Notice bibliographique
Résumé
PRODUCTION INFORMATION THE GOODMAN THEATRE'S WORLD PREMIERE PRODUCTION OF MARIELA IN THE DESERT WAS PRESENTED IN THE GOODMAN'S OWEN THEATRE JANUARYV 29 THROUGH FEBRUARV 27, 2005 DIRECTOR HENRY GODINEZ SET DESIGNER JOHN BOEISCHE COSTUME DESIGNER JACQUELINE FIRKINS LIGHTING DESIGNER ROBERT CHRISTEN SOUND DESIGNERS ANDRE PLUESS AND BEN SUSSMAN ORIGINAL MUSIC GUSTAVO LEONE PROJECTION DESIGNER JOHN BOESCHE DRAMATURGS LENORE INEZ BROWN, TOM CREAMER PRODUCTION STAGE MANAGER KIMBERLY ASGOOD STAGE MANAGER ELLEN HAY VIDEO EDITOR AND COMPOSITOR LOGAN KIBENS THE CAST: CARLOS: ERIC LLOYD AMBRIZ OLIVA: LAURA CROTTE BLANCA: SANDRA DELGADO JOSE: RICARDO GUTIERREZ MARIELA: SANDRA MARQUEZ ADAM: MARK ULRICH MARIELA IN THE DESERT WAS COMMISSIONED BY SOUTH COAST REPERTORY THEATRE IN COSTA MESA, CALIFORNIA. SPECIAL THANKS TO AMY O. WOODBURY FOR PROJECTION PAINTINGS. ACT ONE The Mother, Mariela, head high, at a telegraph office in Sayula, four hours away from where she lives. MARIELA: Blanca, my dearest daughter. STOP. All is well here. STOP Except your father is dead. STOP. Read it. Accept it. Come home. Alone. STOP. Leave the American. STOP. I won't bury your father without you. STOP. Hurry. It's hot. Hugs and Kisses. Mami [Photo 1] Mariela leaves the telegraph office. Karen Zacarias is the founder and artistic director of Young Playwrights' Theater, an award-winning non-profit dedicated to enhancing literacy, arts empowerment, and conflict resolution through playwriting in Washington, D.C. area schools. Her other works include The Sins of Sor Juana (Charles MacArthur Award for Outstanding New Play and published by Dramatic Publishing). Her musical plays for young people with composer Debbie Wicks La Puma include Einstein is a Dummy, a flamenco version of Ferdinand: The Bull, the mariachi-inspired The Magical Pinata (Dramatic Publishing), and Cinderella East Rice and Beans: a Salsa Musical. Her work has been performed at Arena Stage, The Alliance Theater, The Kennedy Center, Canadian Fringe Festival, Boston Playwrights' Theater, Borderlands Theater, Magik Theater, Woolly Mammoth Theatre, Theatre of the First Amendment, The Public Theater, Seattle Repertory Theater, St. Louis Rep, Chicago Play Labs, Birmingham Children's Theatre, Imagination Stage, Trinidad Theater Workshop, Performance Network, and the Scandinavian Theater Festival. She has a BA from Stanford University and a Masters in Playwriting from Boston University. MUSIC. Transition to the ranch. One single painting is covered with dark cloth. Focus on Jose, Mariela's husband, in a bed. Mariela removes her black shawl, hands it to Olivia, her sister-in-law. Olivia hands her a pan of water. Olivia exits. Mariela faces the bed where her husband Jose is lying. Mariela prepares to bathe and dress her husband. She picks up his arm, and gently puts it in place. She traces his face with the wash cloth. JOSE: Damn that's cold. MARIELA: Doctor said that cold water- JOSE: Damn the doctors. They should themselves have to do everything they prescribe for the patient. Keeps them honest. MARIELA: Blanca is coming home. JOSE: (Beat) So you wrote the telegram? MARIELA: I paid an exorbitant fee. The man said that it would be in her hands today. JOSE: You were gone all day. MARIELA: The closest telegraph is still very far. JOSE: You think she'll come? MARIELA: Yes. Can I bathe you? JOSE: (Pause) What did you write? MARIELA: I was persuasive. JOSE: Did you tell her I was ill? MARIELA: Somewhat. JOSE: What's persuasive about a wishy washy letter? I swear, Mariela, I ask you to do one thing for me, and you can't have the decency to,. …
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 | 0,000 | 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) | 0,000 | 0,000 |
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 tête enseignante, 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 ».