Sailors from various commands participate in sexual assault prevention and response fleet training at Lockwood Hall on joint-based Pearl Harbor Hickam. The training provides realistic scenarios of interaction in a military work environment, displaying in stages different forms of sexual harassment leading to assault and rape. That was a good video.  The training is part of an effort to educate service members on the issues involved and to promote proper responses. Lockwood Hall Conference Room, unlike a typical classroom setting, offered a great opportunity for Sailors to have a face-to-face discussion of the issues presented in the scenarios. The video is different this year. More interactive. I really liked how it was done. More interesting. More real. Good training is better than the usual lecture. More involved. More discussion based. Good training. The training was designed not only to educate and provide a visual example of a problem, but to also encourage Sailors to be proactive to avoid being bystanders in similar situations. It's a little more realistic. It portrays real people that most of us have seen at some point in the Navy, different characteristics, different personalities and how each of those persons could have done more to help prevent the situations. From joint-based Pearl Harbor Hickam, I'm Petty Officer Dustin Sisko.


Hello, creeps. This is PFCX inviting you to listen to another mystery playhouse presentation. Tonight, we take you to the Inner Sanctum, where we'll hear an original radio play by Robert Neumann. The title, The Dark Chamber. It's one of the best stories to come our way in some time. So at this point, we'll turn you over to your Inner Sanctum host. We're at his door, so let's open it like this. Good evening, friends of the Inner Sanctum. This is your host to welcome you through the squeaking door. Draw up a tombstone to sit down. Our story tonight is about death, violent death, and also about something which is even more terrifying, the unknown. You don't believe that anything can be more frightening than death. Then you've never experienced the ultimate in fear, but you will within the next few minutes. If you'll put out the lights, pull your chair up close and listen to The Dark Chamber. Hello, police. Listen, you've got to help me. You've got to. I don't know how you can, but my name is Watson. Joe Watson. I'm a driver for the Acme Sanitary Hand Laundry. Andrews? Where I am, I don't know. That's part of the trouble. Oh, look. Hey, wait, listen, I know it sounds crazy, but it's true. Check the laundry. Check the veterans. I'm an XGI. I'll tell you, I'm straight. Well, I'm in a room someplace. I don't know where it is or how I got here or what I'm here for. I don't even know how long I've been here. It's a big room, but it's funny. No doors, no windows that I can see. Just a couple of chairs and a table with this phone on it. I'm scared. What did you expect us to do? Find me. Find out what this is all about and get me out of here. And I don't know. Listen, this isn't a gag, can't you tell? You don't know what it's like just sitting here waiting, not knowing where or why or what's going to happen. Can't you trace this call or something? There's a shot. Oh, thank heaven. I was afraid you. Listen, I hear something. Someone's coming. I better hang up. I'll call you back later if I can. How do you do? Who are you? My name's Helming. Dr. John Helming. And your name? I don't have to tell you anything. That's very true, although I didn't think you were aware of it. I think I already know everything about you that I'm interested in knowing. Like what? Name, Joseph Watson, age 26, occupation, employee of the Acme Laundry, honorably discharged from the Army six months ago with the Brown Star and the Purple Heart. What the?  Well, if you know that much, you know I haven't got any dough. Money? I'm not interested in money. What do you want then? But where is this place? The last thing I remember is making a delivery on Spruce Street. Noticing that the lights were out in the hall and hearing a noise behind me. You or somebody slugged me. That's right. Well, will you stop grinning like that and tell me what this is all about? Of course. I brought you here because I need your help in an experiment. An experiment whose details I've already worked out with mice and rabbits and cats and other animals. What kind of an experiment? An experiment in fear. Fear? Yes. You fought in war. You were wounded. That means you've probably known fear. And still you won the bronze star, which means you overcame it now. The question is, can you overcome your present fears? What are you talking about? You're afraid. Nothing has happened to you yet. Absolutely nothing. And yet you are afraid, aren't you?  Because you don't know what I want and what I'm planning to do. Which is, it should be. And that's the way we'll leave it for the moment. Hey, wait a minute. Come back here. Come back, you can't. Hello, police. This is Joe Watson again. Listen, I got a little more dope. I don't know if it'll help, but there was a guy in here just now. Said his name was Helming, John Helming. That's probably a phony. He's about 50 tall over six-foot, white hair and gray eyes. No, I still don't know what it's all about or what he's after. But have you been able to trace this number yet? How long will it take? OK, I'll hang on. The lights just went out. The room's pitch dark and somebody's coming in again. I better stop. But for Pete's sake, hurry. Who's that? Who just came in? A girl. Keep away from me. Keep away, dude, here. Keep away. What's the angle now? Angle? Why did you bring me here? Wait a minute. You mean he put the snatch on you, too? When I was on my way home, Clara for him or something. And the next thing I knew, why are you pretending? You're in on it, too. You must be at the trap. It's a trap, all right, but I'm not in on it. I'm in it, along with you. My name is Watson, Joe Watson. I'm Betty Graham. You swear? I swear. What would I lie about it for? I wonder why he put you in here. Put us together. Who is he? What's he going to do? I don't know. He said something about an experiment, an experiment in fear. But hey, listen, we've got to get out of here somehow, some way. He might be listening. Very astute, my dear. Of course I'm listening. What the? Where are you? Right here in the dark. I've been here all the time. Why you? No, Joe. Don't. He must want you to go for him. He's probably got a gun. Right again, my dear. Not that I'll need it. This is stage two of the experiment. A new stimulus to action has been introduced. Man against the unknown has become man and woman against the unknown. Look, let's get down to breast. Thank you, Joe. That's why I won't need my gun. This new stimulus has been negated by an increased sense of responsibility. Responsibility towards the girl, and therefore by increased fear. Blast you, gunner. No gun if I get my hands on you. Where are you? Where are you? Outside now, so you can relax. That was the final stimulus in this stage. In your pride. The discovery that I could read your innermost thoughts knew exactly what you were going to do.  I already know everything you're going to do from now on. Till the end. Listen, you. Helmings. Helmings. He's gone. Hold on, baby. Don't let it catch you. There must be a way someway. I suppose he's still listening. Hard to say. But I'm going to take a chance. There's one thing he didn't figure on. A telephone. Here? Yes. I can find it again in the dark. It's over. Here it is. I put through two calls already to the police. Told them what was happening, and asked them to get me out of here. I had to hang up both times before they could trace the call and get this number. But this time... Hello. Hello, operator. What? No, this isn't the operator. You're on a busy wire. It doesn't matter. Thank heaven I got somebody. I've been trying for about ten minutes now. Look, get off the line. Will you? I've got to get through to the police. It's terribly important. What you've got to help me? You've got to. Some place I don't know where. You what? I don't... It's Helmings. What? What are you laughing at? Joe, what is this? What is this? I haven't got headquarters. I've got a guy in it. I'm sorry, Ben. It's no use. What do you mean? We're in the same boat. You are. The girl named Betty Grant myself. Helmings got us locked up too. You too? Yeah. He said he knew everything we were thinking, everything we were going to do. I did get through to the police before, but I guess he caught wise. We're talking to each other over an inside line. Ben? Yeah. We're through. No. Joe, don't say that. Don't even think it. Look, ask him exactly where he is. Just where are you, Ben? Do you know? It's hard to say. I was out called when he brought me here. He made flaws like that. That's what I thought here too. But there must be one or how would he have gotten you in there? Listen, start looking. See if you can find it. That's true. It opens into where you are. That's right. Three of us together. We'll surely be able to figure something out then. Hold on. I'll start pounding on the walls. You'll see if you hear anything. Go ahead. What's he doing? He's going to knock on the walls to see if he's anywhere near us. And if he is, if he can find a door, we can get together. Hear anything? I'm not sure. Maybe. I'm not sure either. Sounds awful far away, is it? There. Listen, that wall right there. Hello. Hello, Ben. Yes? We heard you. You're right next to us. Now, Ben, you listen and Betty will knock back. Go ahead, Betty. That way, Ben, you'll be able to tell just which wall it is. Okay. He's going to see if there's a door. There must be one. There must be. Ben. Ben. Ben. Hello. What is it? I don't know. I thought it hurts. A moan. Joe. Look. There is a door. It's opening. It's open. Dr. Helming. Why, yes. Were you expecting someone? Now that you mentioned it, doctor, there was someone we'd been expecting and waiting for since we first heard about that cozy little place of yours. I think he's finally arrived. He's a tall, rather striking gentleman with a skull for a face, and his name is death. Well, let's see what's happening in the dark chamber. It's just a moment later now. Standing in the darkness of a strange room, Joe and Betty stare at the tall figure of Dr. Helming, silhouetted against the dim light from outside. I asked you whether you were expecting someone. Then it was just a trick. It was you on the phone all the time. Now, don't you think I'd know his voice? Where is he? Our friend, Mr. Lazare, right outside. What did you do to him? Answer me. What did you do to him? Don't you know? Sure, I know.  Quite a state you've gotten yourself into. Why? Is it because you finally tried to do something about your predicament and failed?  You're mad. Really mad. You'll be interested to know. You have not done. Nor will you do. One thing that I did not foresee. Every move you made, every emotion you felt, was charted, outlined... What's that? That, I think, is probably the police. The police? Yes. I know that you're very anxious to talk to them and I'll see that you get a chance to. Soon. Good evening, officer. I'm looking for a guy named Helming. Dr. Helming. I'm Dr. Helming. Come in, won't you? Yes. Thanks. This is kind of a funny business. It's about a phone call we got a while ago. Finally traced here. The guy who said he was a prisoner or something. That must have been Watson. Yeah, yeah. That's his name. Joe Watson. Do you know him? Of course. I can't tell you how sorry I am. It was really very careless of me and I'll see that it doesn't happen again. What do you mean? If you didn't investigate him, which I'm sure you did, then you know that I, well, I don't run a sanitarium exactly, but I do take a few patients. Mental cases for treatment. Ah, so that's it. I'm not saying... I wish you wouldn't say that. Watson's case is particularly interesting. A 4F who wasn't able to enlist, and he developed a persecution mania. Thinks that everyone is down in the main. Not everyone, exactly. His present fantasy is that he's an ex-GI and that I'm keeping him prisoner. Oh, so it's plenty tough. Well, I guess I'll run along. I'm sorry I bothered you. Don't you want to see them first, officer? Talk to them. Ah, there's no need to that, doctor. We get caught in some cranks every day. We always investigate the cards. But I insist. After all, you only have my word for it. Uh, there's, um... Well, there's just one thing I'd like to caution you about. Sure, sure, I know. I'll play along. Kill them. Splendid. Right in here. Hmm. Quite a room. Joe, look. It's a cop, and that means that you did get my message. Sure, sure, Joe. It took a little time to trace the card, but everything's okay. Oh, thank heaven. It was such a screwy story, I was afraid that... Wait a minute. Then why is he standing there like that? Why haven't you got the bracelets on him? Have to tell me? No need for any rough stuff. He said he'd come along quietly. You're lying. I don't know why, but there's something wrong here. Something... I know. You think we made the whole thing up. But we're crazy. I know, I know, I know. It's true. He told you we were, and you believed him. Of course not. Look, I'm... Stop it. Will you stop saying that? Well, if I could only prove it somehow. Show it. I know. Wasary. Joe. Murder. That'll open your eyes. Somewhere on that wall is a door. Make him open it. Show you what's behind it. I think maybe it better be going down. But there is a door there, officer. Just a second, I'll open it for you. Here we are. Joe. The body. It's gone. These doctors are always hiding the bodies. It turns up again later. Give us another ring, eh? I shouldn't have said that. Can I go out this way down? This is the end of the corridor, then to your right. I'm sorry I gave you all this trouble. Perfectly all right. Thank you for being so understanding. Quite all right. Goodbye. Goodbye, Doug. Well, children? Don't look that way, Joe. Don't. I know what you're thinking, and it's not true. We're not crazy. There was a body there. Of course. You hid it when you went out to let the cop in. On the telephone. You left that here purposely. Wanted me to use it. Get the police here. Obviously.  What I didn't tell you was that, in a sense, I was one of the subjects, too. It was important for me to learn how I would function under pressure. And speaking objectively, I think I did rather well. Don't you? All right. Why are you doing all this? What are you after? There's no reason why I shouldn't tell you. If anyone truly understands the nature of fear, is able accurately to forecast the actions and reactions of an individual, then he can use fear as a weapon. Society will react as the individual reacts, you see. Society doesn't want to believe that anything can minus it. Doesn't want to take action to protect itself any more than the individual does. This was something that Hitler and Mussolini understood intuitively. I understand it. Scientifically. They failed. But I shall succeed. You... You mean that you... I'm afraid that's all I have time for. As far as you two are concerned, the experiment is finished. Completely finished. I have a few arrangements to take care of. And then, uh... Well, make the best of these last few minutes. Uh, for they will be your last. Joe. Do you hear anything? Is he coming back? Not yet.  Just the way he... killed Lazare. He's gonna try to. Why are you sitting there like that, looking at me? I guess because it's the first chance I've had to look at you. How do you mean? Well, when he first put you in here, it was all dark. So many things happened after that. It's funny. What is? The things that you can tell about a person even in the dark. I kind of thought you were little, and I knew you were awful nice and had a lot of nerve, but... I didn't think you'd be so pretty. I'm not so pretty, Joe. I'm not very brave either. I'm scared. I'm awful scared. And I don't want to die. Don't worry about it, baby. Don't think about it. Sitting here like this, waiting, and there's nothing we can do. Every time we did try to do something, it was something he knew about. He was expecting us to. Please, baby. Joe, something happened to you. You were scared before too, but now... It was not knowing that was scary. Not knowing what was going to happen or why or what you could do about it. But once you do know, once you make up your mind, then you've got to forget about it. Forget about everything. Make up your mind about what? This is going to sound kind of funny, especially now, but... Well... Do you have anyone special? A fellow I mean? Why... Oh, no. That's good. I mean... Gee, it's a shame we never met before. If we had, we wouldn't be here now. I mean, we probably would have been out together someplace. What time do you get through work usually? About six. The store closes at 5.30. Me too, I could have picked you up at about six. Joe, I hear something. He's coming. Yeah. Okay, get up over in the corner of the room so that he'll see you as soon as he opens the door. What about you? I'll be waiting over here, behind the door. Joe, you're not going to... Yeah, I know I haven't got much of a chance, but, well, wish me luck. It'll be quick anyway. Oh, no, Joe, please. All right, my young friend, time. All my arrangements have been completed, and I'm... Where's Watson? Joe, look out! It's okay, baby. It didn't get me. I got the barrel of the gun. Good Lord. And the chest. But you couldn't have done that. You couldn't have. Outside, Betty. See if you can find another phone. Call the police again. And this time, tell them to bring an ambulance. But you couldn't have done it. It was all plotted, graphed, and worked out in detail. I knew just what you were going to do. How you would react.  Why did you do it? Why? I don't know. I'll just take it easy, baby. But I've got to know. You've got to tell me. Was it because of the girl out of... desperation?  I tell you, I don't know. I just know that... well, a guy will take just so much pushing around. Pushing around, eh? Well, it sounds to me as if one of our characters is going to get a lot of pushing around. At the end of a pitchfork and in a very warm climate, it's good old Helmings finished. He's got to be if we're to have at least two corpses, the inner sanctum minimum. Oh, you think that's a little arbitrary. Not at all. We've got to have at least two corpses to play our theme song when a body meets a body. Well, Creeps, now you know what we meant when we said that Robert Newman's story was one of the best plays Mystery Playhouse has had the pleasure of presenting in some time. Hope you liked it. A title of the story, in case you've forgotten, was The Dark Chamber. But now it's time to close the doors of the Mystery Playhouse, so... until next time, this is PFCX reminding you to sleep tight. Good night.


Hello and welcome to the session. Let us understand the following problem today. Let a is equal to matrix 2, 4, 3, 2, b is equal to matrix 1, 3, minus 2, 5 and c is equal to matrix minus 2, 5, 3, 4. Find a plus b. Now before writing the solution let us understand the addition of matrices. That is when we add two matrices the resultant matrix is obtained by adding the corresponding elements of the matrix. Now this is the key idea to our problem. Now let us proceed with the solution. It is given to us that matrix a is equal to 2, 4, 3, 2 and matrix b is equal to 1, 3, minus 2, 5. So a plus b is equal to matrix 2, 4, 3, 2 plus matrix 1, 3, minus 2, 5. Now adding the corresponding side that is 2 plus 1, 4 plus 3, 3 minus 2, 2 plus 5 which is equal to 3, 7, 1, 7. So a plus b is equal to matrix 3, 7, 1, 7 is the required answer. I hope you understood the problem. Bye and have a nice day.


Still looking very cool Your internet activity over the last ten years is being scrutinized and kept in my mute vivid detail. I really like that ending with the vivid detail. I'm not super hot on the hand gestures Your internet activity over the last ten years. For instance, I Don't know the thing is he has a good threatening voice like he knows what everything's doing This is unfortunately very it's a you're wanting to get away from the W pose You know, that's your cliché W to arms out thing And I would just go from here and all you're gonna do is keep this arm open up the fingers Take this rotate the wrist around a little bit so that the pen is out this high That's all you're gonna do right since you already have the pen in there It gives you a bit of an accent and I personally actually Would not break eye contact you know, I Would have locked Your internet activity over the last ten years is being scrutinized and catalogued And the thing is what I would do is keep keep call eye contact keep it right your internet activity over the last ten Years, I need that small gesture keep this make sure he looks at him This looks like he's looking past him on this side. Keep looking at him years is being Until here right in scrutinized and then I'm not super hot on this one This is his forward move. I know there's something on this thing that goes back with the pen Feels very flourishing. I put again something you don't have to do. I'm just thinking Let's go back here. It's making step-by-step Always look at him Just make that Small move with the pent up opening the hand a bit keep eye contact keep eye contact eye contact eye contact until you get here Then when he starts In scrutinized and then scrutinized when he's go scrutinized Just for now shit some giggles just keep that arm low. He doesn't really do anything with it that pen And he's like that and he's actually looking this way. So starting being scrutinized on scrutinized on screw right you can start looking over scrutinized and cataloged Even that is such a big move With his arm. That's really distracting But imagine that's That's your post imagine that hand stays there, you know, and you can have a little swirly swirl on this Real accent, but when you get into scrutinized, right? That's how how you look over there, right?  So you're in this kind of position In my newt and Then you do this then you do my newt detail this arm detail Yeah, and that I would just not go as high You know, but you're starting to cover that the his face. So it's not so big, but you maybe just here Right, so your comes in comes out of that pose rest his arm there looks away Says all that stuff then looks back at him. Do you do this gesture? So you do this here, right? It's perfect actually there you go. There you go This pose This pose You get into here and On scrutinized and kept on scrutinized He starts to look over to be in this kind of pose head-wise and then Right, you're here And then he does that head turn to look at him here to go into in my newt That's when you want that's when you want to have eye contact again because it's threatening it He's just kind of casually telling him. Yeah, we're doing all this to you, but then my newt detail And that's great don't change that love look at that face.  You almost see white This is a bit Crazier a bit in the look and that way because it's such a good ending and you want to cut on that way I was was whoa, that was great And now by adding this kind of smiley look and him looking down You're adding so much more time for the audience to recover and deflate.  That was cool boom next one and people are constantly engaged Again subjective. That's just my thought here. Let me know what you think. All right. It's very cool. Thanks All right, there's an email you can sign up you can start whenever you want you can submit whatever you want You get 16 submissions either way like and subscribe would be awesome. All right. Thank you


Go interview these kids and ask them what they would do differently at school. What's your name? My name's Kean. What's your change?  Well, yeah, babe. I'd change the fact that I'm in a gym, I'm a true middle-aged rich. I play about how strict the teachers are, about what we do at Christmas. Like, I miss you and all my mates. What if you get really hurt? Walk it off, I don't know. My name's Rory. What's your change? What we learn. Like, we don't need to learn about Adam. We need to learn, like, how to pay our taxes and, like, how to make money in the future. That's not, that's not. Brian Bridges, definitely the canteen prices. I don't know, the drinks are a bit too expensive. Bacon and egg rolls. And the gym, like, just grab it and just put it in mine. Someone hurt you real bad. I got a good case of teachers. Some of them are really dumb. Don't know what they're talking about. Punished you. If you were a math teacher, how would you teach your kids different? Get a fun lesson. Don't do an hour and a half of sitting still. Something with more hands on, you reckon? Yeah. Sir, I change group punishment. I guess, what would you change about school? Uh, make the school day. Sure, don't make. Andy, what would you change about school? I'm going to recess time. I'm going to, like, I'm chill out. I'm kind of classed.


So we're going to be talking about drama tergene today. Drama tergene across platforms, disciplines. We've seen so much multidisciplinary work in the last two days and we'll continue to do it. Before I introduce the Celestia's panel, I just want to bring up a few things that stayed with me that I think will help contextualize this discussion. By the way, I'm here with Carlo. So some things that stayed with me that made me keep re-questioning what I think of as drama, as theater, as drama tergene, drama tergene meaning literally the making of drama. Basil Twist saying he's interested in creating an experience rather than telling a story. Marlene Shulton creating an immersive multi-year experience for both her performers and her audience. Mariano Consulti blurring the line between fiction and reality, audience and performer. We're talking about less pudding proposing, but isn't it time for artists to propose change, give and create proposals for changing the pattern about our daily lives, wanting art to be useful. And in the performances themselves that I've seen, that's so far, unfortunately I haven't seen both of yours sing later tonight, I'm struck by a few things that also pertain to this topic of conversation. I don't know how many of you saw El Gallo yesterday afternoon, but knowing that the dramaturge of piece is inextricably linked to the impulses of each of the performers and also to the instincts of the composer, Paul Parker. And last night watching Stones in her mouth, I could help to think that in addition to the astonishing performers, I mean lighting designer Helen Todd was in my mind a major driving dramaturge in this beautiful piece. I rushed down after the last discussion to invite her to be on this panel, but she had to go to another talk, unfortunately. So it's clear that ways of making drama for dramaturgy are expanding in incredibly imaginative and collaborative ways. And yet also I want to bring up something, I'm not in suspicion that if any of us were to go out on the streets upstairs and as the average passerby, hey, what do you think is drama? Most people would say it's a story and it's about characters. And so I think one of the things we'll also talk about is I think the disconnect between what an audience expects theater to be and what we hear makers bring to our audiences. What we dramaturges do is act as kind of a proxy for the audience during the creation of the play. So to help me wrestle with this question and others I'd like to introduce the panel. To my right is Tina Gronis. And this is Tobias, pronounce the last name, Tobias Bocomans. It's a wonder bomb. And Jose Luis Valenzuela, a Latino theater company working in his house. So thank you for having us in this house. Thank you for joining us. I think to start, we should, are there any drama, self-described dramaturges in the audience other than me?  It's nobody knows what a world like that is. Nobody understands. So it is still a misunderstood term and people have a very different idea about what it is. I was wondering if each of you could describe in your approach to your work and all the work that you do is all very different and you also just told me you work in Odred as well as theater. If you could talk about how you approach the dramaturgy of the work that you do and even if the term dramaturgy is at all important or relevant to you. So in the work that myself and Richard Alge would do of theater movement bizarre, we create original works that are oftentimes adaptations of play, existing play, or myth, sometimes exploring a playwright or a novelist. And so we, I guess we act as the dramaturges of the piece by doing all of the research and lots of research and then taking those pieces and going on to different directions and then coming together and writing a text and then us coming back. We do a lot, a lot of work for a month, sometimes a year or more before we ever see actors or any of that. So we don't say we're having a dramaturgical meaning but I guess that's what we're doing a lot of times. That sort of thing. And we do do an awful lot of research on the wayside and then sometimes resurfaces again in another project. And a lot of times, you know, we're doing multi-tasking in the work because there's a lot of music in the work. There's also dancing in the work and there's a highly physical style that we've been developing for the past 17 years and we've been working together and we have a bit of a shorthand of speaking about creating the work. And nonetheless, all of that goes into... So the shorthand of the physical language is as important as the text? Well, I'd say that the physical language and the text have equal footing in the production but I always... I like having the text as the leading author and always for us. Even though when we started working together we did silent work. So there was no text, but we did have the texts in my Hofstein poetry that we were working with at the time and that was sort of inside movement, inside ideas and themes that we would go into and then we never spoke about it because that comes from a mind background and a dance background as well as a theater background and a clown background. There we've got it all. And so I like to approach these things physically rather than verbally at first although I had a great fascination with words when I started working with Richard because I'd never really been speaking them on stage for a long, long time. I'd been silent on stage. And so getting back to working with words, I took each word as this really important thing and it became as interesting as a clown can get about finding an object. I was like, oh my God, goodness. What is it? How does it work? And so for me it was like discovering a new language even though we were using English. For me it was each word became very important and then we kind of branched out from there and started to create work that didn't necessarily have a narrative but it would use bits that we would work and create and then by putting them together which I was proposing different scenes and things like that we started to look for a story so we didn't have a story to begin with. We were looking for a story. You mean in the course of Peter who was ours to grow the story became more important. Now it has. Now we are even starting with a story and then letting that liberate us to do whatever. Before I think we were working in more of a Donna kind of... So why the shift? You know, we kind of went around, this viral and coming around like this and I think I'm even coming to the point where I try to drop the words again but still have them in there in the planning and in the research and then see if we can take away some of this. Also thinking of reaching a wider audience too is part of that. Sometimes working silently you can reach wider audiences too. So that's part of the thought. It sort of makes a story easier. Yeah, that's true. I mean we saw the little guy, right? He was made up in my career, he could tour anywhere in the world. What about you having input from Georgie in a different field which is a different performance art that you do? That's obviously a very good question and it's also not very easy to answer. But I remember trying to explain my grandmother what my job is. And this is a couple of years ago and it's not really true anymore but it's a nice thing to do. So I came up with this metaphor that if a performance, if a piece is a ship on the ocean and the port where you, the destination is the prime show itself and the port where you leave is the ship idea and if the maker or the director or the actress are the captain or the ship. Then the dramaturge is the navigator. He's having the charts and if there's a storm on the sea the captain knocks on the door of the navigator and says, let's float another course. I mean it's a very easy anecdote and when you dive deeper into it not into the ocean but into the ocean then you see that what a dramaturge does really depends not only on the discipline the method but also on the people you work with and then even if you work with them over a longer period of time even then what a dramaturge is is changing all the time. So I guess you all work in the theatre and you know that the same constellation of people but different productions never get the same result it's always the same. So in the end I think that dramaturge is I would summarize it as a involved distance and I mean as a dramaturge dramaturge is indeed as you say the making of theatre everybody in this sense is a dramaturge who is involved in making food. So what is the dramaturge the guy who has this job title bringing to the floor and I think it's an involved distance that you are there every step of the line and try to see where the niches or the loopholes are or what is needed at this point without the nerves that a director has or the nerves that a performer has. So the dramaturge can create a distance and it's very important to have this distance to get the conversation going or to change the conversation or to perhaps point out where the conversation has to be about. So basically in general I think that dramaturge is really about time you can say you can have a good idea but it really depends on when you sing so yeah I would summarize it. And let's say Luis dramaturge for you we're about to work together. I know, it's going to be fascinating because we've been together for almost 20 years the same group but your wife and my wife have always been here because I'm moving a friend of yours who is the writer and we've all from not having a writer or an individual writer to now she is the president of the company it's fine, we never talk about dramaturges meaning we never say we are dramaturges but it takes around maybe 2 years sometimes 3 years to create a play for us from the idea and a lot a lot she kind of makes up the story and what the story is going to be and we have a process of image creating which is so important for us and the actors who propose the image for the scene for a specific moment you know, so we work in that way because a lot of times a moment after a first draft sometimes after a first draft we get the idea of documents depends what they are creating so it depends on the idea the process are different and every process there are ones who do an adaptation of The Labyrinth to Solitude which is an essay really, you know how do you arrive about what we think that book is about you know, without the actors so when she shows the chapters that she wanted to work on and then as a company we begin the process of so your entire cast began to dramaturge and then she goes home and she writes and brings it back and then we put it on the street and then people work on it you know what I mean it's a very kind of organic process the way pieces happen I'm just in the outside trying to figure out if it connects the dots you know and whatever journey the characters are taking so we haven't worked with dramaturge in a long time so this is a very interesting process for us but that's the way we built for the last 30 years I haven't worked with dramaturges because we don't I believe Venetra, don't fix it I'm here to break it That's right No, no, no, no I believe that you have to allow the piece to speak by itself before we start messing with it you know so it's quite, you know we're not very hard all the story goes this way you're not even at this point I guess after we do it I was thinking about melancholia if you've never seen it that has taken us 10 years to make it where we wanted to in that game it takes a long time for the work to really come up the way we wanted it to finish that's a good idea so you can still enter after the piece that needs it because you can publish them but in a way you have to publish all the rest you know what I mean? all the tiny little images of this thing and how that works and I know the others just see a lot of these different stories but in our process we're not trying to think that we're creating all these sort of things that are in the normal I think a lot I love when it's really your metaphor of the future I think a lot of what I do here is ask good questions and to be the proxy for the audience to be just come into a project hold each time and receive it on its own playing field and then ask any questions about the experience with it what's interesting is to see as we're seeing in this festival a lot of theater that is completely non-traditional and that many people might not even think it's theater so I'm curious if you can talk about we're talking about dramaturgy so perhaps talk about drama and whether you're conscious of creating drama on stage and what drawing means to each of you so what is important for you? what's important? usually for us the ideas of creating a new play come we do have a mission to create work for our communities that's really how we started what we do we have a very clear mission how to create work for our people in such a way so they usually come from political ideas even like the trilogy that when we work here we are discussing immigration heavily in this country and now in our discussion we have to talk about how to do that in this respect and we do popular theater you know, our theater is popular our audience is a popular audience they come to the theater with the popular forms that exist we want to have a battle for our audience so there is drama very clearly very clearly you know there is conflict there is character there is emotional there is character for our audience to have a relationship to us especially we have an audience who don't work in the theater so we have to find a way to get them to do it so yeah it's very clearly you know how we always have to have a story we always have to have a story and we always have to have conflict even with the world or by themselves but it's always we have to have that idea of the traditional drama type we try to find all the forms and usually they come from the popular form you know we look for those things in order to create a dialogue that we need to create and Tobias what does drama in different circumstances do you create a dialogue? well yeah I have a question actually what does drama really mean I mean in the old Greek word what is the literal translation do you know oh god I forgot does anybody know I don't so if anybody does it's funny that oh we don't have such a mechanic oh should we go up without wanting to find out without being great action action action thank you so drama drama means action and it's interesting if you think about action I don't know if I'm going to answer you no thank you straight away but how you know it's interesting that it's action but at the same time you're sitting on your chair but you're involved in a mind action right so the body is not acting at this well the actives are acting but the audience is acting in its mind so I think that drama and good drama has really about a heightened involvement and about identification with a heightened state of being good drama is and it doesn't matter what kind of you know if it's music or if it's theater in its narrowest sense I think the heightened involvement that you know gets you to this other place where you are in total on the same level as the character in the story that makes a good drama that you imagine imagine yourself being in this heightened state of existence and the interesting part that you know catharsis is always about loss or death or grief or but also about the new one I would say it's also about acceptance it's grief and acceptance these are the moments that define our life that's birth and death or love and death and I think if you can reenact or not even reenact but enact this feeling on stage then everybody in the audience gets you know in touch with the basic question of life so I think it's interesting that drama needs action while you're not doing anything except for looking at this movie it is easier sorry I think it's easier in popular theater to check in with your audience about the way in which the piece is moving when the conflict of the characters in the story are clear when that relationship with the audience is a little bit clearer how do you do it how do you check in with your audience to see if this heightened state of being is occurring with them when the piece is much less traditional and when it might move a much smaller portion of your audience when it is not often well I had an interview with Peter Green when he was a filmmaker I don't know if you know him and he said and you know it's very experimental right and he said well whatever you do 90% has to be known the 10% is the experiment of what you are telling so how do you check in you try to I don't know it's different in any kind of situation of the story you're telling or the piece you're making I think when we're talking about experimental productions I think the experiment is just a small portion so for instance let me give an example right so Wunderbaum is I think and on the one hand doing different stuff with forms but on the other hand it's really making sure that it pleases its audience in a good way and so it has quite a young audience in the Netherlands but still it's not I mean it's theater for one right and having a young audience in the Netherlands for theater that's that's difficult oh it was only us obviously not and I think second of all they work together with a lot of amateur actors and they do this very out of space kind of form sometimes but they really try to make sure in the way they work and they approach the people that they level with them so yeah it's actually I'm just yada yada yada saying something but I'm trying to think it out loud what it is that you're asking but how can you level with the people to get them to a heightened state of sensation I think you have to take your audience really seriously and listen to them I don't know actually I don't but this is our method try to be I think that well this is what I can say about it that right now we're performing this piece in hospital and actually it's still in the making process and this is just the next phase where the audience is really coming in and is telling us what is working and what's not so we're now in this phase where the audience is actually participating what the show will become and so eventually push it up to 90% become a 90% no let me re perhaps yes that's right and Tina how do you level with your audience that's the conversation you want to have it's interesting because I feel like we have much more conversation with our audiences than we used to because of the internet people write after they see a show sometimes and you end up having a dialogue with them via email and it's it was something that never happened in the past and now people write in this conversation you almost become friends it's very interesting and you start to hear what their interests are what their concerns are what the work you're doing they ask questions they post interesting questions sometimes so that's been different and interesting a way of finding out information that they are just offering we're not even putting out questionnaires and that's the best way people on their own esteem ask the question when you put your work in front of an audience that's when you get your life immediately you know when it's working you just do and a lot of times when Richard comes to us and we're watching and we try to be as objective as possible it's impossible because you're still in it and I can understand the distance that you're talking about just to go in and go now calm down it's like you need to that's what we do I imagine you're a therapist just to chill out calm down so anyway trying to look at things maybe one track at a time of the information we're putting out we have the text we have the dialogue we have the lighting we have the interaction we have the mise en scene what's happening with the actors and between them all those things that we take apart and try to look at them separately that sometimes bring a little objectivity as well as what everyone goes but really for me it's when the audience comes in and then for us recently being able to tour to different places and bring our shows to various audiences has been very important to us because you go to different locations but then a county event and you get different audience base that are giving you different feedback responding to certain parts of the piece in different ways so that's all it's interesting because you've been taught the drama as universal is it do you have to adjust your drama to different cultures into different settings are there different expectations of the experience of what conversation a piece of art should have with you well in the past I was in work in the movie called More Chance which was a my mask dance theater company and we traveled everywhere and we did the same show most of the time but the audiences were always different and vastly different reactions and we worked very much as the show wasn't happening unless we had an audience we had to have that feedback we had to start timing and often times people would walk out of the show saying I love the music in that show there was no music there was no sound whatsoever the music was the interaction between the performers the mask, the audience and the fantasy and imagination that everybody had and if we could create it so some audiences you could feel that connection immediately and others there was this distance and it would be like oh down we have a connection and it was surprising you just never knew and so that was an incredible educational experience traveling to all these different countries and just sensing the different responses to how they take a simple story for stories but very simple and how they responded to simple stories in almost poetic ways so that too was a good honing sensing what the audience responses and I do think that it's different but I do think as well that there is a universal soul amongst all of that response to certain human interactions and that's what we're trying to find on stage in humorous ways as well I think humor too is a beautiful phrase in Chinese I don't know the exact translation but when you have someone laughing you reach in to the throat around the heart so that's how you reach on the heart by getting them to open up the lab and so I find that to be a universal experience that we don't have that was interesting because in the previous discussion there was someone in the front who asked me about humor and I don't know if she's here the subtext was why there wasn't any humor in the piece is what I took for it meaning I think she was implying that it certainly helps bring you to any experience no matter how shocking or visceral it is and you're saying that it's crucial to your process and the crosses humor can cross and let's say you said that your primary mission is reading to write and create one community to what extent do you broaden that and tighten that does it specific to come universal in your case I think we have a different idea it's like this you open the window of the bedroom in your case so that's the source of the situation we've come too much we took one plane around the country and it's been extraordinary we think we're so alive and you know we think we're not going to get this play at all you know because it's totally a whole our own intellectual exercise and not an idea but we understand our audience and the subject and the response was amazing we were surprised how much they got and we took my colleague and he was like amazing and it was that's very specific very specific about you know what what we want to talk about to all of you you know it's always what's happening but when the other audience have come in it's been very amazing amazing when we have taken the work out but anyway it seems as if I just didn't turn in anyway and my concern is I don't know this I'm working with a company and I'm trying to put into the same process and you know Mexican images are coming in and I have to put it in there you know just because I am in the process and then I'm so nervous about seeing up your gear in all the way they know every line of the racing and it was so fantastic because they connected to this idea but because it's a certain purity that happens with you when you're doing the work and trying to find what I think as a true image of that woman that serves me I'm sure they didn't even get this but you know solving at the end of the play I read it as the virtue in her you know and they totally connected to it they said to me it was about you know how he had created this incredible virgin mother everything on his mind and it was like and that just came out of what I think and that is to say it was not an idea that I had I should do this it's interesting how when you go from that place it's all I know you know what I mean I'm not going to do a long so many you know what I mean I can't I don't even know what that means and in my brain so it's interesting how when you take it out it becomes much more beautiful when you work that particular and it's because it's the only time that it's true and what work has been in this data for 30 years so we know what I mean so we know how we can push them a little bit to learn more about the data you know accept more and to be as you collaborate I wonder about your collaborate and what was that experience like of working with a company that has its own aesthetic its own number but from the 30 years it's an audience well it's interesting it's interesting because the piece itself is about it's about healthcare but it's about two different systems of healthcare or that was the starting point and then of course also the differences between the Netherlands and the US that artistic research became also a research of methods really and we experienced that sometimes we have an assumption as Dutch people that theatrical methods or medical methods no no sorry, theatrical methods really the making of the piece itself it was really it was really quite an advantage and we're still doing this actually to find a method that includes taste, aesthetics world views it's funny because we Dutch think that we have become Americans in the past 65 years but you know that's just that's just only the facade right we only got the facade and it's like and if you go to America you're just so surprised by the sheer difference that makes up this country and not just the one facade you get on TV so I think that sometimes we Dutch people assume that we understand Americans and the other way around possibly too find a method to come together and talk about this and we still do and it's an advantage it's also the first collaboration right so you're getting to know each other I mean it's like a marriage but but you didn't have you know this quarter well it's not exactly true because we knew Joe Malbide and in L.A. before and many people in Skid Row but still there was Joe Malbide as an actor and now we're working with what L.A. created and it's an adventure but it's also really interesting because they have different ways of looking towards involving actors telling stories different ideas about how plays can become political and that's a really worthwhile experience it's not always easy but it's really worthwhile so in a way the topic of the piece you know The Netherlands and America has become the method of work yeah to an extent I don't know if you will see the play perhaps you will also see that every scene has a totally different approach or different try at taking the subject so the whole play goes like this it's a workshop no no I think it's a workshop yeah so you're inside this workshop and hopefully you also get the story in getting more I don't see any questions from you guys who are panelists about the way they make art or can see the drama yes I think that's actually what you just said what is your inspiration what inspires what inspires to create it's kind of like a breathing you know everything around what inspires me in some way to want to express it artistically and through the idea of theater and movement and dance is how I express myself since I'm not a writer or a composer I compose with people and images and I'm always reading stories seeing things that are happening in the world also going back into historical plays that I find interesting and they they're very inspiring it's an interesting question I'm having this discussion with my Wunderbaum colleagues about whether I'm an artist or not and I would say I'm not and I'm really saying that because I want to have this distance right and it's not playing my role down it's not because I'm not vain or whatever but I think that the truth of my inspiration is getting inspired by the other people's inspiration I don't like to come up with an idea myself I like to be inspired by an idea and hopefully can make a contribution to you so I see myself as a contributing factor and not the other way around and for me that's crucial to what I do and it's also crucial to how I want to be in life a really life approach to me so you know my spark is when I see somebody else getting really furious and thinks he has to talk about it okay great let's go for it how should we do and that places me in a great situation because I can work with opera artists or musicians or great people in skate row or whatever I mean that doesn't really matter what does matter is people are inspired so I'm a second hand man right second hand inspiration I don't know and I for us or for me but I come for us to visit always in the company there are usually things that happen in the country that I want to discuss there is America such a conflicted country for us but we have a lot of questions so when those questions come up or something happens that inspire us or inspire me to say this is an important question that I look at in the answer and I would not look at the answer but it is David can talk about it because you certainly use technology in your work to what extent technology has expanded the notion of what theater is whether it might have limited it we usually think this technology is distracting it's so easy for people to be entertained and not go to the theater but technology as you said in your example how groups closer to your audience can actually create many more points of connection and actually expand the confidence on stage but I've also seen for instance video use not only as use literally an anti-theatrical so I wonder if you can talk about how technology has expanded what's happening what's happening in the world right now with mixed media on stage is quite amazing and some groups use it to a beautiful effect and as you said others are making a bad name for video but I think our company theater movement Luzar has used multimedia in the past and it's it really you go down this technology group and it's all consuming and it really does kind of directly show because you have to be that kind of work so far in advance unless you have a really really long period which you go back and forth and workshop it again and again so in a sense it was restraints but then their strength can be liberating as well and the past few shows to go technology free so that we could get back to working with just what's at hand the simplest means the simplest things we have the act with spectator and maybe a couple chairs in the table so let's see what we can do with that just to sort of get back to the basics and see how we can reintegrate those basics and get those to be the best they can be before we add all those missiles of technology probably not to say that we wouldn't do pieces with technology again but anyway this is a period that we're kind of refreshing ourselves and rethinking getting back to this yes we use technology no it's not a real it's not a real agenda throughout different performances I think it's there you can use it if it works great if it doesn't work you don't use it in the hospital piece we use a camera that's the technology right and we use microphones and we get the camera and we picture the screen because it actually enabled us to get the really up close close shots and well why have we left it in I think it's well in a way it's about sometimes about the distance that has come up with this whole health care it's actually about close somebody taking care of someone else but there's a lot actually when you tell the health care history of the states or the Netherlands you see there's only distancing right corporatism take coming in and actually trying to say well if you need care you have to pay me I mean that's of course very simple remark but there's a lot of distancing in the whole health care system so we wanted to have also these very up close images so why do we use it it's there does it work what do you think it adds something to it but it's different every time so we don't have a real agenda don't know if that is yours well we we use it sometimes and hope and that one actually we did it as a workshop we're very interested in using technology because it happens to be the television time the television is very powerful for the first time that play but it's interesting because we did a workshop I went into a group where cameras were inside the room so when the scene was going out the actors will be the characters will be inside the rooms and we'll still be aligned to see them and we did we did like a whole experiment the interesting part we should add to an audience and it was just like to see but when they were arguments inside the room and the characters just fill out on the outside the audience the screen was more real than when they saw the audience and it was really dangerous for us to do that then do you know what I mean? because I was just because of that I was going to see you but the audience reacted like I love the scene on the screen but the actors came out and I was I freaked out you know what I mean? because I said you know what I mean what's happening we're so used to thinking that the image on the screen is more real now than we realize because we had so much I thought and we didn't have enough time to really work it out when that did not happen but because it was only to give us the idea that we can see the fear or the joy of having out of the car it still has to fit the journey of the play I didn't want to use that yes it's a I think it's a good thing to have so we pulled it out to the point that some of the ones that we used they were just sharps and that weren't better so we used it at the end because it's part of the story that television is a very intelligent prime so it has for us it has to serve the purpose of the play and then what we want to do I think that's very important to me I'm a professor at UCLA I work with directors I teach directors and they came up with the idea and we did an adaptation of the artist for example with the play begins on the intro and all the first dialogue is all in the intro and when they come in they sit with the computer and they make the dialogue and that's not what we do I think younger directors are going to work much more because they're more savvy on technology they have grown up with it they're 21 year olds who have so I think it's going to be very important in the theater but it's a mindset do you worry do you think a lot about a younger, how to approach a younger generation that we all assume expects different things from their surroundings do you think they expect a different experience from their entertainment from their art and if so, is that something that reining into your art there's all this buzz about the internet generation and stuff do you think their needs and wants are going to change what we present on our stage it's different work all audiences from 20 to 45 you know it's different as a community they don't have as much access just for economic reasons so we're not concerned about that you know we have the best artists in the world 20 year olds who come to the theater sit down and take a look and you know these simple stories which I think that's what we got everybody's in a different time if you have an A an A to what we need to know it's a different thing to raise your question does it make sense what I'm asking at all I wonder if somebody else can be crazy I think there's a sense that we're always told that younger generations have shorter attention spans that they're they're they like quick images that stand out a different expectation of what will engage them emotionally I have no idea if that's true or if you've experienced it what I tried to do as much as possible is not make a separation between them or me so that's the first thing right I think times change and attention spans change also needs change um I don't know I hope I won't ask myself this question for a long time because when I do then I think we're starting to get old that's why I'm asking because I feel old no don't talk about questions it's very I think you just have to be in touch with whatever you are doing and what feels right for you and audiences come or not I think that it's as simple as that but as you try to cater for something you don't really feel you don't really understand and it won't work yeah so yeah well I teach and I'm close they're age 17 into their 30s which I still consider young and they and I've seen them change over the years that I've been teaching but there are some things that don't change there are constants what moves people what touches them and makes them laugh even though people may put on a facade of hip and all this other stuff underneath everyone they still have the same emotions and feelings technology may have made things faster and everything but we understand and we feel I think I'm not a scientist or an expert on this but I think that we feel and understand at the same rate in a lot of ways trying to understand people and stay in contact with them is important when you work in the theater and no matter what age the people are so that all of humanity is an interest to you and as you're saying it's good not to have a separation and I feel very fortunate to work with young people so closely on a regular basis sometimes I feel I may be out of touch for people's minds but anyway and I think it's also interesting that young people see stuff that they don't I mean if they see something they already do right? I mean if it's compelling it's compelling but if you see something that they already do know isn't that compelling I mean it's interesting also that a theater can be a place where gaps between generations are being bridged or something I think it's it has to be ages, right? I think this conversation because I've been theater for theater you know what I mean because we have this conversation sitting on their way and when I do the work I really want to make theater for regular people the theater people are really small crowd and you're doing a cast of a hundred people and you want a thousand people to come you know what I mean who may not have the same dialogue that we can have about the art form you know and so a lot of this conversation about age and about technology is a theater conversation more than a dialogue at large with you know so I think theater has different groups we all are in different spaces and time and a different power I was just wondering whether you feel that non-montergy and the kind of work that's presented at this festival what kind of work do you do has the same relationship to the audience's experience as non-montergy is to more traditional more traditional theater you know when you're talking about non-montergy you have keeping that distance you talk about asking good questions it's a lot of times it's about like clarity until the audience understands this point of communication by this point of the play to be able to get them ready for the next point of the play so on and so forth it's very connected to the audience's experience drama-charging for this type of work for your work that we presented here has that same relationship with the audience of the experience so I think it didn't understand the question but it's just because I'm Dutch no no I think I asked the question in a very busy way it wasn't getting these questions no the way I've heard it was it's some I think I'll tell you most of my career has been spent drama-charging plays script, director, cast and you ask questions that have to do with clarity or if there's something's ambiguous did you, the player, I intended to be ambiguous in recent years I've had the luck to work with companies I just got back from Berlin where I work with GovSwan a piece that we co-commissioned and I worked on a piece called The Royal Fibrino we produced at the Kirk Douglas Theatre years ago and that is I have had to flex a very different kind of muscle in that my openness to the experience of the piece which may not be narrative is different and I have it's going to sound so lame but I have to open up my heart a little bit more and really there's a level of trust like Princess GovSwan is premiering in 10 days and we have a note session in Berlin this past Friday where basically we're talking and I was giving them my experience of it and they said and they're basically going to redo half of it in 10 days and if they were playing with a script you would be freaking out but they can do it they're human they listen to each other they're kind of an organism and so my my consolier kind of thing that I do which is what I think I am is that for me? you should wear a ring it is it is it's different there's a greater level of trust it is a much scarier journey you and you also I'm also very much aware that it is not that these are pieces that will not appeal to everyone and that's okay that not every audience member will go on the journey but I have to represent in workshop I have to represent the audience member who is willing to go on the journey and help try to track it but it is it's been a different muscle for me and I have to say that one muscle that I think it's making me a better dramaturg with playwrights as well does that answer your question? I'm very interested in that nuance of how do you help the artists how do you ask how do you find the right question to help them help them that next step to have that spark of inspiration right because with a more traditional piece you can say okay you want the audience to understand this in this moment I question whether or not they did it right so it's not clarity it's about but when that moment that you are creating you mean it to mean different things many different people do you mean what can you do to help an artist fully realize what it is what they're doing in that moment I think everybody is trying to do the same thing in different versions in different ways it's a different emotional and intellectual journey that they want us to have but it's still trying to end the same thing honestly now I haven't seen the piece that he was talking about but I see other pieces I think they're trying to end the same thing it's more difficult of course because you're talking about the work that is created from the inside and it takes more time but I believe I think they want to have the same relationship to the audience that we do in a higher level of expression and they question a bigger emotional investment and that's why it's more difficult because maybe that doesn't mean but I think they're trying to end the same thing very my performance arc came out of the rejection of the loss of theater we are going to reject all the loss of theater we're not even going to perform it in the theaters that was the idea when it started and it was it was a game of the mind if you remember the early performance arts that's what it was when it challenged you of all the loss of theater it went for a connect and I think what we see is performance arts transforming to performances for an audience so I think it's the accumulation of that what we see there for now and you learn a new each team has a new language you would probably have you say a short language here where you know you've got your own vocabulary as the conciliaries you have to learn a new language the way they talk about their aims and their techniques in a way that is new to someone who has really worked with players I'd like to answer the question also I've also worked a lot and I'm still working with regular playwrights and in this case you're so fast you're probably a very art playwright but normally this process will take us more than one year to really write a play itself with different versions and tapes it means that you have to invest a lot of energy to try to find out what it perhaps will look like in one year from now so you're working differently and the steps that you have to take have to be taking a long time in advance but with Wunderbaum it's very different they don't have the script already made the script is made during the production process and actually last week we changed it all and it's a whole beginning so I think my job as a dramaturgist for a version of Wunderbaum that is also really like bad, you can understand it as bad they have no direction but they've been working together for ten years and they really know their strengths and how they work they can say three words together and then they will do it the next day and it's a huge difference the difference with making or helping make the normal thing is that right now the time is so condensed and that you have to really think really fast and work really hard in very, very long days and that you really have to refrain yourself from seeing stuff all the time so hold your horses the mind is going crazy in that everybody said it now is the time time is right but so you just have to think really fast much faster than with the regular because it's so extremely beneficial and it's just 24 hours a day master I was wondering why you think that Peter Richard offers well sort of performance art has has developed this position of drama where other art forms don't have it I think like film for instance and you look at like ladies eight and a half and there's a character there's a kind of parody of the drama it's always been exciting to critic and he was just spouting out and challenging to make the right movie and it was interesting but it's interesting to me that Peter has this position that's come up where I'm a helpful director of the company make this piece and it was kind of what I was wondering about so the first drama was Lessie in the second half of the 18th century in Germany what happened was that German theater groups started to organize and get their own play out and they had a repertory system so it meant that they had to produce but they had to finance those buildings all of a sudden and you know there were the middle class that came to the fore and they had to make their own modern so they had to have a different show but you know you cannot have a different show if you're just a group of 20 people making theater so you need to have someone who's actually finding other people's plays that you didn't write yourself I mean that are from England or whatever named by this guy named Shakespeare nobody knows and then you think well it has to be translated and the last person was actually someone who was trying to find good plays translate them and present to the audience so what this means is that the dramaturg came when the theater was really at its height when the theater was very what's the word the word I mean the tasks were split up because the work the load of work workload was getting bigger and bigger so all of a sudden you had a director actors somebody who was a directing assistant I mean also the director was a position that started up in this hate incision really I mean Muyer was the director but the director he was the leader of the group made it happen so this is how it started and I think that the Dutch system for instance the theater system was just a copy of this German system so it was there the drama and I think the dramaturg is a very luxurious decision you don't need it but if you can afford it and you like it why not it's amazing it's like so I think also I work with the theater director who also makes films in the Netherlands I mean the people who help him editing the film the people who go to the first screenings the people who read the script I mean they don't call themselves dramaturgs but they actually are so it's just a very quirky you know, history scene but I mean the process is there it's interesting it's just kind of we know how to work as a company we have a process and this is how we create the work we don't have someone that can come in and say well if you want to get to this point if you want to clarify it here so the theater movement of Ozark is a lot about staff we don't have staff we do everything but I mean actually the question is giving the ideas from inspiration it would be great to have a dramaturg in the play get it it's about time I think that would be very fascinating and also just from my end for theater my size I'm also the literary manager if you get a thousand scripts a year my job is to find good plays and develop big programs I never I would I've never pushed myself on a project the last thing I want to do is to squelch any spark of inspiration and as soon as I feel I have I get my pull back so if I agree that it exists it is a luxury and the reason because because the dramaturg dramaturgo in Spanish and in French and in fact I went to a dramaturg conference in Mexico City and they entered a new term for us which was the dramaturquista so it doesn't exist it is your turf I guess and it seems to be I'm glad these conversations should have been more because you know for a long time because I worked at the bridge of theaters besides having the company and dramaturgs were so complicated because they became scriptwriters and I don't know the scriptwriters from Hollywood they hired scriptwriters to come and work in your movie they not called dramaturgs but they told scriptwriters and for some reason especially in the 80s when I was just a good doctor what dramaturgs were doing in the American theater they would come and tell you this is what doesn't work this is what you have to do and it was like all the plays began to look the same if you go back to the 1980s most of the playwrights ended up writing plays that are very similar in style and form it was like oh my god it's not dramaturgical because we need people we have collaborators if we can allow an actor to say let's do this intelligence research and knowledge to be part of the process of creation but not necessarily to be as a doctor you know what I mean which he gave very much from Hollywood I think this is what happened in Europe we had dramaturgs I mean every time we were in Europe I had two or three schools you know what I mean that gave you all the research because there wasn't they do what is already done you do new plays in my case so you have all these people giving these amazing research to tell you about the history and they do help a lot how to reconstruct your idea and clarify it for you especially if you keep working on different things you know so they're very very helpful and we do it with I think the reaction to the American dramatur especially in the 80s it was because it was a whole movement to be much more like they knew more than the writer himself in many ways and that became kind of like oh my god I want to you know that's really what happened in the dramaturgical process in the American theater in the American theater because the only one who got it is the writer of the theaters where the only one who can afford them in that way I think it's very important to talk about the dangers of dramatur I mean there's also a place I am from I'm actually really serious about it you know the danger is that you get this monumentalization that there's somebody who is already you know chewing out you know all the answers you know and getting all the freshness out expert and an expert who knows it all you know that's really my nightmare you know if I become that and I hope there's a great book by a very good writer who said how dramaturgy ruined theater oh I think it's on my list because not many books are written about dramaturgy in terms of what I know actually it's really he's a wonderful director he has a very small theater company who could never afford it but I would like to talk about it but I'm sorry I'd just like to go and try to make it short so I started working with Wienerbaum nine months ago in January and they have existed for 10 years already they made beautiful pieces without a dramaturgy so what the hell am I doing but they asked for a dramaturgy and the interesting part is that the dramaturgy can be changing and it's really about what can I do on the table what's not already there because if I go there I can't remember the first conversation I had with Walter Park one of the actors and writers and the director they do it all themselves so you actually had a job advertisement for a dramaturgy I mean it's really rare and I'm actually really interested I've seen your work for years now and then he got scared because I was this dramaturge from this play house in Rotterdam and the first thing he said was well actually it's just a word because we already I mean we are our own dramaturges right and then with that in mind we decided to write a letter and we had a very long job it took about 5 months of them about 5 months to find the right person that could fit this description and the thing that I'm doing right now so it's a long story but I'll have to tell it but in a short way they started a very big project in January which is called The New Forest basically what the idea is is trying to to create a new society this very new Tokyo if you will but it also plays with the idea of Tokyo so this project The New Forest this new society started in January and will go down in December 2016 during that time so we made about various topics this one is health care we did one about power so we had a Chinese 8 year old girl install this new society in May and we go on and on with all these topics these are the performances right but we want to do more with this society so for instance we have seminars where we have a Baywatcher and a journalist and very different people talking about their new ways of Baywatching and journalism and the interesting part is that this also makes up this whole New Forest project what I want to say is that what I like about it is trying to find the niche of presenting stuff that can help make it bigger than only just the performances itself so and that's much more interesting of course than the drama church who knows it all who has read it all I like the way the research is going beyond the performances itself as real production I'm afraid we've passed our time so we're going to have lunch we're going to have a twist and then we'll leave it at that and also an ensemble of designers that we've been working with and all of us together have figured out this shorthand or this special language that we speak amongst each other and so I think our dramaturgy is done by this whole team we all figure out how we want to tell this story including our line designer our choreographer our sound designer and even though we don't have a dramaturgy we all play the role together to figure out how we're going to tell this story and connect with the audience and that's how it's supposed to be I'm going to decide to join the team thank you guys thank you


Scientific Revolution The Scientific Revolution was a series of events that marked the emergence of modern science during the early modern period, when developments in mathematics, physics, astronomy, biology including human anatomy and chemistry transformed the views of society about nature. The Scientific Revolution took place in Europe towards the end of the Renaissance period and continued through the late 18th century, influencing the intellectual social movement known as the Enlightenment. While its dates are debated, the publication in 1543 of Nicolaus Copernicus's D-Revolutiona Buse or BMC Listum on the Revolutions of the Heavenly Spears is often cited as marking the beginning of the Scientific Revolution. The concept of a Scientific Revolution taking place over an extended period emerged in the 18th century in the work of Gene Sylvain Bailey, who saw the two-stage process of sweeping away the old and establishing the new. The beginning of the Scientific Revolution, the Scientific Renaissance, was focused on the recovery of the knowledge of the ancients. This is generally considered to have ended in 1632 with publication of Galileo's dialogue concerning the two chief world systems. The completion of the Scientific Revolution is attributed to the grand synthesis of Isaac Newton's 1687 Princess Beak. The work formulated the laws of motion and universal gravitation thereby completing the synthesis of the new cosmology. By the end of the 18th century, the Age of Enlightenment that followed Scientific Revolution had given way to the Age of Reflection.


The goal of this video is to derive an expression for current in terms of drift velocity. What's drift velocity you ask? Well, just to quickly recap. We've seen that metals contain free electrons which move at extremely high speeds due to thermal energy. Now without a battery this motion is completely random and as a result because of a lot of collision that keeps happening on a large scale these electrons don't go anywhere. And as a result without a battery we don't get any current. But when you hook it up to a battery there's an electric field that gets set up which starts pushing the electrons towards the positive terminal. Now you will see that the electrons are slowly and steadily drifting towards the positive terminal with an average constant velocity. This average velocity is what we call the drift velocity. And we can assume that all electrons are moving with the same velocity. And we've talked a lot about this drift velocity in a previous video. So if you need a refresher feel free to go back and check that out. And so now the big question is how do we calculate the current from this drift velocity? So where do we start? How do we begin calculating current in terms of drift velocity? I think we can start by recalling what the definition of current was. We define current as the amount of charges flowing per second. So now let's think about what that current would depend on. Well clearly it would depend on the drift velocity. It will depend on the drift velocity VD. That's because if this number, if the speed, this average drift velocity of the electron is higher then we would expect more charges to flow by per second and so higher current. Lower means less charges to flow by, so lower current. What else do you think the current will depend on? Maybe it depends on the dimensions of the conductor. So let's put that in as well. So let's say that the area, the cross-sectional area over here, let's call that as A. And let's say this length is L. All right, what else? Well, another thing that might matter over here is how many electrons are there in the first place in this conductor? If there are a lot of electrons then in that one second I would see a lot of electrons going by and there will be higher current. So that also matters. And the way we represent the number of electrons available for conduction how many free electrons are there for conduction, we talk in terms of number density. So let's say the electron density is N. And since we are maybe looking at this for the first time, what this means is this number tells you how many electrons are there per meter cube. How many free electrons? Okay, when I say electrons over here, how many free electrons? Basically electrons available for conduction. There are electrons which are not available for conduction, which are bonded and they are stuck to the atom. But how many free electrons are available? So if N was, say, thousand, then that means there are thousand electrons available for conduction every meter cube. That's what that number is. So you would expect more the value of N, more would be the current. And just to give you some sense of what the reality is, if you take metals, good conductors, they have at room temperature about 10 to the 29. That's a freakishly large number. 10 to the 29 electrons available for conduction per meter cube. Incredibly high, right? Okay, so given these, how do we calculate current? I want you to take a crack at this first before I do it, all right? Because we can do this just from fundamentals, from first principles without using any formula, all right? And I'll give you, I hope you start. The way I like to do this is since current is amount of charges flowing per second through any cross-sectional area, let's start by looking at some cross-sectional area. So if we concentrate on this cross-sectional area, all I need to calculate is in one second, how many electrons are passing through this? If I know that number, I'll calculate, I got my current. For example, if I find out that 10,000 electrons are passing through this in one second, that means the current must be 10,000 E, right? Because each electron has charge E, so that would be the total charge per second. So can you pause the video and think about how to calculate or what would be the number of electrons passing through this cross-sectional area in one second? Give it a try. All right, if you're given this a thought, here's how I like to do it. So I like to concentrate on the electrons, which are very close to this particular area and a little bit left of it, okay? Let's consider this electron. Now, all the electrons are drifting towards the right. Now, in one second, where will this electron go? Well, it'll go through that particular area, it'll go through it and it'll end up somewhere over here. How much distance would it have traveled? Well, I know their velocity is VD. So in one second, it must have traveled VD amount of distance. That's the definition of velocity, displacement over time, displacement in one second. So this displacement or the distance traveled over here, it's the same thing, that should be VD. All right, why should I care about that? Well, that's because in that same time, there were some electrons which were a little bit left of this group, they too went through that area and maybe ended up somewhere over here. And similarly, there were some other electrons which are a little bit to the left of this group, they too went through that and they ended up somewhere over here. So what this means is all the electrons that you find in this tiny volume, this cylindrical volume, all those electrons must have passed through this area in one second. And therefore, if I find how much charge is present over here, that should be the current because that's the charge that went through this area in one second. So now again, if you haven't tried it earlier, now would be a great time to figure out how would you calculate this, how much charge is present over here. So give it a try again if you hadn't tried earlier. All right, so how do I calculate how much charge is there? I will first calculate how many electrons are there? How do I do that? I already know that a meter cube has n number of electrons. So these many meter cubes will have how many electrons? Well, I first need to know how many meter cubes this is, or I need to know how much volume this is. Can I calculate the volume of this cylinder, this tiny cylinder? Yes, I can. I know the area of the cylinder is A and I know the length of this cylinder is VD. And so all of this is happening in one second. Let me just concentrate only on that. So let me just get rid of everything else. If I concentrate only on that in one second, in one second, everything has happened in one second. The volume covered by the electron, this volume, this volume, that is A, that is A times VD. And why did I calculate the volume? Because now that I know how many meter cubes this is, this many meter cubes, I can calculate how many electrons are there. One meter cube has n number of electrons, these many meter cubes has how many electrons? Oh, it has n times that number. So the number of electrons, which I'm just going to call hash over here, that number should be n times this value. Does that make sense? Hopefully, this is making conceptual sense. So these many electrons passed in one second through this area. So what is the charge over here? Well, each electron has charge E. So this total must charge, have a charge E times this number. And so the total charge, which I'll write over here, should be E times this number, that is n A times VD. And this is the total charge that passed through it in one second. That by definition is our current. So we have calculated what current is through this particular conductor. And again, I hope this you don't have to mug this up. So you can kind of see this is the total electrons. This is the volume covered by electrons in one second. And so this is the total electrons passing through the area in one second. And so this is the total charge passing through the area in one second, giving us the current. Do you know why I get excited about this equation? I'll tell you why. This is the current. This is the wire that carries current to my tube light. I know that the wire carries roughly around one 1.5 amperes of current. I know the cross sectional area of that wire. I can Google that, but you can even calculate it. It's roughly around 10 to the power minus six minus seven meter square. And as mentioned earlier, this is wire cop. This is fire made of copper. So I also know the value of electron density. That's about 10 to the 29 per meter cube. And I also know the value of E, which means if I plug this in, I can figure out the drift velocity of electrons over here. And if you do that, and I'm pretty sure you can do that yourself. I'll get an answer about a millimeters per second. So with just a pen and paper, we now have the capability of calculating speeds of electrons, electrons in wires. If that doesn't blow your mind away, I don't know what will. And this now raises a very interesting question. Look at the speed of the electrons. They are drifting so slowly at millimeters per second, which means if we go to my room, then it should take hours for the electrons to go from the switchboard all the way to my tube light, hours, literally. But then why is the effect of electricity almost instantaneous? Why does the tube light turn on immediately, almost immediately as I turn on the switch? What do you think is happening? Can you pause the video and think a little bit about it? Well, the answer is you don't need electrons to go from the switchboard all the way to the tube light to turn it on. Electricity doesn't work that way. There are electrons everywhere in the wire. And so when I turn on the switch, an electric field gets set up instantly in the wire. And this electric field starts pushing the electrons everywhere. And so electrons start moving everywhere almost at the same time. And as a result, the electricity effect is instantaneous. It's not because electrons are moving very fast. They don't electrons are moving super slowly. They crawl at very low speeds. But it's because electric field gets set up almost instantaneously. All right, I want to end this video with a puzzle question. Imagine we had a conductor whose area changed like this. And let's say now we hook it up to a battery. My question to you is where do you think would the current be higher in this part of the conductor or in this part of the conductor? Well, when I was first asked this question immediately after learning this formula, I thought, OK, it should be higher over here because more area means more current. Less area means less current, right? But that's wrong because the current has to be the same. Remember, charge conservation, whatever amount of charges flow in per second, the same amount of charges must flow out per second. If there were more current over here, that means some charges are being lost and charge conservation says that cannot happen. So from charge conservation, which is a fundamental law of electrostatics or, you know, of electricity, the current has to be the same. So the puzzle question for you is how can you justify this using this equation? All right, how from this equation you can convince yourself that the current here and here must be the same?


Not everybody Ryan Williams here from fan dual doing another fan dual hurry up for you guys and this time we're going to talk about the biggest preseason winners for your 2021 fantasy teams. That's right. We're getting into week through the preseason. That's going to be it until we get ready for the regular season. So these are going to be three guys that you definitely want to target late in your drafts who've been having good pre seasons and let's start it off with none other than Marquis Calloway wide receiver for the New Orleans Saints. This guy went out and bald on Monday against the Jacksonville Jaguars five targets five catches over 100 yards to touchdowns with James Winston who we imagine is going to be named the starter there in New Orleans for week one. And with Marcus Calloway, you know where he's going right now and his ADP which actually is ADP has shot up 20 spots over this past week so you know people are getting accustomed to him. He's been going in the 12th rounds before kind of crept up to the 10th round with the Michael Thomas injury and now pretty much you got to make a decision in the 7th 30th round if you want this guy but he is going to be explosive. Michael Thomas is going to be out for some significant period of time in 2021. I think with James being the starter although I had talked about wanting to see taste him but with James there who's not afraid to air it out not afraid to take shots and we can see that with 5050 balls Marquis has no problem going up and getting those. So I think this when you're talking about either, whether you want to build your team to have a ton of wide receivers later if you're going late, zero art, zero wide receiver and you want to, you know, take a guy who you can trust I think Marcus Calloway is going to have to be that guy. You're just going to have to make a decision on what price tag you want to pay for him as as you get into your drafts. Let's talk about running back here now and that's going to be tied Johnson for the New York Jets now. Listen, listen, this guy's going to RB 70 right now pretty much RB 71 for the month of August but when you're looking at the situation with this Jets backfield. What's going on here like Michael Carter is going as the RB 33 and this guy has not taken any snaps with the first team offense last week was Zach Wilson. You had tied Johnson and Tevin Coleman getting a bulk of that work there with the first team offense. I don't know how you can trust Michael Carter right now at his price tag and let's go with the tie Johnson who's playing on 75% of the passing snaps so far in the preseason. Not only as a rusher but pass catcher and we saw that the rushing ability last year I believe it was week 13 this dude put up over 100 yards on 22 carries so even being you know kind of like a smaller back this guy can still go out there and do both very well. I think that when you're talking about his price tag at RB 70 it makes no sense to me not to take a shot on this guy. I think he's going to be late late in your drafts and kind of you know sure up a spot now that doesn't mean that Michael Carter won't come to fruition but with Michael before before there I think he's going to do an RB committee approach and so tied Johnson still will have that third down roll you don't have to worry about that. So go target tie Johnson in your drafts and thank me later. Finally let's talk about a tied in third but not least Mr Zach Ertz there for the Philadelphia Eagles tied in. He's 26 is what he had been going at most of the month of August he's crept up a little bit to tied in 23 and it just really doesn't feel right last year 2020. Zach Ertz was the tight end for if you can believe that going ahead of guys like Walter and Andrews and it he had a rough 2020 I get it but this is somebody at the tight end position who he has a rapport with Jalen Hurts right now I mean Jalen Hurts and Dallas Goddard that's all we're hearing about in campus. Jalen Hurts wants to target them and even when you're looking at the snaps in preseason last week Dallas Goddard. He had four with the first team even though Jalen Hurts didn't play but Zach Ertz had three. He's been right there neck and neck with them and just when you're talking about a title position that is notoriously ugly and guys that were not able to target. I'm not saying you necessarily need to draft Zach Ertz if you if you're in a deep league I would encourage you to do so tight and premium definitely but he's going to be a guy that you look to stream and probably could be a league winner if you know Goddard gets hurt or falls out of favor and Zach Ertz you know he's put up 700 yard seasons most of his career at the tight end position we like that in 10 yards per reception is what I found on PFF every year but last year in 2021 he struggled so this is a guy who still has a lot of talent and maybe he gets traded and he could be a tight end one for some team so tight end 23 gobble all that up. That's going to do it for the fan duo hurry up today Ryan Williams you can find me on Twitter at Ryan Alexander underscore W and make sure you're subscribed to the channel.