Notice bibliographique
Résumé
Buenos Aires is one of the world's great theatre cities. Imposing proscenium arch theatres jostle with alternative spaces across the length and breadth of the metropolis. The result is a tally of about 250 official venues as well as about 60 other performance spaces littered to the northwest of the center in the bustling quarter of Abasto-along with La Boca one of the early cradles of tango. There's a huge variety of work on offer at any given time- from an adaptation of Lee Hall's Pitman Painters (titled Mineros [Miners]) at the cavernous 1500-seater Metropolitan Theatre on one of the city's main thoroughfares, Avenida Corrientes, to the intimate heartbreaking chamber riff on Tennessee Williams' The Glass Menagerie crafted by Romina Paula at the compact garden conservatoire-like Espacio Callejon in Abasto. Buenos Aires has a nimble, vigorous theatrical culture that is enabled by having a genuine repertoire system in operation at a large proportion of theatres. Pieces often play for extended periods in the alternative theatre sector because they are performed just once or twice a week. As such, theatres often juggle from two to five productions with shows playing at different times of the evening. It is not unusual to see a performance at 11:30 pm. The demands of running different shows in quick succession mean that the vast majority of work is marked by economical stagecraft and minimal props. The following report focuses on a selection of new pieces I saw in the city in April 2012; all were crafted by artists fracturing and commenting on traditional actor/ writer/director boundaries with a crop of young actors in a number of the pieces.Ruben Szuchmacher is largely unknown to English-language audiences although he has been an important part of the Buenos Aires landscape for over three decades now. First he was an actor, and then over the last decade he has been a director, teacher and programmer. He runs Almagro's ElKafka space and between 2008-10 was director of the Buenos Aires Theatre Festival [FIBA] with the Teatro San Martin's artistic director Alberto Ligaluppi. He has exerted a considerable influence over the city's theatrical culture with both large-scale offerings at institutional stalwarts like the San Martin Midsummer Night's Dream, 1988) and the Apolo (King Lear, 2009-10) and more intimate pieces at the ElKafka like Griselda Gambaro's Mi querida/My Dear (2003) and Gorki's Children of the Sun (2008).In May 2012, his new production of Henry IV, Part II played at London's Globe Theatre. It was an indication of the epic scope of his work as well as his capacity to evoke time and place with minimal means. It offered a robustly modern day production with a memorable white-haired, wispy Falstaff bounding around in a clownish romper suit-half toddler, half weeble-wobble doll. While Falstaff s army were conceived as a motley crew of official cronies and dropouts, waving union jack flags as the errant Hal is crowned king in a manner that commented both on Queen Elizabeth II's Diamond Jubilee celebrations and the Falklands/Malvinas tensions. The production provided a stage world of discord, avoiding geometric patterns or linear configurations. Disorder proved a powerful aesthetic choice that reflected the political dissonance referenced in the play.Escandinavia (Scandinavia), a new piece realised in association with the dramatist-director Lautaro Vila (the translator-adaptor of Henry IV, Part II) and a regular collaborator at ElKafka, is an altogether more contained piece of work with clear autobiographical resonances. In a two-and-a-half-year period, Szuchmacher lost his father, long-term partner, sister, mother and aunt. From the grief and pain of this time comes an intimate monologue, crafted by Vila, that engages with the processes of mourning-both in terms of private suffering and the public rituals that govern how we say goodbye to those we have loved.Szuchmacher was last seen on stage ten years ago in Alejandro Tantanian's Cine quirurgico (Surgical Cinema), directed by Edgardo Rudnitzky. …
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 | 0,001 | 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) | 0,001 | 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 ».