Perception
Director Seifer,
The following e-mail contains the entiriety of my perception assignment A2-1001-01. If you have any questions, please let me know.
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4:00 PM. The alarm on my cell phone causes it to vibrate in my pocket, reminding me of the scheduled assignment. I quickly reach into my pocket and press a button on the side, stopping the vibrations. Sweat drips down my brow, thin white tee-shirt clinging to my tired body. A large cluster of platforms lay behind me, propped against walls, stacked upon finished hardwood flooring. As a member of the crew for this play, it's my job to run the lights, sounds, and- on occasion- move hefty platforms. I pull out a piece of paper and begin to jot down notes in order to report later.
4:14 PM. I finally finish moving the wooden platforms into the storage room. My co-worker, Jack, plops down beside me and hands me a can of Dr. Pepper. Popping the tab I take a long swig, deciding a break has been earned.
4:39 PM. The producer calls me into the seating area and asks my opinion about the placing of props in order to reduce conflictions between lighting cues. I recommend he move the enitre set forward about three feet, in order to make the spots more prominent and wash more thorough.
4:41 PM. Jack and I begin moving all the furniture and platforms forward as I recommended. I almost regret making the suggestion in the first place, considering that one of the props is a four-hundred pound metal tower. The cast takes their second break.
5:28 PM. We finish moving the set. I head up to the light and sound booth above the seats and begin synchronizing the light and sound settings for a musical number.
5:35 PM. The cast returns, and the director begins a full run-through. I load sound and light cues. My job, when stripped down to it's bare, consists of a single motion of the finger- the tapping of a button.
6:53 PM. After several stops, the full run-through ends. The actors are sent home and the stage crew arrives to strike the stage. I shut down the lightboard and soundboard and turn off all the monitors before leaving the sound-booth, locking it behind me.
7:04 PM. Several of my co-workers and I leave towards The Apple Pan, a great burger place for dinner. We all drive individual cars, despite the rising gas costs. I offer Jack a ride to and fro if he pays for my meal, but he declines with a "dream on".
7:16 PM. We arrive at The Apple Pan. We are seated immediately at a "U" shaped bar. I order a steakburger and Dr. Pepper.
7:23 PM. I'm hungry.
7:45 PM. Our food arrives. Feeding frenzy.
8:14 PM. I give salutations to my co-workers and head home. The drive is calm; the roads are suprisingly clear. I stop by on my way to grab a container of antacid tablets, just in case.
8:39 PM. I arrive home, retiring to my room to fool around on the guitar.
9:00 PM. My cell vibrates once more, signaling the end of my perception assignment.
--
Cheers,
Eli Langship
The following e-mail contains the entiriety of my perception assignment A2-1001-01. If you have any questions, please let me know.
--
4:00 PM. The alarm on my cell phone causes it to vibrate in my pocket, reminding me of the scheduled assignment. I quickly reach into my pocket and press a button on the side, stopping the vibrations. Sweat drips down my brow, thin white tee-shirt clinging to my tired body. A large cluster of platforms lay behind me, propped against walls, stacked upon finished hardwood flooring. As a member of the crew for this play, it's my job to run the lights, sounds, and- on occasion- move hefty platforms. I pull out a piece of paper and begin to jot down notes in order to report later.
4:14 PM. I finally finish moving the wooden platforms into the storage room. My co-worker, Jack, plops down beside me and hands me a can of Dr. Pepper. Popping the tab I take a long swig, deciding a break has been earned.
4:39 PM. The producer calls me into the seating area and asks my opinion about the placing of props in order to reduce conflictions between lighting cues. I recommend he move the enitre set forward about three feet, in order to make the spots more prominent and wash more thorough.
4:41 PM. Jack and I begin moving all the furniture and platforms forward as I recommended. I almost regret making the suggestion in the first place, considering that one of the props is a four-hundred pound metal tower. The cast takes their second break.
5:28 PM. We finish moving the set. I head up to the light and sound booth above the seats and begin synchronizing the light and sound settings for a musical number.
5:35 PM. The cast returns, and the director begins a full run-through. I load sound and light cues. My job, when stripped down to it's bare, consists of a single motion of the finger- the tapping of a button.
6:53 PM. After several stops, the full run-through ends. The actors are sent home and the stage crew arrives to strike the stage. I shut down the lightboard and soundboard and turn off all the monitors before leaving the sound-booth, locking it behind me.
7:04 PM. Several of my co-workers and I leave towards The Apple Pan, a great burger place for dinner. We all drive individual cars, despite the rising gas costs. I offer Jack a ride to and fro if he pays for my meal, but he declines with a "dream on".
7:16 PM. We arrive at The Apple Pan. We are seated immediately at a "U" shaped bar. I order a steakburger and Dr. Pepper.
7:23 PM. I'm hungry.
7:45 PM. Our food arrives. Feeding frenzy.
8:14 PM. I give salutations to my co-workers and head home. The drive is calm; the roads are suprisingly clear. I stop by on my way to grab a container of antacid tablets, just in case.
8:39 PM. I arrive home, retiring to my room to fool around on the guitar.
9:00 PM. My cell vibrates once more, signaling the end of my perception assignment.
--
Cheers,
Eli Langship