in theaters

Mystery Scribble Theater Monday: Comic #4 is GO!

Jonah just wants to help. Crow ain’t havin’ it. Of course, let’s think about how much time Crow has spent alone… He might not be quite ready to deal with another human yet.

Fun stuff:

~ That’s a C-3PO leg. I have no idea where he got it.
~ Anyone remember what old 90′s modems sounded like trying to get online? THAT IS CROW’S VOICE RIGHT NOW.
~ Crow being protective of his smaller brother Tom makes my heart happy.
~ Those are not random 1′s and 0′s. He’s saying something.

If you want to catch up, you can look in this tag righ’chere: Mystery Scribble Theater Mondays or just click it in the Pile O’ Tags below.

Comic #1: Two Months Earlier, The Not-Too-Distant Past
Comic #2: I Can Fix That
Comic #3: She’s Got Music In Her Voice

Les Misérables - Inspector Javert
⭐ “This man was composed of two very simple and two very good sentiments, comparatively; but he rendered them almost bad, by dint of exaggerating them—respect for authority, hatred of rebellion; and in his eyes, murder, robbery, all crimes, are only forms of rebellion.”


The Height Of European Aristocratic Elegance- François Cuvilliés (top photo with a selected print beside inset)

François Cuvilliés (1695-1768) was a Flemish-born, French-trained architect, interior decorator, and ornament designer who brought to Munich the new rococo style and produced there, particularly in the Amalienburg and the court theater, masterpieces of the Bavarian rococo.

François Cuvilliés was born a dwarf in Soignies, Hainaut, on Oct. 23, 1695. Discovered about 1706 by Prince Elector Maximilian Emmanuel of Bavaria, who was in exile in Flanders, Cuvilliés was educated with the court pages, although he was officially the court dwarf. He returned with Maximilian Emmanuel from exile to Munich in 1715 and was allowed to work with the court architect, Joseph Effner.

Maximilian Emmanuel then sent Cuvilliés to Paris in 1720 to study under François Blondel the Younger, where he remained until 1724. On his return to Munich, Cuvilliés was appointed court architect in 1725, thus beginning his long career in the service of the house of Wittelsbach, the rulers of Bavaria. For them he produced such works as Schloss Brühl and the so-called Reiche Zimmer (the “rich rooms”) and the Green Gallery of the Residenz in Munich between 1730 and 1737.

Cuvilliés’s masterpiece, and one of the finest creations of the Bavarian rococo, is the famous Amalienburg, a hunting lodge built for the electress Maria Amalia on the grounds of the summer palace at Nymphenburg outside of Munich. This small palace, single-storied and with only six main rooms, is, in its exterior, very plain, but its interior, particularly the central round mirrored hall, decorated in pale blue and silver, and the flanking bedroom and sitting room, decorated in deep yellow and silver, are the masterpieces of Cuvilliés and Johann Baptist Zimmermann, who produced the stucco decoration after Cuvilliés’s designs. The simplicity of the layout of the main rooms forms a suitable foil for the rich and fantastic ornament of the walls, the mirrors, and the doors, and even some of the furniture, especially the console tables of the central hall, all designed by Cuvilliés.

Cuvilliés repeated his triumph in the small court theater he built in the Residenz at Munich (1751-1753). Although the theater was destroyed during World War II, all the furnishings, the paneling, and carved decoration were saved; they were fully restored and are now installed inside the Residenz. The court theater is known as the Cuvilliés Theater, in honor of the architect. Cuvilliés other works in Munich are the Hohnstein Palace, now the Archbishop’s Palace (1733-1737), the Preysing Palace (1740), and the facade of the Theatine church (1765-1768). Outside of Munich, the churches of Berg am Laim, Diessen, Schäftlarn, and Benediktbeuren all have altars or rooms decorated by Cuvilliés.

During the last 30 years of his life Cuvilliés also produced many designs for decorations and ornament, which, engraved and sold as pattern books, served to spread his personal mixture of French and German rococo throughout central Europe. His son, François Cuvilliés the Younger (1731-1777), assisted his father, engraved his designs, and, after the elder Cuvilliés’s death on April 14, 1768, completed many of his works.

Selected Works:

1. Nymphenburg Palace 

2. Chapel of Augustusburg Palace

3. The King’s Bedroom, Amalienburg Palace

4. The Green Gallery, Munich Residenz

5. Cuvilliés Theatre 

6. Stone Hall, Nymphenburg Palace

7-8 Selected Prints

I’ve had a really great week at ITF!!! From just 5 minutes of presentation to each of the college reps, I got callbacks from over 20 schools and got accepted into so many theatre programs, including my top picks!! THeatre has granted me so many opportunities, and for that I’m so so thankful. Theatre has opened a door to an educated future!!

greenteabambi  asked:

Do you have any advice on making an sm portfolio? I want to make one but I have no idea what materials to use, what to put in it, etc.

Yes! Most people use black binders but I like to use a nicer art portfolio. You can get them at any art store.

Put any paperwork you’ve made; CSB, parts of your blocking script and calling script, rehearsal report, daily call, production calendar, run order, anything you’ve made for a show. Oh and your resume, of course!

Critical Role + Aesthetic: Shadowcast AU Vax’ildan (x) (x) (x)

“How much of it’s genetics? How much of it is fate? How much of it depends on the choices that we make?”

hetaplier-ib  asked:

Can someone be classified as a SM even if they don't call a show? I SMed a few times during high school but due to lack of techs my director did lights and sound and I was down in the wings helping the stage crew because there were only a couple of us... I just graduated and afterwards one of the actors came up to me and told me I had no right to call myself an SM 🙁 and then called me out because I missed a few shows because I had a suicide attempt idk how to feel......

Yes definitely!! There’s so much more to being an SM than just calling the show.  Sometimes budgets are so small that the SM ends up doing the light and/or sound cues themselves. Other times you’re an assistant (ASM) and you just manage the deck. Either way, whatever you are doing, it does NOT make you any less of an SM than anyone else. That’s awful that an actor told you that!!