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Jim Sandefur 1

JIM SANDEFUR Scenic Designer: Local 829 Membership Current Scenic Design, Creative Concepts, Event & Tradeshow Design, Visual Merchandising, Design Drafting, Sketching, Model Building, Graphics, etc. 1141 Arbor Creek drive #3B St Louis, MO 63122 cell: 310.709.5718 e-mail: [email protected] Website: www.jimsandefurdesign.com FILM & TELEVISION The Grid - News Network, January 2014 Indie Cable Broadcast News Program: Production Designer: Yoojung Han, Los Angeles CA. Created Design Drawings for Newsroom Set pricing and construction. Little Rascals, NBC/Universal Studios, September/October 2012 Musical Instrument, Prop Design/Construction. & Design Drawings/Waldo's Tree-house. Production Designer: Rusty Smith, Art Direction: Rosario Provenza, Props Lead: Cynthia Nibler Hip Hop Squares: Art Director (MTV2) February/March 2012 New Remote Productions Inc. Production Designer, John Gilles. Zombies and Cheerleaders (Disney Pilot) January, 2012 Design/Draw Period Pieces Production Designer: Rusty Smith Danni Lowinski (CW Pilot) October, 2010 & January 2011 Art Dept. Asst., Draftsman/Model Builder CBS Productions (CW) Production Designer: Rusty Smith BEASTLY (Reshoots, CBS Back-lot) December, 2010 Art Dept. Asst., Draftsman/Researcher CBS Film Productions Production Designer: Rusty Smith CORPORATE ENTERTAINMENT EMPLOYMENT CLUB MED - Turquoise Holiday Village Providenciales, Turks and Caicos Islands, British West Indies Entertainment Manager: Corentin Rioche HR Manager: Hany Ghobrial (649) 946-5500 ext. 35313 - Chef De Village/General Manager: Michael Clarke Resort Set Designer Responsibilities: Daily Set-up, Teardown, and maintenance of all nightly Main-stage Productions, Special Event and Holiday Duration of Employment Presentations, nightly Restaurant Entrance Décor and Bar Parties, Hire Date: June 3, 2013 as well as the design, construction, fabrication and painting of Departure Date: Nov 21, 2013 new productions while in residence.
CIVIL RIGHTS INSIDER Federal Bar Association Civil Rights Law Section’S Newsletter

CIVIL RIGHTS INSIDER Federal Bar Association Civil Rights Law Section’s Newsletter Winter 2019 OFFICERS From the Desk of the Chairperson CHAIR Chair – Elect Stephen Haedicke TBD Hello, and happy new year case denying a right to receive New Orleans, LA from the Civil Rights Section. exculpatory information from [email protected] Secretary Robin Wagner We have a lot going on this year, the government prior to a guilty Treasurer Ann Arbor, MI starting with our premier event, plea; the Sixth Circuit case of Eric Foley [email protected] New Orleans, LA the Civil Rights Etouffee here EEOC and Aimee Stephens v. [email protected] Immediate Past Chair in New Orleans on February 15, R.G. and G.R. Funeral Homes, Wylie Stecklow 2019. This full day CLE will be Inc., which involved a sex Membership New York, NY Rob Sinsheimer [email protected] held at the New Orleans Jazz discrimination claim brought by Boston, MA & Heritage Center next to the a transgender employee; and an [email protected] Education Caryl Andrea Oberman French Quarter, and will feature Eleventh Circuit case involving Bonnie Kift Willow Grove, PA panels on topics such as First accommodations for people with Ligonier, PA [email protected] Amendment and privacy in the a hearing impairment under the [email protected] Federal Prohibition digital age, ending money bail, Americans with Disability Act. A Amicus Briefing Against Marijuana school safety, immigration, and schedule for the upcoming calls is Kevin Golembiewski Bonnie Kift Tampa, FL Ligonier, PA more. That weekend is also included below. I hope you will [email protected] [email protected] the official start of the Mardi join us on these calls, and please Gras parade season, with some let me know if you are interested Discrimination in Defense of Gov’t Entities Employment, Housing Theresa Powell great local parades happening in presenting on a case from your And/Or Public Springfield, IL Saturday night— a wonderful circuit.
1998 Acquisitions

1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in.
The Producers,'' Understands That to Create a Musical -- Good Or Otherwise -- the Appropriate Creative Team Must Be Employed

THEATER/THE TONY AWARDS; A Crash Course in the Worl... http://www.nytimes.com/2001/05/20/arts/theater-the-tony-awar... This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients or customers, please click here or use the "Reprints" tool that appears next to any article. Visit www.nytreprints.com for samples and additional information. Order a reprint of this article now. » May 20, 2001 THEATER/THE TONY AWARDS THEATER/THE TONY AWARDS; A Crash Course in the World of Mel By BARRY SINGER EVEN Broadway's most maladroit impresario, Max Bialystock of ''The Producers,'' understands that to create a musical -- good or otherwise -- the appropriate creative team must be employed. For Bialystock, in Mel Brooks's current hit musical, the assured failure of his show, ''Springtime for Hitler,'' is dependent on securing the services of a director named Roger De Bris. ''Is he good?'' inquires Bialystock's ingenuous partner, Leo Bloom, as they head for a rendezvous with De Bris. ''I mean, is he bad?'' ''He stinks,'' Bialystock replies. Shortly thereafter, Bialystock imploringly informs De Bris: ''Roger, I speak for Mr. Bloom and myself when I say that you are the only man in the world who can do justice to 'Springtime for Hitler.' '' For Mr. Brooks, assuring the successful transformation of his 1968 film ''The Producers'' into a Broadway musical required at least one similarly baldfaced overture. ''Two and a half years ago, my husband, Mike Ockrent, and I got a call saying Mel Brooks wanted to meet us,'' Susan Stroman said recently.
Fidm College Catalog July 1, 2021 - June 30, 2022 Mba | B.A

FIDM FIDM COLLEGE CATALOG JULY 1, 2021 - JUNE 30, 2022 MBA | B.A. | B.S. | A.A. FIDM. YOUR STORY BEGINS HERE. At FIDM, we prepare you to launch your career by providing a supportive, creative, and professional environment from which to learn practical skills, build a network of industry contacts, and gain real-world experience. You’ll have the opportunity to generate innovative design and business solutions for top brands, collaborate with companies, build your portfolio, and put what you’re learning in the classroom to work. < Advanced Study Fashion Design student Mohamed Salaheldin does a final fitting for the DEBUT Runway Show. Our graduates own thriving fashion, graphics, and interior design companies. They’re in charge of merchandising and buying for major department stores. Some work as cosmetics executives, design sportswear, textiles, or haute couture, while others create costumes for Emmy®-and Oscar®-nominated films. Everything we do, from curriculum to career services, is geared toward ensuring that our students graduate with the skills and work experience necessary for success in their chosen field. A Visual Communications student < prepares a store window at the Beverly Hills Saks Fifth Avenue. 7 TABLE OF CONTENTS 8 President’s Message 183 Government Aid Programs 12 FIDM’s Mission 184 Private & Institutional Scholarships 14 Accreditation 184 General Guidelines for Financial Aid 15 Advisory Board 186 Satisfactory Academic Progress (SAP) 16 Programs of Study Requirements 19 Associate of Arts Programs 189 Student Loan Information
GULDEN-DISSERTATION-2021.Pdf (2.359Mb)

A Stage Full of Trees and Sky: Analyzing Representations of Nature on the New York Stage, 1905 – 2012 by Leslie S. Gulden, M.F.A. A Dissertation In Fine Arts Major in Theatre, Minor in English Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Dorothy Chansky Chair of Committee Dr. Sarah Johnson Andrea Bilkey Dr. Jorgelina Orfila Dr. Michael Borshuk Mark Sheridan Dean of the Graduate School May, 2021 Copyright 2021, Leslie S. Gulden Texas Tech University, Leslie S. Gulden, May 2021 ACKNOWLEDGMENTS I owe a debt of gratitude to my Dissertation Committee Chair and mentor, Dr. Dorothy Chansky, whose encouragement, guidance, and support has been invaluable. I would also like to thank all my Dissertation Committee Members: Dr. Sarah Johnson, Andrea Bilkey, Dr. Jorgelina Orfila, and Dr. Michael Borshuk. This dissertation would not have been possible without the cheerleading and assistance of my colleague at York College of PA, Kim Fahle Peck, who served as an early draft reader and advisor. I wish to acknowledge the love and support of my partner, Wesley Hannon, who encouraged me at every step in the process. I would like to dedicate this dissertation in loving memory of my mother, Evelyn Novinger Gulden, whose last Christmas gift to me of a massive dictionary has been a constant reminder that she helped me start this journey and was my angel at every step along the way. Texas Tech University, Leslie S. Gulden, May 2021 TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………………ii ABSTRACT …………………………………………………………..………………...iv LIST OF FIGURES……………………………………………………………………..v I.
Barreca Resume 2011

CHRISTOPHER H. BARRECA SCENIC DESIGNER HEAD OF SCENIC DESIGN - CALARTS The * symbol indicates a world or American premiere The ** symbol indicates musical DATE TITLE DIRECTOR THEATER Current RACE Irene Lewis ACT San Fransicso SUMMER PEOPLE Barreca/Korogodsky/Koller Theater Pokolenliy, St. Petersburg, Russia 2011 COMPLETENESS* Pam MacKinnon South Coast Repertory 2010 SIGMARINGEN* (New Opera) Janie Geiser Workshop for Musikprotokoll Graz, Austria JAMES AND THE GIANT PEACH * ** (Workshop) Graciela Daniele The Norma Terris Theatre, Chester, CT THE WIZ** Irene Lewis Baltimore Center Stage HEDDA GABLER Barreca/Rubin site specific work in a NYC brownstone ELEKTRA Carey Perloff Getty Villa, LA IN A GARDEN* David Warren South Coast Repertory PITERSBURG* Barreca/Korogodsky/Kolun/ Theater Pokoleniy Simpson/Geiser 2009 CRIME AND PUNISHMENT Sharon Ott Berkeley Rep. PITERSBURG* Barreca/Korogodsky/Kolun/ Theater Pokoleniy Simpson/Geiser RED HAND GUITAR* ** (Workshop) Evan Yionoulis Arena Stage, Wash, D.D. AH* Travis Preston REDCAT (CNP) IN THE DAYLIGHT* John Rubin Vital PHILIP ROTH IN KHARTOUM* John Rubin NY Public Theater/Labyrinth Theater 2008 PENALTIES AND INTEREST* John Rubin NY Public Theater/Labyrinth Theater THE SOUND OF MUSIC (Salzburg Marionettes)** Richard Hamburger Salzburg, Austria WHAT THEY HAVE* Chris Fields South Coast Repertory 2007 THE SOUND OF MUSIC (Salzburg Marionettes) Richard Hamburger Metropolitan Museum of Art International tour THE STUDIO* Christopher DʼAmboise South Coast Repertory Signature Theater Wash, DC CAT ON A HOT TIN ROOF Richard Hamburger Dallas Theater Center HIPPOLYTOS Stephen Sachs Getty Villa, LA THE MURDER OF ISAAC* Irene Lewis Center Stage 2006 HOUSE OF BERNALDA ALBA** * Graciela Daniele Lincoln Center Theater CARNIVAL** Erica Schmidt Papermill Playhouse BELL SOLARIS* Travis Preston REDCAT (CNP) MACBETH (A Modern Ecstasy) Travis Preston Almeida Theater London, England Adelaide Festival Australia REDCAT (CNP), Los Angeles MACBETH Eve Shapiro The Acting Co.
Image Makers: Designers C;: H a I" T Ll R 12 LIGHTING and SOUND I Feel That Light Is Like Music

" " Image Makers: Designers c;: H A I" T ll R 12 LIGHTING AND SOUND I feel that light is like music. In some abstract, emotlona~ cerebral, nonliterary way, it makes us feel, it makes us see, it makes us think, all without knowing exactly how and why. 1 \ • Jennifer Tipto1, lighting De~lgner THE LIGHTING DESIGNER In today's theatre, lighting, Stage lighting is a powerful theatrical tool to focus an audience's attention, sound, and computer enhance understanding, and give aesthetic pleasure. It is sometimes sur 'u technologies affect what we prising to learn that the "lighting" designer emerged in the theatre well tee, how we see, how we before the invention of electricity. hear, how we feel, and often what we understand. As Background areas oftheatrical design, lighting and sound, along The Greeks called their theatres "seeing places." These were outdoor the with the new "machines," atres, and performances took place chiefly during daylight hours, but not ',il,, are essential to the modem without some attention to lighting effects. Playwrights. who were also the I.''' ' stage's theatrical earliest directors, called for drama~c effects with torches, fires, and even effectiveness. sunlight. Aeschylus in Agamemnon, which tells the story of the King's re 'i'i turn at the close of the Trojan War, begins wtth a Watchman standing atop ! 'I the palace to watch for beacons shining from distant mountaintops that it i. I ·: will signal Agamemnon's returri to Argos. Most interpreters think that the ·'II' '' Watchman's speech begins virtually fn the early morning mist and that his '' recognition of the signal flames coincides with the actual sunrise over the Theatre of Dionysus.
World Scenography World Scenography

WORLD SCENOGRAPHYWORLD This is the first volume in a new series of books members, it draws together theatre production professionals from looking at significant stage design throughout the around the world for mutual learning and benefit. its working world since 1975. this volume, documenting 1975-1990, has commissions are in the areas of scenography, theatre technology, been about four years in the making, and has had contributions publications and communication, history and theory, education, from 100s of people in over 70 countries. Despite this range of and architecture. both of the editors have worked for many years input, it is not possible for it to be encyclopædic, much as the to benefit theatre professionals internationally, through their editors would like. Neither is the series a collection of “greatest activities in OiStAt. hits,” despite the presence of many of the greatest designs of c the period being examined. instead, the object is to present Peter M Kinnon and Eric Fielding probably met each other at the designs that made a difference, designs that mattered, designs banff School of Fine Arts in the early 1980s, when Peter was on of influence. the current editors plan to do two more volumes faculty and Eric was taking Josef Svoboda’s master class there. documenting 1990-2005 and 2005-2015. they then hope that Neither of them remembers the other. they first worked together others will pick up the torch and prepare subsequent volumes in 1993 when Eric was the general editor of the OiStAt lexicon, each decade thereafter. new Theatre Words, and Peter was an English editor.
Originality, Autonomy and Control: Opening up New Semantic Space for Design

ABSTRACT ORIGINALITY, AUTONOMY AND CONTROL: OPENING UP NEW SEMANTIC SPACE FOR DESIGN In the United States, traditional design pedagogy asserts that meaning or the necessary building blocks for meaning are established during the process of production. A designer, building from narrative, defines an autonomous theatrical space to establish “the world of the play.” Success at this endeavor is most often judged on the basis of visual evidence measured against the values of originality, autonomy and control. However, contemporary art and dance practice in the course of the 20th century have displaced these three cherished values of art production. Artists re-framed the creative process in the act of code-reading and defined it within the process of reception. In his essay Primary Colors for the Second Time, art critic Benjamin Buchloh describes the receptive process as being defined by “the audience’s disposition and demands, the cultural legitimation the works are asked to perform, [and] the institutional mediation between demand and legitimation.” Centering practice in the spaces of audience, culture and institution, allowed artists to reconsider the hegemony of these three aesthetic values. The payoff from this reconsideration can be seen by a corresponding series of artistic strategies that have developed. In place of originality are the tactics of appropriation. Instead of autonomy, we see the development of the readymade. And the undermining control is embracing of the quotidian through the chance procedure. In this article, I will lay
Ziska Childs, Scene Designer, Scenic Artist 970-948-0650 [email protected]

Ziska Childs, Scene Designer, Scenic Artist 970-948-0650 [email protected] Credits Design Resumee Includes: Aspen Ideas Festival 2012-2019, (Design Consultant) TED Conferences Longbeach 2010-2012, Tom Hennes Principal Designer (Associate Designer) Broadcast Media: CNN and Turner Broadcasting 1989-2004 IKDZ Principal Designer (Associate Designer) NBC Late Night with David Letterman, Kathleen Ankers Art Director (Asst. Art Director, model builder) Island ECN Channel launch, IKDZ Principal Designer (Associate Designer) National Commercials: Jeep “Laredo” Dick Carter Art Director (Sketch Artist) Ski-Do, @radical Media (Art Director) Burger King, IKDZ Principal Designer (Assoc. Designer) Shake and Bake, IKDZ Principal Designer (Assoc. Designer) American Plastics, IKDZ Principal Designer (Assoc. Designer) Sears, IKDZ Principal Designer (Assoc. Designer) Industrials: HP Discover Paul Palazzo Principal Designer (drafting) Sony Playstation, Paul Palazzo Principal Designer (drafting) SAP Saphire, Paul Palazzo Principal Designer (drafting) AT&T Innoventions, Paul Palazzo Principal Designer (drafting) IBM Innoventions, Paul Palazzo Principal Designer (drafting) AT&T Caribiner Group (drafting for this and many many more hotel ballrooms all over the world) PC Expo OC Productions (drafting) Matercard, OC Produtions (drafting) Sun Microsystems Java script demo (Designer and Studio rental) Nike “Roboshoe”, Dennis Moore Productions Principal Designer (drafting) Theatre: Little Shop of Horrors, Marty Robinson “Audrey” Designer (draftings for Samuel French)
Dreamgirls • October 26-31, 2010 • TPAC’S Jackson Hall

OnStage The official playbill and performing arts magazine of the TENNESSEE PERFORMING ARTS CENTER HCA/TriStar Broadway at TPAC • TPAC Family Field Trip • TPAC Presents • TPAC’s Signature Series Dreamgirls • October 26-31, 2010 • TPAC’s Jackson Hall www.tpac.org THE MUSICAL SENSATION John Breglio Vienna Waits Productions in association with Chunsoo Shin, Jake Productions & Broadway Across America/TBS present Book and Lyrics by Music by Tom Eyen Henry Krieger Original Broadway Production Directed and Choreographed by Michael Bennett Additional Material by Willie Reale Starring Syesha Mercado Chaz Lamar Shepherd Chester Gregory Adrienne Warren Trevon Davis Margaret Hoffman Milton Craig Nealy Patrice Covington with Felicia Boswell Tallia Brinson Ronald Duncan Talitha Farrow Brittney Griffin Kelcy Griffin Robert Hartwell Jared Joseph Nikki Kimbrough Grasan Kingsberry Douglas Lyons Kimberly Marable Jarran Muse Amaker Smith Marc Spaulding Terrance Lemar Thomas Timothy Ware and introducing Moya Angela Scenic Design by Costume Design by Lighting Design by Robin Wagner William Ivey Long Ken Billington Sound Design by Media Design by Hair Design by Acme Sound Partners Howard Werner/Lightswitch Paul Huntley Music Direction by Orchestrations by Vocal Arrangements by Alvin Hough, Jr. Harold Wheeler David Chase & Cleavant Derricks Production Stage Manager Technical Supervisor Press & Marketing Ray Gin David Benken Type A Marketing Casting General Management Jay Binder/ Alan Wasser • Allan Williams Mark Brandon Aaron Lustbader Co-Choreographer Shane