Bibliographic record
Abstract
Because the Communist Party of the USSR recognized the effectiveness of theater in influencing the masses and inculcating a socialist consciousness, it made strenuous efforts to control all aspects of theatrical activity.Theater directors were open to attack, dismissal, arrest, and execution.It was imperative for the literal survival of their companies that their productions be supported by a strong proletarian audience base and that they demonstrate their clear ideological positions.One way in which directors could negotiate the treacherous political terrain and prove that they were, in fact, presenting comprehensible productions well-received by workers was by seeking solid empirical evidence confirming their claims.One of the few who did so was Les Kurbas (1887-1937), Artistic Director of the Berezil Artistic Association.His use of a broad spectrum of tools and approaches, including behaviorist analyses and questionnaires, remains to date still one of the most forwardthinking and all-encompassing methods of studying the audience.A udiences mattered in the Soviet period.2 Recognizing the effectiveness of theater above all other arts in its ability to influence the masses and inculcate a socialist consciousness, the Bolsheviks (later, the Communists) made planned, strenuous efforts from the very begin-1.An earlier version of this paper was first presented at the symposium "Ukrainian Modern Art: Modernity, Identity, Tradition," University of Toronto, March 16, 2007.2. The Soviet period was initiated in 1922 with the creation of the Union of Soviet Socialist Republics (USSR) and was dissolved in 1991.Initially, it consisted of Russia, Ukraine, Belarus, and Transcaucasia (Georgia, Armenia, and Azerbaijan) but gradually encompassed fifteen republics.The USSR was often incorrectly used as a synonym for Russia, which was the largest and dominant constituent state of the federation.The Perfect Production: Les Kurbas's Analysis of the Early Soviet Audience 91 4. Kyiv is the currently accepted and official English spelling of the capital of Ukraine.Until 1991 it was known as Kiev.
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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 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.003 | 0.002 |
| Scholarly communication | 0.002 | 0.001 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.009 | 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".