Experimental Theatre Research Articles

Why we still need to talk about class

ABSTRACT This article places the aim of the Incubate Propagate research network – to address the obstacles for artists outwith the graduate community to access theatre-making careers – in dialogue with some key and recurring concerns in contemporary debates around class identification in the twenty-first century. It argues that articulation of class discrimination and disadvantage in the field of theatre-making is critical, not despite the complexity of reaching contemporary definitions of class, but because that very complexity reveals precisely the extent of the problem and the specific, and often unconscious, ways in which discrimination is operating. The article extends the debate from an emphasis on economic capital to examine the critical importance of social and cultural capital to class identity, discrimination and privilege in the arts. It focuses, in particular, on ways in which the historical infantilization of the poor continues to influence artistic and policy decisions in the twenty-first century, and highlights the importance and challenges of emerging cultural capital in the sub-field of avant-garde and experimental theatre practice – the context in which emerging theatre-makers mostly operate.

Fetish, Demolition, Ruins

This article compares the video Reinforced Concrete (2012) by Lucas Ferraço Nassif, begun during Antje Ehmann and Harun Farocki's 2011 workshop-based project Labour in a Single Shot in Rio de Janeiro, and the performance Bustox (2014), which was carried out by the Brazilian experimental theater collective ERRO Grupo in Florianópolis. Each artwork can be read as an attempt to defetishize an idol of Brazilian capitalism, former billionaire Eike Batista. Moreover, Ehmann and Farocki's workshop can be seen as an attack on the process of fetishizing products of labor, fetishization being one of the main characteristics of capitalist society. Ehmann and Farocki's project, and consequently Nassif's video, are connected to the work of theoreticians such as Jacques Derrida and Giorgio Agamben concerning the themes of improvisation and profanation. The concept of the fetish is also revitalized by taking into consideration Latin American thinkers Fernando Ortiz and Osório César.

The tactics of emancipation in new performative art practices in Yugoslavia (1965–1987)

Abstract In the contribution, I highlight cases of New Performative Art Practices in Yugoslavia in the period between 1965 and 1987 in which prominent changes in perception of the body and subjectivity emerged. With the term, I am accentuating the heterogeneity of the practices of my primary interest: I study performances, progressive theatre experiments, street theatre, contemporary dance as well as interdisciplinary performative experiments in music. By shedding light on these practices again I reveal connections between artistic practices of different periods in the aims of their attempts; in initiating socially relevant tactics and strategies and creating fresh cultural-artistic forms. By revealing the structural conditions for development and the boom of emancipatory artistic practices I show how they were socially constitutive, formed as a cause and a consequence of the Yugoslav social and political reality. The changes in approach, continued invention of new tactics and strategies, changes in contexts of work and audiences were necessary elements for assuring their social relevance and topicality.

소피 트레드웰의 Machinal과 미국 표현주의: 사실과 진실의 간극, 그 찰나에 포착된 이야기

This paper aims to examine Sophie Treadwell’s Machinal (1928) in light of American Expressionism. Unlike its European counterpart that ushered in radical experiments from Symbolism, Expressionism, and Dadaism to Surrealism in the early 20th century, American theatre lacked such spontaneous theatrical experiments. In the midst of petty vaudevilles and melodramas that dominated American theatre of the period, theatre designers, practitioners, and producers found German Expressionism to be a plausible alternative. This paper focuses on the Expressionist vision that Machinal dramatizes. Directed by Arthur Hopkins and designed by Robert Edmond Jones, who studied and introduced the New Stagecraft from the Continent, Machinal is generally acclaimed as one of the most prominent American Expressionist plays. Scholarly discussion on the play’s Expressionist features, however, remains rather sketchy. Machinal is based on the notorious murder case of Ruth Snyder (1927) who killed her husband in collaboration with her lover and scandalized society as the first woman in New York to be executed in an electric chair. Treadwell proclaimed her intention to write Machinal as looking into the hidden layer of the woman’s story as opposed to what had been circulated in sensational journalism. As such, patriarchal oppression on ‘Young Woman’ that might have caused her isolation has attracted scholars’ attention and invited feminist readings of the play. While Machinal undoubtedly belongs to the tradition of Expressionism with its episodic scenes, fragmented dialogue, and archetypical characters, this paper further brings attention to the play’s allegorical representation of Expressionist vision wherein “objective facts“ transcend into Artist Truth. In addition, this paper argues that in contrast to German Expressionism that is predicated on a gloomy vision of human alienation after World War I, Machinal’s vision is not entirely pessimistic. On the one hand, the image of invincible “machine”—as the title indicates—dominates the play. On the other hand, the ambiguous nature of the machine does not wholly forfeit the possible salvation. Machinal renewed its socio-political significance in today’s society wherein the emergence of Artificial Intelligence promotes the fear of “machine” that replaces human labor while human beings bound themselves with ever-convenient smart technology.

ЕКСПЕРИМЕНТАЛЬНА ТВОРЧА МАЙСТЕРНЯ «ТЕАТР У КОШИКУ»: ЗАСОБИ ПЛАСТИЧНОЇ ВИРАЗНОСТІ

Мета статті – виявити й охарактеризувати засоби пластичної виразності вистав та моновистав експериментальної творчої майстерні «Театру у кошику». Методологія дослідження. Застосовано метод системного мистецтвознавчого аналізу й описовий метод (для інтерпретації та аналізу індивідуальних прийомів пластичної режисури І. Волицької), компаративний метод (для виявлення особливостей пластичного вираження вистав «Театру у кошику» та простеження внутрішніх зв’язків між використаними режисером засобами зовнішньої виразності й сенсово-смисловим звучанням сценічного твору) та ін. Наукова новизна. Розглянуто засоби пластичної виразності експериментальної творчої майстерні «Театру у кошику», використані в процесі постановки вистав і моновистав театру; виявлено особливості режисури І. Волицької та проаналізовано їхні пластичний та інтерактивний складники. Висновки. Дослідження принципів і методів пластичної виразності експериментальних українських театрів на матеріалі постановок «Театру у кошику» виявило, що естетика української пластичної режисури трансформується під впливом сучасного візуального образу – сценічне мистецтво поєднує досвід минулого й теперішнього як частину постійного розвитку. Українська театральна сцена на сучасному етапі – своєрідне поєднання трансформацій і мутацій, оскільки режисери-постановники не обмежуються національним культурним спадком у процесі пошуків універсальної мови, спільних кодів, що стають джерелом натхнення та чуттєвості в творчості, відшукуючи новаторські естетичні форми постановок. Візуально-пластична образність стала основним об’єктом дослідження та експериментів режисера-постановника І. Волицької, яка перетворює наративний та образний простір на простір абстрактний. Тенденції обміну та взаємодії між різними елементами театрального мистецтва чітко відображені в сучасному українському експериментальному театрі, вони є умовою безперервного розвитку і за формою, і за змістом.

Gertrude Stein Oyunlarında Karşı-Anlatı Stratejileri

When theatre in general is taken into consideration, two pioneers particularly stand out in the Historical Avant-Garde period and they can be seen as intellectual ancestors of the 1970s: Antonin Artaud from Continental Europe who objected to the “rational word” logos and therefore to the text; and Gertrude Stein from the American continent who tried to reject logos which fastened to Western theatre with a tight belt without negating text, while writing her first play What Happened. In experimental theatre attempts of the 1970s, the text was not totally rejected: in the experimental theatre from Robert Wilson to Richard Foreman or in the new-textuality from Sarah Kane to Martin Crimp, the density of the word and writing was altered; thus, a hybridization that exceeded both the theatre and performance classic definitions was revealed. The aim of this article is to exemplify the anti-narrative strategies of Gertrude Stein’s plays, in which she tried to remove the “sequence-of-events” of the absolute condition of the conventional narrative definition instead of negating text.

It is useless to refrain the wave: the need for Brecht and Stanislavski in the hybridity of the epic theatrical forms of the Brazilian scene

ABSTRACT This article proposes to observe the relationship between the legacy of Constantin Stanislavski and Bertolt Brecht in Brazil, from the 1950s to the present, demarking the influences of both in the transformation of acting practices in the country as established from two moments: first, the construction of an inaugural epic mode of acting in the left-wing experience of the theatre company Teatro de Arena in São Paulo from 1953 to 1972; and second, the ”new” acting of performers in contemporary variations on a public, democratic, and experimental theatre in dialogue with the social and political dilemmas of Brazil, specifically in Cia Livre, Cia Bartolomeu, and Cia São Jorge. This analysis will enable us to discuss how the arrival of Brecht merged with the dissemination of Stanislavski’s newly introduced practices in the country, in a conjunction that led to the invention of a hybridized and particularly Brazilian way of acting. We will also examine how the re-emergence of a political theatre, after the slow reopening of the country in the late 1980s that succeeded the Brazilian Civilian-Military Coup in 1964, brought back the “need for Brecht” as well as the “need for Stanislavski”, both of which were embraced by the young artists of the national theatre without prejudice towards specific acting styles. Thereafter, we can glimpse contributions of what we consider to be the inherent plasticity of Brecht and Stanislavski’s legacies to the mutability of the art of acting.

Helio Eichbauer: a Brazilian student in Prague

ABSTRACT Helio Eichbauer (1941–2018) is recognized as one of the main innovators of scenography in Brazil, responsible for many of the iconic projects of modern Brazilian theatre, and a mentor to a legion of theatrical artists. His work spanned several generations of theatre and music artists, collaborating with pioneers of Brazilian modern theatre in the twentieth century as well as experimental and established theatre creators of the first decades of the twenty-first century. Working in collaboration with artists like Augusto Boal, Caetano Veloso, José Celso Martinez Corrêa and Chico Buarque, among many others, Helio Eichbauer is recognized for his authorial and metaphorical scenographic language for hundreds of theatrical productions and music concerts. Eichbauer studied scenography between 1963 and 1966 with Professor Josef Svoboda, who created a study plan especially for him. This article presents the story of the first foreign student of the pre-eminent Czech scenographer, from his first encounter with Svoboda’s work at an exhibition in Rio de Janeiro. It explores Svoboda’s teaching methodology and artistic exercises, and the projects Eichbauer completed as a student. All the information presented here comes from publications written by Eichbauer, as well as interviews and stories told by him to the author over the course of 15 years.

Folklore Text Reconstruction in the Works of Mariana Sadovska

The aim of this study is conditioned by the cultural and creative role of a contemporary performing process, which is connected with the folklore text reconstruction in different music and theatrical art genres. The purpose of the study is to reveal the features of Ukrainian folk singer and actress Mariana Sadovska’s performing style; to determine the specific features of a folklore text reconstruction as the basis of an artist’s creative activities. Research methodology. Cultural approach involved in the article made it possible to consider the creative activities of M. Sadovska (both as a singer and an actress) in a broad cultural context. The activity approach contributed to the professional specific definition of the folklore text reconstruction in the artist`s creative search. Results. The creative project “Spring” (VESNA / SPRING, 2015) by M. Sa-dovskaya in the collaboration with German musicians Christian Thome (drums, electronic music, etc.) and Markus Braun marked two years of an extraordinary work with Ukrainian folklore culture. For M. Sadovska, this project was the embodiment of her own experience of Ukrainian folklore studying and collecting, as well as projecting her own sense of the world`s ethno-nature, human feelings and destinies. Seven compositions of the album reveal the philosophy of perceiving the world as the basis of life in Love and the search for Truth. Novelty. An attempt is made to examine creative activities of M. Sadovska in the context of contemporary folklore text reconstruction performance and its stylistic form. The practical significance. The cultural approach and the method of reconstruction made possible the further study of an artistic reconstruction issues and folklore text interpretation through individual performing styles of an artist who has created in the field of music and theatrical experiments in modern cultural space. Conclusions . 1) Creative activities of M. Sadovska are constantly in the situation of a polylogue between the Author`s subjectivity, tradition and cultural space. 2) The specific character of the folklore text reconstruction in M. Sadovska`s creative process reveals itself in the creation of her own “folklore” picture of the world, which traces the dominant role of subjectivity in the formation of meaning and text organization. The creative practice made by Mariana Sadovska has an idea of combining her own improvisation with authenticity in its natural coexistence. 3) M. Sadovska’s performance style is full of expressiveness and drama, full-tone vocal timbre, a combination of emotional recitation and authentic singing style. Performance reconstruction of the folklore text is based on a deep mastery of specific patterns of the folk tradition, and professional performing representation in the synthesis with music instrumental theater.

Call and Response: SEM President’s Roundtable 2018, “Humanities’ Responses to the Anthropocene”

Call and Response: SEM President’s Roundtable 2018, “Humanities’ Responses to the Anthropocene”

Being European: "Hamlet" on the Israeli Stage

One of the most prolific fields of Shakespeare studies in the past two decades has been the exploration of local appropriations of Shakespeare’s plays around the world. This article, however, foregrounds a peculiar case of an avoidance of local appropriation. For almost 60 years, repertory Israeli theaters mostly refused to let Hamlet reflect the “age and body of the time”. They repeatedly invited Europeans to direct Hamlet in Israel and offered local audiences locally-irrelevant productions of the play. They did so even though local productions of canonical plays in Israel tend to be more financially successful than those directed by non-Israelis, and even when local national and political circumstances bore a striking resemblance to the plot of the play. Conversely, when one Israeli production of Hamlet (originating in an experimental theatre) did try to hold a mirror up to Israeli society—and was indeed understood abroad as doing so—Israeli audiences and theatre critics failed to recognize their reflection in this mirror. The article explores the various functions that Hamlet has served for the Israeli theatre: a rite of passage, an educational tool, an indication of belonging to the European cultural tradition, a means of boosting the prestige of Israeli theatres, and—only finally—a mirror reflecting Israel’s “age and body.” The article also shows how, precisely because Hamlet was not allowed to reflect local concerns, the play mirrors instead the evolution of the Israeli theatre, its conflicted relation to the Western theatrical tradition, and its growing self-confidence.

Образ Москвы в сценографии А.В. Лентулова

Сценографическое творчество известного художника А.В. Лентулова изучено недостаточно подробно. В данной статье тщательно описаны ранние театрально-декорационные опыты Лентулова 1910-х годов. А также его сценографическое творчество вписано в общий контекст его искусства, в частности ранние театральные эскизы проанализированы и сопоставлены с программными картинами А.В. Лентулова «Звон» и «Москва». Famous Russian artist Aristarkh Lentulov worked in theatre from time to time, and his scenographic creativity is not very known and is studied insufficiently. This article describes Lentulov's early theatrical experiments of the 1910s. Also scenographic creativity of Lentulov is entered into the general context of his art. The author of article compare early theatrical sketches of artist with his fundamental pictures “Bell ringing” and “Moscow”.

The Theatre of Dissent in Non-aligned Slovenia and Yugoslavia from the 1950-ies till the Fall of the Berlin Wall

The aim of the essay is to throw some additional light on the politics of dissent in the Slovene and Yugoslav theatre of the 20th century. It focuses on the specific Central and East European area of non-aligned Yugoslavia as a Second World cultural model in the period of socialism and post-socialism. It thus outlines the alternative culture that emerged after Tito’s break with Stalin in 1948 and continued with neo-avant-gardes and movements of dissent in the postmodern era marked by a severe crisis of self-management socialism. The essay starts from the definitions of the political in the post-dramatic by Hans-Thies Lehmann, and the theatre of opposition or dissidence and theatre of consensus by Valentina Valentini. It outlines the specific character of the Slovene theatre and the ideology of mild socialism that continued to define many aspects of the political within the one-party system of the former Yugoslavia. Thus, it maps a new geography of this specific East European theatre of dissent from the experimental theatre of the 1960's and 1970's until the retro-avant-garde subversive theatre of the Neue Slowenische Kunst.

Experiments in organic theatre

ABSTRACT This article describes and explains the development of ‘organic theatre’, a theatre form that blends art and agriculture, developed in Kerala, South India. This theatre is an info-tainment medium that provides information about agrarian activities and entertainment by employing folk and regional artefacts in an interactive theatre space. Organic theatre responds to global issues concerning climate change and environmental crisis. As a political form of interactive art, it attempts to make an impact upon the audience. For this, the organic theatre described here devised a character ‘Kadamban Moothan’ – who became central to the way this new mode of theatre raised awareness.

Gertrude Stein and the Metaphysical Avant-Garde

When American metaphysical religion appears onstage, it most often manifests in the subject matter and dramaturgies of experimental theater. In the artistic ferment of the 1960s and 1970s counterculture, theater-makers looked both to alternative dramaturgies and alternative religions to create radical works of political, social, and spiritual transformation. While the ritual experiments of European avant-garde artists like Artaud and Grotowski informed their work, American theater-makers also found inspiration in the dramas of Gertrude Stein, and many of these companies (the Living Theatre and the Wooster Group, most notably) either staged her work or claimed a direct influence (like Richard Foreman). Stein herself, though not a practitioner of metaphysical religion, spent formative years in Cambridge, Massachusetts, at Radcliffe under the tutelage of William James. Cambridge, at the turn of the twentieth century, was a hotbed of spiritualism, theosophy, alternative healing modalities, and James, in addition to running the psychology lab in which Stein studied, ran a multitude of investigations on extrasensory and paranormal phenomena. This article traces a web of associations connecting Ralph Waldo Emerson, Transcendentalism, and liberal Protestantism to Gertrude Stein and landscape dramaturgy to the midcentury avant-garde, the countercultural religious seeking of the 1960s and 1970s, and the Off-Off-Broadway movement.

СОПРОТИВЛЯЯСЬ ПОСТДРАМЕ: ЭПИЧЕСКИЕ ПЬЕСЫ ТОМА СТОППАРДА

Tom Stoppard’s drama has been one of the eminent and internationally known phenomena of contemporary theatre for several decades. Nevertheless, the polemics are still relevant whether Stoppard’s plays belong to postmodern or postdramatic or any other current trend. The article regards Stoppard’s theatrical experiment as a postmodern one. Moreover, the use and even development of postmodern techniques are noted not only as far as his early plays of the 1960s and 70s are concerned, but as a characteristic of the later dramas by Stoppard. Recently the playwright has created three major epic plays characterized by a deep understanding of historical context: “The Coast of Utopia”, “Rock’n’Roll”, and “Leopoldstadt”. The author of the article considers two later plays as original pieces, having in common some autobiographical details. “Rock’n’Roll” presents the years from 1968 to 1990 in Czechoslovakia and compares the interpretation of “freedom” in the West and that under the Communist regime. “Leopoldstadt” is a play about Austrian Jews and the Holocaust. The article analyzes the artistic devices of representation of the cultural and historical background in each of the plays.

Experimental Theatre as a Method to Identify the Early Signs of Obsessive-Compulsive Disorder

This article addresses the process of experimental theatre performed among the community and also Obsessive-Compulsive Disorder (OCD) patients and the types of experimental theatre that are most suitable for identifying the step ladder of Obsessive-Compulsive Disorder (OCD). The study was conducted because, in essence, Obsessive-Compulsive Disorder (OCD) is a disease with a potential problem not only in Malaysia but also worldwide. Although this is so, when the issue of mental illness is raised, there are still individuals who do not understand the true state of an OCD patient, and some even think negatively about those who suffer from OCD mental illness. Society should play a role in reducing the negative perception of OCD patients. Of course, in this case, one of the ways to convey the strong message of understanding OCD patients is by performing experimental theatre in the community. In terms of the approach, a mini experimental theatre was performed based on the theatre of two worlds’ concept developed by Peter Brook, combined with the application of symbolic interaction theory by Herbert Mead. Data collection was conducted by using qualitative methods to show the processes involved in the experimental theatre which should be tailored to the community level of ability and knowledge of OCD. So, based on the process of experimental theatre, it was found that various forms or genres, such as physical theatre, playback, surrealism, and realism. These genres appear which could assist the community in identifying the step ladder of the OCD mental illness. However of the four genres, the most appropriate is physical theatre after that playback theatre can also provide an adequate solution. Apart from that, these experimental theatres could also be used to help change people’s views on mental illness and also make a positive impression on OCD patients in the community.

Performing Palimpsest Bodies: Postmemory Theatre Experiments in Mexico by Ruth Hellier-Tinoco

Reviewed by: Performing Palimpsest Bodies: Postmemory Theatre Experiments in Mexico by Ruth Hellier-Tinoco Jimmy A. Noriega Hellier-Tinoco, Ruth. Performing Palimpsest Bodies: Postmemory Theatre Experiments in Mexico. Chicago: Intellect, The University of Chicago Press, 2019. 290 pp. In Performing Palimpsest Bodies: Postmemory Theatre Experiments in Mexico, Ruth Hellier-Tinoco uses the idea of the palimpsest—a manuscript that was erased in order to create space for more writing—as a lens for analyzing contemporary Mexican performance. Performers' bodies, like palimpsests, carry the traces of previous texts on them; they are layered with touches of history and memory that can sometimes be read simultaneously (though perhaps not always entirely). As Hellier-Tinoco states, "Through layering, accumulations and iterations, palimpsest bodies perform complex trans-temporal provocations and re-visions" (5). In this way, she suggests, the performers onstage reinterpret the bodies of history in an act of postmemory. In order to demonstrate this, the book focuses on the Mexican theatre company La Máquina de Teatro, which was founded by Juliana Faesler and Clarissa Malheiros in 1996. To date, the company has staged over 30 productions that have toured throughout Mexico and across the globe. La Máquina de Teatro creates pieces that challenge the historical images and stereotypes that stem from Mexico's past and reimagines them from feminist and queer perspectives. For this book, Hellier-Tinoco chose to focus on four of the group's performance projects that are based on real and mythological [End Page 148] characters of Mexican history. Mexican Trilogy explores the figures of Nezahualcóyotl, Moctezuma II, and La Malinche. Zapata, Death Without End is a yearlong project that consisted of experiments and workshops among five different Mexican theatre collectives, all responding to the legacy of revolutionary hero Emiliano Zapata. War in Paradise is a work-in-progress that stemmed from a three-week collaboration among twenty-five artists (it was based on a novel about Lucio Cabañas, the Mexican schoolteacher who became a revolutionary during the 1960s and 1970s). A solo piece performed by Malheiros, Time of the Devil explores Mexican iterations of the Devil. Each is a different type of theatre experiment and therefore gets its own chapter; each one includes a full summary and analysis of the performance/workshops as well as a number of photos and detailed descriptions of stage actions. The author positions herself within the scope and analysis of the book as an artist and scholar who has worked in Britain, Mexico, and the US, acknowledging her own body "as a container and transmitter of memories and histories" (12). This aspect, however, could have been given more attention as a way of expanding the methodological practices that scholar-artists can use when writing about live performance, especially given the focus on "embodied archival-repertoires" throughout the chapters. In some ways, the book is unconventional in format and methodology, but it serves a greater purpose by archiving and presenting the work of La Máquina de Teatro to an English-speaking audience that otherwise might not have encountered the group or its pieces. With well over 300 color photographs (though some are repeated various times), this book presents the work of the Mexican theatre company in a way that is accessible to scholars, artists, and students. Jimmy A. Noriega The College of Wooster Copyright © 2020 Center of Latin American Studies

Hungarian Avant-Garde between East and West: The Exploration of European and Russian Scenic Practices in Ödön Palasovszky’s Stage Productions of the 1920s

Experimental theatres led by Ödön Palasovszky stand out among the attempts to renew the Hungarian theatrical culture of the 1920s. He was the central figure of the creative community that worked under different names, but the performances were a result of a collective effort. Contemplating on the nature and possibilities of theatrical art, young experimenting artists set themselves the goal of creating a reflective art that was aimed at creating a new society. In their search of new ways of expression, they turned to various forms of cabaret, revue, compere-entertainer, choral genres, and simultaneous play based on the principle of montage and eurhythmics, and they used many scenic innovations. In this paper, the author focuses on the parallel between the theatrical practices of Palasovszky and theatrical experiments made in the USSR and Germany in the 1920s. The analysis is based on an example of Palasovszky’s avant-garde direction in the staging of Nikolai Evreinov’s monodrama The Theatre of the Soul , a production Palasovszky carried out together with his company Extraordinary Stage (Rendkívüli Színpad). The play by Evreinov was presented only once, on October 3, 1928, during the Happy End evening. Among other things, the article focuses on the design of the stage which was made partly with the contribution of Eva Zeisel (Striker), a Hungarian artist, who worked in the Soviet Union in the 1930s and later became a world-famous ceramist in America. Since the scenery depicting a living organism was presented on the stage as part of the action, the performance can be considered one of the most original experiments in the life of the Hungarian avant-garde theater.

Gianina Cărbunariu: 20/20 : A kortárs erdélyi magyar színházi szövegalkotás kérdései

Gianina Cărbunariu’s performance titled 20/20 serves as a point of reference both in the oeuvre of the writer-director, and in the history of Romanian experimental theatre, political theatre, Romanian-Hungarian co-productions, and the history of the Targu Mures Studio Yorick. Analysing the performance allows us to examine some key questions of contemporary Transylvanian Hungarian theatrical text creation.