Notice bibliographique
Résumé
SHERILL GRACE Making Theatre: A Life of Pollock. Vancouver: Talonbooks, 2008. 480 pp. Illus., index. Sherrill Grace's wonderful biography, Making Theatre: A Life of Pollock, captures magically the intense pulse of the art and life, so far, of one of the greatest playwrights we have known in Canada or anywhere in the English-speaking world. Pollock's works have been produced on all of Canada's major anglophone stages and on many of its alternative venues; they have been widely enjoyed internationally. Making Theatre, a big book in every way and a joy to read, provides a richly fertile setting to contemplate and savour the remarkable dimensions of Pollock's work, which includes a large number of stage plays for adult audiences, radio and television plays, and plays for young audiences. She has also made a significant mark on Canadian theatre as an actor, director, teacher, theatre administrator, theatre founder, and commentator. Pollock's career in the theatre, which covers more than four decades, flows right up to today like a vital stream through the decades as Canadian theatre was coming into being as a major cultural phenomenon. Grace's personal and engaged voice in Making Theatre traces the bends in this stream as she takes us simultaneously on an exciting journey through the corpus of stage plays for adult audiences and the courageously exhilarating life of the person she calls throughout the book and whom she describes as an intellectual and creative dynamo, as well as an enormously human woman: formidable, funny, feisty, and full of opinions (355). approach thoughtfully chosen and developed with particularly original pizzazz by Grace to tell the story is a skilful blending of multiple contexts and a weaving of a dazzling array of impeccably verified facts, accounts of personal events and issues beginning in Pollock's early years, analyses of plays, rehearsals, and performances, discussions of political and ethical stakes embedded in moments of history, reminders of exciting developments across the anglophone theatre landscape in Canada, and probing queries into the meaning of concepts and practices such as dramaturgy, writing, theatricality, autobiography, and biography. In addition to the almost four-hundred-page biographical text itself, Making Theatre includes forty-four illustrations that bring performance moments to life and allow readers to see as herself or in some of the roles she played, those with whom she worked and shared her life, and the places that have had a determining influence on her art. As well, the four appendices offer two early stories published by Pollock, detailed information on the operation in Calgary of the Garry Theatre 1992-97, a previously unpublished and fascinating interview by Kathleen Flaherty: The Many Voices of Pollock (1994), and a Sharon Chronology (1936-2008). volume concludes with detailed lists of sources that Grace consulted for the book as a whole and for each chapter, as well as a 36-page Comprehensive Bibliography. Both of these bring to light new paths that theatre people, scholars, and students can follow as they undertake their own explorations of Pollock's rich oeuvre and life in the theatre. staggering wealth of reliable information and material in Making Theatre, often dredged up from little-known and modest sources, makes of it a model of scholarly research and biography with flair, and an invaluable reference work. very special quality of Making Theatre as both scholarly study and biography is the subjective place assumed in the text by Grace herself and her personal voice that is heard throughout the book. Her warm style and expressive voice make her an integral part of the same story-telling process that she sees as a dominant characteristic of Pollock's dramaturgical approach. Grace reflects cogently in the first person on the sexist and classist traditions of theatre and biography as genres, and she draws attention to the fact that biography has not been well-developed in Canada. …
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Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,002 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,002 |
| Études des sciences et des technologies | 0,008 | 0,002 |
| Communication savante | 0,007 | 0,004 |
| Science ouverte | 0,001 | 0,003 |
| Intégrité de la recherche | 0,002 | 0,003 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,056 | 0,024 |
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; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».