DOCSLIB.ORG

Brad Steinmetz | Stage Design

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

BRAD STEINMETZ 082 DRAKE PERFORMANCE AND EVENT CENTER, THE OHIO STATE UNIVERSITY, COLUMBUS, OHIO 43210 [email protected] | 614.292.5821 CURRENT POSITIONS THE OHIO STATE UNIVERSITY | DEPARTMENT OF THEATRE | COLUMBUS, OHIO 2010 – PRESENT ASSISTANT PROFESSOR 2013‐present, V.A.P. 2012‐2013, Adjunct Faculty 2010‐2012 Teach graduate and undergraduate courses in design and technology Mentor graduate and undergraduate scenic and properties designers Design scenery and properties for department productions Research and Service THE FOR/WORD COMPANY | FOR‐WORD‐COMPANY.NET 2008 – PRESENT RESIDENT DESIGNER AND PRODUCTION MANAGER Design scenery and lighting for company productions Manage budgets, union contracts, hiring, production schedules, venues Manage tours in New York, Chicago, Seattle, Lexington, Columbus PREVIOUS ACADEMIC POSITIONS UNIVERSITY OF OREGON | DEPARTMENT OF THEATRE ARTS | EUGENE, OREGON 2008 – 2010 ADJUNCT PROFESSOR Taught graduate and undergraduate courses in design and technology Designed department productions Established coursework and production capacity in media design THE OHIO STATE UNIVERSITY‐LIMA | DEPARTMENT OF THEATRE | LIMA, OHIO 2003 – 2008 ASSISTANT PROFESSOR Taught undergraduate courses in theatre design and technology as well as introduction to theatre Served as resident scenic and lighting designer as well as technical director and master electrician Served as venue manager and scheduler for campus and visiting events Mentored, trained and supervised students and work‐study employees Managed and maintained scene shop, performance facilities, and storage areas Administered a $30,000 ‐ $40,000 yearly budget EDUCATION THE OHIO STATE UNIVERSITY | DEPARTMENT OF THEATRE | COLUMBUS, OHIO 2003 M.F.A. Scene Design University Fellow TRUMAN STATE UNIVERSITY | SCHOOL OF ARTS & LETTERS | KIRKSVILLE, MISSOURI 1995 B.A. Theatre and German Cum Laude TEACHING EXPERIENCE GRADUATE COURSES INDIVIDUAL STUDIES: ASTC DESIGN CHALLENGE | THEATRE 8193 | THE OHIO STATE UNIVERSITY | 2014 Examination and practice of theatre architecture and renovation culminating in generating a successful submission to the ASTC/USITT Venue Renovation Challenge WORKSHOPS: THE HUMAN COSTS OF WAR | THEATRE 5899 | THE OHIO STATE UNIVERSITY | 2015 Co‐instructor with five colleagues on course aligned with symposium and guest artist ADVANCED SCENE DESIGN | THEATRE 8411 | THE OHIO STATE UNIVERSITY | 2011 Advanced study and practice focusing on musical theatre, opera, multiple sets and moving scenery PERIOD STYLES | THEATRE 5441 | THE OHIO STATE UNIVERSITY | 2014 Exploration of period styles from ancient to contemporary; emphasis on architecture, clothing, furniture, jewelry, textiles, and decorative objects [co‐instructor] [partial term] SCENIC DESIGN I | THEATRE 5411 | THE OHIO STATE UNIVERSITY | 2012, 2013 Presentation in three‐dimensional media with an emphasis on non‐proscenium productions SCENIC DESIGN II | THEATRE 5412 | THE OHIO STATE UNIVERSITY | 2014 Examination and practice of scene design techniques with an emphasis on multiple locations DESIGN MEDIA | THEATRE 641 | THE OHIO STATE UNIVERSITY | 2010, 2011 Survey of drawing, painting and rendering techniques for design using a variety of traditional media SOUND TECHNIQUES | THEATRE 3241 | THE OHIO STATE UNIVERSITY‐LIMA | 2006 Survey of design, equipment and operational techniques for theatrical productions THEATRE GRAPHICS III:LIGHTING | THEATRE 5263.02 | THE OHIO STATE UNIVERSITY | 2013 Examination of Vectorworks 2D & 3D drafting and data management for lighting THEATRE GRAPHICS III:SCENIC | THEATRE 5263.01 | THE OHIO STATE UNIVERSITY | 2013, 2014, 2016 Examination of AutoCAD and SketchUp 3D drafting and rendering techniques THEATRE GRAPHICS II | THEATRE 5262 | THE OHIO STATE UNIVERSITY | 2013, 2014, 2015, 2016 Examination of digital painting and rendering techniques for scene design THEATRE GRAPHICS I | THEATRE 5261 | THE OHIO STATE UNIVERSITY | 2011, 2012, 2013, 2014, 2015 Examination of AutoCAD 2D drafting, basic digital image editing [co‐instructor] STAGE PROPERTIES | THEATRE 6431 | THE OHIO STATE UNIVERSITY | 2014 Examination and practice of properties design and construction STAGE MANAGEMENT | THEATRE 3221 | THE OHIO STATE UNIVERSITY‐LIMA | 2004 Principles, practices, and techniques of stage management, and a survey of modern techniques MEDIA DESIGN FOR THEATRE | THEATRE ARTS 545 | UNIVERSITY OF OREGON | 2009 Sound and Video design and technology for theatrical performances UNDERGRADUATE COURSES INTERNSHIPS IN THEATRE | THEATRE 4191 | THE OHIO STATE UNIVERSITY | 2015 Established internship with professional theatre company and served as advisor INTRODUCTION TO SCENE DESIGN | THEATRE 3411 | OSU AND OSU‐LIMA | 2004, 2005, 2007, 2011, 2013, 2015 Introduction to stage design including research, sketching, color theory, and model building TECHNICAL PRODUCTION FUNDAMENTALS II | THEATRE 221 | OSU AND OSU‐LIMA | 2003, 2005, 2006, 2007, 2011 Basic aspects of lighting design and technology; theory, process, equipment, materials, and skills TECHNICAL PRODUCTION FUNDAMENTALS I | THEATRE 220 | OSU AND OSU‐LIMA | 2002, 2004, 2005, 2006, 2007 Basic aspects of scenery design and construction; theory, process, equipment, materials, and skills TECHNICAL PRODUCTION I | THEATRE ARTS 211 | UNIVERSITY OF OREGON | 2009 Introduction to mounting a theatrical production including scenery, props and lighting INTRODUCTION TO THEATRE | THEATRE 2100H | THE OHIO STATE UNIVERSITY | 2016 A course for honors students in the art and profession of live theatre INTRODUCTION TO THEATRE | THEATRE 2100 | THE OHIO STATE UNIVERSITY‐LIMA | 2005, 2006, 2007 A study of the theatre with emphasis upon its cultural and social influences in our society Steinmetz—2 TEACHING EXPERIENCE (continued) RESEARCH, PRACTICUM & LAB COURSES DIRECTED TEACHING | THEATRE 8990 | THE OHIO STATE UNIVERSITY | 2014, 2016 Advise and aid prospective teachers of theatre in the development of essential teaching skills DESIGN PRACTICUM | THEATRE 7000.04 | THE OHIO STATE UNIVERSITY | 2015, 2016 Advise graduate student in a realized design for the department THESIS RESEARCH | THEATRE 6999 | THE OHIO STATE UNIVERSITY | 2015, 2016 Advise graduate students in research and writing for their master’s thesis ADVANCED PRACTICUM | THEATRE 4000 | THE OHIO STATE UNIVERSITY | 10 POSITIONS FROM 2014‐2016 Advise undergraduate students in advanced design/technical positions including: Scene Design | 2014, 2015, 2016 Assistant Scene Design | 2015 Properties Master | 2015 Publicity Design | 2014, 2015 Theatre Photography | 2015, 2016 PERFORMANCE STUDY IN OUTREACH THEATRE | THEATRE 684 | THE OHIO STATE UNIVERSITY‐LIMA | 2006 Create and direct a fully‐realized theatrical production for young audiences ADVANCED PRACTICUMS | THEATRE 405 | THE OHIO STATE UNIVERSITY‐LIMA | 11 TERMS FROM 2004‐2008 Practical experience in theatrical performance and production activities at an intermediate level PRODUCTION RUN CREW PRACTICUM | THEATRE 305 | THE OHIO STATE UNIVERSITY‐LIMA | 11 TERMS FROM 2004‐2008 Hands‐on involvement in the production of live theatre with a focus on production technology TECHNICAL PRODUCTION PRACTICUM | THEATRE 205 | THE OHIO STATE UNIVERSITY‐LIMA | 7 TERMS FROM 2004‐2007 Practical experience in technical production activities RESIDENT DIRECTOR – STUDY ABROAD PROGRAM | ENGLISH 262, ENGLISH 697 | 2006 DEPARTMENT OF ENGLISH, OFFICE OF INTERNATIONAL AFFAIRS | THE OHIO STATE UNIVERSITY‐LIMA The George Bernard Shaw Festival Study Abroad Program One of two resident directors along with Dr. David Adams, Department of English Day‐to‐day management and pastoral care for nineteen students during a week‐long study tour to St. Catharines and Niagara on the Lake Canada that focused on the Shaw Festival GUEST LECTURES PROFESSIONAL PRACTICES | THEATRE 5220 | THE OHIO STATE UNIVERSITY | 2015 Lecture and demonstration on creating a professional online presence ADVANCED PROJECTS: RENDERING | THEATRE ARTS 445/545 | UNIVERSITY OF OREGON | 2009 Lecture, demonstration, and lab session dealing with watercolor techniques INTRODUCTION TO DRAMA | ENGLISH (H)262 | THE OHIO STATE UNIVERSITY‐LIMA | 2006 Lecture and demonstration on design and technology in theatre as part of a study abroad program PROFESSIONAL ASPECTS | THR 4500 | UNIVERSITY OF TOLEDO | 2003 Lecture and demonstration on creating and presenting portfolios of design work in the theatre GRADUATE TEACHING ASSISTANT | 2001 – 2003 THE OHIO STATE UNIVERSITY | DEPARTMENT OF THEATRE | COLUMBUS, OHIO Supervise practicum students on stage and in studios in set construction, painting, and prop techniques with up to fifty students per quarter Steinmetz—3 PUBLICATIONS ARTICLES Steinmetz, Brad . Rev. of World Scenography 1990‐2005 ed. Peter McKinnon and Eric Fielding. Theatre Design & Technology 51.2 (Spring 2015): 70‐71. ‐‐‐. “Scrolling Panorama.” Tech Expo 2013 2013: 42‐43. ‐‐‐. “Exploring the Theatre Research Institute.” Theatre Design & Technology 47.2 (Spring 2011): 64‐68. ‐‐‐. “Shadows on the Moving Screen.” Puppetry International 19 (Spring/Summer 2006): 24‐25. ‐‐‐. “Curved Scenery with Honeycomb Cardboard.” Tech Expo 2005 2005: 77. ‐‐‐. “Audio Cable Continuity Tester.” Tech Expo 2003 2003: 48. EXHIBIT CATALOGUES FEATURING DESIGNS Burnett, Kate. World Stage Design 2013, exh. cat. Cardiff: The Society of British Theatre Designers, 2013. 140, 198‐200. Gilbin, Douglas. “USITT Design Exhibition 2010.” Theatre Design & Technology 46.3 (Summer 2010): 34‐49. Fielding, Eric. World Stage Design: An International Exhibition
Recommended publications
  • University of Oregon U of O Basic Courses

    University of Oregon U of O Basic Courses

    University of Oregon University of Oregon – Office of Admissions 1385 E. 13th Ave. 1217 University of Oregon Eugene, OR 97406 Eugene, OR 97304-1217 541-346-1000 800-BE-A-DUCK https://uoregon.edu [email protected] Advising and Counseling Department ADVISING & COUNSELING DEPARTMENT CHEMEKETA COMMUNITY COLLEGE UNIVERSITY OF OREGON (Eugene) BASIC COURSES REQUIRED FOR ALL BA AND BS DEGREES (See reverse side for required courses for degrees other than BA or BS.) U of O Requirements Credit Hours Chemeketa Courses Which Satisfy Requirements 6 credit Choose WR121 and 122 (with a grade of C- or better) WR121 must be Written English hours completed before transferring. Choose from the following: ART201, 202, 203, 204, 205, 206, 207, 289; Arts and Letters* ASL211, 212, 213; COMM100, 111, 112, 115, 218, 219; ENG100, 104, These courses must be completed in at 105, 106, 107, 108, 109, 201, 202, 204, 205, 206, 216, 220, 222, 245, 250, least two subjects (prefixes), and a 15 credits. 253, 254, 256, 257, 258, 260, 261, 275; FMS201, 202, 203; FR201, 202, minimum of two courses must be 203; HUM120; JNL227; JPN201, 202, 203; LING210; MUS201, 202, 203, completed in one subject. PHL201, 203, 206; REL160, 201, 202; RUS201, 202, 203; SPN201, 202, 203, 214, 215, 216, 250, 251 Choose from the following: ATH102, 103, 180, 212, 214, 215, 231; BA101; Social Science* CLA201, 202, 203; COMM212, 237; EC200, 201, 202, 203; GEG106, 107, These courses must be completed in at 201, 202, 206, 207, 220; HST104, 105, 106, 157, 158, 201, 202, 203, 228, least two subjects (prefixes), and a 15 credits.
  • Copyright of the Theatrical Stage Design Elements in a Changing Theater Industry

    Copyright of the Theatrical Stage Design Elements in a Changing Theater Industry

    Journal of Intellectual Property Law Volume 28 Issue 2 Article 3 October 2020 Exit stage, Enter Streaming: Copyright of the Theatrical Stage Design Elements in a Changing Theater Industry Mark Bailey University of Georgia School of Law Follow this and additional works at: https://digitalcommons.law.uga.edu/jipl Part of the Intellectual Property Law Commons Recommended Citation Mark Bailey, Exit stage, Enter Streaming: Copyright of the Theatrical Stage Design Elements in a Changing Theater Industry, 28 J. INTELL. PROP. L. 365 (2020). Available at: https://digitalcommons.law.uga.edu/jipl/vol28/iss2/3 This Notes is brought to you for free and open access by Digital Commons @ Georgia Law. It has been accepted for inclusion in Journal of Intellectual Property Law by an authorized editor of Digital Commons @ Georgia Law. Please share how you have benefited from this access For more information, please contact [email protected]. Exit stage, Enter Streaming: Copyright of the Theatrical Stage Design Elements in a Changing Theater Industry Cover Page Footnote J.D. Candidate, 2022, University of Georgia School of Law. Before coming to law school, I spent ten years working as a lighting designer and technician in the theatre and entertainment industry. My past professional credits include: Light Board Programmer at the Yale Repertory Theatre and Yale School of Drama, Assistant Master Electrician at Point Park University's Conservatory of Performing Arts, and various design credits around the country. I dedicate this note to all the talented theatre professionals I have worked with that have faced down unique challenges the pandemic brought to the industry.
  • These Definitions Are Provided Courtesy of Altman Stage Lighting, Inc

    These Definitions Are Provided Courtesy of Altman Stage Lighting, Inc

    LIGHTING TERMS GLOSSARY A B C D E F G H I J K L M N O P Q R S T U V W X Y Z A Accent Light Illumination used to make something stand out. It may be done with intensity and/or color. A luminaire that provides such illumination. Amp an abridged version of Ampere. Amperage (A) The measure of electrical current in amperes. Ampere(A) A unit of measurement for Electrical Current. AMX Abbreviation for Analog Multiplex. Analog Multiplex (AMX) A system that simultaneously transmits more than one analog signal. Analog Signal A continuous communication signal where the amplitude or frequency of the voltage and/or current takes any value within a range of values. ANSI Abbreviation for American National Standards Institute. ANSI Code A three letter system that has been devised to describe lamps of different manufacture but the same application. The letters have no relationship to lamp description, but the same letters always designate the same type of lamp. Some of the application parameters they define are wattage, base type, envelope size, and light center length. Arc The light caused by an electrical discharge between two electrodes in a gas such as xenon, argon, or air. The first usable arc as a practical light source was developed in 1809 by Sir Humphrey Davy. Automated Light A luminaire that is robotic, i.e., certain functions such as panning, tilting, focusing, dimming, beam shaping and coloring, etc., are motorized and remotely operated from a control console. Axial A term used to describe a luminaire whose lamp is mounted on the same axis as its optical system.
  • Resume Examples

    Resume Examples

    RÉSUMÉ TEMPLATES The following examples are provided to help you create your first résumé. There are six templates: 1) actor 2) designer/technician 3) stage manager 4) director 5) playwright 6) first-time résumé for someone just out of high school, combined with a general theatre résumé covering multiple areas of experience Length: An actor’s résumé should be a single page in length. When attached to a headshot, it should be trimmed to 8” x 10”. Résumés for other areas do not need to be limited to one page. There are many possible variations in style and format, and each template has a slightly different approach. Look over all of the samples for formatting ideas, even those that do not apply to your specific area of interest. You are also encouraged to contact faculty for advice and feedback on your drafts. Please note, résumés for graduate schools in theatre, professional theatres, and theatre internships are different from your typical business résumés. The sample résumés provided by the Center for Community Engagement and Career Education <http://www.csub.edu/cece/students/who_method.shtml> are useful if you are applying for a position outside of theatre, but their formats should not be used for jobs or graduate school applications within the theatre field. ACTOR TEMPLATE DAVID DRAMA [email protected] Height: 5’ 11” (661) 123-5678 Hair: Brown Tenor Theatre Death of a Salesman Biff Anita DuPratt Bakersfield Community Theatre Lend Me a Tenor Max Zoe Saba CSU Bakersfield Antigone in New York Sasha * Maria-Tania Becerra CSUB Evita Magaldi Mandy Rees CSUB Richard III Hastings Peter Brook Empty Space “Wiley and the Hairy Man” Wiley Kamala Kruszka CSUB and on tour “Unwrapped” (premiere) John Jessica Boles CSUB * Kennedy Center American College Theater Festival Irene Ryan Acting Scholarship nominee Education/Training B.A.
  • Master Electrician

    Master Electrician

    MASTER ELECTRICIAN Position Description Position Title: Circle Theatre Master Electrician Reports To: Technical Director and Lighting Designer Compensation: $500.00 per show stipend - paid at end of run Total Hours: Varies by needs of show Work Dates: Cabaret, July 5-Aug 1; Noises Off! Aug 2-29; Hair, Aug 30 – Sept 26. *Dates include the performance runs, which MEs are not required to attend but will need to be available to come in for repairs if needed during the run of the show. General Purpose Responsible for reading lighting designers plans and implementing the hanging of instruments; work with the Lighting Designer during focus and tech week. Up to 3 positions to fill (or one person for all three shows). 1 load-in/focus/strike period per production, $500 stipend per production. Minimum Job Requirements Education / Experience • Experience with theatrical stage lighting (conventional and LED), and with standard lighting conversion (i.e. desk lamps conversion to stage pin) Experience • Photography, graphic design, communications LIMITATIONS AND DISCLAIMER The above internship description is meant to describe the general nature and level of work being performed; it is not intended to be construed as an exhaustive list of all responsibilities, duties and skills required for the position. All job requirements are subject to possible modification to reasonably accommodate individuals with disabilities. Some requirements may exclude individuals who pose a direct threat or significant risk to the health and safety of themselves or other employees. This job description in no way states or implies that these are the only duties to be performed by the employee occupying this position.
  • Address: Biology Department Gilbert Hall Stanford University Stanford, CA 94305 Phone: (650) 725-2460 [Lab 723-0881]

    Address: Biology Department Gilbert Hall Stanford University Stanford, CA 94305 Phone: (650) 725-2460 [Lab 723-0881]

    Curriculum Vitae Russell Dawson Fernald Address: Biology Department Gilbert Hall Stanford University Stanford, CA 94305 Phone: (650) 725-2460 [Lab 723-0881] Education: Swarthmore College, Swarthmore, PA, B.S., 9/59-6/63 University of Pennsylvania, Philadelphia, PA, Ph.D., 9/63-1/68 (Biophysics) Max-Planck-Institut fur Psychiatrie, Munich, West Germany, Post-doctoral Fellowship, 1969-71 (Neurophysiology) Academic Awards: Ford Foundation Pre-doctoral Fellowship, 1963-64 NIH Pre-doctoral Fellowship, 1964-68 Max Planck Institut Post-doctoral Fellowship, 1969-71 NIH Research Career Development Award, 1978-83 NIH Fogarty Senior International Fellowship, 1985-86 (Medical Research Council, London) Hilgard Visiting Professorship, Stanford University, 1988-89 Benjamin Scott Crocker Professor of Human Biology, Stanford University, 1994- Javits Neuroscience Investigator Award, National Institute of Neurological Disorders and Stroke, 1999-2006 Fellow-American Association for Advancement of Science, 2003 Rank Prize in Vision/Opto-electronics, 2004 Javits Neuroscience Investigator Award, National Institute of Neurological Disorders and Stroke, 2007-2014 Mimi and Peter Haas Fellow in Undergraduate Education, 2003- American Academy of Arts and Sciences, Elected 2011 R.D. Fernald, Curriculum vita p.2 Professional Experience: Doctoral student (with Dr. George Gerstein), University of Pennsylvania, Philadelphia, PA, 1963-68. Max-Planck Postdoctoral Fellow (with Professor Otto Creutzfeldt), Max-Planck- Institute for Psychiatry, Munich, W.Germany, 1969-71. Institute Scientist, Max-Planck-Institute for Behavioral Physiology, (with Professor Konrad Z. Lorenz), Seewiesen, W. Germany, 1971-73. Staff Scientist, Max-Planck-Institute for Behavioral Physiology, Seewiesen, W. Germany, 1973-76. Assistant Professor, Department of Biology, University of Oregon, Eugene, OR, 1976-80. Associate Professor, Department of Biology and Institute of Neuroscience, University of Oregon, Eugene, OR, 1980-86.
  • Athletics Department Overview

    Athletics Department Overview

    ATHLETICS DEPARTMENT OVERVIEW 1 FY14 REVENUE OVERVIEW ∆ From % Revenues By Category FY14 % of Budget FY13 Change Gifts/Donations 29,907,000 32.2% (1,093,000) ‐3.5% Ticket Sales 25,606,000 27.5% 456,500 1.8% PAC 12/NCAA 18,756,796 20.2% 328,246 1.8% Sponsorship, Royalties 6,621,600 7.1% 925,600 16.3% Food & Beverage 4,359,000 4.7% (342,975) ‐7.3% Ticket‐Related Fees 3,240,000 3.5% (461,423) ‐12.5% Incidental Fees 1,715,099 1.8% 191,099 12.5% Miscellaneous 1,088,000 1.2% (302,000) ‐21.7% Rentals 535,000 0.6% 189,000 54.6% Guarantees 415,000 0.4% 405,000 4050.0% Special Events 395,000 0.4% (81,613) ‐17.1% Parking 274,000 0.3% (175,000) ‐39.0% Interest Income 100,000 0.1% 25,000 33.3% Lottery 0 0.0% (918,207) ‐100.0% Total 93,012,495 100.0% (853,772) ‐0.9% 2 FY2014: Total Revenue = $93M Revenues By Type Food & Beverage 4.69% Broadcast, Sponsorship Gifts/Donations 7.12% 32.15% PAC 12/NCAA 20.17% Ticket Sales 27.53% 3 FY2014: Total Revenue = $93M REVENUES BY SPORT/AREA General Support 4.7% Outside Events 1.2% Legacy Fund 12.4% Other Sports 2.8% Men's Basketball 12.4% Football 66.6% 4 FY14 EXPENSE OVERVIEW % OF % EXPENSE BY TYPE FY14 ∆ FROM FY13 BUDGET CHANGE Salaries/Benefits 32,429,120 34.9% (8,294) 0.0% Debt Service 19,126,984 20.6% (1,609) 0.0% Scholarships 10,406,200 11.2% 505,776 5.1% Support Operations 10,034,607 10.8% (875,839) ‐8.0% Sport Operations 8,674,947 9.3% 441,443 5.4% Facilities/Event Operations 7,427,192 8.0% 233,035 3.2% Campus Assessments 2,289,793 2.5% 311,239 15.7% Game Guarantees 1,721,540 1.9% (1,510,060) ‐46.7% Reserve/Contingencies
  • Backstage Lighting Terminology

    Backstage Lighting Terminology

    Break-out: Adapter consisting of multiple receptacles (FM) wired to a single multipin (M) connector; may be a box or a cable assembly. Synonym: Break-out Box, Fan-out Burn Out: Failed lamp or color media that is burned through Channel: Specific control parameter encompassing single or multiple device attributes (lighting dimmers, audio signals, etc.) controlled as a unit Lighting and Electrics Terminology (A-Le) Channel Hookup: Paperwork designating the connection of Adapter: Electrical accessory that transitions between dimmer circuits to channels of control dissimilar connectors; may be a molded unit, box or cable assembly Circuit: Path for electricity to flow from the source, through a conductor, to a device(s) Amperes: Unit of measure for the quantity of electricity flowing in a conductor. Synonym: A, Amp, Current Circuit Breaker: Mechanical/Electrical device that is designed to automatically open (trip) if the current exceeds the rated Automated Luminaire: Lighting instrument with attributes level protecting the circuit; may be operated manually that are remotely controlled. Synonym: Automated Fixture, Synonym: Breaker, CB, OCPD, Overcurrent Protective Device Automated Light, Computerized Light, Intelligent Light, Motorized Light, Mover, Moving Light Color Extender: Top hat with color media holder. Synonym: Gel Extender Backlight: A lighting source that is behind the talent or subject from the viewers perspective. Synonym: Backs, Back Color Frame: Metal or heat resistant device that holds the Wash, Bx, Hair Light, Rim Light color media in front of a luminaire. Synonym: Gel Frame Balcony Rail: Lighting position mounted in front of or on the Color Media: Translucent material used to color light face of the balcony.
  • Visitor's Manual (PDF)

    Visitor's Manual (PDF)

    Kirkland Fine Arts Center (KFAC) Visitor’s Manual KFAC Policies………………………..…….1 Event Information…………………..……...8 Backstage Visitors’ Information……..….11 Glossary of Terms………………….……13 KFAC Production Philosophy…….…….18 KFAC Event Request Form…………….20 KFAC Policies 1 GENERAL RULES AND REGULATIONS (alphabetically by subject) ACCESSIBILITY: User shall also comply with the Act by providing for accommodating disabled individuals in seating arrangements, ticket printing, and layout considerations. User is additionally responsible for providing interpreters for hearing and sight disabled. All costs for the above accommodations required by the ADA, or any other accommodations required by disabled or handicapped individuals, are entirely the responsibility of the User. The Kirkland Fine Arts Center and Millikin University staff will provide information regarding the ADA upon request. ALCOHOLIC BEVERAGES: No alcoholic beverages are allowed on campus property. ANIMALS PROHIBITED: No animals are permitted in Kirkland Fine Arts Center except those certified service animals required to assist a person with a disability. Use of trained animals on stage will be allowed only after written, advance permission is secured by the Director. ASSISTIVE LISTENING DEVICES (ALD): There are eight ALD receivers available from the box office. They are infrared and transmit sounds via light waves to patrons wearing the receivers. Because they are infrared, they work best when in the line of sight of the transmitter which is located in the house. There is no interference between the ALD’s and KFAC’s wireless systems. BLOCKING OF HOUSE EGRESSES: Due to fire regulations, no aisle or part of an aisle is allowed to be blocked in any manner, i.e.
  • Curriculum Vitae EVAN N. SHENKIN Department of Sociology Email

    Curriculum Vitae EVAN N. SHENKIN Department of Sociology Email

    Curriculum Vitae EVAN N. SHENKIN Department of Sociology Email: [email protected] University of Alaska Phone: 541.579.1207 Anchorage AK, 99508 Office: SSB 364 PROFESSIONAL POSITIONS 2019 Pre-Professoriate Fellow, Department of Sociology, University of Anchorage, Alaska 2019 Instructor, Department of Sociology, Oregon State University, Oregon 2018 Visiting Assistant Professor, Department of Sociology, Willamette University, Oregon EDUCATION 2018 Ph.D., Sociology, University of Oregon 2014 M.A., Sociology, University of Oregon 2009 M.A., International Studies, University of Oregon 2009 Graduate Certificate, Not-For-Profit Management, University of Oregon 2006 B.A., Cultural Anthropology, University of Oregon 2003 A.A.O.T., Lane Community College TEACHING EXPERIENCE 8/26/2019 - present Environmental Activism & Indigenous Land Rights 4/1/2019 - 6/14/2019 Social Issues and Problems, Oregon State University 1/22/2018 - 5/10/19 Sociology of Education, Willamette University 9/24 - 12/11/2018 Development & Social Change in Latin America 8/20/18 - 8/29/2018 Introduction to International Issues 8/2018 - 9/2018 Climate Change and Development in the Anthropocene 6/2018 - 7/2018 Introduction to Sociology 3/2018 - 6/2018 Urban Sociology 1/2018 - 3/2018 Systems of War and Peace 9/2017 - 12/2017 Community, Environment and Society 7/2017 - 8/2017 Social Inequality 6/15 - 7/15 2009 Global Environmental Issues TEACHING ASSISTANT / ADVISING EXPERIENCE 9/2015 - 6/2017 Introduction to Sociology, Social Inequality, Sociology of Work and Occupations, Community,
  • Master Electrician

    Master Electrician

    Longwood University 2013 Master Electrician Weekly: • Ensure that you meet with the lighting designer to discuss any ideas for how to overcome any unusual lighting challenges and provide an update to the overall process. Rehearsal Period: • Meet with the lighting designer shortly after receiving this position. o Discuss the production concept. o Be sure to receive the light plot and other paperwork. • Hold a workshop with all lighting crew members (electricians, spotlight operators, and board operator). o The workshop will be run by your and supervised by the lighting designer. o Cover all the basics of working with lighting. • Analyze all the lighting paperwork. o Ensure the realization of the light plot completely. o Create a list of what instruments, gels and specialty equipment will be need to implement the design. • Create any additional paperwork not given to you by the lighting designer. o Make sure the lighting designer and stage manager receive this paperwork. • Create and maintain an inventory of instruments, gels, and special effects. • Meet with the lighting designer a second time. o Discuss a tentative focus call schedule, any special positions or effects and the equipment inventory/orders. • Create a crew call schedule. Notify the technical director of crew calls. o Send out crew calls to electricians as early as possible. • Maintain all lighting instruments, cable, and accessories during the production. o Keep the mezzanine and catwalk neat, clean, and safe. • You are responsible for keeping all of the electrics paperwork up-to-date and distributed to the appropriate individuals. • You must personally implement any specialty lighting/electrical work.
  • Codeof Conduckt

    Codeof Conduckt

    UNIVERSITY OF OREGON ATHLETIC DEPARTMENT The UO Athletic Department is dedicated to MEN’S BASKETBALL* providing a safe and enjoyable experience for all Oregon Men's Basketball tickets are generally distributed by guests and athletes at all events. With this goal in home stand (usually two games at a time). A diagram of McArthur mind, we ask that everyone observe the following Court is included in this brochure showing student seating sec- Code Of guidelines. tions (indicated by gray areas). For the majority of games, a total of 1,323 tickets per game are available for UO students. For games Respect all attendees and refrain from disruptive behavior, including foul language, obscene gestures or messages, and physical harm contested during the winter break, student seating will be limited ConDUCKt or threats. to section 10. Sit only in your ticketed seats and be prepared to show your ticket GOOD SPORTS INITIATIVE when requested. *Note: standing on seats is not allowed and may result in loss of Comply with requests from event staff regarding stadium policies student seating. and emergency procedures. Use tobacco only in designated areas. The 2009-10 home schedule will be available at a later date on GoDucks.com. In the event that the distribution schedule results The UO values the support of all DAF donors, season ticket holders, students and guests visiting our facilities each season and thanks you in advance for in distribution of football and men’s basketball tickets on the being a good egg. If you observe any violations of stadium guidelines, please same day, football shall begin distribution on the Sunday prior to immediately contact the nearest event staff or TEXT ‘BAD DUCK’ to call GODUCKS (4638257).