Bibliographic record
Abstract
The Stratford Festival of Canada which was founded in 1952 is known as the largest classical repertory theatre in North America. The mission of it is to produce the best works of theatre in the classical and contemporary repertoire with special emphasis on the works of William Shakespeare to the highest standard possible. From Tyron Guthrie, the first artistic director to the present artistic director, Richard Monette, the Stratford Festival has kept bench-marking for the productions not only of Shakespeare, Moliere, and other classical dramatists of the past twenty five hundred years but also modern masterpieces of Beckett, of Chekhov, of Ibsen, of O'Neill, and of others. Besides, the acknowledged musicals as well as operetta are joined for the expanded theatre-goers lately. It is a national institution of international renown, which is committed to maintaining and promoting the qualified level of performing arts and to cultivating the widest audience. As Richard Monette, the Artistic Director said, the best works in the western dramatic repertoire are carefully selected for the very fondest memories of the millennial season, the year 2000. The audience will journey with the excellent job of theatre artists from an ancient Greek tragedy, to Shakespeare's masterpieces, to Moliere's comedy, to Oscar Wilde, and even to Elizabeth Rex, a brand-new Canadian play. As usual, they are quality productions, as the critics agreed. Among these productions, Shakespeare's works, Hamlet, As You Like It, and Titus Andronicus are analyzed in this paper. Hamlet directed by Joseph Ziegler is able to accommodate the confident certainties of Renaissance humanism and the wrenching angst of existential doubt and postmodern fragmentation. As You Like It directed by Jeannette Lambermont is a pastoral romantic comedy shares the conventions of the deliberately artificial world of shepherd and shepherdess in pursuit of romantic love and ends with the celebration of multiple weddings and of reconciliation as the staple of harmonious society. Titus Andronicus is Shakespeare's most controversial early tragedy with the theme of the grotesque and horrible bloody-shedding vengeance.
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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 | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.010 | 0.003 |
| Scholarly communication | 0.005 | 0.001 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.055 | 0.009 |
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".