GAME: The Person Above
- MidasKnight
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- sweetharleygirl
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- MidasKnight
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- umsolopagas
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..has made me dig around for this
4. How/Why you picked your Member-Name:
From a character in King Solomons Mines. My brother, who I'd never seen read a novel, read my copy some years back and recently described a really funny part of the story that cracked me up when I realised what he was talking about.
Blackadder: Is it cunning?
- the grim squeaker
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- MidasKnight
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... posted this, exceptionally, at a reasonable hour, but (as an be seen on other threads) is again up at unholy hours!
Human is as human does....Animals don't weep, Nine
[i]LMB, The Labyrinth [/i]
[i]LMB, The Labyrinth [/i]
- laurie
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... is wondering whether he's acquainted with a vampire.
No, just a night owl who hates mornings and thus sleeps them away.

No, just a night owl who hates mornings and thus sleeps them away.
"It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife." -- Jane Austen, Pride and Prejudice
"So where the hell is he?" -- Laurie
"So where the hell is he?" -- Laurie
- sweetharleygirl
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- Mary Russell
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- umsolopagas
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- Mary Russell
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- umsolopagas
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- Mary Russell
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...made a comment in the Math jokes that I don't get. 
My play. Let's see. It was Shakespeare's Measure for Measure. I had a cast of about 25. It was pure Shakespeare text, except I cut a scene and a few other lines in an effort to shorten it (modern audiences are restless when it comes to theatre). I set it in Elizabethan times and the costumes were fantabulous! I used a split stage (one half prison and one half palace) for most of the play and the set itself was pretty minimalist (although not as minimalist as Ian McKellan's Macbeth). The interesting spin was that we attempted to humanize every character, so you couldn't point at any one and say "they're bad." It was SO much fun! We rehearsed for about 12 weeks and had four performances. What made it so intense was the fact that I was not only directing, but also producing it. I didn't have a very big crew to help me, so often I was directing scenes, while working on someone's costume or something like that.
It was a blast!!

viewtopic.php?t=114136&postdays=0&posto ... c&start=25I like this joke better if the operator is d^2/dx^2-d/dx
My play. Let's see. It was Shakespeare's Measure for Measure. I had a cast of about 25. It was pure Shakespeare text, except I cut a scene and a few other lines in an effort to shorten it (modern audiences are restless when it comes to theatre). I set it in Elizabethan times and the costumes were fantabulous! I used a split stage (one half prison and one half palace) for most of the play and the set itself was pretty minimalist (although not as minimalist as Ian McKellan's Macbeth). The interesting spin was that we attempted to humanize every character, so you couldn't point at any one and say "they're bad." It was SO much fun! We rehearsed for about 12 weeks and had four performances. What made it so intense was the fact that I was not only directing, but also producing it. I didn't have a very big crew to help me, so often I was directing scenes, while working on someone's costume or something like that.

"People talk of the sacrifice I have made in spending so much of my life in Africa....It is emphatically no sacrifice. Say rather it is a privilege." ~David Livingstone
... was able to humanize everycharacter of the play, so
RE: Math humor
OK, I don't know how much maths you studied. I'll try to explain what the joke was even if you don't get the exact details.
Any differential operator acting on a constant gives zero.
A differential operator (in some variable, say "x") acting on an exponential of that very same variable multiplies it by some number.
A differential operator (in some variable, say "y") acting on an exponential on a different variable (say "x") again gives zero. This is the original version. (c*e^x was confident he was safe, but the operator was d/dy and destroyed it - but that was a bit easy)
I found more funny to do it in a subtler way: I constructed an operator in "x", by taking the difference of two such operators which multiply e^x by the same number (namely, one in both cases). But because I took the difference, the result was still zero, but in a more elaborate way.
You really have to be a nerd to enjoy such jokes...
without changing the text by Shakespeare. How?Mary Russell wrote: you couldn't point at any one and say "they're bad."
RE: Math humor
OK, I don't know how much maths you studied. I'll try to explain what the joke was even if you don't get the exact details.
Any differential operator acting on a constant gives zero.
A differential operator (in some variable, say "x") acting on an exponential of that very same variable multiplies it by some number.
A differential operator (in some variable, say "y") acting on an exponential on a different variable (say "x") again gives zero. This is the original version. (c*e^x was confident he was safe, but the operator was d/dy and destroyed it - but that was a bit easy)
I found more funny to do it in a subtler way: I constructed an operator in "x", by taking the difference of two such operators which multiply e^x by the same number (namely, one in both cases). But because I took the difference, the result was still zero, but in a more elaborate way.
You really have to be a nerd to enjoy such jokes...
Human is as human does....Animals don't weep, Nine
[i]LMB, The Labyrinth [/i]
[i]LMB, The Labyrinth [/i]
- Mary Russell
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...thinks you have to be a nerd to enjoy math jokes. 
First, the play. It is really how a character is played that determines the character. If you say certain lines with particular emphasis or gentle the voice, you can do a lot to completely change the meaning of the lines. We ended up making the "rape scene" (2.4) a very tender scene. You'd have to see it to believe it, I think.
It makes it so Angelo really loves Isabella and his struggles with lust (and subsequent misuse of his power) are not so much evil as human. We portrayed Isabella a whole lot more compassionately and showed her attraction to Angelo and her own struggles against giving in to Angelo because we made it so that she actually loves him in return. It served to make everything a whole lot more complicating and more human. It was marvelous fun!
As regards the math. I understood the original joke, but I made a little boo boo when I calculated d^2y/dx^2 of ce^x. I thought it was (c^2)e^x because I was thinking of e^(cx), not ce^x. My bad!

First, the play. It is really how a character is played that determines the character. If you say certain lines with particular emphasis or gentle the voice, you can do a lot to completely change the meaning of the lines. We ended up making the "rape scene" (2.4) a very tender scene. You'd have to see it to believe it, I think.

As regards the math. I understood the original joke, but I made a little boo boo when I calculated d^2y/dx^2 of ce^x. I thought it was (c^2)e^x because I was thinking of e^(cx), not ce^x. My bad!
"People talk of the sacrifice I have made in spending so much of my life in Africa....It is emphatically no sacrifice. Say rather it is a privilege." ~David Livingstone
... must be a great director to make Measure for Measure, II 4 not appear as a disgusting blackmail, all the more cynical that Isabelle's brother is sentenced to death, if I understand correctly (I only read that scene, not the entire play) for seducing Juliet, not raping her (or did I get that wrong? Isabella says he loves her).
Human is as human does....Animals don't weep, Nine
[i]LMB, The Labyrinth [/i]
[i]LMB, The Labyrinth [/i]
- Mary Russell
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...should read Measure for Measure! It's a phenomenal play!!! (yes, I know I'm biased).
Isabella's brother is sentenced to death for getting Juliet with child, but it was mutual (Juliet says so herself).
Isabella's brother is sentenced to death for getting Juliet with child, but it was mutual (Juliet says so herself).
"People talk of the sacrifice I have made in spending so much of my life in Africa....It is emphatically no sacrifice. Say rather it is a privilege." ~David Livingstone
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