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Enregistrement W4399121482 · doi:10.1353/shb.2024.a928407

As You Like It by Bard on the Beach Shakespeare Festival at the Shakespeare Theatre Company Harman Hall (review)

2024· article· en· W4399121482 sur OpenAlexaboutno aff

Notice bibliographique

RevueShakespeare bulletin · 2024
Typearticle
Langueen
DomaineArts and Humanities
ThématiqueShakespeare, Adaptation, and Literary Criticism
Établissements canadiensnon disponible
Organismes subventionnairesnon disponible
Mots-clésArtPerformance artVisual artsArt history

Résumé

récupéré en direct d'OpenAlex

Reviewed by: As You Like Itby Bard on the Beach Shakespeare Festival at the Shakespeare Theatre Company Harman Hall Michael J. Collins As You Like ItPresented by Bard on the Beach Shakespeare Festivalat the Shakespeare Theatre Company Harman Hall, Washington, DC. 212 2023– 1401 2024. Adapted and directed by Daryl Cloran. Music by Ben Elliott. Choreography and fights by Jonathan Hawley Purvis. Scenic design by Pam Johnson. Costume design by Carmen Alatorre. Lighting design by Gerald King. Sound design by Alistair Wallace. With Henry Beasley (William/Jaques de Boys/Forest Lord), Jennifer Copping (Corin), Andrew Cownden (Jaques/LeBeau), Ben Elliott (Silvius/Forest Lord), Matthew Ip Shaw (Mustachio), Jeff Irving (Orlando), Kayvon Khoshkam (Touchstone), Alexandra Lainfiesta (Phoebe/Eleanor Rigby), Jennifer Lines (Dame Frances/Dame Senior), Matthew MacDonald-Bain (Oliver), uNorman Moses (Adam/Martext), Naomi Ngebulana (Celia), Evan Rein (Amiens), Chelsea Rose (Rosalind), Emma Slipp (Audrey/Lady Danger), Isaiah Terrell-Dobbs (Forest Lord), Marco Walker-Ng (Charles/Forest Lord), and Sally Zori (Forest Lord). This production of As You Like Itwas conceived by Daryl Cloran and the Bard on the Beach Shakespeare Festival in Vancouver and first performed there in 2018. It subsequently played in Milwaukee and Chicago before opening at the Shakespeare Theatre Company's Harman Hall in Washington, DC in December 2023. The production featured twenty-four songs by the Beatles interpolated into Shakespeare's script. Like the highly popular musical Mamma Mia!, which draws on ABBA's back catalog, characters or random members of the company (the Forest Lords in Arden) suddenly suspended the action of the play and began to sing and, sometimes, dance. After the wrestling match in 1.3, for example, Orlando and Rosalind collaborated on "I Want to Hold Your Hand"; Celia sang "We Can Work it Out" to encourage Rosalind to "be merry" in 1.2; and Touchstone and Audrey did a song and dance routine to "When I'm Sixty-Four" at their first appearance together in the Forest of Arden (3.3). Before the action of the play began, the actors staged a series of comic wrestling matches on a set that represented an arena. A wrestling ring stood at center stage and a banner, hung on a catwalk farther upstage, read "Dame Frances presents Superstar Wrestling Tonight: Charles '2 Guns' Leibowitz takes on all." A band (keyboard, guitars, and two drum sets) was located upstage where it remained for the duration of the play. As Charles took on his challengers, an announcer (played by Kayvon Khoshkam, who also played Touchstone) and members of the company encouraged the audience, some of whom were seated in three rows on the right and left of the stage, to cheer, boo, and heckle the wrestlers. When [End Page 84]the preshow ended and the first scene of the play began, Orlando and Adam were alone onstage, wearing overalls and sweeping up the arena after the wrestling matches. The ring remained onstage until the action moved to the Forest of Arden as an emblem of the conflict in the two families. It seemed odd, however, to have the actors moving continually in and out of it: Rosalind, Celia, and Dame Frances (a gender-flipped Duke Frederick played by Jennifer Lines) were inside the ring, for example, when Rosalind was banished. In the Forest of Arden, the ring was gone, and some trees, stumps, and a grassy patch replaced it. As the program indicated, the play was set entirely in the 1960s, and the Forest became the locus of a counterculture that embodied the freedom and camaraderie the court clearly lacked. At the very back of the stage, a panel designed to look like the left side of a Volkswagen bus, painted yellow and decorated with flowered decals, faced the audience. The actors discarded the conservative suits they had worn at court for the flowered shirts and bell bottom pants that had clothed the hippies in Haight-Ashbury in 1967. Dame Senior (also played by Lines) was similarly costumed with a guitar hung around her neck. The production (without the preshow) ran approximately two hours and forty minutes including a fifteen-minute interval. The script was heavily cut as a result...

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 enseignants

Ni 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.

score de la tête « metaresearch » (Codex)0,001
score de la tête « metaresearch » (Gemma)0,000
Version: codex-gemma-dda1882f352aStatut de validation: machine_predicted_unvalidated
Catégories candidatesMéta-épidémiologie (sens strict), Études des sciences et des technologies, Communication savante, Charge utile insuffisante (le modèle a refusé de juger)
Catégories consensuellesCharge utile insuffisante (le modèle a refusé de juger)
DomaineSignal candidat: aucune · Signal consensuel: aucune
Devis d'étudeSignal candidat: Sans objet · Signal consensuel: Sans objet
GenreSignal candidat: Autre · Signal consensuel: Autre
Score de désaccord entre enseignants0,337
Score d'incertitude au seuil1,000

Scores Codex et Gemma par catégorie

CatégorieCodexGemma
Métarecherche0,0010,000
Méta-épidémiologie (sens strict)0,0010,001
Méta-épidémiologie (sens large)0,0010,001
Bibliométrie0,0000,000
Études des sciences et des technologies0,0020,001
Communication savante0,0020,000
Science ouverte0,0020,000
Intégrité de la recherche0,0000,001
Charge utile insuffisante (le modèle a refusé de juger)0,1380,022

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.

Tête enseignante Opus0,031
Tête enseignante GPT0,252
Écart entre enseignants0,221 · la distance entre les deux têtes enseignantes sur ce seul travail
Statut de validationscore_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 découle

Classification

machine, non validée

Prédiction automatique; les deux têtes enseignantes s’accordent sur ce qui est montré ici.

Devis d'étudeSans objet
Domainenon disponible
GenreAutre

Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».

En bref

Citations0
Publié2024
Routes d'admission1
Résumé présentoui

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