Bibliographic record
Abstract
Buenos Aires is one of the world's great theatre cities. Imposing proscenium arch theatres jostle with alternative spaces across the length and breadth of the metropolis. The result is a tally of about 250 official venues as well as about 60 other performance spaces littered to the northwest of the center in the bustling quarter of Abasto-along with La Boca one of the early cradles of tango. There's a huge variety of work on offer at any given time- from an adaptation of Lee Hall's Pitman Painters (titled Mineros [Miners]) at the cavernous 1500-seater Metropolitan Theatre on one of the city's main thoroughfares, Avenida Corrientes, to the intimate heartbreaking chamber riff on Tennessee Williams' The Glass Menagerie crafted by Romina Paula at the compact garden conservatoire-like Espacio Callejon in Abasto. Buenos Aires has a nimble, vigorous theatrical culture that is enabled by having a genuine repertoire system in operation at a large proportion of theatres. Pieces often play for extended periods in the alternative theatre sector because they are performed just once or twice a week. As such, theatres often juggle from two to five productions with shows playing at different times of the evening. It is not unusual to see a performance at 11:30 pm. The demands of running different shows in quick succession mean that the vast majority of work is marked by economical stagecraft and minimal props. The following report focuses on a selection of new pieces I saw in the city in April 2012; all were crafted by artists fracturing and commenting on traditional actor/ writer/director boundaries with a crop of young actors in a number of the pieces.Ruben Szuchmacher is largely unknown to English-language audiences although he has been an important part of the Buenos Aires landscape for over three decades now. First he was an actor, and then over the last decade he has been a director, teacher and programmer. He runs Almagro's ElKafka space and between 2008-10 was director of the Buenos Aires Theatre Festival [FIBA] with the Teatro San Martin's artistic director Alberto Ligaluppi. He has exerted a considerable influence over the city's theatrical culture with both large-scale offerings at institutional stalwarts like the San Martin Midsummer Night's Dream, 1988) and the Apolo (King Lear, 2009-10) and more intimate pieces at the ElKafka like Griselda Gambaro's Mi querida/My Dear (2003) and Gorki's Children of the Sun (2008).In May 2012, his new production of Henry IV, Part II played at London's Globe Theatre. It was an indication of the epic scope of his work as well as his capacity to evoke time and place with minimal means. It offered a robustly modern day production with a memorable white-haired, wispy Falstaff bounding around in a clownish romper suit-half toddler, half weeble-wobble doll. While Falstaff s army were conceived as a motley crew of official cronies and dropouts, waving union jack flags as the errant Hal is crowned king in a manner that commented both on Queen Elizabeth II's Diamond Jubilee celebrations and the Falklands/Malvinas tensions. The production provided a stage world of discord, avoiding geometric patterns or linear configurations. Disorder proved a powerful aesthetic choice that reflected the political dissonance referenced in the play.Escandinavia (Scandinavia), a new piece realised in association with the dramatist-director Lautaro Vila (the translator-adaptor of Henry IV, Part II) and a regular collaborator at ElKafka, is an altogether more contained piece of work with clear autobiographical resonances. In a two-and-a-half-year period, Szuchmacher lost his father, long-term partner, sister, mother and aunt. From the grief and pain of this time comes an intimate monologue, crafted by Vila, that engages with the processes of mourning-both in terms of private suffering and the public rituals that govern how we say goodbye to those we have loved.Szuchmacher was last seen on stage ten years ago in Alejandro Tantanian's Cine quirurgico (Surgical Cinema), directed by Edgardo Rudnitzky. …
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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 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.001 | 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".