotiable
Job
California Shakespeare Theater seeks a Props Master for its four-show summer season. Candidate should be an experienced props artisan with a passion for design, who also has management skills (budgets, build coordination, crew supervision). Excellent communication skills with designers and directors are crucial. Past and present designers include Kate Edmunds, Hugh Landwehr, Christine Jones, and Neil Patel. Position is full-time, seasonal. Contract runs from April through September.
Send resume to:
Jean-Paul Gressieux, Production Manager
California Shakespeare Theater
701 Heinz Ave, Berkeley, CA 94710 Fax: 510-843-9921
E-mail: jpgressieux@calshakes.org
www.calshakes.org.
Send resume to:
Jean-Paul Gressieux, Production Manager
California Shakespeare Theater
701 Heinz Ave, Berkeley, CA 94710 Fax: 510-843-9921
E-mail: jpgressieux@calshakes.org
www.calshakes.org.
Digitizing Your Slides
EVENT: Lunch & Learn: Digitizing Your Slides
DATE: 03/15/06
TIME: 12:00-1:00 pm
LOCATION: McKenna Room, UC
Save the Date!
The "Digitizing Your Slides" session will cover the various digitization services and equipment available on campus, as well as the Digital Database options provided from the University Libraries.
To register, please visit http://www.cmu.edu/computing/education/index.html or send email to computer-education@cmu.edu
DATE: 03/15/06
TIME: 12:00-1:00 pm
LOCATION: McKenna Room, UC
Save the Date!
The "Digitizing Your Slides" session will cover the various digitization services and equipment available on campus, as well as the Digital Database options provided from the University Libraries.
To register, please visit http://www.cmu.edu/computing/education/index.html or send email to computer-education@cmu.edu
Conservatory Hour
Monday, March 6th
Critiques of "Nathan the Wise", "Trust" and the new works, "Cherry Smoke" and "The Red Cravat"
Because we have so much to discuss, this session will be from 4:30 until 6:00pm. Feel free to bring something to eat so you won't skip your dinner.
in the Checco Studio A
Critiques of "Nathan the Wise", "Trust" and the new works, "Cherry Smoke" and "The Red Cravat"
Because we have so much to discuss, this session will be from 4:30 until 6:00pm. Feel free to bring something to eat so you won't skip your dinner.
in the Checco Studio A
Thursday, March 02, 2006
Extras!
Need some extra on-camera experience to throw on that resume? Or just
want a lot of free food?
The student film "Grace", which is a university-wide collaboration
between the School of Drama, the Heinz School, H&SS, as well as Pitt,
Point Park, and Duquesne is in DESPERATE need of extras for this weekend.
Late Friday evening into Saturday morning we need people to FILL an
entire bowling alley. You can bowl as many games as you'd like and food
will be provided. Yes, FREE FOOD!
Sunday evening we need extras to fill the roles of homeless people for a
HUGE CHRISTMAS DINNER scene. An entire FREE CHRISTMAS DINNER!
If you're interested, please contact Mallory Snyder at
mdsnyder@andrew.cmu.edu
want a lot of free food?
The student film "Grace", which is a university-wide collaboration
between the School of Drama, the Heinz School, H&SS, as well as Pitt,
Point Park, and Duquesne is in DESPERATE need of extras for this weekend.
Late Friday evening into Saturday morning we need people to FILL an
entire bowling alley. You can bowl as many games as you'd like and food
will be provided. Yes, FREE FOOD!
Sunday evening we need extras to fill the roles of homeless people for a
HUGE CHRISTMAS DINNER scene. An entire FREE CHRISTMAS DINNER!
If you're interested, please contact Mallory Snyder at
mdsnyder@andrew.cmu.edu
Job
Assistant/Associate Professor – Technical Direction
Wednesday, March 01, 2006
Elegies
ELEGIES FOR ANGELS, PUNKS, AND RAGING QUEENS can be seen on Friday, March 3rd at 4:00 p.m. and 8:00 p.m. in the KRESGE Theater, housed in the College of Fine Arts. The Musical tells the stories, through Song and Monologue, of those souls whose demise was caused from the onslaught of AIDS in the early 1980's.
ELEGIES features Senior MT's and Actors, a few Juniors, and several FACULTY Members. There is No Cost, but any contributions will be split between SHOWCASE and the SHEPHERD WELLNESS COMMUNITY, an local organization in the Service of those affected by HIV/AIDS. Gary Kline Directs.
ELEGIES features Senior MT's and Actors, a few Juniors, and several FACULTY Members. There is No Cost, but any contributions will be split between SHOWCASE and the SHEPHERD WELLNESS COMMUNITY, an local organization in the Service of those affected by HIV/AIDS. Gary Kline Directs.
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