#learn to approach your fellow human beings with empathy or get run over by my big truck idc anymore just fuck off

[seventeendeer]

had to block someone I've been following for a While over this, so this is a reminder that if you make fun of "puriteens" or anyone else seeing fucked up horrible shit online and not magically handling it with perfect grace, I do want to put you down like a lame horse. go away

[rachelbethhines]

Tangled Salt Marathon - Short Cuts

So the reviews for Rapunzel’s Return are taking longer then expected and due to real life complications I’ve now fallen behind in my intended schedule. So in order to catch up, I’ll be doing a series of rapid-fire mini reviews of all the official shorts that the series released in addition to the usual reviews. 

Summary: Ten shorts were released throughout the three seasons of the show detailing Rapunzel’s misadventures in Corona. 

 Check Mate

Pascal tries to get Max to play chess with him, but the horse is too busy with guard duty to play. Pascal’s antics wind up causing a fire and Max must save him. 

This short, plus the later Unicorn-y short, and the episode Pascal’s Story pretty much confirms that chess is pascal’s favorite game. Shame that’s the only idiosyncrasy that the series gives besides being the conscious of the group that sometimes gives the other characters guilty looks.  

I said it before and I’ll say again, the animal sidekicks in the franchise don’t have enough personality to carry whole episodes by themselves, but shorts like this are ok and where things like this should have stayed.   

Prison Bake

Attila recounts how he used his baking skills to break his fellow pub thugs out of prison back before they met Rapunzel. 

This just raises so many questions. Why were they arrested? What was their punishment besides jail? Why weren’t they just re-arrested later after escaping? If they were all wanted criminals before meeting Raps then why did they try to call the guards during the movie to collect the reward money on Eugene’s head? Do we really think “crack-down on crime” Frederic would pardon them before Rapunzel’s return? How do we know they weren’t just framed given how shitty Corona’s legal system is? 

Like I just need a tiny bit more context show. Two to three minutes isn’t really long enough to set up conflicts. These shorts should have been more like five or six minutes really. 

Also Ludwig the Castle Cook is also just wasted. They built a model for him and hired a VA and everything and all he does is appear in this one short and nothing else. Like I think he makes a non-speaking cameo in The Alchemist Returns or something, but that’s it. It’s a clear mismanagement of resources.  

Make Me Smile

Rapunzel tries unsuccessfully to make Old Lady Crowley smile, but it’s not until she holds an honest conversation with the woman does she find a solution. 

This is best short out of the bunch, and not just cause it stars the great Pat Carol either. 

This is how Rapunzel should have been handled in the main series proper. Which is why I screen-grabbed this whole convo. It’s perfect. 

Rapunzel spent 18 years lock in a tower. Of course she doesn’t understand different perspectives from her own cause her development has been stunted. She’s compassionate but lacks empathy. So she has a hard time connecting with others, but once she slows down an actually takes the time to listen to people she is capable of learning. 

We needed more of this; just on a larger scale. Have Raps make mistakes, have people be annoyed with her or right angry when she messes up, and then have her learn. 

Why the series thought it was a good idea to have everyone kiss her royal arse instead while she dug in her heels and consendinly took charge of everything even while still screwing up, I’ll never know. 

Hare Peace

Feldspar asks Rapunzel to take care of his “precious”. Rapunzel thinks he means a pet rabbit, and is run ragged trying to keep up with it, but it turns out he was talking about his prized cabbage instead. 

These shorts overall work a lot better than the main show. They know what they are and don’t try to be anything else. Therefore they deliver what is promised competently. They’re nothing amazing nor groundbreaking and in truth I wouldn’t want a whole series of them, but I get the feeling this is what the head executives at Disney were expecting when they signed off on the show and not whatever mess the main series turned out to be. 

Night Bite

Rapunzel, Eugene, and the animals are out camping for the night and Max gets irritated by all the bugs. 

What doesn’t work so well is the placement of some of the shorts. This particular short aired during season two and indeed that would make sense given that they are camping out here. Which why would they do that if they were still in Corona... 

Yet some of the later shorts, which also aired during season two, clearly do take place in Corona debunking that theory. Just some context would be nice show, that’s all. 

Also this short is meh.. not bad, not, good, just there.  

Hiccup Fever

Rapunzel gets the hiccups and everyone in Corona seems to have advice on how to get rid of them, but only Eugene has the solution. 

I’d argue that this is the funniest of the shorts. I legit laughed out loud at some points which is rare. 

However it does sadly prove on thing. 

Rapunzel was always a shit girlfriend, even before season three. 

Being a douche to your boyfriend isn’t funny show. 

Snowball

Rapunzel and Pascal plan to have some fun in the snow and things go awry.   

So where and when is this exactly?

Unlike the other shorts, the context and setting for this one is paramount to whether or not Rapunzel is a simply lazy or a an outright dick. 

For you see, Rapunzel had never been outside in the show before Queen for a Day. Ergo, this can only take place during the latter half of season one or during season two. 

Now season two makes a lot of sense. They’re at some cabin in the woods that was never mentioned are seen on screen before and this did air during season two anyways. If that is the case then Raps just avoiding her planned road trip like always. 

However, the last short and the next two also aired during season two and all of those do take place in Corona during season one and even the wiki states that they were all meant to take place during season one in original concept. 

Yet if that is the case then Rapunzel is ignoring Varian right now and playing around in the thing that almost killed him... 

Oh and that still doesn’t explain where this cabin is. Is it the mountain retreat that the King and Queen were going to spend their anniversary at? 

What’s really mind boggling though is that they made this short in order to reuse the character models from Queen for a Day in order to save money, but then went and built this whole set that’s never seen outside of this short. 

Like seriously who was on charge of the budget decisions in the series? 

Hairdon't

Rapunzel offers to cut Eugene’s hair but then messes it up. She spends all day trying to stop Eugene from seeing his new do, but turns out the hairstyle becomes a hit with the Corona townspeople. 

Rapunzel seriously lucked out here and it borderlines on the main series style levels of BS. She asks Eugene not to get upset before he sees what she’s done and, guess what, he is rightly upset. 

Honestly the series needed to let Eugene get angry at Rapunzel for stuff. That’s what happens in relationships, you will make your partner mad at times and that’s ok. It’s all about how both of you handle that. 

We never get to see how Eugene and Rapunzel would handle a real ordinary conflict and not just magic/ex girlfriend shenanigans that don't end with them putting off talking about it. 

Even their best episodes in season two still are over conflicts that don’t have any immediate impact on their lives and are mostly hypotheticals to them, like kids or how other people should approach dating. And of course by season three Eugene is just reduced to a doormat. 

Unicorn-y

Rapunzel tries to help Vladimir find his missing prized unicorn figurine in this spoof of old detective movies. Turns out Max and Pascal had found it and were using it to play chess. 

Ok, first off, Eugene has the patience of a saint and deserves so much better than Raps and her bullcrap here. Same goes for Lance who is tied up as well during this scene. 

But also this is another short that needed to be more than three mins long. The “mystery” is over before it even starts and the film noir parody only barely has time register in the viewer’s mind and then it’s over with. 

Shorty’s Theme Song Takeover! 

The last of the shorts aired after the show had ended as part of the Disney Channel’s on going promotional gimmick “Theme Song Takeover!” 

Shorty finds Rapunzel’s journal and sings his own version of the show’s theme song, “Wind in my Beard”. 

It’s ok. 

All of Disney’s animated shows for the 2019/2020 line up has done one and some are funnier than than this and others not so. The Shorty one is pretty middle ground but what makes it work is that Rapunzel is completely oblivious to what’s going on and only Shorty, always the anomaly of the series, can perceive the fourth wall. Thus proving he was never really human. 

As for placement, we know it’s season three cause of Rapunzel’s dress and they’re mostly likely inside the Snuggly Duckling right now. So just slot it in wherever you see fit. 

Conclusion 

That’s it for the shorts. The rest of Rapunzel’s Return should be up later this week and then hopefully I’ll be all caught up in time to cover the next episode next week. 

[broadwaysymposium]

The 4 Greatest Misconceptions of Stage Management

I’ve been a stage manager for nearly 25 years, I’ve been teaching stage management for 7 years and producing the Broadway Stage Management Symposium for 4 years.  There are some common themes I’ve seen about how  our profession is viewed (both inside and outside of the biz).  Below are the four most common and biggest misconceptions about the profession of stage management that I’ve seen.

#1 - STAGE MANAGEMENT IS ABOUT POWER AND CONTROL...

I’ve heard many young stage managers, say, “I love stage management because I’m in control.” Or a version of that theme. Certainly, it’s satisfying to call a cue and it happens, you say “go,” and it goes! It’s feels good to make a schedule and see people show up when you tell them. These, however, do not demonstrate control or power. We are “servant leaders” and our job as stage managers is to facilitate what other people want to accomplish. We are the caretakers, not the deciders.  A great stage manager and friend once said, “stage management is about being responsible for everything, but having control over nothing.” There is a lot of truth in that.  We find creative solutions to problems, we don’t impose our desires.  We help to craft a show and are intimately involved in the creation process. However, we don’t decide what the set looks like, what the actors wear or what the lights look like, rather we assist in implementing all of these decisions. By communicating notes, orchestrating set changes, scheduling fittings and calling cues, we synthesize everyone needs and keep the show running. Our companies can’t be controlled, but they can be lead.  True leadership isn’t about being powerful or controlling, but bringing out the best in people, keeping morale high and maintaining company focus. There is great joy and satisfaction to finding just the right way to seamlessly and smoothly make it all happen. As stage managers / leaders, we don’t exert our power to control the process, but we can lead a team to make best show possible onstage every night.  

#2 - PAPERWORK IS THE MOST IMPORTANT PART OF MY JOB & SHOWS WHAT I CAN DO.

It’s very satisfying to hold up a great looking document and say, “look what I made!” I’ve seen many stage manager portfolios with great looking paperwork, but this doesn’t tell me much about how you stage manage. So much of what we do as stage managers is ephemeral, you can’t touch it.  Most of our work is done in human interactions and happens in the space between people, in the moment, in how we act and the decisions we make.  It’s impossible to hold up a decision or an action and say, “look what I did and how it helped the show!” Therefore, paperwork becomes the one concrete thing we can hold and show our colleagues, friends and family to demonstrate our contribution to the show. We don’t have renderings, drafting, photos of our work, reviews or awards. Paperwork is an important tool for us to communicate information, but it is just that, a tool: ike a lighting instrument or a paint elevation or a costume sketch. The tool helps us create, but is not the creation.  No amount of beautiful paperwork can compensate for the important skills of diplomacy, empathy, organization, compassion, approachability, trust, emotional intelligence, etc…. 

It is possible to be a  great stage manager without great looking paperwork. (but it certainly is nice to have though).

#3 - NETWORKING IS BROWN NOSING, SUCKING UP & ISN’T IMPORTANT.

Networking is a word that can have a negative connotation: it’s all about brown nosing and sucking up. Networking can be perceived as being fake and making people like you.  However, networking simply means “to connect or link,” the goal isn’t to use people to advance or get ahead. It’s about building relationships with other people. We are a social species and want to make connections.  Networking is just another name for what we as kids called, “making friends.” Since we are not in school together, we have to find other ways to meet and connect and this is called “networking.” Just be yourself and get to know somebody. As stage mangers we want to work with people we know and like.  And when they aren’t available, we hire the people they recommend to us because we trust them. Trust doesn’t come from using each other, but from a connection, from someone we consider a “friend.”  Stage management is a sensitive position. We are part of a tight knit team that needs to trust and support each other through good times and bad.  That is why so many stage managers work with the same teams over and over again.  This is also why many jobs aren’t posted anywhere. The jobs are being filled though personal connections and recommendations.  You know someone, who knows someone and they need a SM or ASM, so BOOM! You’re hired!  This makes getting your foot in the door challenging and frustrating.  

If you are at a social occasion: party, a drink night, bowling, softball, etc.. strike up a conversation, you are networking.  You’re making friends and connections by being yourself. It’s clear if someone is brown nosing you or sucking up, that’s how networking got a bad name in the first place.  Just be yourself, listen to others, ask them questions, find common ground, enjoy a conversation together. You never know who knows someone and when that will lead to a job.

That’s not to say it’s impossible to get a job if you aren’t connected to the right person. I know stage managers who have gotten a job by giving amazing interviews or by writing emails, but the path is much smoother when you have an introduction or are already connected somehow.  Networking isn’t a dirty word or a bad thing, just keep being you and build relationships and the work will come. 

#4 - A DEGREE IN THEATRE WILL LIMIT MY OPTIONS FOR SUCCESS.

This misconception is usually held by your parents or other adults who love you, care about you and want you to be happy.  If you are getting grief for wanting to major in the theatre and/or pursue a career in the arts, take a breath and know it’s because that person cares about you. They don’t want you to be a “starving artist.”  The truth, however, is that a theatre degree teaches you many useful skills in many arenas, that combine for a receipe for success. Below are a few articles that discuss this in depth.  The first from our friend & fellow stage manager @brokegirlrich

http://brokegirlrich.com/why-a-theatre-degree-is-not-useless/

https://changeagent.wordpress.com/2013/09/13/9-ways-a-theatre-degree-trumps-a-business-degree/

https://www.theproducersperspective.com/my_weblog/2013/09/9-ways-a-theatre-degree-trumps-a-business-degree.html

https://theatreanddance.appstate.edu/students/prospective-students/25-life-skills-learned-theatre

And as a stage manager, our skills are even more welcome across many industries and are transferable to a wide variety of non-theatre jobs.  You will have MANY opportunities to work both in and outside of the theatre as a stage manager!  There are event managers, party planners, office managers, project managers, and many more.  I know many great stage managers who have gone on to successful careers outside of the theatare in event production, feature animation, directing, building their own small business, and as managers of various types in government, theme parks, cruise ships, etc…

Every business needs an organized person, who has good people skills and can manage schedules, people, supplies, balance time and resources all while maintaining a positive attitude and keeping morale high.  Your theatre degree may not get you an interview as an investment banker or doctor and you may have to revamp your resume a bit, but your skills as a stage manager will lead to success in any industry you chose to pursue.

[fpugreenlight]

The Genesis of Volume 1

The Green Light was a bit of a mystery when I joined. 

In the fall of 2018, Taylor Benton, then-product editor and current editor-in-chief, approached me with the invitation to join a reading board for FPU’s student-run literary journal. I didn’t even know what a literary journal was at the time, much less The Green Light. Intrigued to learn more about this anomaly, I agreed.    

I have worked on The Green Light every year since and have become rather intimate with the inner workings of the journal. Yet one thing has remained a mystery throughout these years: the first volume. 

When I updated the website this year, The Green Light faculty advisor Dr. Daniel Larson provided me with PDF copies of the previous volumes—except for Volume 1. The Green Light had started before Dan was at FPU, when it had been overseen by Dr. Adam Schrag, who now works at the University of Minnesota. It was unlikely that Adam would have a PDF copy of Volume 1 that I could upload to the website.   

I was discontented knowing that we not only had an incomplete set of volumes, but also that we were missing the original volume—the one that started it all. I had never even seen the first volume, nor had any of my fellow editors. Fortunately, I got in contact with one of the co-founders of The Green Light: Laurel Samuelson, who told me that Hiebert Library had a copy of the first volume in the archives. I retrieved the sole copy of Volume 1 and scanned it into a PDF. 

Samuelson also connected me with the other co-founder Eleanor-Prudence Nielsen, and I interviewed them regarding the beginnings of The Green Light and the production of the first volume. 

“I happened to be eating lunch with Elle [Eleanor-Prudence] when Dr. Adam Schrag (now at the University of Minnesota) approached us about submitting a proposal. Adam was also the faculty advisor for The Syrinx at the time, so he was already a huge support for student voices and knew what the publishing process entailed. Having heard a rumor about Elle’s plans for the journal, Adam took the initiative to start advising the project and roped me in since I also happened to be at the table. . . . Thus, Elle and I became the co-founders and co-editors of the journal,” Samuelson wrote. 

Nielsen and Samuelson started The Green Light with hopes of creating a lasting space for the FPU community to test the waters of publication. “Apparently FPU had had a few other literary journals in the past, but they had petered out. This time around, we hoped the publication would gain traction as a valuable space for community expression which could be sustained by the students who came after us,” Samuelson stated. 

The iconic name of the journal perfectly matched the spirit of its founding. “We mulled over so many different ideas . . . but The Green Light really stuck,” Nielsen wrote. “Many of us, at the time, and most of us probably still, wanted at least some kind of career in or around writing, creative writing. And I couldn’t help but get The Great Gatsby out of my head. In The Great Gatsby the green light across the bay represents desire, it represents a want so proud it hurts. I suggested it because of that reason. I want to be a successful writer so bad it hurts,” Nielsen wrote. Samuelson added: “When we were coming up with a name we settled on “green light” because 1) it was a highly accessible literary reference and 2) it’s a broadly recognized sign for ‘go!’ which was the entire point of the project. We were hoping that the accessibility of The Green Light would encourage artists from the entire community to share their work, especially those who felt discouraged or excluded from literary participation by their field or experience.” 

The Green Light began as a small project published through The Syrinx. Samuelson stated that “for all intents and purposes it was a literary free-for-all.” Nielsen and Samuelson garnered interest in the journal through flyers posted around campus, advertisements on The Back Page of The Syrinx and word-of-mouth. Soon various authors—including Nielsen and Samuelson themselves—began sending submissions to The Green Light.

The next step was devising a method to choose which submissions would be published. Nielsen explained that she and Samuelson hoped to create a way “to whittle submissions down to publications in a way that felt fair and still gave Laurel and I a chance to see our work published.” They decided to assemble an anonymous reading board: “A panel of faculty and students read each work without getting to know who wrote each piece. Then, with their judgements, we curated the selected pieces,” Nielson explained. The review board turned out to work too well. Samuelson noted: “At the time the selection board was not very balanced. We got a little too worried about wanting to be taken seriously and while there were two students represented, only one of them was not at all related to English or the Humanities. The rest of the board was associated with the English department, which may be why the selection process was actually very harsh for that first issue . . . I feel a bit like we failed the audience we were trying to reach.”

They then set to work creating the final product. “Formatting was a nightmare and took a very long time, especially since at that point neither one of us had used InDesign before,” Samuelson wrote. Nielsen mirrored this sentiment: “I remember sitting up really late one night, Laurel in the basement of my dorm room on the computer doing InDesign edits, and formatting for hours.”  

When the final product was printed, Nielsen and Samuelson hustled to disperse the first volume to the FPU community. Samuelson wrote: “We did not have a very formal distribution process, so we just sort of handed the journals out to all the people who had submitted as well as the selection board and then scattered the rest about campus with the newsstands. . . .”

Samuelson reflected on the aftermath of the creation of the first volume: 

“We had talked about a sort of publication event, but we were so dead by the end of it that we couldn’t plan anything. It so happens that 2015-16 was also an exceptionally difficult year for many in the FPU community, so even though we were happy to have the journal finished it was sadly anticlimactic and overshadowed by its circumstances. I think what I felt was a strange mix of disbelief, sorrow and peace. That’s a strange way to feel when viewing the fruit of your (extensive, untrained) labor, but it was the only way I really could feel about it. That journal was really, really difficult to put together—and it seemed almost more difficult to get anyone to pay attention to it who wasn’t already obliged to do so by association. The end product felt less like a huge institutional triumph and more like the premature birth of a quiet, malnourished infant. The labor was hard and I was pretty depressed afterward, but the product was also unbelievably touching and precious.

The first volume ends with a short story by Quaid Ens that I thought was really beautiful. It’s called ‘The Steadfast Green Army Man,’ and it narrates the rejection of a freshman who has to decide to forgive the young woman who wreaked havoc on his heart even as she lives on in ignorance of what she has done to him. I sort of felt that same way about the journal. It was actually pretty hard to say yes to it again after the first year, but it got easier as we gained more support.

This publication was really hard to build. We had a lot of support and have been blessed by the many talented students who have not only sustained but expanded its purpose, but the network of empathy The Green Light creates was and is hard-won; but it was hard won for the sake of loving its community. I hope FPU will reciprocate by continuing to support and contribute to the journal. The purpose of The Green Light is to continually invite the reader to feel a right to artistry and, further, to act upon it. The space has been maintained, so I hope FPU’s community will continue to answer the call, to follow the sign and to give its members permission to begin.” 

In a different sentiment, Nielsen reflected: “Overall the first edition was a wonderful experience and if I’m being honest it makes me really sad that I haven't been able to be part of it since. I'm glad to hear it's still going.” 

The Green Light is coming up on its fifth rotation of publication and has grown significantly since its conception in the autumn of 2015. Though the look and feel of the journal morphs each year, one unifying thread remains constant: the celebration of artists in our community.   Kassandra Klein Communications Editor

[vex-bittys]

No Lips to Seal: An Underfell Story

Contains: SFW, no content warnings

Some say that it is violence shrouding Underfell in darkness; others say it is secrets, buried more deeply even than the monsters in their underground prison of earth, stone, and ancient magic. In this world it’s kill or be killed, and the best way to survive is to keep a whole deck of aces up your sleeve. This isn’t a story about having aces in spades, however. This is the story of a joker and a knave.

Sans had worried about Papyrus’ future from the moment the babybones had tumbled out of his incubation tube and bitten him on the ankle. Such ferocity boded well for Papyrus’ future, or it would have if Sans didn’t know his little brother at all. Despite his savage antics, Papyrus had a caring and merciful soul, and in Underfell, that made him just as big of a target as his older brother.

Sans possessed only a single hit point. This, combined with his equally singular attack and defense, meant easy experience for any monster who didn’t know better. Dragging a babybones along in his foraging made it a two-for-one deal. How Sans managed to survive the frequent attacks remained the Underground’s best kept secret. Sans did have a stat a bit higher than the loneliest number, a stat that couldn’t be viewed by Checking him: his LV. In this world, Sans wasn’t about to allow himself or his brother to be killed.

Sans honed his skills, practicing dodging and overwhelming opponents with a barrage of attacks. He perfected blue magic, developed elaborate bone attacks, and even had one of his teeth capped in gold to give the illusion of toughness. Eventually, he and his younger brother had settled in Snowdin.

The small town of Snowdin lacked the dense population of the capitol. The few residents who fought for experienced simply weren’t interested in the meager pickings from a puny skeleton monster and his babybones brother. The local guards were willing to overlook Sans and Papyrus entirely as long as Sans periodically threw them a literal bone. In the Fell, you accepted peace and safety for as long as you could hold onto it, but nothing lasts forever.

As Papyrus matured, it became painfully obvious that he would be the opposite of his older brother in every way. His tall, lanky stature made his brother look even more stout, and his penchant for high-heeled boots only accentuated the difference further. Papyrus lacked Sans’ single-minded disregard for any lives but theirs; his soul burned with empathy. His mind sought to see the good in others, a pursuit that Sans had long since given up on.

The most important difference, the one thing that changed everything, involved Papyrus’ stats. Everyone who knew the gold-toothed skeleton assumed that his younger brother would have similarly sub-par attack, defense, and hit points. Even Sans hadn’t expected Papyrus to blossom into such a powerful monster. Unfortunately, a well-endowed monster represented a life-changing wealth of experience, and that meant Sans and his brother were no longer safe in Snowdin.

It happened on a sunny afternoon, not that the sun ever really penetrated the thick canopy of trees where Papyrus practiced magic attacks with Sans and occasionally designed elaborate puzzles. That afternoon, Papyrus bounced excitedly as he eagerly showed Sans the system of spikes and pressure pads he’d set up. He was explaining the solution to Sans, who, though quite clever, feigned bafflement to please his brother when the dog monster attacked.

Doggo, a Guardsdog and regular at Grillby’s, landed only a single blow, claws tearing deeply into bone over Papyrus’ left eye. He didn’t get a chance to press the attack against the shocked teenager; Sans moved like lightning, pinning the mongrel to a nearby tree with a bone attack before summoning a pair of dragon-skull Gaster Blasters to end his worthless life. The Blasters opened their mouths in unison, jaws unhinging as they gathered energy.

Ping!

Papyrus had only perfected one bit of battle magic, and he used it now to turn his own brother’s soul blue. The dragon skulls froze in stasis, magic swirling in their gaping, unmoving maws. Doggo, sensing a reprieve, struggled against the bone that had punctured his shoulder and held him to the tree. Sans’ attacks were efficient and accurate- they had to be- and left his opponent with no chance for escape. Red snarled, fighting his brother’s magical immobilization

.“Papyrus!” he snapped.

“Sans, I’m sorry. Please don’t kill him. I’m sure he’s learned his lesson!” Papyrus pleaded for Doggo’s life even as he clutched his damaged socket, blood seeping between his fingers. Doggo nodded his enthusiastic agreement to Papyrus’ statement.

“Fine, just let go of my soul, Papyrus.” Sans’ red eyelights never left Doggo’s claws, dripping his brother’s blood onto the previously pristine snow.

“Promise me, Sans,” pressed the lanky skeleton. He knew his brother too well.

“I promise not to kill him,” growled Sans. As soon Papyrus released his soul, one of the Gaster Blasters dissipated with a whoosh. The other Blaster, however, spewed a beam of concentrated energy squarely into Doggo’s eyes.

“Sans!” Papyrus shouted in reproach as Sans dismissed his bone attack. Doggo collapsed at the base of the tree, clutching his face and howling in agony. Sans was already walking away, discarding the would-be murderer like so much human anime.

“C’mon Paps. I need to take a look at those scratches. The mangy bastard will live.” He added the word probably under his breath. Sans truly didn’t care either way, but his younger brother would be traumatized if he saw his assailant die.

Subdued, Papyrus followed Sans home. After inspecting the wound, Sans reassured his brother that his eyesight would be unaffected, but he would have a pretty intimidating scar over much of the left side of face. Sans had little hope that the scarring would discourage future attacks; the potential experience from a powerful monster was worth the risk to many who were trying to get ahead in the Fell. How long could Sans keep his brother safe? How long before he lost the only thing that mattered to him?

That night over a hot dinner of Papyrus’ lasagna and chilly silence, Sans concocted his most ambitious plan ever, a plan to construct a facade that would encompass their entire lives. Their new fabricated identities would be their armor against a dangerous world. Maybe the illusion of kill or be killed would suffice.

Sans set his plan in motion the next day while Papyrus stayed home to recuperate from his injuries. The first step? Approaching the Captain of the Royal Guard, Undyne, and convincing the savage fish monster to accept Papyrus into the Guard without testing him. Despite his high stats, Papyrus had failed to master even basic battle magic; turning a soul blue had been his one and only success.

The moment Sans stepped forward to speak to Undyne, he could feel her Checking him. The Captain had the audacity to laugh raucously at his meager stats before she outright insulted him.

“Whaddaya want, weakling?” she snapped, her one good eye constantly roving the ranks of the Guard. They feared her enough to behave, even behind her back. That’s why none of them even dared to gasp in shock when Sans challenged her to a fight.

She choked on laughter, doubled over, barely able to squawk a disbelieving “What?” before Sans continued, unfazed, tone icy.

“My brother wants to be Captain of the Royal Guard in Snowdin. He’s tired of the mutts running amok or lazing about, but he’s not interested in serving under a commander who’s all reputation and no substance. He wants me to see if you’re worth his time.”

Undyne glared daggers at the diminutive skeleton monster. “I guess your brother wants to be an only child.” On the last words, she lunged at Sans, summoning her spear in mid air and thrusting where Sans’ body had been a mere moment earlier. Undyne followed each of his movements with a stab of her weapon, trying and failing to anticipate his next dodge.

Screeching with frustration, the Captain of the Royal Guard increased her speed and redoubled her efforts to impale the puny being that mocked her. After a particularly skillful dodge, Sans summoned a pair of bones, driving them into the ground in a cross shape and trapping the pole arm beneath them. With a smug grin, he materialized a pair of Gaster Blasters. They awaited the command to gather magic, but Sans hoped that his performance had been adequate to satisfy Undyne.

Undyne glared. How had this miserable single hit point monster bested her? “You’re not bad, shrimp. Bring you brother to me tomorrow. I’d like to meet the monster cold enough to risk his brother for a Royal Guard position.”

Sans nodded, not trusting himself to speak. He’d exhausted every bit of energy within him for this victory; he couldn’t spoil it by fainting. No, he teleported home to do that, crashing face down on the bed into deep unconsciousness. He’d survived. He’d succeeded. Now he just had to get Papyrus to agree to his grand scheme. Later though. Now, he needed a nap.

“Are you sure this will work, Sans?” Papyrus asked for the umpteenth time that day, pawing nervously at the outfit Sans had designed for him. His brother had insisted he wear his favorite red boots, but the rest of the clothes were atrocious. A tattered shirt with armored shoulder pads left his spine exposed, and the low slung leather pants held up by the gaudy silver skull belt buckle didn’t even cover the crests of his hipbones. He thought the gloves and tattered scarf/cape looked just plain ridiculous. He didn’t want the other monsters to make fun of him!

When they arrived at the castle, the entire Royal Guard stood at attention to greet them. Those who had not been present for yesterday’s battle had been filled in by their fellow Guards, and by the time the story had fully circulated, it was well embellished. No one dared to mock the tall skeleton, imposing in his black and red attire, for fear of swift and fatal retribution.

Undyne strode haughtily forward to face the newcomer, and the heels of his boots lent Papyrus just enough height to be taller than her. Sans kept his face impassive, staying behind Papyrus at all times, giving the impression of a servile attitude. 

“So you’re the great and terrible Papyrus?” Undyne’s voice held a mocking undertone, meant to challenge the tall skeleton with his angular features and gruesome scar.

“Obviously,” Papyrus shot back coolly. Just like they’d practiced.

“And what exactly do you propose to do as Captain of Snowdin’s Guards?” Undyne disliked the cold immensely and without her heavy-handed guidance, the dogs of the Guard had become something of a running joke.

“Patrol for humans and set puzzles and traps to befuddle and capture them. And no more rowdy parties, chugging junk food at that disgusting bar!” Papyrus improvised in the disdainful growl that he and Sans had agreed on. Sans would’ve patted his brother’s back, but that would break character.

“What makes you think there will ever be a human in Snowdin?” Much of Undyne’s reputation centered around her capture of a fallen human.

“What makes you think there won’t be?” 

Silence fell in the wake of the insubordinate answer. Undyne’s booming laughter shattered it. She clapped a firm hand on Papyrus’ shoulder. “The position is yours!”

They’d done it!

Undyne’s sarcastic moniker stuck, and stories of the Great and Terrible Papyrus spread like wildfire, with a bit of help from some well-placed lies, courtesy of Sans. The new Captain appointed his weak, servile brother as a sentry, and rumor had it that he had done so to keep the smaller skeleton under his thumb. Doggo thanked his lucky stars that Papyrus had allowed Sans to punish him. His eyesight never fully recovered, but Doggo somehow convinced himself that Papyrus had intended to kill him when Sans intervened.

The ruse worked like a charm. For his part, Sans referred to his little brother as Boss and even wore a spiked red collar he’d found at the dump, pretending Papyrus had given it to him. The Great and Terrible Papyrus spent much of his time building traps and recalibrating his puzzles in the dense Snowdin forests. Nobody bothered him, fearing his wrath. Papyrus had an imperious nature and a scathing tongue, and no monster dared rile him enough to risk an attack.

As for Sans, nobody bothered him either. His laughable stats and his brother’s protection weren’t worth the measly experience or waste of time killing him. When they retired to their home at night, whispers ensued about what they must be up to behind the locked doors and blacked out windows. 

Nobody could ever have guessed that the Great and Terrible Papyrus made lasagna for his brother most nights. They’d watch the latest MTT TV specials, and then Papyrus would don his bunny pajamas and Sans would read him Fluffy Bunny stories until he dozed off in his racecar bed.The skeleton brothers of Snowdin became Underfell’s best kept secret. 

The pair had found a way to avoid killing or being killed. Most importantly, every night when Papyrus fell asleep, Sans would Check his stats. They remained the same, impressively high, except for one- the statistic that couldn’t be checked, Papyrus’ LV. It mirrored Sans’ own stats.

One.

INDEX

[vileart]

The Delights of Dramaturgy: Rosalind Blessed @ Edfringe 2017

Rosalind Blessed 

presents: 

The Delights of Dogs and the Problems of People

Space Triplex Studios I 4 – 26 August

The Delights of Dogs and the Problems of People is a harrowing and darkly funny exploration of the path to domestic abuse, exposing the delicacy of relationship dynamics and blame. Drawing from personal experience, it is written by and starring Rosalind Blessed in her first full length play. Directed by Caroline Devlin. 

The play sharply observes the torture of human-to-human love and the unconditional nature of dog-to-human love and loyalty. Taking both visceral and comedic approaches to storytelling, the play tackles the real inner workings of a rotting relationship, the obsessiveness of love and the horror it can inflict on two people who think they just want to be together. 

1. The inspiration for this performance was to share some of my personal experiences from unhealthy and abusive relationships, to act as a warning. I wanted to say that it is very easy to find yourself in a dangerous situation – that you are not stupid and that you are not alone. I didn’t want to portray victim and villain but vulnerable and faulted humans. 

I also wanted to advocate for rescue dogs, particularly the Staffordshire Bull Terrier, who are very often treated cruelly by humans and demonised in the press. The cages of my local rescue centre are filled with Staffs. The empathy I have received from them over the years has helped me through my darkest human times. I am not overstating to say the love of my dogs has been a literal life saver.

2. I hadn’t realised quite how much dialogue would be opened up by this piece until it’s run at The Courtyard Theatre. After each performance people would feel empowered to tell me their life experiences afterwards. The problems are so much more widespread than I had realised. 

I suppose we tend to keep these experiences of abuse to ourselves as there is such a feeling of residual shame. The beauty of the level of immersion in watching an intimate play like this is that it unlocked that isolation. Watching an honest piece clearly made the audience feel less alone and able to talk. 

Some found it so close to home that they found it difficult to sit through, which made me sad but afterwards the general feeling was that if punches had been pulled that it would be doing all of us who had experienced these things a disservice. 

It also proved useful for a lovely woman in the legal system who works with abusers. There is some possibility of taking the show to prisons – the idea being if abusers could see their actions at a remove that they might be able to get past their denial.

3. To be honest the approach to the creation of the play was a great deal of trial and error. It was developed over a few years working with several very talented actors. 

It started as an idea for a 5 minute short play about a woman eulogising next to a small grave – the assumption being she is talking about her child, then it is revealed she is talking about her dog. This then became extended into a one act play about the sadness of a relationship ending which finally grew to the darker full length piece it is now. 

I had several small runs in London which I directed myself and I learned a huge amount from my actors and audience about what was reaching out. 

When the play reached it’s final form I stepped down as director and played the female part myself as the subject matter was so incredibly close to me. I was always fluid to suggestions from my casts to change and improve as we worked. I’m sure that will happen again over this rehearsal period….it’s never finished!

4. All my productions use humour to deal with pretty grim subject matter. I think you have a better chance of reaching a person if you allow them to have a giggle at the mistakes that we make. I certainly tend to switch off a bit if things are too earnest so I attempt to maintain an irreverent tone in all. 

There is quite a bit of direct audience connection / participation in my work. In the past the audience have been fed and even given vodka jelly shots! In this slightly more serious piece the audience are still directly addressed and one of the actors actually becomes the dog so you can pet him! 

This inclusion hopefully makes the audience at times feel like friend and confidant and sometimes guilty voyeur.

5. I hope the audience will experience laughter, sadness, horror and anger but ultimately leave uplifted. I hope they will feel a sense of camaraderie with both the actors and fellow audience members as they go on this challenging journey.

6. I think honesty is the best policy. I think if you are as honest as you can be with your production the more likely the audience will trust you with their response. I also hope that the humour and quirky structure and approach will keep everyone engaged as we ask them to look at some pretty challenging stuff.  

The stark honesty of Blessed’s writing creates material that is both funny and discomforting, as the play flits between the present and the past. In this two-hander, one of the actors doubles as the dog, juxtaposing the human-to-human and human-to-dog relationships and ultimately highlighting the sinister potential of human behaviour.  

"I have experienced several abusive relationships and found it difficult to forgive myself for allowing that to happen. Exploring the two characters in this story enabled me to better understand how easy it is for things to go badly wrong for both parties - to slip into abuser and abused without even realising it. It is a widespread problem and I wanted people to know that they are not weak or stupid or wrong or evil. And most of all that they are not alone.”

Rosalind Blessed.

 “The play of the year for me was The Delights of Dogs and the Problems of People – funny, moving, insightful, and ridiculously well acted. In an orderly world it would run for a 100 years. Rosalind Blessed and Duncan Wilkins will break your heart whilst making you think, which is the hallmark of a great drama. Definitely the play to see at this year’s festival fringe.”

Andrew O’Hagan, New York Times

Space Triples Studios

19 Hill Place EH8 9DP

Box office 0131 510 2395

Previews Aug 4-5 £6

August 7-12 4pm; 14-19 12.30pm; 21-26 4pm

All other shows £10/£8

75 minutes

Rosalind Blessed

Blessed trained at the Central School of Speech and Drama. Roles include, Henrietta in The Hollow (Mill at Sonning), Gonoril in King Lear (Guildford Shakespeare) with her father in the title role, Emilia in Othello, Wife of Bath in Canterbury Tales, (Southwark Playhouse) Tamora in Titus Andronicus (Arcola) Molly Brown in Iceburg Right Ahead (The Gatehouse), Sylvia Plath in Letters Home (New End Theatre) 

As a writer Rosalind has written with many sketch shows but most notably many years of Fat Hammond’s Bango Lounge, which went to the fringe twice. She co-wrote Wedded Bliss and Wedded Bliss – Through Therapy (Lion and Unicorn). She wrote two one act plays Smothy and Lottie (The Etcetera Theatre). The Delights of Dogs and The Problems of People is her first full length play. She is working on the next, a play examining mental health issues called Just Sick.

Duncan Wilkins

Duncan trained at The Royal Central School of Speech and Drama and the Moscow Arts Theatre. Theatre credits include: Romeo & Juliet (MokitaGrit, The Chocolate Factory), The Return of the Exile (The Yard Theatre; Athinais Theatre, Athens), La Dispute (Owl Farm Theatre, Edinburgh), A Life in Theatre (Hiraeth Productions, Upstairs at the Gatehouse), The Government Inspector (Gravel, The Tabard Theatre), A Dreamland Sideshow Christmas (Tom Thumb Theatre), SUN (National Art Service, St Leonard's Church, Shoreditch).

Caroline Devlin, Director

Trained: Drama Centre London, has been a professional actress for 21 years and latterly a Director also. For The Guildford Shakespeare Company: A Winters Tale, (2016) King Lear (2015), Othello (2014), Macbeth (2013), The Merry Wives of Windsor (The Public Reviews pick of 2012) and Richard III in (2012), Hamlet in (2011). For Creation Theatre Company, Oxford: Jekyll and Hyde (2012), Kean Productions: In Extremis (2012) and R-3 with her own company, Centre Five Productions, (Off West End Award nomination for Best Director). Caroline is excited to be returning to Edinburgh, her last production being Eunuchs in my Wardrobe written by and starring Silas Carson in 2011. Caroline is currently writing her third play, which will be produced by the Guildford Shakespeare Company in Autumn 2017.

from the vileblog http://ift.tt/2qTbEDg

[justincaseitmatters]

Rewind: Uncommon Sense: Buck Brannaman on Horses, Movies and Life

Even though horse trainer Dan M. “Buck” Brannaman is as skilled with his tongue as he is in the saddle, Cindy Meehl’s new documentary on him Buck implies there is still more under his cowboy hat than he initially lets on.

Brannaman is a master of natural horsemanship, where a rider trains a horse, not by breaking it, but by looking at the relationship the way the animal sees it. To a casual observer, it’s almost as if Brannaman can telepathically communicate and command the horse. Nicholas Evans consulted with Brannaman while he was writing The Horse Whisperer, and director-actor Robert Redford relied on the horseman’s skills when he made the film adaptation of the book.  

From listening to him talk about the discipline he practices, however, it quickly becomes obvious that his equestrian magic comes more from pragmatism than potions. The techniques he and his predecessors Ray Hunt and Tom Dorrance use are based in simple logic: If you can think like the horse, it’s a lot easier to interact with it.

This technique also requires compassion on the part of the rider and earning the horse’s trust. As Buck demonstrates, Brannaman’s gift for empathy in some ways belies his difficult upbringing. As a youngster, he and his brother were rodeo stars, but their father used savage beatings as part of the boys training. Eventually, the lads had to be moved to a loving foster home, and as the film documents, both grew up to be stable adults with solid families of their own.

From listening to Brannaman on a phone call from Oklahoma City, it’s quickly obvious that as good as the film is, Buck only captures a portion of the man’s life and philosophy. While he speaks quietly, he’s certainly got a lot to say about how horses can be the mirror images of the people they encounter.

You’ve not a stranger to documentaries. You’ve made a series of training videos, so what was it like to make a film with somebody else in charge?

Well, really it was easy for me because I had told Cindy from the beginning that if she was going to do this, she needed to understand that I wasn’t going to change anything about my days, that my loyalty had to go with people that go to my clinics.

So in that, she had to be pretty clever in how she filmed it because I said, “I’m not going to position a certain way. I’m not going to be standing somewhere you want me to stand and do anything. I’m going to go about my day, and you’re going to have to anticipate when something kind of neat is going to happen with the horse. You’re going to have to plan ahead and be there.”

With horses, when something kind of neat does happen, it doesn’t happen again. That moment’s gone, and if you missed it, and you weren’t there, it’s gone forever. So it was quite a challenge for her, but the longer she went, the better she got at. When pretty soon, once in a while, I’d look over at her because I knew something kind of neat just happened with the horse or with somebody else. I’d look over at her, and she’d be kind of “thumbs up” and she’d be saying, “I got it.”

That reminds me of working with children because my nephews were little, my brother would try to videotape the moment, and the kids would immediately clam up. Is it the same way with horses?

The horse is indifferent to that thing other than if you’re around horses that haven’t been handled a bunch, once a fellow with a camera walks into an arena, it looks pretty odd to a horse. You have to figure if a horse survives by being really attentive and keen on those things and noticing things that might turn into a threat.

They’re used to seeing a human in one form, and then they see a human with this thing on top of his shoulder, every once in a while, a horse will give it a long look.

When Nicholas Evans, the author of The Horse Whisperer, or others describe you, they almost make you sound like a Zen master, but hearing your own voice describing your training techniques, it seems like a lot of what you’ve done is more based on practicality or noticing something that’s obvious.

It really is. A lot of people used the term “common sense approach.” And that doesn’t sound too bad to me. But it’s interesting that they call it common sense, and that would infer that it happens all the time.

I don’t know what it is, but it’s logical. It is a sensible approach to working with horses, and obviously it’s about practice. It’s about how much time you spend at it and how much devotion you have for it.

With the techniques that you and fellow natural horsemanship trainers Ray Hunt and Tom Dorrance have developed, don’t they demand more of a person in the relationship with the horse?

They do, and really, that’s in the essence of this. You realize if you’ve been at this awhile the changes you have to make within yourself to get to the point to where you are appealing to horses, to where you’re not threatening to them and they accept you, and where they even prefer to be around you. There are a lot of changes you have to make within yourself to get to that point. And that’s what people are looking for when they go to my clinics. And it was interesting to me how our goal from the very beginning from this documentary was that it would have an appeal and that it would touch the hearts of people that are from town, that don’t have horses or have no background in livestock that they would still get the point to what this is all about.

And that was the challenge, and Cindy did a great job. It’s been really well-received in urban areas.

You’re talking to someone who writes computer instructions for a living. When I heard you describe equestrian terms to newcomers, I said, “This guy’s going to put me out of a job.” You did such a fine job explaining these concepts for people who are new to animals.

It is true. There are so many parallels in relationships that people did get the point in this. Some would think, “I could have a different point of view about my kids.” Maybe someone else would think it would apply to their wife or their husband or their aunt or their dad or their mom. It’s interesting how there’s a message for everybody if it’s important to you.

Not everybody is searching to improve on themselves, but it’s surprising to me how many people are, actually.

One particularly haunting bit from the film is the old footage of a horse being broken.

Yeah.

And me being a lily-livered city person, it kind of shocked me. It struck me that wouldn’t the techniques that you, Tom Dorrance or Ray Hunt used result in better longevity for a horse?

Oh, absolutely. You know there was a time, it sounds funny, but years ago when Tom Dorrance was just getting on to these things that he taught all of us, that there were people who thought that he literally hypnotized horses, that he was practicing some sort of witchcraft. It was that out there to people.

And isn’t it crazy that all he was advocating was just finding a way to work with a horse as if you got to make up the rules to help him understand? That in a nutshell was really what motivated him. And it was sort of the foundation for his life’s study: find a way to get the horse to cooperate with you and work with you and not be troubled.

And yet he was so remarkable with what he could accomplish because instead of kind of forcing his will on the horse and trying to make it happen, he’d fix it up so that his idea would become the horse’s. Things do look easy then, but that isn’t any different with people. If you’re wanting someone to do a certain thing, and you can shape it up to where it’s them thinking it was your idea—that they think they’ve come up with this stroke of genius—and you’ve shaped it up that way, they all you have to do is tell them, “You’ve really got it going on. I wish I had thought of that.”

And yet, it’s the direction you wanted him to go to begin with while everybody wins.

In the film, it’s impressive how open you are about the difficulties you and your brother had as children. Was it tough in both your book The Faraway Horses and in this documentary to talk about this stuff?

You know, I think it was harder in the book because in that I was not a trained author by any stretch, so I had to rewrite the book quite a few times before I was satisfied with it. It seemed like every time I’d go over it, through all these years of working with horses, I’ve learned how to live in the moment. As I would be rewriting my book, that would sort of require me to immerse myself in the past again and tell the story and put myself there. I’d get done with the rewrite, and for two or three days, I’d be kind of melancholy, just kind of bummed out, you know.

And then I’d shake it off and get on with my life. So, every time the publisher would say, “We need to know you,” I’d think, “Oh, no.” So I was pretty relieved when it was all done.

But I’ve found that over the years in these clinics that people will come the first day of the clinic, and they’re intimidated because they know who I am, and I’ve been around a long time. And they think because you have something of a reputation, that you’re not approachable, that you’re something other than what you are.

I’ve found that being able to share with people my vulnerabilities and my imperfect life and my personal experiences seemed to lead them to feel that I obviously trusted them to share something very intimate about myself. And that really opens people up to where they’re open to me.

Well then the teacher-student relationship is off and running, so I can get something done. In small doses over the years, I’ve done quite a bit of stuff like that with folks, so it wasn’t so unnatural for me to do it once we started doing this documentary.

Buck is coming out at an intriguing time because bullying and its consequences are coming back into the headlines again even though the phenomenon never really went away.

Right. Believe me, I got bullied when I was a kid. I don’t often tell people this but—you’d probably find it hard to believe because I talk for a living—I stuttered so horribly when I was a little fellow in school. So it was especially surreal when I saw that movie with my family the other day, The King’s Speech. Hey, man, I feel you brother.

It was a hard thing for me to work through. I know now looking back, you could probably attribute most of it to the stressful environment I was living in that caused me to stutter. Every night, I would say words over and over again, thousands of times. I’d usually take two words a night. And I’d fall asleep with those two words until I could say them. It seemed once I had done that, then I kind of owned those two words. I could say them and then nothing else. Over a period of a few hundred nights, my vocabulary started to grow in terms of words that I could get out without stammering and stuttering.

But it was tough. I got made fun of, and it wasn’t cool.

Wow! But with stammering, there’s no relationship with intelligence because Thomas Jefferson, for example, stammered.

Well, it’s interesting you’d say that because back in the day, when they first decided that I couldn’t speak, they would put me in, for the lack of a better term, like a special ed class. And then their entire therapy would be that they’d just plop me down to the table, and we’d all have to read out of a book aloud.

Well, crap. I already knew I couldn’t speak. And then reading to everybody made it worse. And then being in front of other kids reading and stuttering made it worse yet. And then the teacher would just look at me and shake her head. Here I was a third or fourth grader, and even then I was thinking, this is stupid. This isn’t working. I was a bright kid. I got good grades.

And the some of the other kids, we’d been put together, and let’s just say they weren’t so bright. So then it really was demeaning to me because I thought, you know what? They’re not helping me at all. That’s when I just starting practicing on my own.

I actually thought the scenes in Buck where the violent horse was brought in were really helpful. As a viewer and as a film critic, it seems as if so much of what you is easy. It helped to see two things: 1. Owning an animal is a huge responsibility. 2. What you do takes serious discipline, so not just anybody can pull it off.

I’m pleased to hear you say that, and I’ll tell you why. It’s because in this: I had hoped by this piece being in there on this horse—granted, that situation with that horse is sort of an anomaly. That’s one in 50,000 horses. That started out with brain damage. So he was already going to be mentally handicapped, no matter what happened.

And then if you were going to write a book on all the wrong things you could do to ruin a horse, well, that had already pretty much been done. It was a perfect storm for making the horse the way he was. But I’d hoped that through this everybody, be they horse people or people from the city, would get the message and the point that with this, whether you’re going to have horses or dogs or children, comes great responsibility, and not just to give them food and shelter. But to teach them right from wrong and to guide them and to show them the right thing from the very beginning, so that you’re sending them on the course to success through their whole life.

Thank goodness, people have gotten the big picture to this. And interestingly enough, another fellow who was interviewing me the other day, made a fairly astute point. He said, “You know what I thought?”

He said, “Having seen your foster mom on there, I was looking at that horse thinking, that could have just as easily been you, Buck.” And I thought, “You’re right on, bud.”

Speaking about your foster mom, the film shows that movie stars can come in all shapes and sizes. She’s such a charmer. I’m so glad they put her in.

She's the best. Still, as many times as I've seen it, I can't watch a screening without crying. I just can't. She's such a great person.

It's really professional when you go into a question and answer session after a screening where you've been bawling (laughs).

But I think it takes a real man to admit vulnerabilities.

I think so.

How long did it take you to get Robert Redford to where he could imitate some of the things that you do?

Of course, when you're shooting a film like that, you look at how short all the scenes are by the time it gets cut up into a feature film, you don't have to have long bursts of brilliance. You know what I mean (laughs)?

I doubled for him on some of the harder stuff, and they could shoot it in a way that looked like Redford. But Bob Redford is a real athlete. He's done some really athletic things in his life, so he's a handy guy. And his personality is such that he could really kind of connect with me when I'd be explaining something to him.

There are some actors who may be good in certain character roles. There are some actors who have way too much ego or are too macho and way too full of themselves to adapt to something different. It fit Redford to a "T" because he's not one of those guys. He's not what most folks would expect even though he's so famous, and he's like the big king in that business. But he's a good guy, and he's the kind of guy you'd enjoy spending time with him regardless of if he was famous.

I write computer documentation for a living. One of my biggest challenges is keeping my patience with people because there are still folks out there who aren't comfortable with computers. Is it tough for you when you're dealing with newcomers? I noticed that you try to be good humored around these people.

It is very much the same, you know. You can't approach them the same way because you've said the same thing 100,000 times. You can't approach them like it's their fault. They're there, and they've stepped up and admitted that they need to know more. They've shown the courage to even get out there in front of everybody with their horse. So you have to respect that. Nobody's trying to look inept. They'd all like to look as good as they could.

You always have to remind yourself of that. You have to be open enough with the ones who are trying to get some education. The ones you should be frustrated with, with anyone, would be the ones that are still at home.

Did you once play polo with Prince Charles?

Yeah. Not a serious polo game. When he used to come to West Palm Beach to play, I got to know him a little bit, as much as you're going to get to know a prince. You know how that goes.

You could have been an accounting student. Is that correct?

Yeah, it's funny I went to school for a while. I got good grades. I was a 4.0 student, and my counselor, the advice he gave me was that the best thing I could do when I left his office was dump my books in the garbage and don't look back. He said, "You're at the top of the business school. I find it really weird telling you that, but I know about you. Some folks have told me that we may be the very thing that's holding you back right now." He said, "You've already had all the serious accounting classes already, so you've got that background. You need to move on. You're not going to be an accountant."

So I did. I walked out of his office and dumped my books in the garbage. So in my last quarter, I got all Fs.

[lesterwilliams1]

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The fundamental concepts of Interaction Design Why you should use Design Thinking and why it is more effective than traditional business methods when the goal is innovation and great design in a business environment. Practical Interaction Design methods and tools such as Wire Frame that will empower you to apply Interaction Design at work. Ethnographic and analysis methods, which differ from classical market research, such as focus groups and surveys. By working through a complete innovation project. How to initiate a new working culture based on a user-centric approach, empathy, and playful testing. A great deal of design still takes a top-down approach; specified, or determined in ways that do not involve iterative engagement with clients, customers, or end-users. Early and fast prototyping as well as testing methods that will help you reduce risks and accelerate organizational learning. This is especially important if you are responsible for the introduction of new products and services.

Recommended Background

Interaction Design is an approach that can be applied by anyone who is interested in improving – or inventing – a given product, service, experience, or strategy.

However, this beginner course is specifically designed for Web developers and programmers in mind. Anyone who uses HTML5, CSS, Bootstrap 4 framework, Java, PHP, JavaScript, Nodejs, and other programming languages to create Web Sites – then this course is for you!

You can also take this course if you are:

UX designers, web designers, Industrial designers, service designers, exhibit designers, visual communication designers, and architects. Engineers. Marketing professionals. Executives and senior business leaders. Decision makers in R&D of products, services, systems, and experiences.

Full details Understand the fundamentals of Interaction Design Think like a Designer Create Wire Frames before creating Web Sites Learn the principles of Interaction Desgin This Interaction Design Specialist course is designed for Web Developers and Programmers Any person who create Web Sites using WordPress can benefit from this course This course is also beneficial to individuals who use Java, Javascript, PHP, Bootstrap4, and other programming languages If you know CSS and HTML and need to gain additional skills, then this course is for you This course is not for individuals who are new to the computing industry You must have some prior knowledge of creating basic Web Sites

Full details

Reviews:

“Excellent course. As a web developer, this opens many doors for me to grow, experience, and gain additional skills within the world of interaction design. Thanks Syed for the valuable course.” (Waheed)

“I would not like to see salaries as a headline. A specialist already has an idea of the market. This course cover the basics and fundamental principles of wireframe design.” (Mrinmoy Ganguly)

“Good information on the best approach and tools that can be used in designing or updating websites. Look forward to completing this course and applying it to some of the projects that I will be working on.” (Fred Schafer)

    About Instructor:

ClayDesk E-learning

Welcome! to the Knowledge factory by ClayDesk. My name is Syed Raza, and as the CEO of ClayDesk, I am delighted to provide learning solution to my students. My fellow co-instructors play an important part in building these courses to ensure quality and latest trends in learning – I encourage you to browse through our courses and enroll. 1) We teach with passion and purpose! Every course is delivered with our students in mind. Teaching a combined student population of over 160,000. 2) Our courses will help you gain real world skills and knowledge and change your life today! 3) Our dedication to the teaching profession and teaching online. Udemy has named our instructors as one of its top instructors. ClayDesk creates and distributes high quality technology training content. Our certified team of industry professionals have been training manpower for more than a decade. We aim to teach technology the way it is used in industry and professional world. We have professional team of trainers for technologies ranging from Mobility, Web to Enterprise and Database and Server Administration. Mission Statement- ClayDesk e-learning is dedicated to provide superior e-learning and outsourcing services worldwide.

I am the youngest Instructor present on Udemy Platform and have several years of experience in development environment as programmer. I have been programming since the age of 13. On the other hand, I have expertise and experience in all phases of project life cycle namely analysis, design, coding, testing and implementation phases. I have experience in working with different operating systems, with keen focus on SharePoint development. Also have efficiently managed the team and took care in delivering quality deliverables from my team which proved my managerial and leadership skill. Moreover, I have high web developing skills as a web developer and can make websites using WordPress, Joomla, and Drupal. Additionally, can migrate them from one host to the other. I have worked within the following realms: – Developed script in Python programming language for 3D mapping using raspberry pi and quad-copter – Developed system for processing data in parallel with data collection – Redesigned tracking systems to work with tabular data – Developed tools in Python for vehicle tracking and post-data-collection processing – Data parsing, statistical analysis

Why are 25,000+ students (and counting) enrolled in my courses? 1) As the CEO of ClayDesk, I teach with passion and purpose! Every course is delivered with my students in mind. 2) My courses will help you gain real world skills and knowledge and change your life today! 3) My dedication to the teaching profession and teaching online. Udemy has named me one of its top instructors. ► Try enrolling in a course with me and see for yourself! ◄ _____________________________________________________________________ Want to learn how to become A Professional Web Developer? Would you like to  Boost Your Career? Then Enroll in my Courses Today! You too can be doing this – and so much more! _____________________________________________________________________ About Syed Raza: Syed graduated from University of Wisconsin in 1995 with a BBA in Finance. Subsequently, he obtained an MBA from Concordia University, LLB and DBL degrees from University Law College, and PhD in Management Sciences. Having obtained MCSE (Microsoft Certified Systems Engineer), MCP+I (Microsoft Certified Professional + Internet), and MCT (Microsoft Certified Trainer), Syed has provided training to thousands of students. ClayDesk provides e-Discovery and cloud computing services including technical training to a wide range of clients globally. Business: Syed Raza is an entrepreneur running his own e-learning site along with providing e-discovery and cloud computing consulting and services to a global client base. Syed is a Microsoft Certified Trainer and a Systems Engineer, and his solid finance and m

Instructor Other Courses:

The Complete DevOps Engineer Course 2.0 – Java & Kubernetes The Complete DevOps Engineer Course 2.0 – Java & Kubernetes The Complete DevOps Engineer Course 2.0 – Java & Kubernetes The Complete DevOps Engineer Course 2.0 – Java & Kubernetes The Complete E-Commerce Web Developer Course 5.0 Introduction To Data Analytics Using Microsoft Power BI The Complete E-Commerce Web Developer Course 5.0 The Complete E-Commerce Web Developer Course 5.0 Introduction To Data Analytics Using Microsoft Power BI Get Microsoft Access 2013 Certified (MOS) Exam 77-424 Introduction To Data Analytics Using Microsoft Power BI Introduction To Data Analytics Using Microsoft Power BI …………………………………………………………… ClayDesk E-learning coupons Development course coupon Udemy Development course coupon Web Development course coupon Udemy Web Development course coupon Interaction Design Specialist For Web Developers Interaction Design Specialist For Web Developers course coupon Interaction Design Specialist For Web Developers coupon Syed Ali coupons

The post 89% off #Interaction Design Specialist For Web Developers – $10 appeared first on Udemy Cupón.

from Udemy Cupón http://www.xpresslearn.com/udemy/coupon/89-off-interaction-design-specialist-for-web-developers-10/

from https://xpresslearn.wordpress.com/2017/02/22/89-off-interaction-design-specialist-for-web-developers-10/

[xpresslearn]

89% off #Interaction Design Specialist For Web Developers – $10

Learn how to become an Interaction Design Specialist and boost your career

All Levels,  –   Video: 2 hours Other: 2 mins,  18 lectures 

Average rating 4.6/5 (4.6)

Course requirements:

You need to be tech savvy You need a stable internet connection You should have created Web Site in WordPress or from scratch, and have basic understanding of Web Site design, HTML, and CSS

Course description:

The overall goal of this Interaction Design Specialist for Web Developers course is to help you design better products, services, processes, strategies, spaces, architecture, and experiences. Design Thinking helps you develop practical and innovative solutions for your problems.

The Interaction Design approach has rapidly been adopted by some of the world’s leading brands, such as Apple, Google, Samsung, and GE and the approach is being taught at leading universities around the world, including Stanford and Harvard.

Interaction Design is a human-focused, prototype-driven process for innovation. In this course you will develop a solid understanding of the fundamental concepts of Interaction Design and you will learn how to implement your new found knowledge in your professional work life.

The Benefits – You will learn:

The fundamental concepts of Interaction Design Why you should use Design Thinking and why it is more effective than traditional business methods when the goal is innovation and great design in a business environment. Practical Interaction Design methods and tools such as Wire Frame that will empower you to apply Interaction Design at work. Ethnographic and analysis methods, which differ from classical market research, such as focus groups and surveys. By working through a complete innovation project. How to initiate a new working culture based on a user-centric approach, empathy, and playful testing. A great deal of design still takes a top-down approach; specified, or determined in ways that do not involve iterative engagement with clients, customers, or end-users. Early and fast prototyping as well as testing methods that will help you reduce risks and accelerate organizational learning. This is especially important if you are responsible for the introduction of new products and services.

Recommended Background

Interaction Design is an approach that can be applied by anyone who is interested in improving – or inventing – a given product, service, experience, or strategy.

However, this beginner course is specifically designed for Web developers and programmers in mind. Anyone who uses HTML5, CSS, Bootstrap 4 framework, Java, PHP, JavaScript, Nodejs, and other programming languages to create Web Sites – then this course is for you!

You can also take this course if you are:

UX designers, web designers, Industrial designers, service designers, exhibit designers, visual communication designers, and architects. Engineers. Marketing professionals. Executives and senior business leaders. Decision makers in R&D of products, services, systems, and experiences.

Full details Understand the fundamentals of Interaction Design Think like a Designer Create Wire Frames before creating Web Sites Learn the principles of Interaction Desgin This Interaction Design Specialist course is designed for Web Developers and Programmers Any person who create Web Sites using WordPress can benefit from this course This course is also beneficial to individuals who use Java, Javascript, PHP, Bootstrap4, and other programming languages If you know CSS and HTML and need to gain additional skills, then this course is for you This course is not for individuals who are new to the computing industry You must have some prior knowledge of creating basic Web Sites

Full details

Reviews:

“Excellent course. As a web developer, this opens many doors for me to grow, experience, and gain additional skills within the world of interaction design. Thanks Syed for the valuable course.” (Waheed)

“I would not like to see salaries as a headline. A specialist already has an idea of the market. This course cover the basics and fundamental principles of wireframe design.” (Mrinmoy Ganguly)

“Good information on the best approach and tools that can be used in designing or updating websites. Look forward to completing this course and applying it to some of the projects that I will be working on.” (Fred Schafer)

    About Instructor:

ClayDesk E-learning

Welcome! to the Knowledge factory by ClayDesk. My name is Syed Raza, and as the CEO of ClayDesk, I am delighted to provide learning solution to my students. My fellow co-instructors play an important part in building these courses to ensure quality and latest trends in learning – I encourage you to browse through our courses and enroll. 1) We teach with passion and purpose! Every course is delivered with our students in mind. Teaching a combined student population of over 160,000. 2) Our courses will help you gain real world skills and knowledge and change your life today! 3) Our dedication to the teaching profession and teaching online. Udemy has named our instructors as one of its top instructors. ClayDesk creates and distributes high quality technology training content. Our certified team of industry professionals have been training manpower for more than a decade. We aim to teach technology the way it is used in industry and professional world. We have professional team of trainers for technologies ranging from Mobility, Web to Enterprise and Database and Server Administration. Mission Statement- ClayDesk e-learning is dedicated to provide superior e-learning and outsourcing services worldwide.

I am the youngest Instructor present on Udemy Platform and have several years of experience in development environment as programmer. I have been programming since the age of 13. On the other hand, I have expertise and experience in all phases of project life cycle namely analysis, design, coding, testing and implementation phases. I have experience in working with different operating systems, with keen focus on SharePoint development. Also have efficiently managed the team and took care in delivering quality deliverables from my team which proved my managerial and leadership skill. Moreover, I have high web developing skills as a web developer and can make websites using WordPress, Joomla, and Drupal. Additionally, can migrate them from one host to the other. I have worked within the following realms: – Developed script in Python programming language for 3D mapping using raspberry pi and quad-copter – Developed system for processing data in parallel with data collection – Redesigned tracking systems to work with tabular data – Developed tools in Python for vehicle tracking and post-data-collection processing – Data parsing, statistical analysis

Why are 25,000+ students (and counting) enrolled in my courses? 1) As the CEO of ClayDesk, I teach with passion and purpose! Every course is delivered with my students in mind. 2) My courses will help you gain real world skills and knowledge and change your life today! 3) My dedication to the teaching profession and teaching online. Udemy has named me one of its top instructors. ► Try enrolling in a course with me and see for yourself! ◄ _____________________________________________________________________ Want to learn how to become A Professional Web Developer? Would you like to  Boost Your Career? Then Enroll in my Courses Today! You too can be doing this – and so much more! _____________________________________________________________________ About Syed Raza: Syed graduated from University of Wisconsin in 1995 with a BBA in Finance. Subsequently, he obtained an MBA from Concordia University, LLB and DBL degrees from University Law College, and PhD in Management Sciences. Having obtained MCSE (Microsoft Certified Systems Engineer), MCP+I (Microsoft Certified Professional + Internet), and MCT (Microsoft Certified Trainer), Syed has provided training to thousands of students. ClayDesk provides e-Discovery and cloud computing services including technical training to a wide range of clients globally. Business: Syed Raza is an entrepreneur running his own e-learning site along with providing e-discovery and cloud computing consulting and services to a global client base. Syed is a Microsoft Certified Trainer and a Systems Engineer, and his solid finance and m

Instructor Other Courses:

The Complete DevOps Engineer Course 2.0 – Java & Kubernetes The Complete DevOps Engineer Course 2.0 – Java & Kubernetes The Complete DevOps Engineer Course 2.0 – Java & Kubernetes The Complete DevOps Engineer Course 2.0 – Java & Kubernetes The Complete E-Commerce Web Developer Course 5.0 Introduction To Data Analytics Using Microsoft Power BI The Complete E-Commerce Web Developer Course 5.0 The Complete E-Commerce Web Developer Course 5.0 Introduction To Data Analytics Using Microsoft Power BI Get Microsoft Access 2013 Certified (MOS) Exam 77-424 Introduction To Data Analytics Using Microsoft Power BI Introduction To Data Analytics Using Microsoft Power BI …………………………………………………………… ClayDesk E-learning coupons Development course coupon Udemy Development course coupon Web Development course coupon Udemy Web Development course coupon Interaction Design Specialist For Web Developers Interaction Design Specialist For Web Developers course coupon Interaction Design Specialist For Web Developers coupon Syed Ali coupons

The post 89% off #Interaction Design Specialist For Web Developers – $10 appeared first on Udemy Cupón.

from http://www.xpresslearn.com/udemy/coupon/89-off-interaction-design-specialist-for-web-developers-10/