Notice bibliographique
Résumé
This review deals with the four journals having a focus only on theatre and the performing arts in Québec: Jeu.Revue de théâtre, Annuaire théâtral.Revue québécoise d'études théâtrales, Alt.theatre.Cultural Diversity and the Stage, Aparté.Arts vivants-recherche et création.1 Each of the journals has its range of critical approaches, practical and theoretical interests, unique readership.Together they provide specific information, as well as an overview, on what has been going on recently in theatre, performance, and the many other living arts in Quebec.I am hoping that this review will be an instrument for listening to probing critical perspectives, dynamic creative initiatives, commentaries, and critiques on the challenges faced by theatre in contemporary society.I offer an idea of some of the exciting new theatrical work in Quebec, innovative theoretical approaches, and the most urgent current issues, spilling vigorously onto public spaces, that are currently preoccupying members of performing arts communities and their critics.Quite fierce initiatives to tear down the walls that protect and preserve the canon, autonomous, institutionalized artistic disciplines, and the media that preserve their centrality in public spaces are in the air on the Québec theatre scene.In this climate, interdisciplinarity is facilitating unconstrained creativity, co-creation, indiscipline, dialogue, improvisation, play, collaborative experimentation, disruption of established conventions, codes, and traditions.Spectators are interpellated to be active participants in innovative adventures.Such interdisciplinarity and artistic recontextualization are serving to crack open established bases of theatre practice, examine theatricality in perspectives not previously studied analytically or in practice, and throw into question lingering practices and values that lend themselves to arbitrary closure in languages and forms and that continue to privilege inequitable traditions.Wide-ranging interdisciplinarity may include collaboration among any number of existing or newly invented arts, such as theatre, dance, music, visual art, poetry, circus, puppetry, performance art, cinema, and animation.However, despite this openness, Quebec's theatre journals show that all is not sweetness and light on the theatre and performing arts scene in the province.In addition to shifting public support and conflicting tastes regarding what theatre should be about in an era when social media have radically transformed conversations, tastes, and activities on the cultural commons, voices are urgently making themselves heard calling for action toward achieving equity and diversity.There are many whose stories and experiences have never been appropriately represented in the theatres and performance spaces of Quebec.Where do theatre and the performing arts fit in twenty-first century Quebec society, with its mosaic of cultures and new technologies?Who has the legitimacy to be heard in public, to perform on today's stages?To tell whose stories?To represent whose history, experiences, and aspirations?In whose words?In the name of what communities?What is the impact of enhanced spectators' agency?What is pedagogically appropriate for today's theatre students?What is the
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 | 0,012 | 0,061 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,002 | 0,002 |
| Bibliométrie | 0,014 | 0,017 |
| Études des sciences et des technologies | 0,002 | 0,003 |
| Communication savante | 0,007 | 0,005 |
| Science ouverte | 0,003 | 0,003 |
| Intégrité de la recherche | 0,003 | 0,003 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,038 | 0,010 |
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 ».