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《不像说母语者》是华裔文化批评家周蕾基于种族、语言、身份认同的研究作品。出于自身对身份认同的敏感，周蕾观察到语言带来的不平等与失语，反思不同肤色和阶级的语言与写作，认为语言实际上成为一种生命政治的秩序…

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陈恬：从“空的空间”到“特定场域”——论二十世纪剧场空间实践之转向_中国视听网新闻

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推荐一篇中国视听网资讯:陈恬：从“空的空间”到“特定场域”——论二十世纪剧场空间实践之转向,更多陈恬,二十世纪剧场,,等声光影资讯。欢迎投稿,敬请关注!

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『意大利贫困戏剧』客厅The living room演出现场片段共计3条视频，包括：片段01开场曲、片段02、片段03等，UP主更多精彩视频，请关注UP账号。

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She She Pop und ihre Väter Testament - Trailer-dN8dOoDkaF0-HQ_哔哩哔哩_bilibili

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She She Pop und ihre Väter Testament - Trailer-dN8dOoDkaF0-HQ是【当代剧场】（德）SHE SHE POP 作品片段集锦的第2集视频，该合集共计3集，视频收藏或关注UP主，及时了解更多相关视频内容。

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实验 | As I am , so I see As I am , so I see

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朝圣，去那思想到达不了的地方

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在阿尔马格罗市政剧院上演的布莱希特的戏剧《四川好人》

《四川好人》，或作《 四川好女人》（Der gute Mensch von Sezuan），是德國著名戏剧家 布莱希特创作的戏剧作品。创作完成于1943年，在 瑞士苏黎世首演，该剧和作者同期创作的很多其他戏剧一样，被认为是 叙事剧 （epic theatre）的代表。

沈德(Shen Te)：本劇的好人，由神仙幫助下經營一間菸草店。

水大(Shui Ta)：沈德的表哥，由沈德假扮。

楊森：失業的飛行員，與沈德相戀，後來卻要沈德交出她全部的財產。

楊太太：楊森的母親。

老王(Wang)：賣水者、替三位神明帶路尋找住處。

地毯商及其妻(結婚40年)、
警察(建議Shen Te結婚)、

序幕中的路人

故事講述三個神仙來到道德敗壞、一貧如洗的四川找尋好人，可惜放眼所見盡是欺詐與饑餓，心灰意冷之際遇上僅存的好人──沈德。唯在炎涼的世態中，好人亦難有容身之所，沈德的樂善好施只令自己泥足深陷，走上絕路。為求自保，沈德不得不改变自己。

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四川好人 - 维基百科，自由的百科全书

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《四川好人》，或作《 四川好女人》（Der gute Mensch von Sezuan），是德國著名戏剧家 布莱希特创作的戏剧作品。创作完成于1943年，在 瑞士 苏黎世首演，该剧和作者同期创作的很多其他戏剧一样，被认为是 叙事剧 （epic theatre）的代表。 沈德(Shen Te)：本劇的好人，由神仙幫助下經營一間菸草店。 水大(Shui Ta)：沈德的表哥，由沈德假扮。 楊森：失業的飛行員，與沈德相戀，後來卻要沈德交出她全部的財產。 楊太太：楊森的母親。 老王(Wang)：賣水者、替三位神明帶路尋找住處。 地毯商及其妻(結婚40年)、 警察(建議Shen Te結婚)、 序幕中的路人 故事講述三個神仙來到道德敗壞、一貧如洗的四川找尋好人，可惜放眼所見盡是欺詐與饑餓，心灰意冷之際遇上僅存的好人──沈德。唯在炎涼的世態中，好人亦難有容身之所，沈德的樂善好施只令自己泥足深陷，走上絕路。為求自保，沈德不得不改变自己。

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来源 | {{newsData.source}} 作者 | {{newsData.author}}

电子干扰剧场 2.0/b.a.n.g. 实验室是一个由活动家、行为艺术家、批评理论家、诗人和程序员组成的团体，他们在数字和非数字的空间之间引入各种干扰。EDT 1.0的成员包括里卡多·多明格斯（Ricardo Dominguez）、卡敏·卡拉西奇（Carmin Karasic）、布雷特·斯托尔鲍姆（Brett Stalbaum）和斯特凡·雷（Stefan Wray），他们于 1998 年与墨西哥恰帕斯州的萨帕塔社区合作开发了第一个虚拟静坐罢工技术。EDT 2.0的成员包括米夏·卡尔德纳斯（Micha Cárdenas）、艾米·萨拉·卡罗尔（Amy Sara Carroll）、里卡多·多明格斯、艾丽·梅尔曼德（Elle Mehrmand）和布雷特·斯托尔鲍姆，于2007年重新成立。EDT 2.0打造了《水源与诗--边境生存指南》（Transborder Immigrant Tool，2007-至今），这是一个为墨西哥美国边境上的流浪者制作的GPS（Geo-Poetic System，诗意地理系统）手机安全网络。

《水源与诗--边境生存指南》曾在全球多个著名场馆展出，包括"Global aCtIVISm"，ZKM媒体艺术中心，德国卡尔斯鲁厄（2013）；"Room of Controversies"，凡艾伯当代美术馆，荷兰埃因霍温（2013）；加州双年展，橙县艺术博物馆，美国加州（2010）；"焦虑时代的艺术"（Art in the Age of Anxiety），沙迦艺术基金会，阿联酋（2020）；"La vida nueva"，惠特尼独立研究项目，美国纽约（2020）；以及"我将会是你的镜子：艺术和数字屏幕"（I'll Be Your Mirror: Art and the Digital Screen），沃思堡现代艺术博物馆，美国德克萨斯州（2023）。EDT 2.0获得了Transnational Communities Award（2008），该奖项由Endowment for Culture Mexico-U.S的Cultural Contact项目资助，项目的额外资金由CALIT2和加州大学圣地亚哥分校人文中心提供。EDT 2.0于2021年被加州大学洛杉矶分校罗斯金不平等与民主研究所授予虚拟驻留项目。

电子干扰剧场2.0/b.a.n.g.实验室（里卡多·多明格斯、布雷特·斯托尔鲍姆、米夏·卡尔德纳斯、艾米·萨拉·卡罗尔、艾丽·梅尔曼德），《水源与诗--边境生存指南》软 件截 屏，2007-至今，安卓手机、行走工具、网络软件、图片、诗歌、音频，尺寸可变，图片由艺术家提供

边境生存指南步行测试，视频由艺术家提供

"Transborder Immigrant Tool Test Walk" Vimeo链接：https://vimeo.com/27222287

美国海关和边境保护局2009财年报告记录了从2009年1月到10月期间发生的416起与边境越境相关的死亡事件。官方报告声称，共有98人在柏林墙倒塌时试图从东柏林越境到西柏林并死亡，而相比之下，按照当地和国际非政府组织的预估，迄今为止已有1万人在试图越过美墨边境时丧生。《水源与诗--边境生存指南》（TBT）重新利用了有GPS天线的廉价二手手机。该项目使代码的转换变得多元化，代表着一种新奇的技术。这一软件旨在引导那些"疲惫、贫穷"、濒临脱水的世界公民到达安全的供水站点。同时，它的平台提供了诗歌音频的"滋养"。TBT无法解决美墨边境两侧长期存在的恐惧、偏见和误解，但它却记载了超验主义和自然写作、大地艺术、观念艺术、行为表演、边境艺术、定位媒介以及视觉和具象诗歌等之间经常交叠的传统。它也同样从人道主义援助组织，如边境天使（Border Angels）和水站（Water Station, Inc）的努力中汲取养分。TBT通过"迁移中的诗歌"对GPS作为"全球定位系统"（Global Positioning System）的边缘地带进行了试探，而劳拉·博拉斯·卡斯塔涅（Laura Borràs Castanyer）和胡安·B·古特雷斯（Juan B. Gutiérrez）则在另一种语境中俏皮地将其误读为"全球诗歌系统"（Global Poetic System）。

"山海运算，域间路由"展览现场，2023，长征空间，北京

"山海运算，域间路由"展览现场，2023，长征空间，北京

龙星如

我最开始接触到这件作品是在翻译《网络艺术选集》（Net Art Anthology）这本书的过程中，电子干扰剧场2.0/b.a.n.g.实验室的创作一直基于他们自身对墨西哥政治现状及美墨关系的切身感受，他们也曾经把现实世界里的抗议活动以优雅的形式转移到虚拟空间里（比如《洪水网络》用今天被称为DDoS攻击的技术，指向了墨西哥总统埃内斯托·塞迪略、五角大楼和法兰克福股交所的网站）。

《网络艺术选集》中也对《水源与诗--边境生存指南》的历史背景提出了更多的说明：当时发生在圣地亚哥的"看门人行动"部署了1500名探员，"守住前线行动"在厄尔巴索部署了750名探员，而"安全员行动"则在图森市区部署了大量探员，都是为了阻止墨西哥移民进入美国境内。各种"行动"阻止的具体方法，是让墨西哥移民迁徙到更加与世隔绝的、极其危险的地带：沙漠、河流、陡峭的山崖、大峡谷--这也是为什么在策展论述中我写道，"路由"有时候是一种生存手段（survival），指的就是这件作品。

《水源与诗--边境生存指南》项目网站截图

(http://tbt.tome.press/chaper/the-tinaja-trail-the-transborder-immigrant-tool/)

这种极为具体的、切身的语境也使得我开始思考，当有太多的作品声称对"科技"进行反思时，这种"反思"是否还可以被更精细地描述，我们在技术对象面前的立场如何得以切身而发而非对空演说。另一方面，作品尽管引起了广泛讨论却最终无法被具体施行的遗憾，也让我思考在愈加庞大的技术政治面前，我们如何考虑创作的伦理并正视它的局限--不去过分放大艺术的可为，但也不主动选择无为。

作为"可能是最会写代码的策展人"，我在准备这件作品的时候也深深感受到了新媒体/科技艺术中永恒存在的问题--技术的"过期"（obsolescence）。为了让这个近20年前的代码可以运行，我尝试了各种部署的方法，却仍然因为运行环境不再被维护以及依赖项/库的不再可使用，最终只能放弃。和技术相关的艺术从来都不只局限于代码本身，还有代码所依赖的算法语言（比如这件作品中用的JavaME，今天已经几乎不被使用了）、运行环境和操作系统。换言之，我们的"技术基础结构"不断变化，而作品的"过期"也是技术更迭的诅咒。对于这些早期代码艺术来说，至少我们还可以进入到代码结构中去看它的运行方式，并尝试还原它可能的语境，而在今天的"大模型"世界里，我们打交道的是训练的结果和封装得很严实的黑箱，不禁想，当这样的技术迎来"过期"的那天时，会是怎样的局面。

2005年和2006年从7月16日至10月1日在美墨边境死亡的移民人数分布

武子杨

《水源与诗--边境生存指南》是一个十分简单明了的应用程序：它将较简单的代码和诗歌集成到廉价的手机中，希望为跨越边境的人们提供方向指引、生存所需的水源和急救工具、以及执法机构的位置。这些水源由各大志愿组织放置，任何人都可以使用开源代码来发现它们并获取帮助。诗歌的部分则提供了关于沙漠风暴（"你需要背对着风，因为沙子会磨蚀皮肤。"）、水源（"跟着郊狼或狐狸的脚印去寻找最新鲜的水源"）、响尾蛇（"响尾蛇也是具有习惯性的动物，它会回到休息区域。"）和可食用的仙人掌（"食用仙人掌的果实以摄取水分，包括刺梨（prickly pear）、巨型仙人掌（saguaro）、管风琴仙人掌（organ pipe）、丝兰（yucca）或乔拉仙人掌 （cholla）"）等生存指南。这些可能会拯救你生命的话语，一方面是抒情和友善的，一方面又处在应用指南和民间知识之间，它们是只有那些长期在沙漠中驻扎的人（比如当地的土著人）才会有的知识。

《水源与诗--边境生存指南》项目网站截图

(http://tbt.tome.press/chapter/desert-survival-series/)

在电子干扰剧场2.0/b.a.n.g.实验室的理想中，当每一个跨越边境的人都不仅能够配备GPS，也能够拥有比如夜视仪、防红外线服装、生物纳米超级水合液（Bio-nano hyperhydration fluids）和高跳假肢（high jumping prostheses）时，这些工具将随处可以被跨境的人们使用，而不是被追捕他们的人们使用。但可惜的是，《水源与诗--边境生存指南》从未真正地被跨越边境的人们在沙漠中使用过。在项目完成前，它得到了媒体很大的关注：比如三名国会议员曾要求项目的发起地加州大学圣地亚哥分校对项目进行调查；美国右翼评论员格伦·贝克（Glenn Beck）批评了该项目，认为它试图"用诗歌溶解美国"，同时也批评了该组织动用纳税人的钱来协助"非法移民"。当项目经过充分测试并准备在墨西哥分发时，毒贩们已经控制了美墨边境的非正式的经济，电子干扰剧场2.0/b.a.n.g.实验室也不得不叫停这个项目，因为毒贩们会因为任何会引起美国边境特工注意的事情而痛下杀手，这会让想要去使用这个应用跨境的人们深处巨大的危险之中。

《边境生存指南》项目自2009年开始设计与调研，就不断引发各界的关注、争议与质疑

作为一个艺术创作者，我感慨的是：该作品一方面作为一个艺术项目提出了很重要的问题，受到了大量的关注，某种程度上已经获得了成功，甚至获得了许多政界人士的讨论和对抗；另一方面，不论是因为前文提到的可能发生令人忧虑的问题，还是因为在学术或艺术环境中制作的东西很难在现实世界中具有功能性和可扩展性（特别作品在不追求利润的情况下），让它最终只停留在了展览空间之中。

《边境生存指南》智能手机网页版操作演示

展览现场手机屏幕中所呈现的内容为《水源与诗--边境生存指南》原始版本的档案与记录。因为程序现在无法直接通过开源渠道安装，因此艺术家与策展团队使用以下两种方式作为呈现与补充：

1. 扫描下方二维码进入和使用适应智 能 手 机 系 统 的 更 新 版 本：https://ricardodominguez.net/tbt/

2. 在公众号后台对话框发送 0-23 的任意数字，获取《水源与诗--边境生存指南》原程序给用户发送的诗歌：《沙漠生存系列》。

正在展出 Current Exhibition

山海运算，域间路由

Fictions of Interdomain Routing

2023.4.22-2023.7.23

即将展出 Coming Exhibition

长征独立空间

步行指南

Walking Guides

2023.5.20-2023.8.6

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山海运算，域间路由｜电子干扰剧场 2.0/b.a.n.g. 实验室与《水源与诗——边境生存指南》

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山海运算，域间路由｜电子干扰剧场 2.0/b.a.n.g. 实验室与《水源与诗--边境生存指南》

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山海运算，域间路由｜电子干扰剧场 2.0/b.a.n.g. 实验室与《水源与诗--边境生存指南》

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Le Théâtre et son double est une série d' essais écrit par Antonin Artaud et publiée en 1938 dans laquelle il développe le concept de théâtre de la cruauté.

Le livre consiste en une série de courts " essais " exaltés, à la forme poétique très libre. Certains de ces essais sont tirés de conférences, et même de lettres, adressées, entre autres, à Jean Paulhan, André Gide et Marc Bloch. Malgré le titre de l'œuvre, le théâtre de la cruauté n'est traité en tant que tel que durant quelques pages ; mais l'ensemble du livre, tant par le fond que par la forme, prépare, justifie, et offre un contexte à celui-ci. D'autres thèmes sont donc abordés, certains dans le domaine du théâtre, mais aussi d'autres comme Dieu ou la sexualité.

Cet ouvrage est notamment connu pour avoir décrit le théâtre comme une " Réalité virtuelle". Certains lui attribuent l'origine de cette expression.

Notes et références

Bibliographie

Liens externes

Sur les autres projets Wikimedia :

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Le Théâtre et son double est une série d' essais écrit par Antonin Artaud et publiée en 1938 dans laquelle il développe le concept de théâtre de la cruauté. Le livre consiste en une série de courts " essais " exaltés, à la forme poétique très libre.

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Bertolt Brechts Hauspostille ist eine Sammlung von Gedichten des deutschen Dichters und Dramatikers Bertolt Brecht.

Brecht schrieb die Gedichte dieser Sammlung in der Zeit von 1916 bis 1925. Der Titel Hauspostille ist eine parodistische Anspielung auf Predigtsammlungen allgemein, insbesondere die gleichnamige Predigtsammlung von Martin Luther aus der Mitte des 16. Jahrhunderts. Die Sammlung wurde 1926 unter dem Titel Taschenpostille als Privatdruck in 25 Exemplaren beim Gustav Kiepenheuer Verlag erstmals publiziert. Ein bestehender Vertrag mit dem Verlag wurde letztlich storniert. 1927 erschien sie dann beim Propyläen-Verlag, für 14 Gedichte (von insgesamt 50) waren Noten beigefügt. Brecht hat die Auswahl mehrfach neu geordnet, zuletzt 1956.

Das Werk ist in eine „Anleitung", sechs Kapitel und einen Anhang untergliedert und enthält im Einzelnen:

Anleitung zum Gebrauch...

Brecht gibt hier heiter-ironisch eine Inhaltsangabe des Werkes ([...] es empfiehlt sich, nicht zuviel davon auf einmal zu lesen)

Vom Brot und den Kindlein, Apfelböck oder die Lilie auf dem Feld, Von der Kindsmörderin Marie Farrar, Das Schiff, Gesang des Soldaten der Roten Armee (wurde in späteren Ausgaben auf Brechts Wunsch entfernt), Liturgie vom Hauch, Prototyp eines Bösen, Morgendliche Rede an den Baum Green, Vom Francois Villon, Bericht vom Zeck

Zweite Lektion: Exerzitien

Vom Mitmensch, Orges Gesang, Über den Schnapsgenuß, Vorbildliche Bekehrung eines Branntweinhändlers, Historie vom verliebten Schwein Malchus, Von der Freundlichkeit der Welt, Ballade von den Selbsthelfern, Über die Anstrengung, Vom Klettern in Bäumen, Vom Schwimmen in Seen und Flüssen, Orges Antwort, als ihm ein geseifter Strick geschickt wurde, Ballade von den Geheimnissen jedweden Mannes, Lied am schwarzen Samstag in der elften Stunde der Nacht vor Ostern, Großer Dankchoral

Dritte Lektion: Chroniken

Ballade von den Abenteurern, Ballade von vielen Schiffen, Vom Tod im Wald, Das Lied von der Eisenbahntruppe von Fort Donald, Ballade von des Cortez Leuten, Ballade von den Seeräubern, Lied der drei Soldaten, Ballade von der Hanna Cash, Erinnerung an die Marie A., Ballade vom Mazeppa, Ballade von der Freundschaft, Die Ballade von dem Soldaten

Vierte Lektion: Psalmen und Mahagonnygesänge

Mahagonnygesang Nr.1, Mahagonnygesang Nr.2, Mahagonnygesang Nr.3, Alabama Song, Benares Song

Fünfte Lektion: die kleinen Tagzeiten der Abgestorbenen

Choral vom Manne Baal, Von den verführten Mädchen, Vom ertrunkenen Mädchen, Ballade vom Liebestod, Legende vom toten Soldaten

Vom schlechten Gebiß, von den Sündern in der Hölle, Vom armen B.B.

Im Notenanhang wurden Gesangsnoten für folgende 14 Stücke gegeben: Von Jakob Apfelböck, Gesang der [sic!] Soldaten der Roten Armee, Orges Gesang, Orges Antwort, Ballade von den Abenteurern, Ballade von den Seeräubern, Mahagonny-Lieder I, II, II, Alabama Song, Benares Song, Vom Manne Baal, Von den verführten Mädchen, Legende vom toten Soldaten. Sie enthielten teilweise Tonartangaben und Vortragsbezeichnungen ( quasi recitativo, parlando, espressivo), aber keine Hinweise zu einer Instrumentalbegleitung.

Die Aufnahme der Sammlung bei den Rezensenten war verhalten positiv. Brecht selbst notierte 1940 über die Hauspostille in sein Journal:

Abends bekomme ich die Hauspostille wieder in die Hand. Hier erreicht die Literatur jenen Grad der Entmenschlichung, den Marx beim Proletariat sieht und zugleich die Ausweglosigkeit, die ihm Hoffnung einflößt. Der Großteil der Gedichte handelt von Untergang und die Poesie folgt der zugrundegehenden Gesellschaft auf den Grund. Die Schönheit etabliert sich auf Wracks, die Fetzen werden delikat. Das Erhabene wälzt sich im Staub, die Sinnlosigkeit wird als Befreierin begrüßt. Der Dichter solidarisiert nicht einmal mehr mit sich selbst. Risus mortis. Aber kraftlos ist das nicht.

Textausgaben

Bertolt Brecht: Bertolt Brechts Hauspostille, Suhrkamp, Frankfurt am Main 1999.

Sekundärliteratur

Hillesheim, Jürgen: Bertolt Brechts Hauspostille: Einführung und Analysen sämtlicher Gedichte. Königshausen & Neumann, Würzburg 2013.

Romeo, Rita: Vom Tagebuch No. 10 zur Hauspostille. Musik beim frühen Brecht. In: Brecht-Heft 5-2016, S. 90-100.

1. Bertolt Brecht: Große kommentierte Berliner und Frankfurter Ausgabe. (GBA) Suhrkamp 1988-1999, Bd. 11 S. 299

2. Bertolt Brecht: Über Lyrik. 4. Edition, Suhrkamp Verlag, Frankfurt am Main 1971. S. 74.

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Bertolt Brechts Hauspostille - Wikipedia

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Bertolt Brechts Hauspostille ist eine Sammlung von Gedichten des deutschen Dichters und Dramatikers Bertolt Brecht. Brecht schrieb die Gedichte dieser Sammlung in der Zeit von 1916 bis 1925. Der Titel Hauspostille ist eine parodistische Anspielung auf Predigtsammlungen allgemein, insbesondere die gleichnamige Predigtsammlung von Martin Luther aus der Mitte des 16.

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Poems: The Desert Survival Series - [({ })] Transborder Immigrant Tool

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The following poems originally appeared in both English and Spanish, as part of the print edition of the [({ })] Transborder Immigrant Tool. They appear here in their two original languages, alongside new translations into two indigenous languages of the Americas––Nahuatl and Ayuujk/Mixe.

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贝托尔特·布莱希特 - 维基百科，自由的百科全书

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此为莫斯科斯坦尼斯拉夫斯基电戏院表演版本。不多说别的，做这字幕，感触太深了，导致精神状态极差，自己大概永远忘不了萨拉·凯恩她这个名字。ps：视频英文字幕为原资源内嵌，封面图片为萨拉·凯恩本人，哎，多好的一位剧作家啊。, 视频播放量 19210、弹幕量 45、点赞数 1110、投硬币枚数 523、收藏人数 3384、转发人数 276, 视频作者 年可意, 作者简介 如果有问题要问，请在私信里发，不大看评论区……，相关视频：【话剧】萨拉·凯恩戏剧：渴求/渴爱 Crave（自制字幕），【话剧】愤怒的葡萄 The Grapes of Wrath（自制字幕），【话剧】萨拉·凯恩戏剧：摧毁 Blasted（自制字幕），【话剧】安提戈涅 Juliette Binoche as Antigone（自制字幕），4.48精神崩溃 萨拉凯恩 英国当代直面戏剧PSYCHOSIS 4.48 by Maka Natsvlshvili，【戏剧】美狄亚【伊莎贝尔 于佩尔】

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剧作家爱丽丝·伯奇 Alice Birch 的《自杀剖析》讲述了母亲克拉拉、女儿安娜、孙女邦妮三代女性的故事。饱受抑郁症折磨的母亲克拉拉和用毒品麻醉自己的女儿安娜，最终都选择了自杀，孙女邦尼则探寻着另一条道路。导演凯蒂·米歇尔 Katie Mitchell 在精巧剧本基础上构建了一台情感细腻的演出，深度剖析活着的痛苦，以及对自我存在感的渴求。作品的剧本和舞台呈现都采用了平行叙事的模式，使过去、现在, 视频播放量 31106、弹幕量 57、点赞数 811、投硬币枚数 385、收藏人数 5015、转发人数 646, 视频作者 阿呆雨果, 作者简介 舞台艺术和画家画作的橱窗
音乐&戏剧字幕翻译（主法英德）
翻译过法大悲、法Gala、JOJ、重聚等现场演出和多部资源
想搞译配翻唱，求合作
，相关视频：月亮谷(Sonoma)【Marcos Morau】阿维尼翁戏剧节，德国戏剧 2019柏林戏剧节 德累斯顿国家剧院《恶童日记》（Das große Heft）三部曲，奥德赛Odyssey 罗伯特·威尔逊Robert Wilson，【戏剧/德国】遗愿清单 Bucket List 柏林邵宾纳剧院 Schaubühne 雅艾尔·罗恩 Yael Ronen Theatertreffen 2024，弥赛亚Der Messias-罗伯特·威尔逊Robert Wilson，皮兰德娄《像你希望我的那样》【Stéphane Braunschweig】奥德翁剧院（英字），他那个阶层的人——柏林戏剧节2022（英字），日本戏剧（中字）奢侈贫穷剧团 山田由梨《我想理解你，但……》「わかろうとはおもっているけど」，德国戏剧 2018柏林戏剧节 汉堡塔利亚剧院 荷马史诗《奥德赛》（Odyssee），爱尔兰戏剧（英字）都柏林地标剧团 易卜生《群鬼》（Ghosts）

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Mario Petrucci (born 1958) is a British-Italian poet, literary translator, educator and broadcaster. He was born in Lambeth, London and trained as a physicist at Selwyn College in the University of Cambridge, later completing a PhD in vacuum crystal growth at University College London. He is also an ecologist, having a BA in Environmental Science from Middlesex University. Breaking with his early scientific career, Petrucci increasingly focussed on his literary projects, becoming the first poet to be resident at the Imperial War Museum and with BBC Radio 3.

Petrucci has utilised poetry and film in a variety of educational, cultural and community settings so as to deepen public (and academic) engagement with human conflict, environmental issues and science, whilst also encouraging a more vital exploration of personal and historic memory. He has actively used the media to disseminate his poetry, and his broadcasting experience includes BBC radio's Kaleidoscope, London Nights, Sunday Feature, Night Waves, and the BBC World Service, as well as BBC TV.

Petrucci's poetry debut, Shrapnel and Sheets (1996), won a Poetry Book Society Recommendation. Ensuing literary awards include the Irish Times Perpetual Trophy, the Daily Telegraph/ Arvon International Poetry Prize, the London Writers Competition (a record four wins), the Sheffield Thursday Prize (twice), the Bridport Poetry Prize, and the Silver Wyvern Award. Altogether, between 1991 and 2005, Petrucci won a total of 22 national and international open poetry competitions. Petrucci's poetry has also appeared in such outlets as The Spectator and The Independent, and has been noted in the , The Daily Telegraph and The Guardian, with his diverse collections drawing inspiration situationally from key cultural sites, or exploring his core themes of love/loss, the tragedies of warfare, and science in the natural world.

2012 saw Petrucci shortlisted for the Ted Hughes Award with a monumental poetry soundscape (among the largest ever created) entitled Tales from the Bridge. Commissioned by the Mayor of London, this installation spanned the Thames as part of the London 2012 Cultural Olympiad. Composed as a complex overlapping hybrid prose poem, and performed using subtle sonic textures with multiple interleaving voices, Tales from the Bridge was "assembled from literary forms such as short poems, atmospheric descriptions, local anecdotes, facts and figures". Collaborators for the project included Martyn Ware ( The Human League) and Eric Whitacre, whose music was used. The soundscape played for two months along the entire length of the Millennium Bridge and was experienced by an estimated 4 million people.

Poetry, translation, film

A prolific poet, Petrucci's style and forms have constantly evolved. His early output has been characterised as a shifting eclectic mix: this work was, by turns, spiritual/devotional, open-mic/humour/ performance-oriented, politically-conscious/ satirical, ecopoetic/scientific, site-specific, war-related and confessional (the latter often centred on relationships, childhood, or his Italian heritage and family); these plural concerns later condensed into extensive explorations of intensely felt love/loss and a more systematically neo- modernist drive (with eco-aware, metaphysical and ' concrete' leanings), punctuated by major public commissions and a growing engagement with watershed authors from other cultures and epochs.

This intricate aesthetic journey culminated in the vast i tulips sequence, Petrucci's key avant-garde undertaking consisting of 1111 poems (with a 1111-line coda in 11 parts) described by the Poetry Book Society as an "ambitious landmark body of work". Endorsed by Roy Fisher and Bill Berkson, the project combined rich imagery and intense musicality with a freshly-invented undulating form, proceeding through hundreds of variations, to generate "an energetic fusion of American and British modernism".

Alongside this, Petrucci has been occupied with literary translation: 2018 brought his English versions of the Persian mystic poet Hafez via Bloodaxe Books, and in 2022 he was invited by the Society of Authors to judge the John Florio Prize for Italian translation. He has published versions of Catullus, Sappho, Rumi, Saadi and the Nobel-winning Eugenio Montale.

Petrucci's poetry has also been deployed in a number of films. Heavy Water: a film for Chernobyl and Half Life: a Journey to Chernobyl were two sibling features (by Seventh Art Productions) built around his award-winning poetry sequence on the Chernobyl disaster. Voiced by Juliet Stevenson, David Threlfall and Samuel West, these films have garnered awards such as the Cinequest, as well as screenings on mainstream television and at major cultural venues such as Tate Modern (in 2007). He later scripted the art film Amazonia, set in Peru, commissioned and showcased by the Natural History Museum, London to highlight the plight and global significance of rainforests.

Cultural, Educational, Cross-disciplinary (science-ecology-arts) work

Petrucci's poems, short stories, articles and essays often investigate cross-disciplinary concerns (creativity, politics, science, the environment), for instance the role of eco-art in dissolving society's resistance to pro-environmental change, or the cross-fertilisation of disciplines by applying 'Scientific Visualizations' as visual analogies to specific literary aspects of the humanities. He has also been much involved in the educational sector, in creative writing and literary mentoring, melding scientific and ecological awareness with creative writing praxis. He was instrumental in a number of London-based literary initiatives, including: the experimental collaborative 'co-vocal' poetry performance troupe ShadoWork; the Arts Council/ London Arts funded organisation writers inc. (which ran a variety of workshops and events); and the poetry magazine The Bound Spiral.

Petrucci has engaged with a wide range of cultural organisations, including the Royal Festival Hall, the Charles Dickens Museum, Southwell Workhouse, the Royal College of Surgeons of England, the European Space Agency, the London School of Economics, the Wellcome Foundation, and the Natural History Museum, London; he was also Royal Literary Fund Fellow on four occasions, at Oxford Brookes University, University of Westminster, Brunel University London, and the City and Guilds of London Art School.

One of Petrucci's several critical-theoretical innovations in poetry is his nesting of concrete poetry within a larger concept he terms Spatial Form. This goes far beyond the overt spatial signals generated by a poem's concrete shape or its chosen form and layout: Spatial Form incorporates all aspects of the poem's visual gestalt as physically manifested on the page, including such subtleties as typeface or the visual textures of repeated letters. Petrucci also coined the critical terms 'Poeclectics' and 'sonic stitching', and is first proponent of the new prose sub-genre 'Eco-sci-fi Flash Fiction'.

Bosco (Hearing Eye: pamphlet 1999; book 2001) ISBN 1-870841-64-6 & ISBN 1-870841-77-8.

Lepidoptera (Kite Modern Poetry Series, 88 & 96; 1999, 2001) ISBN 0-907759-47-5 & ISBN 0-907759-87-4.

Fearnought (Poems for Southwell Workhouse) (The National Trust, 2006) ISBN 1-84359-251-7 or ISBN 978-1-84359-251-8.

(Perdika Press, 2006) ISBN 1-905649-00-2 (second re-print 2007, ISBN 978-1-905649-00-6).

Nights * Sifnos * Hands (Flarestack Poets, 2010) ISBN 978-1-906480-24-0.

the waltz in my blood (Waterloo Press, 2011) ISBN 978-190674240-9.

anima (Nine Arches Press, 2013) ISBN 978-0-9573847-3-6.

Xenia (Arc Publications, 2016) ISBN 978-1-910345-53-5 (Petrucci's translation of Xenia by Eugenio Montale).

Beloved: 81 poems from Hafez (Bloodaxe Books, 2018) ISBN 978-1-780374-30-7 (Petrucci's translation of The Divan by Persian mystic poet Hafez).

Isha Upanishad (Guillemot Press, 2019) (a modern English version of the ancient sacred Hindu text, the Isha Upanishad).

Heavy Water: a film for Chernobyl (with Phil Grabsky & David Bickerstaff) Seventh Art Productions, 2006.

Half Life: a journey to Chernobyl (with Phil Grabsky & David Bickerstaff) Seventh Art Productions, 2006.

Amazonia (with Lucy + Jorge Orta), commissioned by the Natural History Museum, 2010.

1993 Winner, London Writers Competition

1995 Edith Kitt Memorial Award

1996 Poetry Book Society Recommendation

1996 Edith Kitt Memorial Award

1997 Winner, Sheffield Thursday Prize

1997 Winner, inaugural Irish Times Perpetual Trophy

1998 New London Writers Award (London Arts)

1998 Winner, London Writers Competition

1998 Winner, Sheffield Thursday Prize

1999 Bridport Poetry Prize

2002 Daily Telegraph / Arvon International Poetry Prize

2002 Arts Council England Writers' Award

2003 Essex Book Awards Best Fiction Prize 2000-2002

2003 Silver Wyvern Award

2004 Winner, London Writers Competition

2004 National Poetry Competition: third prize cum laude

2005/2006 Arts Council England Grants for the Arts: Science in Poetry

2005 Winner, London Writers Competition

2007 Cinequest Film Festival Award, Best Short Documentary (Half Life: a Journey to Chernobyl)

2009/10 Arts Council England Grants for the Arts: i tulips

2012 Shortlisted for The Ted Hughes Award for New Work in Poetry: Tales from the Bridge

2016 Winner, PEN Translates Award

2018 Shortlisted: John Florio Prize for Italian Translation (with Xenia by Eugenio Montale)

[a] - Petrucci's formulation of Spatial Form is not to be confused with Joseph Frank's unrelated 1945 term, dealing primarily with the abstract patterning of internal references and narratives implemented by an author across a work in order to create a unitary structure of meaning.

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Mario Petrucci (born 1958) is a British-Italian poet, literary translator, educator and broadcaster. He was born in Lambeth, London and trained as a physicist at Selwyn College in the University of Cambridge, later completing a PhD in vacuum crystal growth at University College London.

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This article is about the 14th century Persian poet. For other uses of this name, see Hafiz.

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Lars Eidinger, Rezitation & Gesang Hans-Jörn Brandenburg, Klavier, Cembalo & Harmonium

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Lars Eidinger hat ein besonderes Verhältnis zu Bertolt Brecht. In Joachim Langs Spielfilm “Brechts Dreigroschenfilm” hat er ihn schon verkörpert. In Kass

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Electronic Disturbance Theater - Wikipedia

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The Electronic Disturbance Theater (EDT), established in 1997 by performance artist and writer Ricardo Dominguez, is an electronic company of cyber activists, critical theorists, and performance artists.

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Not Like a Native Speaker: On Languaging as a Postcolonial Experience By Rey Chow Columbia University Press, 2014, xiv, 169 pp. | Cambridge Journal of Postcolonial Literary Inquiry | Cambridge Core

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Not Like a Native Speaker: On Languaging as a Postcolonial Experience By Rey Chow Columbia University Press, 2014, xiv, 169 pp. - Volume 5 Issue 1

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◆当今文学世界最伟大的心灵，当代人文主义批评大师 乔治•斯坦纳经典代表作
◆最彻骨的现代启示录，最宏阔的人文主义襟怀
本书的主题——对政治暴行的深入反思——极具当代性
对文学的梳理兼具历史感与现实关…

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本书辑录了这位德国著名思想家在20世纪50年代所做、集中地呈现出其后期语言思想的演讲报告，收有《语言的本质》、《词语》等。

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Ernst Ingmar Bergman[a] (14 July 1918 – 30 July 2007) was a Swedish film and theatre director and screenwriter. Widely considered one of the greatest and most influential film directors of all time,[1][2][3] his films have been described as “profoundly personal meditations into the myriad struggles facing the psyche and the soul”.[4] Among his most acclaimed works are The Seventh Seal (1957), Wild Strawberries (1957), Persona (1966) and Fanny and Alexander (1982), which were included in the 2012 edition of Sight & Sound’s Greatest Films of All Time.[5] He was also ranked No. 8 on the magazine’s 2002 “Greatest Directors of All Time” list.[6] Other notable works include Sawdust and Tinsel (1953), A Lesson in Love (1954), Smiles of a Summer Night (1955), The Virgin Spring (1960), Through a Glass Darkly (1961), Winter Light and The Silence (both 1963), Shame (1968), Cries and Whispers (1972), Scenes from a Marriage (1973) and Autumn Sonata (1978).

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Amicus Plato, sed magis amica veritas - Wikipedia

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Amicus Plato, sed magis amica veritas is a Latin phrase, translating to “Plato is my friend, but truth is a better friend (literally: Plato is friend, but truth is more friend (to me than he is)).” The maxim is often attributed to Aristotle, as a paraphrase of the Nicomachean Ethics 1096a11–15.

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The dithyramb ( Ancient Greek: διθύραμβος, dithyrambos) was an ancient Greek hymn sung and danced in honour of Dionysus, the god of wine and fertility; the term was also used as an epithet of the god: Plato, in , while discussing various kinds of music mentions "the birth of Dionysos, called, I think, the dithyramb." Plato also remarks in the that dithyrambs are the clearest example of poetry in which the poet is the only speaker.

However, in The Apology Socrates went to the dithyrambs with some of their own most elaborate passages, asking their meaning but got a response of, "Will you believe me?" which "showed me in an instant that not by wisdom do poets write poetry, but by a sort of genius and inspiration; they are like diviners or soothsayers who also say many fine things, but do not understand the meaning of them."

Plutarch contrasted the dithyramb's wild and ecstatic character with the paean. According to Aristotle, the dithyramb was the origin of Athenian tragedy. A wildly enthusiastic speech or piece of writing is still occasionally described as dithyrambic.

Dithyrambs were sung by choirs at Delos, but the literary fragments that have survived are largely Athenian. In Athens, dithyrambs were sung by a Greek chorus of up to fifty men or boys dancing in circular formation, who may or may not have been dressed as Satyrs, probably accompanied by the . They would normally relate some incident in the life of Dionysus or just celebrate wine and fertility.

The ancient Greeks laid out the criteria of the dithyramb as follows:

Competitions between groups, singing and dancing dithyrambs were an important part of the festivals of Dionysus, such as the Dionysia and Lenaia. Each tribe would enter two choirs, one of men and one of boys, each under the leadership of a coryphaeus. The names of the winning teams of dithyrambic contests in Athens were recorded. The successful would receive a statue that would be erected-at his expense-as a public monument to commemorate the victory. However, most of the poets remain unknown.

The earliest mention of dithyramb, found by Sir Arthur Wallace Pickard-Cambridge, is in a fragment of Archilochus, who flourished in the first half of the seventh century BCE: "I know how to lead the fair song of the Lord Dionysus, the dithyramb, when my wits are fused with wine." As a literary composition for chorus, their inspiration is unknown, although it was likely Greek, as Herodotus explicitly speaks of Arion of Lesbos as "the first of men we know to have composed the dithyramb and named it and produced it in Corinth".

The word dithyramb has no known origin, but is frequently assumed not to be derived from Greek. An old hypothesis is that the word is borrowed from Phrygian or Pelasgian, and literally means "Vierschritt", i. e., "four-step", compare and , but H. S. Versnel rejects this etymology and suggests instead a derivation from a cultic exclamation. Dithyrambs were composed by the poets Simonides and Bacchylides, as well as Pindar (the only one whose works have survived in anything like their original form).

Later examples were dedicated to other gods, but the dithyramb subsequently was developed (traditionally by Arion) into a literary form. According to Aristotle, Athenian tragedy developed from the dithyramb; the two forms developed alongside one another for some time. The clearest sense of dithyramb as proto-tragedy comes from a surviving dithyramb by Bacchylides, though it was composed after tragedy had already developed fully. Bacchylides' dithyramb is a dialogue between a solitary singer and a choir. It is suggestive of what tragedy may have resembled before Aeschylus added a second actor instead of the choir.

In the later 5th century BCE, the dithyramb "became a favorite vehicle for the musical experiments of the poets of the 'new music'." This movement included the poets Timotheus of Miletus, Cinesias, Melanippides, and Philoxenus of Cythera. By the 4th century BCE the genre was in decline, although the dithyrambic competitions did not come to an end until well after the Roman takeover of Greece.

Dithyrambs are rare in English language literature. In German literature they appear more frequently, and from the 19th century several compositions were inspired by them.

Literature

John Dryden's Alexander's Feast (1697) is a notable example of an English language dithyramb.

Friedrich Schiller wrote a Dithyrambe in 1796. Friedrich Nietzsche composed a set of Dionysos-Dithyramben in 1888/89.

Music and dance

From the 19th century dithyrambs appear frequently in classical music, as well in vocal as instrumental compositions.

Franz Schubert wrote a song for bass voice based on Schiller's Dithyrambe ( D 801, published as Op. 60 No. 2 in 1826). Schubert's earlier attempt at setting the same poem for a more extended vocal ensemble had remained unfinished ( D 47, 1813). Johann Friedrich Reichardt (in Schillers lyrische Gedichte volume 2, published around 1809) and Wilhelm Taubert (Op. 144 No. 2, 1864) were other composers setting Schiller's poem. Other composers basing vocal music on dithyrambs include Giuseppe Verdi (" Brindisi", No. 6 of his 1845 Album di Sei Romanze), and Max Bruch (Op. 39, c. 1871). Othmar Schoeck's 1911 Dithyrambe, Op. 22 is based on an unnamed verse by Goethe.

Instrumental dithyrambs were composed by Robert Volkmann and Hermann Ritter. Nikolai Medtner composed several dithyrambs, including a set of three for solo piano as his Opus 10. Additionally, the final movement of his first violin sonata carries the title, and the last of his Vergessene Weisen Op. 40 is a Danza ditirambica.

The last movement of Igor Stravinsky's Duo Concertant for violin and piano is entitled Dithyrambe. Richard Edward Wilson's 1983 Dithyramb is for oboe and clarinet. Wolfgang Rihm composed a 30-minute work, Concerto, in 2000, with the subtitle Dithyrambe and a scoring for string quartet and orchestra.

In 1961 the American choreographer James Waring created a dance piece entitled Dithyramb with music and objects by the Fluxus artist George Brecht.

1. ^ Dithurambos, Henry George Liddell, Robert Scott, A Greek-English Lexicon, at Perseus. Dithyrambos seems to have arisen out of the hymn: just as paean was both a hymn to and a title of Apollo, Dithyrambos was an epithet of Dionysos as well as a song in his honour; see Harrison (1922, 436).

2. Plutarch, ^ On the Ei at Delphi. Plutarch himself was a priest of Dionysos at Delphi.

3. ^ Aristotle, (1449a10-15): "Anyway, arising from an improvisatory beginning (both tragedy and comedy-tragedy from the leaders of the dithyramb, and comedy from the leaders of the phallic processions which even now continue as a custom in many of our cities), [tragedy] grew little by little, as [the poets] developed whatever [new part] of it had appeared; and, passing through many changes, tragedy came to a halt, since it had attained its own nature"; see Janko (1987, 6).

4. Pickard-Cambridge, Sir Arthur Wallace. 1927. ^ Dithyramb, Tragedy and Comedy. Second edition revised by T.B.L. Webster, 1962. Oxford: Oxford University Press, 1997. ISBN 0-19-814227-7

5. Pickard-Cambridge, Sir Arthur Wallace. 1927. ^ Dithyramb Tragedy and Comedy. Second edition revised by T.B.L. Webster, 1962. Oxford: Oxford University Press, 1997. ISBN 0-19-814227-7

6. ^ R. S. P. Beekes has suggested a Pre-Greek eymology (Etymological Dictionary of Greek, Brill, 2009, pp. 333-4).

7. ^ Versnel, H. S. (1970). "I. 2 Θρίαμβος". Triumphus: An Inquiry Into the Origin, Development and Meaning of the Roman Triumph. Leiden, Netherlands: Brill Publishers. pp. 16-38. ISBN 90-04-02325-9.

8. Christopher G. Brown, "Dithyramb," in N.G. Wilson (ed.), ^ Encyclopedia of Ancient Greece, Routledge, 2006

9. See the comprehensive commentary in ^ Andreas Urs Sommer, Kommentar zu Nietzsches Der Antichrist. Ecce homo. Dionysos-Dithyramben. Nietzsche contra Wagner (= Heidelberger Akademie der Wissenschaften (Hg.): Historischer und kritischer Kommentar zu Friedrich Nietzsches Werken, vol. 6/2), Berlin / Boston: Walter de Gruyter 2013

10. ^ Werk- und Nachlassverzeichnis Othmar Schoeck (1886 - 1957). Zentralbibliothek Zürich. p. 29. See also Dithyrambe 'Alles geben die Götter, die unendlichen' at The LiederNet Archive, and: Marcel Reich-Ranicki. "„Alles geben die Götter" von Johann Wolfgang von Goethe" in Frankfurter Allgemeine Zeitung, 4 October 2013.

Bacchylides, "The Theseus Dithyramb" - composed c. 500 BCE

IMSLP:

Vocal:
"Dithyrambe" in Schillers lyrische Gedichte (Vol. 2) by Johann Friedrich Reichardt,
"Dithyrambe", Op. 60 No. 2 (D 801) by Franz Schubert,
No. 6 of Sei Romanze (1845) by Giuseppe Verdi,
"Dithyrambe", No. 2 in Dichtungen v. Fr. v. Schiller, Op. 144 by Wilhelm Taubert,
Dithyrambe, Op. 39 by Max Bruch: Scores at the International Music Score Library Project (IMSLP)

Instrumental:
Dithyrambe und Toccate, Op. 4 by Robert Volkmann (1851),
3 Dithyrambs, Op.10 by Nikolay Medtner (1898-1906),
Dithyrambe, Op. 74 by Hermann Ritter (1907),
Violin Sonata No.1, Op.21 by Nikolay Medtner (1909-10 - movements: Canzona, Danza, Ditirambo),
"Danza ditirambica", No. 6 in Forgotten Melodies III, Op.40 by Nikolay Medtner (1919-1920): Scores at the International Music Score Library Project (IMSLP)

Dithyrambs at The LiederNet Archive

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The dithyramb ( Ancient Greek: διθύραμβος, dithyrambos) was an ancient Greek hymn sung and danced in honour of Dionysus, the god of wine and fertility; the term was also used as an epithet of the god: Plato, in , while discussing various kinds of music mentions "the birth of Dionysos, called, I think, the dithyramb."

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The Gods Themselves is a 1972 science fiction novel written by Isaac Asimov. It won the Nebula Award for Best Novel in 1972, and the Hugo Award for Best Novel in 1973.

The book is divided into three main parts, which were first published in Galaxy Magazine and Worlds of If as three consecutive stories.

In terms of structure, the book opens at chapter six to give context to the other chapters. Thus, the flow is Chapter six overview of Chapter one, then Chapter one. Next, is Chapter six overview of Chapter two, then Chapter two. Chapter six then concludes, and the story proceeds with chapter seven.

In terms of the setting in the future, in Part I, the novel specifically refers to the date October 3, 2070, as a date when the character Hallam entered the laboratory to work. Later in Part I, in chapter two, the book states that the character Peter Lamont had been two years old when Hallam performed the work set in 2070, and Lamont was 25 years old when he began working at the Pump Station. Accordingly, the bulk of the novel is set sometime around the year 2100. In Part III, the novel states that the Earth's population has been reduced to two billion people following a "Great Crisis". It caused significant ecological damage, with all apes except for gibbons extinct outside of zoos, and technological progress being viewed with suspicion - for example, genetic engineering research is banned outright. Part III of the novel takes place on a lunar colony with about 20,000 people, half of which were "native Lunarites". The colony is stated to be the last leftover of pre-Crisis humanity, making it the leader in many sciences.

The main plot-line is a project by those who inhabit a parallel universe (the para-Universe) with different physical laws from this one. By exchanging matter from their universe-para-Universe-with our universe, they seek to exploit the differences in physical laws. The exchange of matter provides an alternative source of energy to maintain their universe. However, the exchange will likely result in the collapse of the Earth's Sun into a supernova, and possibly even turning a large part of the Milky Way into a quasar. There is hope among those in the para-Universe that the energy explosion does happen in our universe.

First part: Against Stupidity...

The first part takes place on Earth, almost a century after the "Great Crisis", where ecological and economic collapse reduced the world's population from six billion to two billion. Radiochemist Frederick Hallam discovers that a container's contents have been altered. He finds out that the sample, originally tungsten, has been transformed into plutonium 186-an isotope that cannot occur naturally in our universe. As this is investigated, Hallam gets the credit for suggesting that the matter has been exchanged by beings in a parallel universe; this leads to the development of a cheap, clean, and apparently endless source of energy: the "Pump", which transfers matter between our universe (where plutonium 186 decays into tungsten 186) and a parallel one governed by different physical laws (where tungsten 186 turns into plutonium 186), yielding a nuclear reaction in the process. The development process grants Hallam high position in public opinion; winning him power, position, and a Nobel Prize.

Physicist Peter Lamont, while writing a history of the Pump about 30 years later, comes to believe that the impetus of the Pump was the effort of the extraterrestrial "para-men". Lamont enlists the help of Myron "Mike" Bronowski, an archeologist and linguist known for translating ancient writings in the Etruscan language, to prove his claim by communicating with the parallel world. They inscribe symbols on strips of tungsten to establish a common written language as the strips are exchanged for ones made of plutonium-186. As Bronowski works, Lamont discovers that the Pump increases the strong nuclear force inside the sun, and thus threatens both universes by the explosion of Earth's Sun and the cooling of that in the parallel universe. Bronowski receives an acknowledgment from the parallel universe that the Pump may be dangerous. Lamont attempts to demonstrate this to a politician and several members of the scientific community, but they refuse his request. Lamont decides to tell the para-men to stop the use of the Pump, but Bronowski reveals that they have been in contact not with the other side's authorities, but with dissidents unable to stop the Pump on their side. The last message was them begging Earth to stop.

Second part: ...The Gods Themselves...

The second part is set in the parallel universe where, because the nuclear force is stronger, stars are smaller and burn out faster than in our universe. It takes place on a world orbiting a sun that is dying. Because atoms behave differently in this universe, substances can move through each other and appear to occupy the same space. This gives the intelligent beings unique abilities. Time itself appears to flow differently in this universe: the events take place in an apparently short space of time in the lives of the inhabitants, while more than 20 years pass in our universe, and a long feeding break of one of the characters translates into a two-week gap on Lamont's side.

Like the first part of the novel, this section has an unusual chapter numbering. Each chapter except the last is in three parts, named "1a", "1b", and "1c". Each reflects the viewpoint of one of the three members of the "triad" central to the story's theme.

The inhabitants are divided into dominant "hard ones" and subject "soft ones".[clarification needed ] The latter have three sexes with fixed roles for each sex:

Rationals (or "lefts") are the logical and scientific sex; identified with masculine pronouns and producing a form of sperm. They have limited ability to pass through other bodies.

Emotionals (or "mids") are the intuitive sex; identified with the feminine pronouns and provide the energy needed for reproduction. Emotionals can pass freely in and out of solid material, including rock.

Parentals (or "rights") bear and raise the offspring, and are identified with masculine pronouns. Parentals have almost no ability to blend their bodies with others, except when helped by one or both of the other sexes.

All three 'genders' are embedded in sexual and social norms of expected and acceptable behavior. All three live by photosynthesis; whereas sexual intercourse is accomplished by bodily collapse into a single pool (known as 'melting'). Rationals and Parentals can do this independently, but in the presence of an Emotional, the "melt" becomes total, which causes orgasm and also results in a period of unconsciousness and memory loss. Only during such a total "melt" can the Rational "impregnate" the Parental, with the Emotional providing the energy. Normally, the triad produces three children; a Rational, a Parental and Emotional (in that order), after which they "pass on" and disappear forever. In the past, some triads have repeated the cycle of births (thus ensuring population growth), but the declining amount of solar radiation no longer allows that. "Stone-rubbing" is a practice of partially melting with solid objects like rocks, possible for Emotionals, but the other genders are only capable of it in a very limited form. It is an analogue of human masturbation and generally frowned upon. Dua, the Emotional who functions as protagonist of this section of the book, appears to be the only one who practices it while married.

The hard ones regulate much of soft one society, allocating one of each sex to a mating group called a "triad," and acting as mentors to the Rationals. Little is shown of "hard one" society; whereas Dua suspects that the "hard ones" are a dying race, retaining the "soft ones" as a replacement for their absent children. This is dismissed by Odeen, the Rational of Dua's triad. Having the most contact with the "hard ones," Odeen has heard them speak of a new "hard one" called Estwald, accounted of exceptional intelligence and the creator of the Pump.

Dua is an oddball Emotional who exhibits traits normally associated with Rationals, resulting in the nickname "left-em." While being taught by Odeen, she also discovers the supernova problem that Lamont uncovered in the first section. Outraged that the Pump is allowed to operate, she attempts to halt it but cannot persuade her own species to abandon the Pump. Given that their own sun and all the other stars in their universe can no longer provide the energy necessary for reproduction, they consider the possible destruction of Earth's Sun worthwhile if it might provide a more reliable source of energy.

Driven by an innate desire to procreate, Tritt, the "Parental" of the triad, at first asks Odeen to persuade Dua to facilitate the production of their third child. When this fails, Tritt steals an energy-battery from the Pump and rigs it to feed Dua, which stimulates the triad into a total melt, resulting in conception. Dua discovers this betrayal and escapes to the caves of the hard ones, where she transmits the warning messages received by Lamont. This effort nearly exhausts her mortally before she is found by her triad. Here it is revealed that the hard ones are not a separate species, but the fully mature form that the triads eventually coalesce into permanently. Each melt briefly allows the triad to shift into its hard form during the period they can't later remember. Odeen convinces Dua that the hard one they will become will have influence with the others to stop the Pump; but as their final metamorphosis (the true meaning of "passing on") begins, Dua realizes (too late to prevent irreversible union) that her own triad's "hard" form is the scientist Estwald.

Third part: ...Contend in Vain?

The third part of the novel takes place on the Moon. Lunar society is diverging radically from that of Earth. The lower gravity has produced people with a very different physique. Their food supply is manufactured from algae and distasteful to inhabitants of Earth. They enjoy low-gravity sports that would be impossible on Earth, such as an acrobatic game like "tag" performed in a huge cylinder (these sports are vital to them, since their metabolism is still that of Earthmen, and proper strenuous exercise must be maintained for it to function properly). Some Lunarites want to further adapt their bodies to life on the Moon, but Earth has outlawed genetic engineering decades ago. Lunarites are beginning to see themselves as a separate race, although procreation between them and Earth people is quite common. Sex, however, is problematic, since an Earthborn person is likely to injure his or her partner due to loss of control. Sexual morals are loose, and nudity is not taboo.

The plot centers on a cynical middle-aged ex-physicist named Denison, briefly introduced in Part 1 as the colleague and rival of Hallam whose snide remark drove Hallam to investigate the change in his sample of tungsten and, eventually, develop the Pump. Finding his career blocked by Hallam, Denison leaves science and enters the business world, becoming a success.

Denison, independently of Lamont, deduced the danger in the Electron Pump. He visits the Moon colony hoping to work outside of Hallam's influence using technology that the Lunarites have developed. He is helped by a Lunarite tourist guide named Selene Lindstrom. She is secretly an Intuitionist (a genetically engineered human with superhuman intuition), who is working with her lover, Barron Neville. They are both part of a group of political agitators who want independence from Earth. The group particularly wants to be allowed to research ways to use the Electron Pump on the Moon. Although solar energy is plentiful enough to power their underground habitats, Neville wants to live entirely underground and never have to venture out on the surface. With the scientists' help, Denison gets access to the technology and proves that the strong force is indeed increasing, and will cause the Sun to explode.

Denison continues his work, tapping into a third parallel universe that is in a pre- Big Bang state (called "cosmic egg" or "cosmeg"), where physical laws are totally opposite to those of Dua's universe. Matter from the cosmeg starts with very weak nuclear force, and then spontaneously fuses as our universe's physical laws take over. The exchange with the second parallel universe both produces more energy at little or no cost, and balances the changes from the Electron Pump, resulting in a return to equilibrium. However, Selene clandestinely conducts another test showing that momentum can also be exchanged with the cosmeg. Denison catches her and forces her to admit her secret purpose: Neville thinks the momentum exchange can be used to move anything without using rockets, including the Moon itself. He wants to break away from Earth in the most complete way possible. Denison is appalled, although he sees the potential of the technology to make travel within the Solar System easier, and to the stars possible.

When Selene discusses Neville's plan with the rest of the group, most of them agree that moving the entire Moon will be meaningless, and building self-sufficient sublight starships will be better. A later public vote goes against Neville as well. Hallam is ruined by Denison's revelations. Selene and Denison become a couple. Having received permission to produce a second child, Selene requests Denison to become its father. The novel ends with them deciding to try working around the sexual incompatibility problem.

Asimov's relationship to the story

In a letter of February 12, 1982, Asimov identified this as his favorite science fiction novel. Asimov's short story " Gold", one of the last he wrote in his life, describes the efforts of fictional computer animators to create a "compu-drama" from the novel's second section.

Asimov took the names of the immature aliens-Odeen, Dua, and Tritt-from the words One, Two, and Three in the language of his native Russia, i.e. odin (один), dva (два) and tri (три).

Asimov's inspiration for the title of the book, and its three sections, was a quotation from the play The Maid of Orleans by Friedrich Schiller: "Mit der Dummheit kämpfen Götter selbst vergebens.", "Against stupidity the gods themselves contend in vain" (quoted in the book itself).[citation needed ]

Asimov describes a conversation in January 1971 when Robert Silverberg had to refer to an isotope-just an arbitrary one-as an example. Silverberg said "plutonium-186". "There is no such isotope", said Asimov, "and such a one can't exist either". Silverberg dared Asimov to write a story about it. Later Asimov figured out under what conditions plutonium-186 could exist, and what complications and consequences it might imply. Asimov reasoned that it must belong to another universe with other physical laws; specifically, different nuclear forces necessary to allow a Pu-186 nucleus to hold itself together. He wrote down these ideas, intending to write a short story, but his editor, Larry Ashmead, asked him to expand it into a full novel. As a result of that request, Asimov wrote the second and third parts of the book.

In his autobiography, Asimov stated that the novel, especially the second section, was the "biggest and most effective over-my-head writing [that I] ever produced".

At the time of writing, quasars had been only recently discovered and were not well understood. In the story Lamont suggests that quasars are in fact parts of galaxies that have undergone sudden increase in the strength of the strong nuclear force, resulting in an explosion of fusion energy. It is not certain if Asimov took into account the nature of solar fusion, where the primary reaction rate is governed by the weak nuclear force, transforming protons into neutrons, while the strong force governs the amount of energy released during reactions.

The book mentions quarks, but confines its discussion of the strong force to pions, which are the carriers of the force that binds protons and neutrons together, while gluons bind quarks within protons and neutrons. At the time, gluons were only suspected to exist while particles thought to be quarks had been observed directly.

Similarly, the Etruscan language and particularly Etruscan writings had not yet been translated and were enigmatic. The language's possible relation to any other known language remains today (in 2020) unproven. The character Bronowski is imagined to have solved the puzzle by considering the Basque language, which is also unique in Europe, as a relative of ancient Etruscan. Bronowski decides to help Lamont when the president of the university refers to the language as "Itascan", confusing it with Lake Itasca. He resolves to do something that "even that idiot will remember".[citation needed ]

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The Gods Themselves is a 1972 science fiction novel written by Isaac Asimov. It won the Nebula Award for Best Novel in 1972, and the Hugo Award for Best Novel in 1973. The book is divided into three main parts, which were first published in Galaxy Magazine and Worlds of If as three consecutive stories.

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Introduction: performance and ecology – what can theatre do?

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Published in Green Letters: Studies in Ecocriticism (Vol. 20, No. 3, 2016)

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This book asks what are the challenges to theatre and the purposes of performance in an ecologically threatened world? Is there a future for theatre as an ethically and politically alert art through environmental action? How might ecological understandings refigure the natural virtues of theatre and performance?

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Theatre, Ecology and the Secret Life of Naturalism

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Andrew Burton* Abstract Naturalistic theatre—with its traditionally carbon-heavy sets, its domestic settings, its implicit anthropocentrism, its historic tendency to “proffer a wholly social accoun…

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Mario Petrucci (born 1958) is a British-Italian poet, literary translator, educator and broadcaster. He was born in Lambeth, London and trained as a physicist at Selwyn College in the University of Cambridge, later completing a PhD in vacuum crystal growth at University College London. He is also an ecologist, having a BA in Environmental Science from Middlesex University. Breaking with his early scientific career, Petrucci increasingly focussed on his literary projects, becoming the first poet to be resident at the Imperial War Museum and with BBC Radio 3.

Petrucci has utilised poetry and film in a variety of educational, cultural and community settings so as to deepen public (and academic) engagement with human conflict, environmental issues and science, whilst also encouraging a more vital exploration of personal and historic memory. He has actively used the media to disseminate his poetry, and his broadcasting experience includes BBC radio's Kaleidoscope, London Nights, Sunday Feature, Night Waves, and the BBC World Service, as well as BBC TV.

Petrucci's poetry debut, Shrapnel and Sheets (1996), won a Poetry Book Society Recommendation. Ensuing literary awards include the Irish Times Perpetual Trophy, the Daily Telegraph/ Arvon International Poetry Prize, the London Writers Competition (a record four wins), the Sheffield Thursday Prize (twice), the Bridport Poetry Prize, and the Silver Wyvern Award. Altogether, between 1991 and 2005, Petrucci won a total of 22 national and international open poetry competitions. Petrucci's poetry has also appeared in such outlets as The Spectator and The Independent, and has been noted in the , The Daily Telegraph and The Guardian, with his diverse collections drawing inspiration situationally from key cultural sites, or exploring his core themes of love/loss, the tragedies of warfare, and science in the natural world.

2012 saw Petrucci shortlisted for the Ted Hughes Award with a monumental poetry soundscape (among the largest ever created) entitled Tales from the Bridge. Commissioned by the Mayor of London, this installation spanned the Thames as part of the London 2012 Cultural Olympiad. Composed as a complex overlapping hybrid prose poem, and performed using subtle sonic textures with multiple interleaving voices, Tales from the Bridge was "assembled from literary forms such as short poems, atmospheric descriptions, local anecdotes, facts and figures". Collaborators for the project included Martyn Ware ( The Human League) and Eric Whitacre, whose music was used. The soundscape played for two months along the entire length of the Millennium Bridge and was experienced by an estimated 4 million people.

Poetry, translation, film

A prolific poet, Petrucci's style and forms have constantly evolved. His early output has been characterised as a shifting eclectic mix: this work was, by turns, spiritual/devotional, open-mic/humour/ performance-oriented, politically-conscious/ satirical, ecopoetic/scientific, site-specific, war-related and confessional (the latter often centred on relationships, childhood, or his Italian heritage and family); these plural concerns later condensed into extensive explorations of intensely felt love/loss and a more systematically neo- modernist drive (with eco-aware, metaphysical and ' concrete' leanings), punctuated by major public commissions and a growing engagement with watershed authors from other cultures and epochs.

This intricate aesthetic journey culminated in the vast i tulips sequence, Petrucci's key avant-garde undertaking consisting of 1111 poems (with a 1111-line coda in 11 parts) described by the Poetry Book Society as an "ambitious landmark body of work". Endorsed by Roy Fisher and Bill Berkson, the project combined rich imagery and intense musicality with a freshly-invented undulating form, proceeding through hundreds of variations, to generate "an energetic fusion of American and British modernism".

Alongside this, Petrucci has been occupied with literary translation: 2018 brought his English versions of the Persian mystic poet Hafez via Bloodaxe Books, and in 2022 he was invited by the Society of Authors to judge the John Florio Prize for Italian translation. He has published versions of Catullus, Sappho, Rumi, Saadi and the Nobel-winning Eugenio Montale.

Petrucci's poetry has also been deployed in a number of films. Heavy Water: a film for Chernobyl and Half Life: a Journey to Chernobyl were two sibling features (by Seventh Art Productions) built around his award-winning poetry sequence on the Chernobyl disaster. Voiced by Juliet Stevenson, David Threlfall and Samuel West, these films have garnered awards such as the Cinequest, as well as screenings on mainstream television and at major cultural venues such as Tate Modern (in 2007). He later scripted the art film Amazonia, set in Peru, commissioned and showcased by the Natural History Museum, London to highlight the plight and global significance of rainforests.

Cultural, Educational, Cross-disciplinary (science-ecology-arts) work

Petrucci's poems, short stories, articles and essays often investigate cross-disciplinary concerns (creativity, politics, science, the environment), for instance the role of eco-art in dissolving society's resistance to pro-environmental change, or the cross-fertilisation of disciplines by applying 'Scientific Visualizations' as visual analogies to specific literary aspects of the humanities. He has also been much involved in the educational sector, in creative writing and literary mentoring, melding scientific and ecological awareness with creative writing praxis. He was instrumental in a number of London-based literary initiatives, including: the experimental collaborative 'co-vocal' poetry performance troupe ShadoWork; the Arts Council/ London Arts funded organisation writers inc. (which ran a variety of workshops and events); and the poetry magazine The Bound Spiral.

Petrucci has engaged with a wide range of cultural organisations, including the Royal Festival Hall, the Charles Dickens Museum, Southwell Workhouse, the Royal College of Surgeons of England, the European Space Agency, the London School of Economics, the Wellcome Foundation, and the Natural History Museum, London; he was also Royal Literary Fund Fellow on four occasions, at Oxford Brookes University, University of Westminster, Brunel University London, and the City and Guilds of London Art School.

One of Petrucci's several critical-theoretical innovations in poetry is his nesting of concrete poetry within a larger concept he terms Spatial Form. This goes far beyond the overt spatial signals generated by a poem's concrete shape or its chosen form and layout: Spatial Form incorporates all aspects of the poem's visual gestalt as physically manifested on the page, including such subtleties as typeface or the visual textures of repeated letters. Petrucci also coined the critical terms 'Poeclectics' and 'sonic stitching', and is first proponent of the new prose sub-genre 'Eco-sci-fi Flash Fiction'.

Bosco (Hearing Eye: pamphlet 1999; book 2001) ISBN 1-870841-64-6 & ISBN 1-870841-77-8.

Lepidoptera (Kite Modern Poetry Series, 88 & 96; 1999, 2001) ISBN 0-907759-47-5 & ISBN 0-907759-87-4.

Fearnought (Poems for Southwell Workhouse) (The National Trust, 2006) ISBN 1-84359-251-7 or ISBN 978-1-84359-251-8.

(Perdika Press, 2006) ISBN 1-905649-00-2 (second re-print 2007, ISBN 978-1-905649-00-6).

Nights * Sifnos * Hands (Flarestack Poets, 2010) ISBN 978-1-906480-24-0.

the waltz in my blood (Waterloo Press, 2011) ISBN 978-190674240-9.

anima (Nine Arches Press, 2013) ISBN 978-0-9573847-3-6.

Xenia (Arc Publications, 2016) ISBN 978-1-910345-53-5 (Petrucci's translation of Xenia by Eugenio Montale).

Beloved: 81 poems from Hafez (Bloodaxe Books, 2018) ISBN 978-1-780374-30-7 (Petrucci's translation of The Divan by Persian mystic poet Hafez).

Isha Upanishad (Guillemot Press, 2019) (a modern English version of the ancient sacred Hindu text, the Isha Upanishad).

Heavy Water: a film for Chernobyl (with Phil Grabsky & David Bickerstaff) Seventh Art Productions, 2006.

Half Life: a journey to Chernobyl (with Phil Grabsky & David Bickerstaff) Seventh Art Productions, 2006.

Amazonia (with Lucy + Jorge Orta), commissioned by the Natural History Museum, 2010.

1993 Winner, London Writers Competition

1995 Edith Kitt Memorial Award

1996 Poetry Book Society Recommendation

1996 Edith Kitt Memorial Award

1997 Winner, Sheffield Thursday Prize

1997 Winner, inaugural Irish Times Perpetual Trophy

1998 New London Writers Award (London Arts)

1998 Winner, London Writers Competition

1998 Winner, Sheffield Thursday Prize

1999 Bridport Poetry Prize

2002 Daily Telegraph / Arvon International Poetry Prize

2002 Arts Council England Writers' Award

2003 Essex Book Awards Best Fiction Prize 2000-2002

2003 Silver Wyvern Award

2004 Winner, London Writers Competition

2004 National Poetry Competition: third prize cum laude

2005/2006 Arts Council England Grants for the Arts: Science in Poetry

2005 Winner, London Writers Competition

2007 Cinequest Film Festival Award, Best Short Documentary (Half Life: a Journey to Chernobyl)

2009/10 Arts Council England Grants for the Arts: i tulips

2012 Shortlisted for The Ted Hughes Award for New Work in Poetry: Tales from the Bridge

2016 Winner, PEN Translates Award

2018 Shortlisted: John Florio Prize for Italian Translation (with Xenia by Eugenio Montale)

[a] - Petrucci's formulation of Spatial Form is not to be confused with Joseph Frank's unrelated 1945 term, dealing primarily with the abstract patterning of internal references and narratives implemented by an author across a work in order to create a unitary structure of meaning.

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Mario Petrucci (born 1958) is a British-Italian poet, literary translator, educator and broadcaster. He was born in Lambeth, London and trained as a physicist at Selwyn College in the University of Cambridge, later completing a PhD in vacuum crystal growth at University College London.

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Stories: June 1938: ‘Juni-Aktion’ and ‘Aktion Arbeitsscheu’ – DHM-Blog | Deutsches Historisches Museum

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Vagrancy is the condition of wandering homelessness without regular employment or income. Vagrants[a] usually live in poverty and support themselves by travelling while engaging in begging, scavenging, or petty theft. In Western countries, vagrancy was historically a crime punishable with forced labor, military service, imprisonment, or confinement to dedicated labor houses.