Women writing plays : three decades of the Susan Smith Blackburn Prize
Bibliographic record
Abstract
* Foreword (by Emilie S. Kilgore) * Acknowledgments and Note to Readers * Introduction: Women Writing Plays (by Marsha Norman) * Part One: Breaking the Silence *1. Social Change, Artistic Ferment * The U.S.A. (by Charlotte Canning) * The U.K. (by Elizabeth Swain ) *2. Entering the Mainstream: The Plays of Beth Henley, Marsha Norman, and Wendy Wasserstein (by Mel Gussow) *3. A Conversation: Timberlake Wertenbaker, Max Stafford-Clark, and Michael Billington * Part Two: Facing the World *4. The Female Gaze (by Emily Mann) *5 . Women and War: The Plays of Emily Mann, Lavonne Mueller, Shirley Lauro, Naomi Wallace, Shirley Gee, and Anne Devlin (by Alexis Greene) *6. Our Bodies, Ourselves * Memoir of a Sexual Woman (by Sharman MacDonald) * An Excerpt from the Play Sweeping the Nation (by Susan Miller) * Standing at the Crossroads (by Pearl Cleage) *7. Engaging Social Issues, Expressing a Political Outlook (by Gwynn MacDonald) *8. Crossing Borders: A Conversation with Bridget Carpenter, Lynn Nottage, Dael Orlandersmith, and Diana Son * Part Three: The Art of the Playwright *9. Whose Voices Are These? The Arts of Language in the Plays of Suzan-Lori Parks, Paula Vogel, and Diana Son (by Amy S. Green) *10. First-Person Singular: Female Writers Embrace the One-Person Play (by Mandy Greenfield) *11. Women's Imaginations: Experimenting with Theatrical Form (by Carole Woddis) *12. Joking Aside: A Conversation about Comedy with Christopher Durang, Gina Gionfriddo, Sarah Ruhl, and Wendy Wasserstein * Part Four: The Expanding World of Women's Plays *13. The Freedom to Create (by Gurpreet Kaur Bhatti) *14. Beyond the U.S.A, Beyond the U.K. * A View from South Africa (by Fatima Dike) * A View from Australia (by Peta Tait) * A View from New Zealand (by Jean Betts) * A View from Canada (by Judith Thompson) *15. New Voices (by Alexis Greene) *16. Prescriptions for a Playwriting Life * Dear Emily: On Being a Playwright (by Timberlake Wertenbaker) * Afterword (by Bill Blackburn) * Appendix: The Susan Smith Blackburn Prize * About the Contributors * Permissions and Credits * Index
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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 | 0.005 | 0.007 |
| Meta-epidemiology (narrow) | 0.002 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.010 | 0.004 |
| Scholarly communication | 0.014 | 0.006 |
| Open science | 0.001 | 0.007 |
| Research integrity | 0.003 | 0.006 |
| Insufficient payload (model declined to judge) | 0.115 | 0.039 |
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".