Bibliographic record
Abstract
Linda Griffiths, actor and playwright, is a charismatic and vital presence on the Toronto theatre scene from the early 1970s until her untimely death in 2014. She travels across Canada and to Broadway, performing Maggie & Pierre after it premiers in the Backspace of Theatre Passe Muraille in 1980. She performs in her final play, Heaven Above, Heaven Below, with Layne Coleman in this same intimate space in 2013. Between these two shows, Griffiths works in theatres across Canada all the while maintaining her dedication to Theatre Passe Muraille. Her beginnings in collective creation lead her to experiment with process and with the formal composition of her plays, as well as to continuously navigate between her roles as actor and playwright. This dissertation studies the arc of Griffiths's career in order to reposition her in the field. \nIt explores Griffiths's experiments with form as well as her embodiment and continuation of the spirit and enthusiasm of the alternative theatre movement in Canada. I trace the development of her uvre as that of a playwright whose creative process travels the arc from collective, to collaboration, to writing solo for backspaces and mainstages, for both intimate venues and large national theatres, ultimately establishing her as one of Canada's most original and vibrant playwrights. This dissertation analyzes Griffiths's career as she discovers her actor-playwright identity, develops her own distinct creative process, and using her own unique methods writes and performs meaningful, powerful pieces which imagine new possibilities in women's representation. \nI draw on original archival research from the Linda Griffiths fonds held at the University of Guelph as well as archives and papers in the private possession of Layne Coleman, Griffiths's long-term fellow theatre practitioner. As a kaleidoscopic creator, Griffiths's work necessitates a kaleidoscopic study. The methods of analysis, however, remain focused on archival research into her process. Because of her tendency to write from lived experience and to thoroughly research her subjects, who are often derived from real people, I investigate Griffiths's alchemical methods of transforming truthful material into illusory, fantastical, ephemeral, yet poignant and impactful performances.
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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 | 0.001 | 0.003 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.016 | 0.014 |
| Scholarly communication | 0.005 | 0.002 |
| Open science | 0.001 | 0.006 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.015 | 0.002 |
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".