OpenLLM-France/wikimedia huggingface dataset:
# Solitaire card games/Following

At the onset, one has to lay six cards in a row; this will compose the tableau. Like any solitaire game, the object is to remove the aces and build them up to kings. The catch of this game is the rotation of suits that the player must remember: A Club must be placed over a Heart, a Diamond over a Club, a Spade on a Diamond, and a Heart on a Spade. This rule applies to both the foundations and the tableau.
Building on the tableau is down, provided that the rotation of suits described above is followed. An entire sequence in any length can be moved, again retaining the rotation of suits. When the cards in the tableau are not sufficient for building, the stock is dealt one card at a time onto a wastepile. The top card of the wastepile can be used to build on the tableau and the foundations. Once the stock is used up, the wastepile is picked up to become the new stock. This can be done only once in the game. Also, spaces in the tableau can be filled up with any card, whether it is from one of the cards already in the tableau, the top card of the wastepile, or the next card from the stock.
The game ends soon after the stock runs out the second time. The game is won when all cards are built into the foundations, with the King of a foundation pile being the same suit as the Ace that started the pile.
# Solitaire card games/Fortress
## Play

Deal out the entire pack horizontally in two groups, as in tableau, beginning at the left hand, and dealing straight across each group, leaving space in the centre for four aces. These, when they can be played, form the foundation cards, and are to descend in sequence to kings.
Should any aces appear on the outside of either group, play them, as also any other suitable cards for continuing the foundations (Rules I and II).
You next proceed to form marriages, both in ascending and in descending lines, with cards on the outside of both groups (Rule I). But this must be done with extreme care, so as not only to release the greatest number of suitable cards, but also, if possible, to open out one entire horizontal row of cards to form a lane. The success of the game entirely depends on these lanes. If, therefore, you succeed in opening out one, it is more prudent not to refill it until, by some fresh combination, others can be made.
When a lane is to be refilled, select any available card (Rule I), and place it at the inner end of the lane, and along it any others in sequence of the same suit, the last card being, of course, the available one.
One great use of these lanes is to reverse any sequences that have been made by marriages in the ascending line.
Note.—Supposing you have placed upon a deuce a sequence ending with eight; place the eight at the inner end of the lane, the other cards following in succession until the deuce becomes the outside card. When there are more cards in the lane than the original number, they can be placed partly over each other.
There is no re-deal.
# Solitaire card games/Decade
## Gameplay

Three cards are drawn from the bottom of the deck and placed face-up in a line on the table laid out in the order they were drawn so the faces can be read.
Spot cards (cards from ace, deuce, etc. to ten) count their face value while face cards (jack, queen, and king) are valued at ten points. If the total of at least two consecutive cards in the line equals 10, 20 or 30, they are discarded. The cards are treated as if in a straight line, so cards coming from both the front and back of the line that value to ten, twenty, or thirty are not considered consecutive unless they occupy a physically adjacent position to the card. After this has been repeated until no more discards are possible, a card is drawn from the stock and placed face up on the extreme right of the line (or on top of the stack if playing on one hand), and checking for discards is resumed.
The game continues until all cards are dealt or discarded, or when no more sets can be collected. The object of the game is to have as few cards as possible at the end; the game is won when all cards are discarded.

## Variations

* Cards are placed in seven separate stacks; if all the cards in a stack are discarded the stack is eliminated and cards are no longer added to it. The game is won when all stacks have been eliminated.
* A maximum of three consecutive cards that total ten, twenty or thirty can be discarded (as opposed to at least two cards in the standard rules).
* The line is treated as a loop instead of a straight line. If the total of up to 3 three consecutive cards (or at least two consecutive cards, depending on the rule set one follows) in the stack which feature at least one card from the top of the stack equal 10, 20 or 30, they are discarded (see Example 1).
    Example 1:
    4 8 3 3 J 6
    Because the stack is treated as a loop, and the cards selected use at least one card from the top of the stack discarding 4, J and 6 as a set of three totaling 20 (4 + 10 + 6) would be valid.
* Cards that total 5, 15, 25, or 35 can also be discarded. (Implemented as a variation of the game in Interplay's Solitaire Deluxe)
An unsubstantiated but often repeated folk tale about this game, common among Filipino and some Latino people, is that this game is actually a very old (centuries old) fortune-telling method, akin to Tarot. There is speculation that the game may have come from Roma in Europe and then through Spanish exploration. Each time the player gets down to a single showing card, the suit and status is noted, and if the game is won, the player notes the final card, which is the most important to the player's fortunes. The single cards, read by one knowledgeable in their meaning, provide a limited look at the future, particularly people the player may come into contact with, or is involved with.
# Solitaire card games/Eight Off

This game is named after its employment of eight cells, played with one deck of playing cards. The object of the game is to move all the cards into the foundations.

## Rules

The cards are dealt, face up, into eight columns (or piles) of six cards each. (These eight columns make up the tableau.) The remaining four cards go into the first four cells. When dealt, the table should bear some resemblance to the picture on the right, although a layout with the cells on the left and the foundations at the top is another option.
The eight slots along the top of the picture represent the cells. These cells can be used to temporarily store any available card from the table. Four of the cells are filled at the beginning of the game.
The four slots along the left of the picture represent the four foundations. These, as in Klondike, are meant to be built up in suit from Ace to King. Thata is, each foundation begins with the Ace of one suit and is followed by the 2 of the same suit, which is followed by the 3 of the same suit, and so forth, until all the cards through the King have been placed on the foundation.
The tableau piles which fill the majority of the figure are where most of the game play actually occurs. The cards are, again, all face up, and are built down, traditionally by suit. (Players can modify the difficulty of the game, if they like, by building down in a different manner. For example, one could play by alternating colours, the way Klondike is played).
Technically, one may only move the cards between columns one at a time; however, the presence of a free cell essentially increases the number of cards that can be moved. (e.g., if there are three open cells, four cards can actually be moved at once—one for each cell, and the one that can always be moved.)
If a column is emptied, most rules allow for one to place any card in the empty space, regardless of suit or rank (as long as it follows the other restrictions on moving cards). Advanced players, however, may prefer to limit this move to Kings only (as it is in Klondike).

## Variations

Eight Off is similar to Baker's Game, named after the mathematician C.L. Baker and a precursor to the more popular FreeCell. It is not as popular as its offspring, but is included in some computer card-game suites.
# Solitaire card games/Flower Garden

It is not known why the game is called such, but the terms used in this game do have a relation to those in gardening and it takes merit that some skill is needed. It is also known under the names The Bouquet and The Garden.

## Rules

Thirty-six cards are dealt in to six columns, each containing six cards. The columns are called the "flower beds" and the entire tableau is sometimes called "the garden." The sixteen leftover cards become the reserve, or "the bouquet."
The top cards of each flower-bed and all of the cards in the bouquet are available for play. Cards can only be moved one at a time and can be built either on the foundations or on the other flower beds. The foundations are built up by suit, from Ace to King (a general idea of the game is to release the aces first). The cards in the garden, on the other hand, can be built down regardless of suit and any empty flower bed can be filled with any card. The cards in the bouquet can be used to aid in building, be put into the foundations, or fill an empty flower bed.
The game is won when all cards end up in the foundations.
# Solitaire card games/Duchess
## Rules

First, four fans of three cards are set up; they form the reserve. Then a space is left for the four foundations, then four cards are placed in a row; they form the bases for the tableau columns.
To start the game, the player will choose among the top cards of the reserve fans which will start the first foundation pile. Once he/she makes that decision and picks a card, the three other cards with the same rank, whenever they become available, will start the other three foundations.
The top cards of the reserve fans and the top cards of the columns in the tableau are available for play onto the foundations or on the tableau. The foundations are built up by suit and ranking is continuous as Aces are placed over Kings. The cards on the tableau are built down in alternating colors. Ranking is also continuous in the tableau as Kings can be placed over Aces. One card can be moved at a time, but sequences can also be moved as one unit. No cards can be built on the reserve.
Spaces that occur on the tableau are filled with any top card in the reserve. If the entire reserve is exhausted however, it is not replenished; spaces that occur after this point have to be filled with cards from the waste pile or, if a wastepile has not been made yet, the stock.
The stock is dealt one card at a time to the wastepile, the top card of which is available for play. There is one redeal allowed. To prepare for the redeal, the remaining cards in the wastepile are collected and turned face down to become the new stock.
The game is won when all cards are built onto the foundations.
# Solitaire card games/Elevens
## Rules

Cards are placed in a 3x3 grid, and pairs of cards which add up to eleven (5 and 6; 4 and 7; 3 and 8; 2 and 9; Ace and 10) are covered up; face cards (J, Q, K) may be eliminated in a set of three cards consisting of one Jack, one Queen and one King regardless of suit. If all cards are covered up the game is won; if there are no more pairs of cards that add up to eleven, and there do not exist a Jack, a Queen, and a King, the game is lost. An individual game of elevens is a game of pure chance, except for the small element of skill involved in spotting the pairs; the skill and strategic interest comes in not shuffling the cards at the end of each game, but instead collecting them up in order.

## Scoring

If at least 20 cards (including the original 9) are placed, score 1 point. If at least 40 cards are placed, score a second point. If all 52 cards are placed, score 3 points for the game.
If any three cards of a certain rank are visible (i.e. at the top of their respective piles) at any one time during play along the same row, column, or diagonal, score 1 extra point. If all four cards of a certain rank are visible, score 1 extra point. Of course, you can score 2 points for all four cards of a rank being visible at one time, if three of them are along the same row, column, or diagonal. This extra scoring dramatically increases the skill involved in playing as you need to remember previous and probable cards played.
# Solitaire card games/Eagle Wing

This game takes its name from the tableau which depicts a bird, particularly an eagle, spreading its wings in flight.

## Rules

* First, 13 cards are dealt face down as one pile. They will act as the "trunk" of the eagle, i.e. the reserve.
* Then, four cards are dealt each to the left and right of the trunk (eight cards in all). They act as the "wings" of the eagle, i.e. the tableau.
* After these 21 cards are dealt, a twenty-second card is placed above the "eagle." This is the base of the first foundation and the three other foundations must start with cards with the same rank.
* The cards on the wings are available only to be built on the foundations, which are built up by suit and round-the-corner (aces placed on top of kings).
* Gaps are immediately filled with cards from the trunk, turning it face up.
* When there are no more moves to be made from the wings, the stock is dealt one card at a time to be played onto the foundations.
* Unplayed cards are placed on the waste pile, the top card of which is available for play.
* The stock can be dealt three times, i.e. two redeals are allowed by picking up the wastepile and turning it face down.
* When the trunk is down to its last card, it is turned face up and immediately available to be built onto the foundations without having to wait for an empty space on the wings. Afterwards, any space on the wings may be filled with a card from the stock or the wastepile.
* The game ends when all moves have been made after the stock has been dealt the third time.
* The game is won when all cards are built up in the foundations.
# Technical Theatre/Lighting/Strobes

Strobe Lights are lights which produce a quick flash of light. They can be used to simulate lightning, or to give the effect of slow motion. They are normally powered by an Xenon flash lamp.
Strobe lighting can trigger seizures in photosensitive epilepsy.
# Technical Theatre/Sound/Condenser

Condenser Microphones Condenser means capacitor, an electronic component which stores energy in the form of an electrostatic field. The term condenser is actually obsolete but has stuck as the name for this type of microphone, which uses a capacitor to convert acoustical energy into electrical energy.
Condenser microphones require power from a battery or external source. The resulting audio signal is stronger signal than that from a dynamic. Condensers also tend to be more sensitive and responsive than dynamics, making them well-suited to capturing subtle nuances in a sound. They are not ideal for high-volume work, as their sensitivity makes them prone to distort.
How Condenser Microphones Work A capacitor has two plates with a voltage between them. In the condenser mic, one of these plates is made of very light material and acts as the diaphragm. The diaphragm vibrates when struck by sound waves, changing the distance between the two plates and therefore changing the capacitance. Specifically, when the plates are closer together, capacitance increases and a charge current occurs. When the plates are further apart, capacitance decreases and a discharge current occurs.
A voltage is required across the capacitor for this to work. This voltage is supplied either by a battery in the mic or by external phantom power.
Cross-Section of a Typical Condenser Microphone
The Electret Condenser Microphone The electret condenser mic uses a special type of capacitor which has a permanent voltage built in during manufacture. This is somewhat like a permanent magnet, in that it doesn't require any external power for operation. Therefore you don't need to worry about batteries or phantom power.
Other than this difference, you can think of an electret condenser microphone as being the same as a normal condenser.
Technical Notes:
Condenser microphones have a flatter frequency response than dynamics.
A condenser mic works in much the same way as an electrostatic tweeter (although obviously in reverse).
# Technical Theatre/Sound/Dynamic

Dynamic Microphones Dynamic microphones are versatile and ideal for general-purpose use. They use a simple design with few moving parts. They are relatively sturdy and resilient to rough handling. They are also better suited to handling high volume levels, such as from certain musical instruments or amplifiers. They have no internal amplifier and do not require batteries or external power.
How Dynamic Microphones Work As you may recall from your school science, when a magnet is moved near a coil of wire an electrical current is generated in the wire. Using this electromagnet principle, the dynamic microphone uses a wire coil and magnet to create to create the audio signal.
The diaphragm is attached to the coil. When the diaphragm vibrates in response to incoming sound waves, the coil moves backwards and forwards past the magnet. This creates a current in the coil which is channeled from the microphone along wires. A common configuration is shown below.
Earlier we mentioned that loudspeakers perform the opposite function of microphones by converting electrical energy into sound waves. This is demonstrated perfectly in the dynamic microphone which is basically a loudspeaker in reverse. When you see a cross-section of a speaker you'll see the similarity with the diagram above. If fact, some intercom systems use the speaker as a microphone. You can also demonstrate this effect by plugging a microphone into the headphone output of your stereo, although we don't recommend it!
Technical Notes:
Dynamics do not usually have the same flat frequency response as condensers. Instead they tend to have tailored frequency responses for particular applications.
Neodymium magnets are more powerful than conventional magnets, meaning that neodymium microphones can be made smaller, with more linear frequency response and higher output level.
# Technical Theatre/Lighting/PAR/Lamps
## Spot abbreviations

* VNSP - Very Narrow Spot
* NSP - Narrow Spot
* MFL - Medium Flood
* WFL - Wide Flood
* EXG - Extra Wide Flood

## PAR64

| Code | Voltage | Wattage | Spot Type |
| CP60 | 240 V | 1000 W | VNSP |
| CP61 | 240 V | 1000 W | NSP |
| CP62 | 240 V | 1000 W | MFL |
| CP95 | 240 V | 1000 W | EXG |
| CP86 | 240 V | 500 W | VNSP |
| CP87 | 240 V | 500 W | NSP |
| CP88 | 240 V | 500 W | MFL |
| FFN/No.1 | 120 V | 1000 W | VNSP |
| FFP/No.2 | 120 V | 1000 W | NSP |
| FFP/No.3 | 120 V | 1000 W | MFL |
| FFP/No.4 | 120 V | 1000 W | WFL |
# Technical Theatre/Lighting/The Designer

The lighting designer, or LD, is responsible for the creative aspect of the electrics team. They decide how much light, with what colors, and textures, from what angles, and so forth are needed. The LD must coordinate with the director, and other designers, to create the look, feel, mood, etc. of the show, and then make those ideas a reality through lighting.
Depending on the size of the company what is expected of a designer can vary greatly. In larger shows the LD will have an assistant, who often does most of the technical drafting, a Master Electrician, who is responsible for making that drafting a physical reality, and a lighting console programmer, who controls the actual lights, through control software, to the designers will. Any or all of these jobs can fall to a lighting designer in smaller companies, taking him away from the creative element of the show and into the technical details.
# Technical Theatre/Set Design and Construction

The design of a set for a production, often times, is one of the first steps taken by director and designer. This is due to several issues. First, the set is one of the few parts of the technical theatre which is specifically dictated by the script. How many people must be on stage? How many different entrances must be accommodated? Where do those entrances lead? Each of these questions (and others) must be addressed with the set design. Secondly, the directors must have the set design prior to blocking the play so that the performers are blocked intentionally around the set pieces which will exist.
As with all design elements, the first step in creating a set design is to read the script several times. The minimum number of times a designer should read the script is three before beginning work on a set design. The first time through, the designer should read it for the story line and enjoyment.
The second time through, the designer should begin gathering a better feel for the story. Where does the story take place? Are there any major set pieces that must be included? What entrances and exits must exist? How much space must be allowed for the number of characters on stage at any given time?
The third time through the script, the designer should begin writing down specifics about the space. In coordination with the director, choices must be made about where off-stage locations exist, where will the more intense beats or moments take place on stage, and general traffic patterns throughout the space.
Following this third reading, most designers will create a series of sketches...at least one per location...for the director to review. These sketches should include not only the set but also stage props and furniture and possibly tentative actor locations for major points in the story. After getting the director's approval of the sketches, scale drawings must be made. These should include not just an overhead view of each scene but also front elevations of the scenes and, where necessary for construction, specific cut-away designs of complicated set pieces. From these scale drawings, many designers will then create scale models so that the directors and designers have three-dimensional models to work from both for the sake of blocking and also building the set pieces.
All of these design steps should also include the lighting designer and scenic designer (in charge of providing the coloring scheme for the sets...sometimes the scenic and set designer is the same person) so that the design schemes for all of the elements are complementary.
# Technical Theatre/Sound/Inputs

Inputs for a sound system would include microphones (specific types are discussed in another section), Compact Disc Players, Tape Players, Record Players, DVD Players, Video Tape Players and computers. Basically, anything that pushes sound into the front end of a sound system would be considered an input.
# The Ten Commandments/You shall not covet anything that belongs to your neighbor

You shall not covet anything that belongs to your neighbor is a prohibition or inhibition of the emotions You shall not submit to envy, nor to greed nor to lust. These are just some of the seven deadly sins.
    Note:The original (King James Version) English used the now obsolete second person singular «thou» which was only used in very intimate situations as say a parent to a child (or God the Father to the Children of Israel). In grammar «thou shalt» and «thy» was correct because the case should match, just as «I am» is more correct than «I be». Similarly the male prefix «He/his» was then gender neutral so «he/she» would have been redundant.
   Thou shalt not covet thy neighbor’s house; thou shalt not covet thy neighbor’s wife, nor his manservant, nor his maidservant, nor his ox, nor his ass, nor anything that is thy neighbor’s
   – Exodus 20:17