Bibliographic record
Abstract
Tours, remounts and co-productions constitute an increasing percentage of theatrical activity in Canada, cutting across traditional distinctions between commercial and not-for-profit theatre, professional, educational and “community” theatre, even regional, Regional, national and international theatrical production. At one end of the scale, large-scale commercial producers such as David Mirvish are remounting, co-producing and touring such successful shows as The Drawer Boy, Two Pianos, Four Hands and Zaidie’s Shoes, shows that have emerged from small, not-for-profit play-development houses such as Theatre Passe Muraille and Tarragon, or are arranging co-productions in advance with subsidized classical rep companies such as Soulpepper. In the mid-range, branch-plant “Regional” theatres such as the Vancouver Playhouse, Manitoba Theatre Centre and the National Arts Centre are meeting their budgets and fulfilling their mandates by collaborating on productions that are too big for one theatre to take on alone. From another angle, independent not-for-profit production companies such as Autumn Leaf Performance, da da kamera and Ex Machina are funding their work in advance by soliciting co-productions (leading to international tours) with companies, conglomerates and festivals across the country and overseas. Even small-scale, lowercase “regional” companies such as Nova Scotia’s Mulgrave Road Theatre and Theatre Antigonish are getting into the act by providing development opportunities to artists from elsewhere for the creation of new work while simultaneously enhancing the range of experiences available to their own audiences. Community theatres and summer festivals have also hopped on the co-production bandwagon: if you missed the show last week in Port Dover, you might catch it next week at another port down the road.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
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 | 0.002 | 0.016 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.003 | 0.001 |
| Science and technology studies | 0.002 | 0.001 |
| Scholarly communication | 0.008 | 0.004 |
| Open science | 0.002 | 0.002 |
| Research integrity | 0.005 | 0.005 |
| Insufficient payload (model declined to judge) | 0.428 | 0.285 |
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".