Field Of Performance Studies Research Articles

Book Review. Powerful Devices: Prayer and the Political Praxis of Spiritual Warfare, by Abimbola Adunni Adelakun

Abimbola Adunni Adelakun’s book, Powerful Devices: Prayer and the Political Praxis of Spiritual Warfare, offers a different exploration of the transformative potential of prayer as a performance of spiritual warfare. By focusing on the role of prayer as a powerful device in the Nigerian context, the author brilliantly suggests how prayer shapes and is sometimes shaped by certain social and cultural logics. The interventions in this book build on the author’s experiences in the field of performance studies, shedding light on the defiance of societal norms and the radicality inherent in religious practices.

Sondheim from the Side

This article is a short introduction to ‘Sondheim from the Side’, the Special Issue on the late influential American composer and lyricist Stephen Sondheim, which focuses on the reception experience of minoritarian artists and critics to his body of work. Historicizing the impetus for the collection in the wake of Sondheim’s death in November 2021, and citing a number of queer and feminist scholars on the politics of reception – including Rose Rosengard Subotnik, Jane Gallop, Eve Sedgwick, David Román and Carolyn Steedman – this article theorizes the emphasis that the collection places on critically generous, first-person articles that centre rather than occlude the author’s social location and affective experience of various works, and it links this emphasis to methods in the field of performance studies. Borrowing from Special Issue contributor Gabrielle Hoyt and Jewish rituals of mourning, the introduction also frames the collection itself as a kind of prayer, or Kaddish, for the deceased artist.

#Landback, Forced Migration, and Praxes of Hospitality: What Performance Studies Can Learn from Indigenous Revolutionary Action

Building upon emergent theorisations and praxes of decolonisation and decoloniality, in this essay Laster undertakes the critical work of suturing diverse understandings and practices of these notions from a range of fields and contexts. She begins by examining the crucial distinction between (de)colonisation and (de)coloniality, before arguing that the complementarity of the two ultimately means that both need to be mobilised in the liberation of Native lands, Nations, and peoples. Next, she turns her attention to several key discussions that focus on questions of imperialism and decolonisation in the field of performance studies, tracing their trajectories, as well as exploring some areas of potential growth for the field. In the second half of the essay, Laster discusses instances of Indigenous decolonisation—from perspectives of creative, critical, and activist praxis—that relate to the issue of forced migration, with a particular focus on Indigenous practices of hospitality and its limits.

Hyperreality and Liveness in Kenyan Spoken Word Poetry Performances in Social Media

The postmodern concept of hyperreality has gained enough relevance in contemporary society due to advancement in digital media technology. The use of social media as a performance space reintroduces the ongoing debate about what constitutes liveness in a performance. Traditionally, liveness was defined in terms of theatrical performances, but over time the term has broadened to incorporate digital media performances. Social media performances are important in helping to establish how liveness is constructed in virtual spaces, where physical co-presence between the performer and the audience is non-existent. An exploration of liveness in relation to televised drama contextualizes the discussion about liveness in mediated performances and sets the stage for the analysis of unique features that distinguish television performances with social media performances. Spoken word poetry performances in social media spaces provide the necessary framework within which to illustrate how liveness is constructed in social media spaces. The key objective in this study is to distinguish the construction of liveness in social media spaces with other mediated performances, with the aim of introducing new perspectives in the concept of hyperreality and the field of performance studies in general.

Situated Knowing: Epistemic Perspectives on Performance

Situated Knowing: Epistemic Perspectives on Performance

Presence, 2019–2022: Introduction

Our understanding of “presence” has made an epochal shift in the past three years. The field of performance studies—never settled, always in flux—is shifting as well on this topic, as what we study expands digitally, contracts physically, embraces new paradigms, and unlooses others. While it is impossible to fix an exact time when attitudes about something as ineffable yet entirely real as presence changed permanently, this issue touches down on several key moments.

Resist & Rise: The One Love Method and Human Rights Performance

Resist & Rise:The One Love Method and Human Rights Performance Ayshia Mackiestephenson (bio) In Spring 2021, Bunker Hill Community College (BHCC) students presented the performance Resist & Rise: Our Fight for Freedom at the Spring Arts Festival. In this performance, Black and Brown community college students created original works based upon the human rights concerns within their communities. I directed Resist & Rise1 as the professor for the learning community course "Introduction to Communication." There were performances on ending police brutality, criminal justice reform in the United States, and resisting white supremacy in pop culture. Students presented poetry, images, passionate speeches, archival Black history footage, and their own original films on these topics. The overall themes for the performance were to advocate for BIPOC human rights and to resist and rise above white supremacy. I used the One Love Method (One Love), a curriculum I designed to resist white supremacy in performance-based education and beyond to teach this course and direct the performance. The public performance was grounded in One Love as a means to empower Black and Brown students, encourage antiracist allyship, and serve our college community with inspiration, participation, and action. One Love is a tool to center Indigenous African epistemology and human rights activism in the performance studies and theatre classrooms, and the Resist & Rise performance is an example of its effectiveness. Analysis and Pedagogy "Love is necessary work and it is in love that we learn to resist, thrive, and lead under any circumstances." —bell hooks It is through human rights advocacy that this love can be expressed and realized. One Love is a performance studies pedagogy that recognizes all human beings as one, with one common African ancestry, and uses Yoruba rhetoric and philosophy as a way to dismantle racism in teaching and learning. It is a performance studies pedagogy, because performance is the study of how humans present their identity in culture and on the stage. The use of a Black framework is critical to Black and other BIPOC students presenting an identity that resists white supremacy and centers the subaltern's epistemology. The use of a Black and precolonial framework is in itself an act of social change and works to transform the performance space. Students used Yoruba philosophy as the foundation to their human rights project. One Love is also based upon the premise that using African Indigenous philosophy makes sense, because all human beings share African ancestry. It is based upon Black African (specifically Yoruba and Zulu) rhetoric and philosophy. At BHCC, I was inspired to design this method while teaching communication, performance studies, and theatre in 2019. One day, I was teaching a dualenrollment performance studies course and a Black high school student said that she hated having [End Page 139] no history and nothing that was hers alone and that she didn't have to take from white people. This statement from such a young woman really broke my heart and was the inspiration for this method. I knew that resisting white supremacy in education would take more than teaching Black history rooted in the US oppression and discrimination of Black people. Performance needs a means to move away from the centralization of white paradigms, of white ways of knowing and being and producing. I already knew that the field of performance studies and theatre in particular predominantly uses frameworks by white American and European artists (Viewpoints, Stanislavski, Meisner, and so on). Performance studies is highly influenced by Black scholars who have framed the field (D. Soyini Madison, Bryant Keith Alexander, Mary Weems, and so on), but there is little linkage to African epistemology or BIPOC human rights or the centering of African epistemology as a human right. I decided that my students needed a method of teaching performance-based work that centers African influence on performance and recognizes the human rights of Black and Brown people in our artistic practices. The young woman's cry for help coincided with my humanities division looking for faculty to train other faculty in innovative curriculum for Professional Development Day. I volunteered to design and lead the workshop "The One Love Method: An Antiracist Pedagogy." I continued to develop One Love over...

Adaptation as augmentation: performing writing as a means of survival

ABSTRACT This essay utilizes performative writing to explore the themes of disappearance and survival as a means of surveying and addressing the role of adaptation in performance studies praxis. Utilizing theories of collecting and writing, I trace the contributions made by performance studies via the metonym of the show poster. I argue that the art of adaption provides an uncanny relay for both individual artists and the field of performance studies at large, as its body of knowledge provides unique resources in our collective negotiation and response to the global catastrophe wrought by the Covid-19 virus.

Performance in the Zócalo: Constructing History, Race, and Identity in Mexico’s Central Square from the Colonial Era to the Present

Performance in the Zócalo: Constructing History, Race, and Identity in Mexico’s Central Square from the Colonial Era to the Present

Performance beyond Drama

The field of performance studies has invigorated premodern scholarship by directing critical attention to live, ephemeral events that unsettle the textual archive. This special issue of JMEMS builds on this work by stepping away from the usual emphasis on theater and its texts to examine “performance” conceived more broadly. With case studies that range from a pig-clubbing “game” in medieval festivals to the gnomic utterances of secretive eighteenth-century philosophical rituals, these essays ask how we study a medium that has, by its nature, disappeared. How, in other words, do we engage textual remnants to locate traces of embodied action? A forum midway through the issue offers speculative and provocative answers to this question, and an afterword takes a wider view of the enterprise to think through its implications for periodization and historical analysis.

The documentary film as a tool for the ethnography of performance

My research on the Ethnography of Performance has been making use of film, first as a memory aid which allows me to review details of the rituals that I have observed, and after, by chance, by producing a documentary film. I made that first film with the aim of letting my friends know about what I was doing in the south of India. My research lies in the field of Performance Studies and my attention is focused on several aspects of the “doing” of the ritual of the Teyyams, a cult followed by some Hinduists of a specific area, and characterized by the “transformation” of the performer into a divinity.The documentary was relatively successful and I am currently involved in the production of a new film. But in the meantime, I have lost some of the innocence which engaged me in the production of the first film, and I face some doubts.In this text I address these issues.

Diffracted Readings of the Future

When conceptualizing futures and new ways of working within and beyond the field of performance studies, diffractive methods suggest new orientations to a ‘more subtle vision’ (Haraway 1992: 300) that might foreground diversity, integrate non-homogenous perspectives within the field, and find utility through perhaps cacophonous distinctions: to work ‘intra-disciplinarily’. At PSi #25 in July 2019, the Future Advisory Board (FAB) participated in the ‘ElastiCity Theme Park’—an event calling on participants to re-imagine and realize theme park attractions that stretch between fantasy and the everyday. Our attraction—the ‘Future Telling Booth’—riffed on practices of fortune telling, including participatory divination systems such as tarot readings. This one-to-one ‘future reading’ performance explored the multitude of differences that make up the connective tissues tethering us to historiographies of performance studies, contemporary discourses, and possible futures of the discipline. It serves as a case study for our article, which proposes and experiments with the concept of ‘futuring’ the field: imagining, enacting, and articulating it as a process-oriented endeavour with ties to relational ontological thinking. By re-framing the tarot reading as a diffractive exercise, rather than a (self-)reflexive one or one that generates a cohesive, shared, or hyper-subjective vision of the future, this article explores the attempt to attend to difference—how we theorize and practice differentiation as we grasp toward a ‘future’ that is tied explicitly to those theories and practices. In turn, meaning making through ‘intra-subjectivity’ takes a prominent role in this conversation, joining the concept of diffraction and inspiring a more robust conversation about what ‘futuring’ diversity actually entails.

Constructing “purgatory”: How refugee camp architecture inscribes refugees into the a-political, a-historical, and moveable

Recent studies in the field of Performance Studies have examined the performativity and spatial practices in refugee camps with particular attention to the political consequences of these psycho-social performances on refugees. This article complements such scholarship by: first, providing a more performance-centric definition of the term “refugee” with recourse to the idea of “transience”; second, by concretizing this (re)definition via analyzes of the socio-political consequences of the architecture of one of the most recently established refugee camps located in Jordan, namely Azraq. The article concludes by framing refugee camps more broadly as biopolitical environments that deprive refugees of their political agency; by homogenizing their inhabitants, they inscribe individuals into a state of perpetual transience.

The Routledge Anthology of Restoration and Eighteenth-Century Performance ed. by Daniel O’Quinn, Kristina Straub, and Misty G. Anderson

Reviewed by: The Routledge Anthology of Restoration and Eighteenth-Century Performance ed. by Daniel O’Quinn, Kristina Straub, and Misty G. Anderson Jeanne Willcoxon The Routledge Anthology of Restoration and Eighteenth-Century Performance, ed. Daniel O’Quinn, Kristina Straub, and Misty G. Anderson. New York: Routledge, 2019. Pp. xxix + 720. $240.00; $59.95 (paper). O’Quinn, Straub, and Anderson conceived of this anthology in response to their previous edited volume, The Routledge Anthology of Restoration and Eighteenth-Century Drama (2017). While that text started with the scripts and then brought in “resources for [End Page 92] understanding their performative contexts and impact,” their new collection starts with the performances, providing resources to both contextualize the singular historical events and give the reader a sense of the circulation of those events in a larger cultural and aesthetic repertoire. Drawing from the field of performance studies, the editors invoke Diana Taylor’s conceptualization of “repertoire” and Rebecca Schneider’s work on the archive to craft an anthology that combines historical scholarship with the methodology of performance studies. By doing this, the editors hope to give the reader an idea of the audience-member experience in viewing the performance; provide an understanding of the interactions of print and performance during this time period; “encourage an understanding of performance that emphasizes the immediacy—and changeability—of the theatrical repertoire”; and investigate how performance participates in the formation of “modern categories of social identity.” Surprisingly, given the breadth and depth of these goals, the editors largely succeed by selecting events that allow them to shift the focus of each reading. For example, Otway’s Venice Preserv’d provides an excellent opportunity to contrast the 1682 audience reading of play and performance as clearly loyalist to the audience reception of Charles Kemble’s 1795 production as provocatively republican. The political moment informs the audience reading of text and performance, which in turn potentially enriches our contemporary understanding of this work; the repertoire, in other words, challenges our investigation of theatrical text as purely archival. On the other hand, John O’Keefe and Philippe De Loutherbourg’s Omai, or a Trip around the World offers an ideal tool to analyze the formation of identity in the precarious British Empire of 1786 through a pantomime combining commedia dell’arte characters, scenic spectacles drawn from Thomas Cook’s South Sea voyage, and a fictionalized characterization of the real-life Raiatean, Omai, whose appearance in London society was the subject of gossip in print. While the editors sometimes privilege particular events within the anthology (Omai, a relatively short pantomime, garners almost sixty pages of resource materials while Addison’s Cato warrants a meager four), and occasionally do not quite make a persuasive case for an event (I cannot help thinking there is a more apt and interesting entry for an investigation of Nell Gwynn and female sexuality than Dryden’s Secret-Love, or the Maiden-Queen), they do craft an intriguingly provocative collection that provides advanced undergraduate and beginning graduate students with an introduction to both performances of this time period and approaches to historical research that engage with current theories on performance. That the editors also achieved this admirable goal with their previous anthology on drama does not diminish this achievement but does illustrate the shift within the discipline of theater toward not only the methodology but the language of performance studies (for example, the dusty text of “drama” is replaced by the scintillating ephemerality of “performance”). As with the earlier anthology, the editors provide the reader with a breadth of performances, featuring selections from the more well-known and anthologized plays of the period (Behn’s The Rover, Fielding’s Tom Thumb, Addison’s Cato, and Otway’s Venice Preserv’d), less anthologized but popular plays during the period (Dryden’s Secret-Love, Tate’s adaptation of Shakespeare’s King Lear, Farquhar’s The Recruiting Officer, Southerne’s Oroonoko, and Centlivre’s The Wonder), musical entertainments (Purcell’s Fairy Queen: An Opera and Thomas Arne’s Love in a Village), special events (the Handel Commemoration of 1784), afterpieces (Charles Macklin’s Love a-la-Mode), dances (Jean-Georges [End Page 93] Noverre’s 1755 The Chinese Festival...

Remaking the Comedia: Spanish Classical Theater in Adaptation ed. by Harley Erdman, and Susan Paun de García

Reviewed by: Remaking the Comedia: Spanish Classical Theater in Adaptation ed. by Harley Erdman, and Susan Paun de García Carmela V. Mattza Erdman, Harley, and Susan Paun de García, editors. Remaking the Comedia: Spanish Classical Theater in Adaptation. Tamesis, 2015. 303 pp. ISBN: 978-18-5566-292-6. The present volume is an important contribution to both the field of performance studies and the interdisciplinary effort to perceive, conceptualize and study the 400 years history of the Spanish Golden Age comedias. Such a history should include not only a history of a text or play, but also of its adaptations and performances. The authors of this volume, who are a mix of 21 well-known international scholars in the fields of History, Literature and Theater, and 5 actors and directors with an established professional trajectory, take on the common criticism of "(in)fidelity to the text" made to contemporary staging of the comedias to show how decisive it is not to lose sight of the fact that these Early Modern plays were very often a "freewheeling adaptation or refundición of others" (xvi). This reminder becomes the epistemological ground to understand why every adaptation and/or performance studied in this volume is not a negation of past scholarship, but an interdisciplinary effort to foreground our own methodological practices when studying comedias. An interdisciplinary approach engages and challenges not only the text, but also its adaptation and performance in a way that becomes meaningful to today's spectator. The volume contains 26 short essays grouped in four sections: theorizing, surveying, spotlighting and shifting. In "Theorizing," Catherine Larson's contribution takes on Sander's and Hutcheon's theories on adaptation to highlight the complex process of translation of plays from Early Modern Spain into a different language and their performance in front of a contemporary public. Her essay links well with Susan Fischer's on the process and value of "appropriation" that any adaptation and performance entail, which echoes well Lope de Vega's aim to produce theater based on the public's preferences, the most important feature of the comedia nueva. The works by Alejandro González Puche reminds us the ludic aspect behind every staging (31); while Laurence Boswell meditates on how every performance and staging make possible almost a phenomenological continuity, one that "transcends time, culture and language. It is profoundly human; it is human beyond language" (41). [End Page 145] The next cluster is called "Surveying," and it analyzes the staging of the Early Modern comedia in specific socio-cultural circumstances, in a specific moment or in relation to global concerns. Charles Ganelin takes on the staging in nineteenth century Spain to study how Spanish Baroque plays were modified to address the political anxieties aroused by the question of individual or collective identity (50). Duncan Wheeler ponders on the potential of Golden Age drama for the modern stage by examining the performance of La dama boba, La vida es sueño, La dama duende, etc. during the Franco regime. It adds a transatlantic perspective to get an insight into the plays' "dialectical and intercultural relationships, adaptations and appropriations" (64). Robert Bayliss examines "the inherent complexity of studying contemporary performances of early modern comedias by addressing how they constitute a nexus of cultural, economic and political concerns that operates simultaneously at local, national, and global levels" (65) as he sets out to evaluate the liveliness of today's Spanish Golden Age Theater. Jason Yancey's essay surveys four decades of the Chamizal Siglo de Oro Festival in El Paso, Texas to note its pioneering role and to address the importance of a more collaborative approach between academics and artists in order to facilitate more annotated English translations of the comedias to the potential public we can find in high school. A co-authored essay by Hegstrom and Williamsen focuses on contemporary performances of plays by Early Modern dramaturgas as a fruitful field for the interrogation of postmodern subjectivity (91). Jonathan Thacker's article on the cultural and linguistic challenges on staging among others, Lope de Vega's comedias in British theaters closes this section. With ten essays, "Spotlighting" becomes the largest section of this book whose focus...

Fieldworks

Responding to themes in the editorial by Stephen Daniels, Mike Pearson and Heike Roms for Performance Research 15.4 (Fieldworks), the article considers a series of landscapes - namely ‘fields’ - as loci and medium for the expression of ideas, feelings and experiences to do with ‘the past and the future, making sense of the world and people's situation in it.’ Specifically, three fields are identified in regard to which the author reflects on memories of his father, while rehearsing an approach to writing about diverse modes of performance - from Irish road bowling, through rock and pop music, military display and generational sacrifice - gathered in the ‘singular’ field of Performance Studies, as staked out by Performance Research over 99 issues and twenty-odd years.

Dissonant Witnessing: The “in” and “above” of Thou Proud Dream

Dissonant Witnessing:The “in” and “above” of Thou Proud Dream Damon Krometis (bio) How does a director create witnesses in the theatre? What aesthetic and storytelling tools best cultivate an experience where spectators feel emotionally and ethically transformed into the role of a witness? These were the questions that dominated my research during my MFA studies in directing at Northwestern University, and my goal was to formulate a general approach to witnessing that other directors might be able to utilize. The challenge was that while theories about what it means to be a witness in the theatre are becoming more prevalent, they are also more diverse and oppositional. One need only read Caroline Wake’s “The Accident and the Account” in order to get a sense of the breadth of this theoretical terrain. Wake surveys witnessing theories that she divides into several overlapping categories, insinuating how difficult it is to know if and how practitioners can actively create a specific condition of witnessing in the theatre. No matter which definition of witnessing that other directors chose, could I posit some core questions that could aid them in articulating a practicable approach to witnessing? The questions I found useful in my own work are rooted in creating and maintaining dissonance for my viewers. Theories on witnessing largely hinge on how a spectator is positioned between two modes of perception, which Dwight Conquergood describes as being “above the object of inquiry” and “in the thick of things” (146). He uses these phrases to describe forms of knowledge. The former allows one to learn through “empirical observation and critical analysis from a distanced perspective”; this is the privileged form of knowledge in Western cultures, as it is “rooted in paradigm” and suggests that one can archive, categorize, and clearly utilize all information (146). The latter mode refers to “knowing that is grounded in active, intimate, hands-on participation and personal connection”; it positions the knower on the “ground level,” where nuanced and unspeakable truths can be articulated (ibid.). Conquergood advocates collapsing the binaries between these modes, and asserts that the field of performance studies “is uniquely suited for the challenge of braiding together disparate and stratified ways of knowing” (152). I believe that theatre can likewise be a space where forms of knowing can commingle, deepening our personal understandings and promoting “activism, outreach, [and] connection to community” (ibid.).1 And in particular, Conquergood’s modes readily lend themselves to witnessing theory. Being “in the thick of things” allows spectators to (vicariously or vividly) encounter traumatic events, which are at the heart of most theories of witnessing. Maintaining a “distanced perspective” provides an opportunity for spectators to think critically about how trauma relates to existing sociopolitical paradigms. Somewhere in the tension between these positions exists a place where witnessing can occur. Many scholars seem to agree with this notion. In “The Accident and the Account,” Wake classifies most theories of witnessing as being about primary witnessing or secondary witnessing. Theories of primary witnessing place spectators “in the thick of things” by positioning them as either the victim, perpetrator, or bystander present at a traumatic event (5), giving them intimate knowledge of unspeakable truths. But scholars of primary witnessing likewise see the value of “critical analysis from a distanced perspective.” Tim Etchells in particular studies productions that “demand repeatedly [End Page 321] of those watching ‘be here, be here, be here’” (18). But he prefers this self-presence to result in primary witnesses “feel[ing] the weight of things and one’s own place in them” (17), an act that demands critical distance. Conversely, theories of secondary witnessing, proposed by Diana Taylor and Emma Govan, keep spectators “above the object of inquiry” by distancing them spatially or temporally from the traumatic event and prioritizing self-reflection (Wake 7–8).2 But Taylor also defines witnessing as an “involved” and “caring” form of spectatorship (1997, 25), and Govan states that witnesses must be “actively engaged with the material” (58). This suggests that to achieve the status of witness, it is not enough to observe; emotional proximity must be a part of the alchemical equation: “an epistemological point of departure and return” (Conquergood 149). Much of my...

New Materialisms and Performance Studies

Engaging with contemporary lines of inquiry into the “liveness” of matter unearths where and how those lines, or turns of thought, intersect with the field of performance studies.

Sissy Boy Mothering: Male Child Mother Figures in Middle-Grade Fantasy Literature

As Amanda Diekman and Sarah Murnen (2004) note, studies of “nonsexist” children’s books tend to focus on girls performing stereotypically masculine behaviors without consideration of how boy characters perform gender (p. 381); however, this narrow focus on girl figures in the identification of nonsexist works has two side-effects: appearing to devalue traits traditionally considered feminine and losing sight of male characters’ subversive gender performances. The field of performance studies, focusing on codified performative acts rather than on physical traits such as biological sex, presents a new avenue for understanding how works challenge a sexist hegemony. For example, by examining characters’ performance of food-sharing, traditionally encoded as feminine/motherly, it is possible to identify nuanced performances that enrich our understanding of how gender operates in children’s literature. In Philip Pullman’s His Dark Materials trilogy and Bruce Coville’s Jeremy Thatcher, Dragon Hatcher, such an examination draws attention to two boy characters, Will Parry and Jeremy Thatcher, who perform a similar combination of feminine/motherly and more traditionally masculine behaviors. Further explorations of this type present the possibility of identifying new sites of gender subversion that further expand our definitions of masculinity and femininity, and of what it means to be nonsexist.

Languages at Play in the Museum: The Case of Belgium and her Multilingual Arts and Heritage Institutions

This article explores multilingual practices in museums by looking to Belgium, where the question of language is a particularly contentious one. Arts and heritage institutions are increasingly called upon to assume a more active role in democratizing the processes of selection, interpretation and display by entering into dialogue with their audiences. Thanks to the variety and diversity already present within their collections, museums are uniquely positioned to provide a platform for engaging multisensory and intercultural encounters, but the problem remains of how to extend these experiences to linguistically diverse audiences in meaningful and inclusive ways. The article draws on research from the field of performance studies to reflect upon emerging knowledge of the processes of performance and reception that take place during an individual's visit to a heritage site or event. It considers the role that languages, in the broadest sense of the word, might play in the exchange between museum and audience.