Bibliographic record
Abstract
To be, or not to be, that is the question: and that's the question of all theatre. In everyday life, it is the question being asked by thousands of indigenous youth who are at the end of their ropes in the face of alienation and cultural imprisonment. Some answer and prefer “not to be” because they no longer feel native; that is they don't feel like free or autonomous people. I would have had to go into exile to survive, to escape the alienation, to flee the suffocation—exile to undertake the paradoxical quest for my roots outside of my own, for the birth of a vision, the quest for my dramatic art and my theatricality. What is theatre? Its source is intimately linked to shamanic practices, which begat the arts of psychological and physical healing and all the forms of art that followed. Theatre is simultaneously place and action. It is the place of speech clarified by the body, carried by the body until it glows. It is an “acting” on the profound archetypes which instantly connect the individual and the community. It proposes the experience of a collective consciousness, of a shared consciousness of what makes us human through the celebration of the attempt despite all the fears, all the childishness, to produce an encounter of man and of the universe at the core of his angst. Theatre is also an intrusion of the imaginary into the heart of reality, magnifying reality with the power of performance in the face of death. It is an expression of survival, of life that dares to laugh in the face of death. Violence, suicide, idleness, and political foolishness keep us in this “neo-colonial inferiority” of indulgence that means that under the yoke of the disdain of others, we feel disdain for ourselves. Theatre is “Amerindian” because it questions the origins of the culture, of the indigenous man at the heart of this continent because he makes himself a vehicle of ritual actions which have an actual effect on the audience. My dramatic art expresses a visionary spirituality; it takes the spotlight, exposing the pre-conceived notions of “Indianness” through the actor's body and the archetypal objects of our mythology.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.016 | 0.003 |
| Scholarly communication | 0.006 | 0.001 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.118 | 0.006 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".