Notice bibliographique
Résumé
Look Homeward, Angel By Ketti Frings, based on novel by Thomas Wolfe Directed by Benard Cummings Southern Methodist University, Dallas, 3-7 December 2014. [ILLUSTRATION OMITTED] The production of Ketti Frings's 1958 Pulitzer Prize-winning play, Look Homeward, Angel, a dramatic adaptation of Thomas Wolfe's 1929 novel, fulfilled what one has come to expect of drama from Southern Methodist University's theatre department: beautiful, innovative sets, color-blind casting, excellent acting, and fidelity to dramatist's text. I saw matinee performance on 6 December 2014, at end of play's limited run in large Greer Garson Theatre at SMU's commodious Owen Arts Center. The theatre is a beautiful venue with a professional-level box office, a spacious lobby with padded benches, and in-the-wall display cases containing artifacts from Garson's professional life. Designed by architect Milton Powell and opened in 1992, theatre was a $10 million gift of actress, wife of E. E. Buddy Fogelson, attorney, oilman, rancher, and philanthropist. With a classical thrust stage, a circular configuration, numerous entrances to stage through several aisles, and seats for at least 375, theatre was modeled on Stratford Festival Theatre in Ontario, Guthrie Theatre in Minneapolis, and Chichester Festival Theatre in England (Anderson). The audience sits in several sections of steeply raked seats facing a large stage that easily accommodates sets of any size. For Look Homeward, Angel, Russell Parkman designed a flexible set depicting front of Eliza Gant's multistory boardinghouse that changed into W.O.'s stonecutting shop, which was hidden behind Dixieland's front facade. The set also opened up to reveal a bed that slid forward and was then retracted for Ben's illness and death scenes. The bed was also used for Eugene's tryst with Laura James. The bedroom scenes represent only indoor spaces that were depicted. Other action that would have incurred indoors took place in downstage porch area. Characters entered set and departed both from wings and from aisles in sections of audience seats. The set was visible from audience at all times; no curtain was used in thrust stage. The facade of house seemed to be composed of brown wood, not yellowish clapboard of Asheville reality. The set described in text of play calls for a flimsily constructed frame house ... painted a dirty yellow (5), and set did suggest age and decay. Directed by Benard Cummings, SMU professor and New York actor, director, and playwright, production accurately presented salient and memorable incidents from last part of Wolfe's novel, capturing spirit of entire work in process. The play showed flirtations among boarders; Gant family's chaotic relationships; raucous homecomings of drunken patriarch, who is managed by his daughter Helen; and Eliza's real estate obsession, her lecture on the value of a dollar and charge of filial Ingratitude (Wolfe 432-33), and her insistence that lights be turned off to save money. It also portrayed Madam Elizabeth's visit to Gant's shop; Laura James episode; Ben's illness and death; and Eugene's departure from Altamont after speaking to ghost of Ben. Inexplicably, Frings departs from Wolfe's text when Elizabeth wants to buy Gant's favorite Carrara angel for grave of one of her prostitutes, her best girl (Wolfe, 265). In novel, Gant reluctantly sells Elizabeth statue, whereas, in play, Eugene persuades her to buy a stone lamb instead, as his father supposedly wants angel for his own grave. Other departures from novel include Eugene's marriage proposal to Laura and his plan to elope with her, as well as Eliza's discovery of their intimate relationship and her consequent brazen confrontation of Laura, who leaves Eugene a note instead of writing him a letter from Richmond (the play necessarily had to truncate time and action to have Laura tell disapproving Eliza that she is engaged to be married and thus will not pursue Eugene). …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,002 | 0,002 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; les deux têtes enseignantes s’accordent sur ce qui est montré ici.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».