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"Diana Agrest believes architecture is so much more than a marriage of form and function. For more than four decades, she's been trying to get her students to believe that too."

This Tutorial teaches how to do one of the most common Power Moves the Windmill. Windmills do not come easy so I am going to make 2 other tutorials on how to make your windmills better. Practice hard and take your time.

Beginning actors make mistakes. Mostly it's because well, they're beginners! I prefer thinking of them is missteps rather than mistakes - they are things the beginning actor hasn't considered. And it's always a great time to change that! If you're a beginning actor, if you teach beginning actors, review this list and take a step in the right direction. Every misstep provides at least one way to solve the problem.

"René Magritte must have had mornings like that. Think of the painting he made in 1935. The painting is called "La Clef des songes" (The Interpretation of Dreams). It is a painting of a board with four panels. The board is like an old school primer, used to teach children the names of things. There is a horse, a clock, a pitcher, and a valise. Under the objects are words. The horse is labeled "the door." The clock is labeled "the wind." The pitcher is labeled "the bird." And the valise is labeled "the valise." Why are three objects mislabeled, while one object is correctly labeled? Maybe it is like our confused morning at the market. We felt odd not because the fruits were labeled incorrectly, but because the relationship of signs suddenly struck us as utterly arbitrary even when everything had been labeled correctly. Likewise, when we see the three incorrectly labeled objects in "La Clef des songes," we begin to distrust even the correct labeling of the valise. What does the word "valise" have to do with the picture of the valise, and what does the picture really have to do with the actual thing? When we represent reality in words or pictures, do we come closer to that reality, or push it further away?"

I have been teaching properties design and production classes at the University of Wisconsin-Milwaukee for over two decades. Prior to that, I worked professionally as a properties director, properties artisan and designer when UWM recruited me to start a props training program in the professional training tracks. Students came to the theatre department with a passion for technical theatre having hung lights, built scenery, or run a show in high school or community theatre. However few were familiar with props or had even an inkling a professional properties career was a possibility. Each class of students sifted out a gifted few who excelled in the props area. These students have gone on to have highly successfu