Notice bibliographique
Résumé
With the much-anticipated productions of The Iceman Cometh at the Goodman and Long Day's Journey Into Night at the Apollo Theatre in London now closed, the rest of the 2012 season might seem a letdown, though we have more than just the memory of Nathan Lane's Hickey to give us hope for tomorrow. O'Neill's late classics continue to receive major revivals, with the Eclipse Theatre in Chicago concluding its season-long exploration of O'Neill with Long Day's Journey, Les Waters choosing the same play for his debut as the new artistic director of the Actor's Theatre of Louisville, and the Good Luck Macbeth Theatre Company staging A Moon for the Misbegotten for its inaugural production—all in the fall of 2012. Next season already looks promising, with the Guthrie Theatre producing Long Day's Journey and the Shakespeare Theatre Company in Washington, DC, producing Hughie.However much of this season has been dominated by talk about revivals of these classics, 2012 was significant for productions of a wide range of O'Neill's earlier plays. The Playwright's Theatre in Danville gave a staged reading of Exorcism and produced Diff'rent, while the Role Players Ensemble produced Ah! Wilderness as part of Danville's annual O'Neill Festival. Two productions of Exorcism are in the works, one in Manhattan and the other in South Camden, New Jersey—five productions, to date, of this recently rediscovered play that has a remarkable potential to inform how actors, directors, and audiences view Edmund from Long Day's Journey. The Hairy Ape was revived in St. Louis, and Desire Under the Elms was produced at the Lyric Hammersmith in London—all in fall 2012. Toronto's Shaw Festival announced its 2013 season, which will include O'Neill's first play, A Wife for a Life, in a double bill with Susan Glaspell's Trifles, an intriguing pairing given the complex ways that the plays represent gender.One of the most intriguing trends of this season, however, has been experiments with O'Neill's plays and life that follow The Complete and Condensed Stage Directions of Eugene O'Neill. Begotten, written and directed by Derek Goldman and reviewed in this issue, takes audiences through a range of O'Neill plays and techniques as well as inside the playwright. Another play, Morphing, written and directed by Matthew Posey, played at the Ochre House in Dallas and was described by reviewers as an “absurdist spoof” of Long Day's Journey.If 2012 tells us anything, it's that O'Neill's plays and life remain a touchstone in theater today, nearly a hundred years after O'Neill announced his ambition to be “an artist or nothing.” Given how much O'Neill influences and inspires directors, actors, playwrights, and audiences, it's safe to say this was a year that affirmed O'Neill's achievement.
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 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 | 0,008 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,001 |
| Bibliométrie | 0,002 | 0,001 |
| Études des sciences et des technologies | 0,002 | 0,001 |
| Communication savante | 0,006 | 0,004 |
| Science ouverte | 0,002 | 0,003 |
| Intégrité de la recherche | 0,003 | 0,004 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,799 | 0,793 |
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 ».