Bibliographic record
Abstract
Embracing the full performative potential of Shakespeare's Globe, the Bremer Shakespeare Company's (BSC) production of Timon aus Athen (Timon of Athens) retained an essential spatial fidelity to the Globe, even as their adaptation deviated radically from Shakespeare's text. Although the production remained faithful to the emotions and moral argument of the original, the adaption shook its audience with a litany of contemporary allusions, linking the play directly to the current European financial crisis and German politics: ‘Bankrupt bankers, please increase your bonuses. Politicians, give up your positions early, enjoy your severance package or pension. And if you still want to play a role, switch sides to business.’ Such moments demonstrate what Dennis Kennedy has called the ‘direct access to the power of the plays’ paradigmatic of the experimental mode of ‘foreign Shakespeare’, and also reflect Ton Hoenselaars’ argument that translation can ‘[make] Shakespeare into a contemporary interlocutor capable of addressing the issues that concern us today’. Timon's problems with liquidity directly played on the political frisson generated by the fact that a London audience were watching Germans performing a work about a Greek financial crisis. Yet the direct concerns of that audience were also referenced, when Timon instructed the groundlings to ‘burn down the Globe and replace it with a bank’, since, ‘after all, another bank is exactly what London needs!’ Here was a typically Brechtian call to action which contributed to the sharp political tone of the production. Intriguingly, the BSC's version of Timon was not the only version playing in London as part of the World Shakespeare Festival to make such contemporary political allusions. The National Theatre's production similarly pursued the theme of financial crisis, albeit in the wholly updated setting of contemporary London with allusions to city sponsors, the Occupy Movement and street people.
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.002 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
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 teacher head, 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".