Welcome everybody here on HowlRound to the Siegel Theatre Center at the Graduate Center CUNY in Midtown Manhattan in New York City. It's almost dark out here. It's 4.30 p.m. and we have a special session. Today, as our listeners know, since March, we are having Siegel talks where we talk about theater and performance in the time of Corona. Since March, five days a week, now three days a week where we listen to artists, what they have to say, how they're experiencing this moment, what meaning they create and what is changing for them in that world that has already changed. And it is as a replacement for programs we do at the Siegel Center and for many years we have been part of a very significant project and it is called the Italian American Playwrights Project. And it is this third edition for the third time. We are hosting an evening celebrating Italian playwrights, Italian theater, Italian contemporary theater here in New York, playwrights who really have made a contribution to Italian writing, European playwriting and also created work that resonates in some way with us here in New York. As we often say, artists are in the moment, they can feel, experience, sees things we don't see, write about it, put it in a form, but often also anticipate the future. So they make us comfortable and they play with us and our ideas and create a forum, a stage, a space where we can discuss things, see things from different angles, understand better a point of view of someone who is kind of a sportive competition of ideas. The great playwright Michael Frehn who was once at the Siegel Center, if you write a great play, everybody is right. Whatever someone says they have reasons to and you believe them, but then still at the end, you know, there has to be a solution, something that at the moment makes most sense, and it has follows a law that perhaps even is above the law that humans have made like the great Antigone play so many have referred to the great Galileo by Brecht and many others and what we have now with us are four writers who also observe the world we live in, the universe, Italy, Europe, the world, and they tell a story which artists have done over centuries, over thousands of years, and they wrote a story. This is one of many, many stories they wrote and it became a play, a work that became notable in Italy, people liked it, and among many others, and it was nominated by quite a significant Italian advisory board, we had as always at the center, we have advisories, Italy, people say these are plays that might be of interest for you guys in America and New York and then we have an American advisory board that looks and it says this might be really good, this might be too complex, people might not understand who's Aldo Moro or something like this, so maybe that wouldn't work so much, so it is quite a significant project in Italy, we had Valeria Giabattoni from the Teatro della Sadegna, who was here Franco di Polito, if I say that right, from Tearo Stabile in Toscana, Magdalena Giornelli, and from the University in Milan, Giulia Guerra, she's the managing director of the Teatro Eberia and Graziano Graziani, who has been often at the Siegel Center, who is a theater critic and works for RAI, Sergio Lagato, a theater critic, a dramaturg, a journalist, and then the great Teatro dell'Albe, Armana Montanari in Marco Martinelli and Anna Ashton, Parmazziani, the literary agent, a famous one, an important one, yes, why not have her with us, and the wonderful actress, Isabella Ragonesi, who also once came to New York, so everybody took time to suggest plays, and so what we are listening to and the people we are encountering today are playwrights who have been suggested, and we had 15 suggestions for plays that were selected by a board of the U.S. advisory board in the Bosse Akiba, Abaka, who is at ArtsEmerson in New York, Parisi Acerra, who is at the International Voices Project in Chicago, Soraya Brokoum from the Living Theater, and these actors and the director Marvin Carlson, the great theater historian from the City University at the Graz Center, the wonderful and great and Catanio, who is the dramaturg at Lincoln Center Theater, which is more or less the National Theater of the United States, I think in some way, Thomas Simpson, who is with us here, who was the translator, we felt, why not hear also from a translator, what's his ideas, and even so of course he will fight for all the 15 plays, he this time translated the excerpts about to hear from him, Andy Lerner, Andy, who is with us here, also gave us her thoughts. Daniel Leisowitz from the Italian Study Program at Muhlenberg College has supported this program, also hosted Italian playwrights at their wonderful new program that they are creating at Muhlenberg. Helen Shaw, a significant theater critic here in New York at New York Magazine, formerly she was at Timeout New York and also at Vulture, and Dennis Yehue from the Alle Limiter Theater Collective, and so this is quite a significant group of people and those four ended up with us with a road place that Italian thought this was significant and then they were selected to say they, what they have to say somehow resonates also with us here in the US. And the names are significant ones. So let me just welcome Mimosa Campironi. Mimosa, thank you for joining us. Thank you. Mimosa family game, we have Mariano Damacco, Mariano, who did good. Salve. Yeah, Salve, good. This is what you say in Rome, we have Gabriele di Luca, and Gabriele wrote Metropolitan Miracles, and Tatiana Marta, and she wrote White Night, and they were chosen by the 12 members of the advisory board, really, really welcome. It is the third edition of the program, all plays get reading in New York, we actually also print a book with the plays, they get fully translated for the selection, we had part of them translated. It's a very significant event and it is so congratulations for all of you who this time it got selected we all know how it works with prizes we cannot have everyone is also a selection of variety of stories so all the entries just to be nominated is a very big deal by these significant panel from Italy so still congratulations to all of you who are with us and I would like to ask Valeria for all the people who might not know what is the Italian playwright project about give us a little insight. What was your idea when you created it and where are we at the moment with it. So, our idea because you are part of it is was to give a voice to the Italian contemporary playwriting in a systematic way. What we registered in six years ago five years ago was that many plays that were translated and also Tom knows because he is one of the most active translator from Italian to English. So it's not a playwriting, but there is not a system. There is not an habits to do that. So many, many plays are missed. So it's just a single decision to translate the plays and of course, with no reason to translate that there is also no reason to do that so nobody does. And this was our conversation and was five years ago when I was just arrived here six years ago when I was just arrived here and and one question was how to do that without the money that arrived from the institution because you need a lot of money. So the Siegel Center gets every every year, many nations, many countries, but every country give is on contribute to help dramaturgy and playwrightings. Most of the time, yes, at least. Yeah, most of the time, not always, but so the question was how to do how to help our dramaturgy without any funds any any any money in the in the in the cash, you know, so it was the first thought and it was the moment when I started to say okay, let's think something that will grow up if we grow up. And, and it was like this so we started with the the first edition without an advisory board, for example, we started just connecting each other, helping each other. Then we met the first four play playwrights, and then the Italian Cultural Institute arrived. And so they with the George Mastraten was the director in that moment. And he was very, very interested in decided to help the project and then we won the first grant and then we won the second grant and then we won a prize. Now, of course, I am proud of it because this is a little castle that we built piece by piece. And after the three books. Now we have eight translations, many friends around new connections with from from New York, we arrived in Chicago and then we arrived in Mulimer College and then we arrived in London, and then little by little people from all all over the world that is a English, English speaking people is interested to read the place today, for example, I had an order from for the book from the University of Michigan. No, really, it's a successful program. Something that grow up. So the meaning is, of course, to leave something good for the moment we are leading in Italy, first of all, and then in the world to spread with our own forces. Yeah, so it's just important, you know, most Americans know Pirandello they know Dario foe and often think nothing really of significance happen. Meanwhile, there is a renaissance of playwriting in Italy. And it's the Segal Center where we do many international exchanges with advisory boards with Japan, Romania, Germany, France, Mexico, Caribbean so we also have the Italian project but actually, it is a very, very good one I'm very proud of what we did. We also have with us Thomas of course the trendsetter will will come to you but now let's go to our playwrights in Italy. First of all, bonacera I think I have to say good evening. Where are you guys at the moment and how are you mimosa how are you, where are you. I am in Rome with my two cats and my boyfriend here in the second during the second lockdown. I'm locked down at the moment again in Rome. Yes, we are in the yellow zone here in Italy so we can go out until six o'clock in the evening, and then everything is closed. So are you able to write anything. During the first lockdown better. Now I feel a little depressed. It's so hard. I have a hard time even reading. How can one even even write so maybe we see one of your cats in the in the sessions or maybe both of them please do show them when you Hello. Maybe maybe. Where are you now you said Salva says that's what they say in Rome. I'm in a little town of 1000 souls in Romania on the edge near the Adriatic coast. No country right where he came from and close to Ravenna and a lot of it if I'm right. It's a lot of it's only the Dario for see you know. Okay, it's it's Fellini country and also to me know where the great screenwriter. Yeah, who we love so much and I wish I had met him one day what what a great tradition. You know, since, since thousands of years of the great down to that but also for Pasolini and other so it's a strong, strong heritage and you are all representatives and office and Gabriele. And are you listening to us. Oh, look who's there. Tell us where are you and what time is it we forget to ask the microphone or Gabriele. Can you hear us Gabriele. I spent the microphone. Okay. That's good. Where are you and what time is it. It's 11 at night I'm in Le Marquet at my family's house. I live in Varese, but that's in Lombardy, which is a very heavily, strongly locked down zone of Italy right now. I'm here with my fiancé, Olli, the Cocker Spaniel. I'm here with my fiancé, the Cocker Spaniel, Olli. I'm here with my fiancé, the Cocker Spaniel, Olli. I'm here with my fiancé, the Cocker Spaniel, Olli. Very good. Very good. Escrivo. Not a lot of fights, then. Are you writing? Are you able to write? Are you producing? Gabriel, I'm happy to write well at this time. Yes, yes. I'm not writing a dramatic text, but it's one of those moments of life where I'm working a lot with the company, with the project of the future, but I'm also taking notes, collecting suggestions, reading a lot. I'm not writing in a structural way, but I'm writing. I'm not writing a specific script, but I'm collecting a lot of information. I'm working with my company, so it's a very fertile period. Yeah, how is it for you, Mariano? Are you able to work to focus? In this strange year, I have composed a dramaturgy, because in the summer weeks, where it was possible to do theater in Italy, we managed to maintain the plan with my company to make a new show. So, in some way, during... Thomas? Yes, I've managed to. I was writing a play this because I was working with my company during the pause between the first lockdown and the second lockdown. Yes. Mariano? Yes. And then, for example, tomorrow, we'll go to Rome, because, among the things we'd never imagined to live with, with the theatrical work this year, tomorrow, for example, we'll go to a festival, it's called Teatris di Vetro, a contemporary theater festival, and we'll have a show with just some cameras that take the event and send it online. I would never have imagined to have an experience like this. Tomorrow, as a matter of fact, we're doing something I never would have imagined having an experience such as this. We're going to Rome and we're going to film one of our performances completely virtual. Incredible, yeah. You wouldn't have imagined before, yes. And so, Tatiana, where are you? I guess also Italy, but where? Yes. I'm in Milan, in Lombardy, and unfortunately, I don't have any pet. But I live with my boyfriend, and we are here. That's good enough, that's good enough. Yes, that's fine. And yes. How are you experiencing this moment, this second lockdown and all of it? Well, as Mimosa said, I find this second lockdown more depressing than the first one. I don't know, maybe the first one was such a new situation. We were living this weird and strange moment, and now I find it harder. And I'm writing a play right now, but I find very difficult to focus and to write in this moment. In the first lockdown, it was impossible to me to write. But now we went through kind of a soft lockdown. So the situation was better, but not enough, because I think to write, you need to live at the same time. So we're not actually living. So when you heard about the New York event, the readings, I think you have to be nominated. I think you cannot apply for the complex for that Italian prayer rights project. And then you got to now select it. Can you tell us a minute? Is that meaningful to you guys? What does it mean to have some kind of a New York representative? Is this another planet far away? Or do you see some connections to your work? Anyone there? No, it's a connection, it's certainly very beautiful, which, in some way, I expected, even if some of my texts have already gone abroad. For what I think are the characteristics of my writing, I mean, his will to create very universal worlds. So I think that for his nature, my poetry has a very international vision. Let's translate. Yes, for him it's a very meaningful connection. It's very nice. Other of his plays have been produced in other countries outside Italy. And he always has an intention that his plays should have a universal reach, an international reach. Here I am. Excuse me. I have always loved, of course, my writing, also very inspired by cinema, seriality, both in its structure, both in its rhythm and in its language. My theatre is certainly a very contaminated theatre and that from cinema and from seriality it has mutated many elements. So I have a lot of affinity with the writing that we practice in America. My work has always been very inspired by cinema and its structure and its rhythms and its language. And in particular, I've been very influenced by American cinema. Mimosa, how was it for you? For me it was a big surprise because I feel that we are in the same condition now. The artists all over the world are in the same condition and there's a big problem, a big question about art and technology. And my text is about this. And I want to... I want to face this problem and make technology a tool for drama and try to see what could happen. So I felt accepted. It was very nice and very exciting. Okay, well, Mimosa began by saying she's always been very interested in the issue of art and technology and then in our continuing remarks she talked about this is what her play in particular is dedicated to this theme of the interaction of basically life and technology and what this is going to mean for the future. So it was a very emotional response. That's wonderful to know. I want to add that Mimosa wrote this play during the first lockdown. It's true, it's a corona play also, though. Yes, I was afraid about my job. I thought that maybe theater... Maybe theaters will close their lives and we'll have to find a solution that is not cinema, but theater is made in another way. And so I tried to imagine what would happen if technology became an important dramatic element. Well, I thought about what if technology becomes an important dramaturgical element. That's what my play focuses on. Yeah, yeah, it's incredible that a play written in lockdown gets into competition, is translated part of it and ends up. So it's wonderful how fast that works. Normally it's years till light signals come. Mariano, how is that for you to have been part of this project or being selected? I'm happy, honored and grateful for the involvement in this project. For me, it means also the possibility to discover if my play is dramatic, if my way of building a vision, my way of using the classic references of the present, in a way... It was the way to discover if they could also speak translated into another language and brought into another culture, actually. So I'm very happy, honored and grateful. And for me, it was a chance to figure out whether or not my way of rendering theater, my way of thinking, my way of the reality I show on stage is able to be expressive also for another country, in another language and in another culture. Tatjana, tell us a bit. Yes, I'm also honored and grateful and it's a very meaningful opportunity to me. Above all, I must say it's very special for me to be in this project with this text at this moment, because this text in the center has the theme of travel. It really strikes me that you arrived in New York at a time like this in which we can't travel and we can't physically meet. Well, my play is about travel and so I'm very interested in the way that my play is traveling. My play is about travel and then it ends up being presented and read at a time when travel is prohibited. Yeah, that's true. Friends of mine who read the play in this period are telling me that it seems to belong to a world that doesn't exist anymore because we can't travel anymore. Before we come now to the place, a question to all of you, open. How is Italian contemporary playwriting? What do you guys think? What moment is it? Italian contemporary playwriting. What do you guys think? What moment is Italian in the Italian theater when it comes to playwriting? I understood. Valeria, give me a confirmation. What moment is it for Italian writers and Italian authors? Yes. Let's say this. Certainly in the last 15 years there has been a great opening up toward playwriting. It's still not enough, but it was formerly this whole reality of the world. I think it's a great opportunity for us to be able to see the world in a different way. I think it's a great opportunity for us to be able to see the world in a different way. I think it's a great opportunity for you to witness the football reality of theater. Writing for theater was very ghetto-us and held in kind of an off-off type social context. But it's increasingly opening up and institutions are opening up for theater and to play writing. She mentioned. Probably we still have a problem in the institutional level. But then so.ーヘータヘター You've got a ры. Italian, both to the country and to the outside, but I have to say that I continue to do it. There's still a lack of institutional support and institutional responsiveness to these kinds of initiatives, but things are getting better. Thank you. Mr. Gingere, can I add something about the contemporary play arriving in Italy? What I noted, as Gabriela was saying, there's an increasing, consistent increasing of play writing. And what we registered to this year, the 15 plays, were almost all good plays. And also the advisory board told us it was so difficult to decide what kind of vote to give because it was so good plays. And if, Franca, do you want to tell something about the criteria of the selection? I'll come a bit later, maybe just to hear a bit also. Is that maybe to Mimosa and Tatiana Mariano? Is this a golden age of play writing? Is it getting better? Or is it towards ensemble work? What's happening? Well, how do you see it in Italy at the moment? Ah, OK. This is a very interesting observation about this a deep division in Italy, between people who write with a theater, with a company at their back and who write for actors and people who write in a really detached from the reality of an acting company. Is that what you were saying, basically, Mimosa? Yes. Yes, I know the Tatiana works. I don't read nothing. But I know that she is totally pure. For example, I know that Tatiana's work is totally pure. That is to say, she's not coming from a company. So that is to say that Tatiana is a playwright in the, you might say, the traditional English sense. In a way, she stands away from the theater and does her writing, whereas work like Gabriele, sorry, has a very interesting company behind him. So he's working much more in an active context of collaborating with actors. Yes. And my job is I work in music also a lot. So I work in music and dramaturgy and I put it together. So my job is always born from practice, but from something different. We Italians have the independent theater, which is what makes us act, and then a more academic theater that they have to learn to dialogue. So in my opinion, for example, Mimosa is saying that she works a lot with music. And so she thinks of playwriting very much as connected to music as her practice. And that world has to find more of a bridge to a more academic approach to theater and composition. We've lost Gabriele a moment. We'll be back. Any, or we can move on, Tatiana, Mariano, is something you want to add? Yes. I was formed in a school, in a theater academy. I was formed as a dramaturge in a school where there are courses for actors, for recitation, for directing, theater, and for organizing and for dancing, as well as for dramaturging. So I was formed in an academic context. I went to a school of the dramatic arts, really an academy, and I studied to be a playwright. And in this same school, there was courses, a curriculum designed for actors, for directors, for dancers, and for playwrights. I think this is a situation with a more respect to the painting that Mimosa gave us, in the sense that the authors in these contexts, in this kind of school, work as pure authors, but always in contact with the actors, always very close to the stage, which is different from an purely academic experience. So that school situation is kind of a mixture, really, of an academic setting with a practical setting, because as playwrights, we work together with actors continuously, and directors and designers. Yeah. So thanks to my school and other similar schools, every year, my school produces a whole crop of very talented young writers who go out into the world. The problem still is finding the means to produce their plays, finding institutions, finding companies, finding structures that are able to put their plays actually on stage. And this is really just one aspect, and we're not even mentioning the whole reality of Italian theater, of ensemble companies that develop their own work, similar to... Mr. Gabriela, Mr. Gabammariano, how do you, where do you fit in, in the Italian theater system? Is it open for playwrights? Is it an inspiring field at the moment for you? How do I find you? No, yes, I appreciate the translation. But how do I find you in this context?  Do you feel encouraged? I'm part of that experience of composition and dramaturgy related to the stage, which doesn't mean I don't do dramaturgy written in Tavolino, but yes, my journey has always been linked from the beginning to the stage. Okay, Mariano gave a very clear and helpful distinction. There's the composition for the stage and there's the composition at Tavolino, which is to say written, the playwright, writing at his little table, okay? So Mariano is fortunate to belong to a company. He has a company at his back that he's in constant interaction with. I mean, it's just, as a note, it's interesting to hear this because this, it really goes back to the roots of Italian theater deriving from the Commedia dell'arte, which was completely almost, the author was a less significant character for the most part, and then going through Galdoni, who was a person who worked like Chekhov with actors and developed roles actually specifically for actors, for specific actors. It's quite beautiful, a mixture, you know, of a new technology and a musician who also writes, like someone said, the great philosopher, if you have a traditional, old, beautiful, cultural heritage like theater and then something new comes up, like virtual reality or film at the time, something new happens. We have something coming out of a school that also values acting and directing, and there's a dialogue or a company, an ensemble where you write for the actors or as Gabriele says, it was also you're involved very closely with it. I think that's why I think this is a, so lively, so contemporary. And I think, yes, it has something to say. Thomas has a question for you. All these plays were not, except one, maybe, were of course not translated in English. We could not afford to translate all 15 of them, all the significant works. What the Italian advisory board said out of the last two years, these are the most significant works. So I want to let everybody know this is a big deal. And Thomas, so you translated the first pages and the synopsis. What did you detect when you saw the text, when you read them? And of course you have to read them so closely. Is there, what surprised you? Well, a few things. One is, I mean, I just about translating in general, it's a little bit like being an actor because you basically become a mouthpiece for the writer. And also it's a little bit similar to acting in the sense that when you work on a play, you completely plunge yourself and immerse yourself into a world, into an imaginative world intensely to the degree that you forget yourself.  And then that plays done, and they go on to the next thing and they plunge themselves into another reality. So that was a little bit the way working on all this series of plays, one right after the other felt. Some texts you feel a great deal of affinity with and others you feel as though you're kind of an outer space. And you can just hang on to the words and translate the words as best you can and hope it's coming through. One of the things that I'd say about these four plays that maybe has more to do with the reader than the writer is that, you know, in different ways, they were COVID plays. They felt like they were somehow conditioned by even though I think some of the plays were written before, this happened. And yet it's because, you know, the reader is constantly, or the spectator is constantly seeing reality filtered through their own experience. And so in very different ways, I mean, from the use of virtual reality of being kind of detached from actual contact between people to Gabriele's play, which is about a kitchen underground in a slightly where there's this slightly in the future where there's this onslaught of sludge like seeping into the kitchen to the kind of Mariano's play is basically a long monologue of a person who's very much into his own head. And then Tatiana's play is about a couple of people who are like tourists who have this kind of superficial idea of we're going to go out and we're going to have a wild time in this city. And then they find their themselves in the middle of something that's much more than they were really ready to deal with. So each of the plays, even though they were written in a specific moment, has something to say about the moment we're living in now. Yeah, I want our audience also to know when we ask our 12 members, 12 also professionals, people who read plays for very different reasons, whether they are theater historians, actors, directors, producers, playwrights. So it's a whole mixture. We ask them, please look, what is the artistic value of the play? What is the theme of the play? Is it of interest? What is the interest of the seem to New York audience? Something that might well work really great in London or in Turkey or Greece or Asia might not be the right homeopathic pill in New York. And also then originality. Is that something unique? Do you feel something? So all these four, I think, significant points we came up with when we asked our readers to look at it up significant. So these are the four plays that came out and we are really proud of it. And I think we're going to go through them. We're going to ask maybe everyone to tell us a little bit about the play to be heard from the author, from the writer. And the writer, of course, is someone who is in dialogue with a lot of plays that happened before and at the moment. And it's in Italy. It's influenced by so much. But again, these are writers. This is what they do in like a painter paints, as culture makes culture. These are writers who create work for the stage and it's some of the best out of two years in something that we relate to. So these are pearls that built inside the oysters or we could say how I like to say, like diamonds that come under pressure, like tectonic plates, press things together and it gets concentrated. Diamonds are the hardest structure, some of the hardest on planet Earth. Even so, when you put them under heat, they disappear. And if you want to make a great diamond, you have to cut it. You know, a good diamond, you find it. Diamonds are brilliant because more light comes out than comes in. That's why they are shining, they reflect. But in order to have them shine, sometimes you lose two thirds of the weight. So you cut away a lot. So these people who are with us and of course all the others ones who they were, they produced these kind of diamonds. They experienced the pressure. And they also cut a lot to make it shine, to make it fun to make tough choices and to come something else. And this is what they came up with. This is their stories where artists said, I want you to listen to audiences. This is of meaning. This is significant. And it might have a meaning also for your life. It has a meaning for me. And as we see the world through painting, through poetry, writing, we also see the world in art through performance and theater with the hope that we learn something from the experience the writers did, the journey. So we're going to go now through those four plays. And maybe we start with Mimosa. Mimosa, tell us a little bit. What's your work about? Tell us the story. How did you do it? My story is about identity. And this identity, I explored it both in the drama and in the communication. So my play, it's about identity and it's built into the plot. The theme is built into the plot. And it takes place half in presence, that is to say flesh and blood acting between the actors on stage and half through a virtual reality device. Let's say that the matrix of inspiration, Pirandello, as a feeling, as an Italian tradition, and that is similar to what we are used to see and live lately, that is, my matrix, my inspirational matrix is Pirandello, as coming from the Italian tradition and the way he played with the question of what is reality. And the present moment, those issues brought up to the present moment. And especially in terms of the contemporary genres of this serial TV, you know, these long television programs we see with lots of episodes in the genre of the thriller. Yes. So, and especially in terms of the contemporary genres of this serial TV, you know, these long television programs we see with lots of episodes in the genre of the thriller. Yes. So, yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Spanish playwriting than I am of knowledgeable about American playwriting. Especially Irish and English playwrights for me. It's true that we have a strong tradition in Italy that can also be a weight on our shoulders. But we also have a definite strong tradition of interlinking with other European nations. But we also have a definite strong tradition of interlinking with other European nations. There's been European policies of inter-translation between the nations. And this has been very helpful for becoming aware of what's going on in other countries. Now hopefully this kind of interconnection will expand also on the other side of the ocean. Yeah. And Mariano, do you follow international or global playwriting? Well, I don't know how to say, I'm capable at this moment to quote a text from the authors. But I also take advantage when in the theatres there are productions that bring the texts from other European countries and also from other continents and I run to look at them with great interest. Personally, I think that the preciousness of a project like this is in one aspect. I think that, as Gabriele said at the beginning, that something starts to move compared to the entry of contemporary drama in the most institutional theatres. I think that this is true and that it should somehow grow, this possibility. And also the opportunity for contemporary Italian drama to be put on stage. Mariano, one moment. Well, he's just saying I can't really think of, I can't cite a text in particular, but I know when I can, I see all the productions from foreign countries and that come through and I go to them with great interest and enthusiasm. What's precious about an initiative like this is this initiative of, you know, yours, Valeria and Franks is that it connects up with what Gabriele was saying about things are starting to happen. They're starting to be more institutional movement and responsiveness to these kinds of initiatives. Yes, the same is for the opportunity to create for Italian drama abroad. I think that this project or others will have to make this opportunity grow. And a project like this really helps Italians reach out abroad across borders and expand into the world. Yeah, it is incredible also to know that America, a very big country, financially strong country, a billion dollar industry and Broadway. So very little travels outside America doesn't have the Goethe Institutes, the Instituto Italiano. There are very little communications outside and I think they are very interesting contemporary writers, you know, they don't know about your work, you don't know about their work. But musicians listen to world music, it's easier, you know, you can listen to music, I'm sure. And Mimosa listens to musicians from Africa and Asia, America and Europe, it's easier, but it's not here. So Valeria to come to slowly to an end before I ask you guys what you are working on Valeria, what is your hope with the playwrights project? And what do you want to achieve in the ideal version? Why do you put all this work and I know it's in the evening and it's late and you have to do it back and forth and you have to fight for it and next to other projects you work on, you know, why is that so important to you, this Italian play? Why did you do it? The goal of this project is make readable many, many plays as many plays we can. And so as I can read an English or American play, I would like that other people that doesn't understand Italian can read Italian plays. So this is the first simple desire. Then after that, many other desires came off, came on because, you know, we just just made a movie on a play of the Italian playwrights of the last edition of the second edition, the book for Winter by Armando Pirazzi. And we had the possibility to experiment a new vision of theater in cinema. So the dialogue between cinema and theater. And it was very, very interesting to do this experience. It was a new kind of desire. So I work in theater many years now, it's like 34 years. And so now I was very young, I was passionate and I am still passionate and I am not still very young. But when I was very younger, I every, every time say, oh, I am doing these, this is theater, but I love also something different for theater. And maybe in the future, I will have the occasion to prove that something different is possible. It's incredible the time of Corona where I don't this now have apps and that and create artwork artists are interested in science people make films they haven't done it before. The researchers in academia make performances of what they research. Hybrid forms. Also Valeria brought Italian writers will you know and others to Italy so it's a two way street, and we all have to engage in a global dialogue. The problems we are facing like racism, homophobia, the ecological crisis and economic crisis, global crisis. And to see that you know that only can be understood and solved in a in a global context and I think theater has to be a model to look at if theater is interested. Interesting because it is a model. It happens in theater. It can also happen in life because for a moment. It's real and I think this project is a great model to show that different thinking to out to work locally but to think globally to be inspired and understand each other better. I think it is important and I think it's an excellent excellent project. Thomas for you as a last question. You have all your life with place and work of course, often from established writers writers who are classical now you know who are in the pantheon so how did the Italian playwrights for the place of our for where do they fit in what do you think it's unique you know I don't have a, I don't have a solid answer for you it's it's also stimulating.  And so for me, you know it was a very rapid experience so working on this but it's just like each one of these plays just opens up a new vision. And we'll, I mean the goal as as Valeria said would be because a play really, from my point of view it doesn't really exist until it's taking place live with an audience. And everything else is basically just talk you know. So, that's what we want that's what we would like this project to be to get the place staged and let it, let it get it out of the hands of get it in the hands of the actors get it in the minds of spectators. Will it have an audience in America you think people will come. Well, it's hard because we talked about insular American audiences are incredibly insular really there's much more it's much there's much more access to international theater and Rome. Then there is in most places in the United States, even in the major cities. Everybody is so self involved in the United States that that. I don't see why not any good production, any good production is going to set off sparks. Yeah, I think so too I think that would be an audience people will be interested. And I hope one day there will be money for a festival of Italian plays or as Valeria says that idea of filming on stage so some kind of fusion form a new invention of, as she said the like chamber plays, camera plays or something. We can do it so as a last question and then we're going to go. Oh, you go to sleep it's past midnight in Italy and I'm sure as a good writer sleep is important so much happens in our sleep we dream and we write our plays actually the day we just catch up with what we dream. Yeah, but what, what are you guys working on and now maybe we go backwards so poor Tatiana doesn't have to work as the first. So what are you guys working at the moment what's your new play and, and is there a novel you read or a piece of music you're listening to is there something inspiring so what's inspiring. And what are you working on right now. Am I the first. Yes. I'm writing a new play, which will be staged by a group of young actors of 10 young actors, and it's about desire. Okay, so, and do you read something did you listen to something something inspiring that came across you for in this time of Corona something that made you wonder. Yes, I'm reading. Yes I'm reading and listening to a lot of stuff but for sure something that is really inspiring inspiring me now is Mark Fisher work. Yes, his work, and I'm listening to a lot of effects twin. And I walk a lot, listening to music through the city. That's a great way of walking in cities and nature is a great idea to connect. Yeah, Gabriele, what about you what are you working on with your fiance and the moment and what's inspiring you at the moment. I'm not, I'm not working on something theatrical, as I said before, I'm collecting things for the theater, but I'm focusing on the science of a film. I have in mind this story of this pulman and this road movie on 14 people who take a pulman from Italy through the Balkans until they arrive in Mejugorje and tell a spiritual journey. Oh, your sound your sound Thomas. I thought I was done. I'm working on a screenplay about a bus trip that 14 people take across Italy to Mejugorje, which is a pilgrimage site. Right. Yeah. In the East, yeah, Eastern Europe. And, and, and Gabriele, what, what is inspiring you? What are you reading, listening to me? Colpice tantissimo lo scontro tra scienza e fede la scienza chiama i miracoli con un nome specifico che si chiama shock charismatic. La scienza dice che quando noi viviamo qualcosa come miracolo in realtà all'interno del nostro corpo si sono alleate una serie di forze biologiche che ci permettono di vivere qualcosa come fosse un miracolo la fede invece lo vive come miracolo. I'm very interested in the clash between science and faith. So scientific phenomena as and the concept of a miracle changes in biological forces from a point of view of faith can be or to sometimes described as charismatic shock. That's the happening. That's a scientific terminology for the happening of a miracle. Amazing. Amazing. Amazing. And I think that's an interesting time to think about Mariana. What about what are you working on next to the play and you're going to go tomorrow but is there something new on the horizon. Allora in questo momento sono in una sorta di fase di rigenerazione scrivo in linea di massima un test ogni due anni e dopo che il testo nuovo debutta per alcuni mesi mi considero come una terra da cui il raccolto è stato tratto a cui bisogna dare un tempo per rigenerarsi per poter creare una nuova cultura. Right now I'm in a phase right now I'd say I'm in a phase of regeneration usually I write one play in two years and I write the play and then get it staged and then afterwards I go into a like from an agricultural point of view a fallow period where all the resources can regenerate and utilize. Malamente su una domanda è fantastica su un personaggio. La domanda è se in che termini è possibile in che tempi in che modo una dramaturgia che restituisca l'esperienza in cui siamo tutti della pandemia. So. Sorry. Sorry. Okay, so I'm meditating on the ways and means that it would be possible to render the moment we're living through right now with of the pandemic and I'm focusing on the character of Cassandra. Good and what are you listening to what are you reading or what's inspiring you. So I'm very I'm very inspired by this American series that I'm following these days called the good place. Great. Yeah, it's a good show it really really is. So mimosa you started and now you have the final words. What are you working on did you now went to a dome projections or and what is the technology are you having new ideas what are you working on. Yes, I'm working on the figure of the women. Sula Donna is Sula conflict. Tra quello che è veramente terreno pornographico e quello che è il santo. It is the corner. The corner. Okay, so the figure of woman and and where. No conflict or the figure of the Donna Santa and the figure, how can I say, the prostitute of pornography. Okay, so the conflict between the holy woman and pornography. See, and let's say I do it in the music. I'm looking for this in a generally completely different that sacred and punk. So I'm looking at from a musical inspiration point of view I'm confident I'm putting sacred music together with punk. Interesting and you is also virtual reality project. Not yet I'm just thinking. Amazing so what do you what inspires you what are you listening to what are you reading or seeing. I'm listening. Max Richter. Max Richter yes. Yes, and about. And the electric guitar. You play electric guitar. Yes. Yes, good so we didn't see your cats they're not showing up for us right. Yeah. So here we go. So I think we are coming closer to an end. Once the most our shoulder cats I guess this will be the, the goodbye image really thank you all for listening our this is important to have good theater to have.  So it's important to have great theater and good theater but we need a good audience. It is all about the audience actually that's why all the writers and art theater artists here produce the work that's been seen and someone makes processes that make sense out of a great meaning perhaps completely different meaning than that was thought, but it is a contribution to understand the complex world we live in the world we live in is complex. And people try to tell us it's black and white is good and evil all is simple it's not true. And if you want to know how the world really is look at playwrights look at Shakespeare look at the work of me most of Marianne Gabriele Tatiana this is a how the world really is how complex it is how difficult it is and we are catching a little piece of reality there even if the reality is imagined and symbolic, but it is something that is true. And this is what artists do they search for the truth as much as people in law or people in the sciences and, and so this is an important contribution to the history mankind to to the civil dialogue we have and to what I think is the foundation of our societies. It is a sharing of the arts and experiencing of the arts access to the arts, and they're making a great invaluable contribution because they are part of the civilized world. And this is an audience member up hot of it to and if you have a great society, you have a great theater, you have great sports, you have exciting music, great painters, you know, so it's a reward for being a good place and there is a good place to work for it and I guess in Italy perhaps but also especially in America now. A lot of words needs to work needs to be done, and the contribution writers do for to bring us together to look at something together in a collective moment to talk about it is invaluable because it goes to the very foundation of what mankind is about artists talk to each other come to solutions, present something on time. And so it's a model for a civic society where conflicts are shown in a symbolic way, and we hopefully understand the world a little bit better or have better questions. I'm terribly sorry we don't have a single evening normally the playwrights fly over or some of them. And I don't know what the next year I doesn't look good in New York. We don't think the theaters will open till the fall, maybe not at all. We just heard the first ones that they will only do online teaching also in the fall. People are afraid of COVID of getting infected the teachers or the students nobody wants to be sued so it's a terrible time still ahead of us and so we all have to use it in a good way. And, and one of it is to, you know, listen better what we did now we listen to our writers here from Italy they really do have something to say to share our lives or sufferings or a joy. And, and I think this is what the Italian playwrights project also now contributes even so we never thought it would be in that context on zoom and in times of COVID. In America more people die of COVID than half they were killed in the World Trade Center bombing 911 is over 3000 it's devastating here at the moment. And everybody is out of work in theater musicians there's no place to go no place to perform theater people often work in bars and restaurants they all close musicians performed in bars and restaurants. It's a great great musician it's all close the biggest concerts in New York City you see is someone is playing on the street and a full farmers market or for a restaurant but even now it's too cold for that so it's a complicated time it's part of history we are and you are part of this because that happens to be in this time thanks again to Valeria also for really putting this together she is the, the guiding angel behind this it's her ideas her projects her work that makes this happens we help her or try to help her but it's only here because of her energy her ideas for dedication. And thanks for Tom and so many others to help us to make us in Patricia I was on the twice report Marco and and so many many others so thank you again and I have to close it down now Valeria. Thank you for being there for us. We have, we have two years to a path of two years so translations, maybe COVID really will go away. Talk about also readings and the connection between the authors and the translators so this is just the start. Thank you all to be here thank you all for your passion to be here and to listen. This is the reason we mean speaking in English, and we ask you just five minutes, Tom, we give them for all the time. Thank you for Tom that was brilliant it's important to translate as directors translate from page on stage and actress translate you know. And then, if you are curious, if you are curious to listen and not listen to read some Italian plays in English, we have three books online, you can, you can check. The Italian Americans playwrights project just Google it you will find it. And again, thank you all very much and have a good night in, in Italy. Thank you. As soon as we all know you shouldn't look at screens an hour or two before you go to sleep so you poor Italian writers this is thus we did damage to your health, but it was worth it like a good party when you have a headache the next day. It was worth it. Thank you all we really, really, really thank you six to howl around again for hosting us for Andy to make this also happen the great see and be J for being so generous to say this is important let's have a national broadcast about this so thank you all and to our listeners again really really thank you for taking the time. Goodbye everybody. Thank you.


human, humane architecture. We're still continuously in the claws of COVID corona, and in that, courtyards caught our attention, and our means on the opposite ends of the world mean here Munich, Germany, and Yudhisoto, Becken, Honolulu, Hawaii. Good morning, everybody. Good day. Bring up the first slide, because we've been looking into courtyards already in the last show. We, from our places, more or less lucked down, and it gave us time to encourage the audience to think about their memories about such places and spaces that we can think are of increasing relevance and opportunity to courtyards. And I remember my formal home back in Germany, and the slide at the top right is the last one we brought up where we told us and taught us that courtyards themselves and residential is one thing, but to get the whole picture, you need to provide the social and commercial infrastructure going with it, and this is what that community is to fairly well. And that made me remember there's another situation community that's of the same or pretty similar kind that we want to also share with the audience, and so that's get the next slide, and Yudhisoto, tell us a little bit what it reminds you of, something we've been talking before, right? Well, it does look, I mean, the plan that you see on the left, which is a page from a magazine that you pointed out, which has a blue plastic bin on the cover, which is something you and I have also talked about in the past, it looks like the courtyard cabanyas that we've been talking about being made from shipping containers. When I look at this, when I look at this plan as seen from above, these are not shipping containers, but this is a planned community, which includes not only the shopping area, as you pointed out, which is the supermarket or the food market, which is the large arc rectangle there, but it's also got a kindergarten for children, but it's also got all these living spaces, which are arranged so that they form courtyards. Yeah, and this is the situation we're able to build both the commercial infrastructure and the educational infrastructure, the grocery store and the kindergarten next to it. The kindergarten itself, the Ecowood box has sort of little semi-court yards as a sort of curvilinear facade itself, as you see at the very top and in the middle, very small, the kind of solar half semi-circle courtyard. And so, yeah, the community again that you said looks like shipping containers. This is what the editors of the magazine were sort of abstracting the kind of the bigger ground composition there, how we call that. So let's take us and you guys, the audience, and walk to the community. Let's go to the first slide. And, oh yeah, this is important because the community was built mid-tentury, so this is our prime of the MOMO era that we love so much. And these gentlemen here were the inaugural generation who moved in there as young families, with children, and now they grew old. And in the kindergarten, one of the biggest achievements is that they have a kitchen so they can cook fresh and then they cook excess amount of food and basically invite the elderly basically have lunch with them. And so this is the generation that basically now grew old in the neighborhood that we're going to, the adjacent neighborhood that we actually now take your hand and walk you through with us. The next slide, how does that look this photo? It looks extremely inviting and as you pointed out, there's red stuff in the background, that's a very German way of saying it, as I understand. But those are red brick walls, and we're going to talk about those in a second, but it's a heavily vegetated interior as well. So that in the summer, even though Germany is a very cold place during the winter, in the summer it's very lush and green, and so you have the integration of the natural greenery and the built architecturally man-made structure as well. Absolutely. And let's zoom in to the micro of that one. Next slide. And that also reminds us of something, right? Well, you also pointed out that this is something that you can do with brick. You can mix a dye into the mortar so that the mortar resembles the brick. So you don't have the contrast of the light colored mortar and the red brick, but in fact it looks more like a solid red surface or an integrated red surface. And you've also again here got the red roses growing in front of it and our good friend Ron in Long Beach, California is very happy to be growing roses in his courtyards as well, which we will be seeing in another show. But here again, the vegetation draped over those rows to integrate those two elements. Yeah, and I once asked Don Hibbert when he was giving a tour for the emerging generation in Chinatown, they were a few buildings actually built with brick and he said there's very little limited amount of clay on the island only to build a few houses. But on the continental U.S. and in Germany, this sort of homogenizing the brick with the mortar was a very common thing that, as you mentioned, not only does Ron, you know, the roses and its beautiful flowers helping through the isolation. And also he was sharing that at California State University in Long Beach, his partner, business partner and friend at Peelingsworth was building the first administrative building in which we see a brick tower with the same kind of colored mortar join. So did we in the sequence of hopefully in the future happening study abroad with a military diner with this theme again that's very familiar to us and it has its origin always very widely practiced in the glory days of the century. Next slide, let's continue to walk into the community and how does that feel for you? Well, you pointed out that this is kind of again a kind of a medieval feeling of narrow alleys between buildings. And of course, in the distant past in Europe, there were no wheeled conveyances. People certainly didn't have automobiles nor a lot of carriages. So they had these very narrow passageways between these masonry walls. And what we've got here is obviously a paved environment of walls and the floor paving, but with a good deal of greenery again integrated into it in ways that in some ways are sort of informal in other ways are formalized by these rectangular planters where the trees are growing. And this is the these are the spaces between those blocks, which are as you said to me single family homes. Yeah, and if we keep going a couple more feet here next slide, we this is when it opens up so more than the little alleyways and the Bevel feeling ones we already knew from the last show, our professor who designed that neighborhood. Here, in addition to that, it opens up to the larger plazas or piasas. And then from there, it's basically the entrance of the house is very much in the tradition of the modern case study house where the fenestrations are kept rather, you know, small, and you almost have to find the door. Right. So let's go inside next slide. We can only do this virtually here with this company musician and he pointed out that the aerial view that I just pulled from Google here, satellite view almost looks like somewhere somewhere in Arab, right? Yeah. And Arab is certainly another region where courtyard houses are very traditionally located, right? And at the bottom, I hope it was one for sale. So they have this money to see how people basically then, you know, put heavily vegetation in there, there's a little pond there, and look for sure very private. I have one floor plan I put in that they either face south, which is faster, solar is perfect, or they face west, which, you know, if the sun is so low, the walls actually help with a solar overheating in the summer. So that's why it works in the Arab realm so well. You keep it just as open as you need it to get the air and the rain, but you keep it just as high and dense that you block out the sun equally to Hawaii because that's what we need there all the time, right? Right. Let's move on to the next slide. And this was intriguing you and you said that might not have worked equally in the United States, right? And as you just described to me, this is the development in which cars are kept away from the rest of the development. So in the upper right left corner, you see this is where cars are parked in a central garage area. Then you have to walk to your individual home within this. And you don't get to drive up virtually into the house to unload your groceries or anything else.  So this is something that Americans would be not very receptive to in a lot of ways because we expect to be able to drive wherever and unload our cars just as conveniently as possible. Yeah. So this might, you know, we might consider this to be more avant-garde and main screen, but it is interesting because this was mid-60s in Germany. And, you know, that reminds us that two years before, three years before that, you had started to trust us again to run ourselves again as a government. So 59 was the inauguration of the building set up in Germany. And let's just look at that. That's guys with a couple of impressions next slide. And so there's something we've been talking briefly about in the Henry G. Kaiser home show about the Kanzler-Bungalow and share with us how that resonated with you and what additional information we have here. Well, what you pointed out to me, which I find amazing, is that in the 1960s, the Chancellor of Germany, is that the correct title? He moved into an official government home, which would be comparable to the White House in the United States, but it was a modern structure. It was a starkly modern structure, which we see pictures of here. And this not only has courtyards, which is relevant for what we're talking about, but it's amazing to me that the head of a country would do this because most countries would stick to a very traditional structure for this. And yet Germany at the time, of course, was looking forward. They were rejecting their immediate past, and they were rebuilding. So it was a very appropriate concept for the time period that this was going on. Yeah. And we, having used on mobile as vehicles for thought, we are happy to share the catch of the day, which is the center picture, me as a self-washed son by this 1952 Mercedes that we can call an Adenauer Mercedes because Adenauer was the first president of Germany, the Bundeskanzler, as we correctly call him.  And so in 1963, the next president came, and that was Lucie Erhard. And Lucie Erhard was the client who basically asked Zephul, which makes our exotic case as an expert, Susanna Hethi, because he was the very architect from Munich. And he was friends with Kanzler Erhard already, and he built his personal residence, and then also commissioned this one here. And every president until the very last one, actually Angela is the only one who has never lived there, but everyone until up to her has actually been living in there, right?  Back there in the century, actually something seemed to, not to be mandated, but basically promoted well, which was easy, breezy living, right? With a courtyard. And that's the house that one wanted to say is modest, was one story. Actually, Kanzler Cole, who then sort of was like the Reagan era, he was this heavy guy, actually, he always complained and was too tight for him, and he was always hitting his knees in certain areas there. You probably remember Cole as kind of heavy guy. And there's an interesting detail of similarity at the top right. You want to talk about that one? Well, is this the picture on the right? If I am correct, that's the house that you used to live in.  And it has the same type of wood on the ceiling, the same treatment, if you will, of this type of wood, which I do not remember. You just told me it was resilient pine. Was that correct? It is, right on. And your house, your previous house, your former house, shared that exact same roof with this presidential, if I may say, home. And so you were right there with the, and you pointed out the colors look a little bit different, but the ceiling in your former house probably had more UV damage or weathering to make it look like that. Yeah. And the former owner of what we shared the story in the past show, Mr. de Jonga was the construction supervisor for the only Gropius house in my hometown. And he was very proudly sharing with me the detail of Brazil pines. We wouldn't use these days anymore because it's a tropical hardwood and we tried to be treated wood instead. But again, that's what it is. That's the zeitgeist. It's sort of very elegant, flattest kind of roof. So let's go to the next slide and let's get us back to the next point. So at the top right, this is sweet 16 exotic escapism expert Susana venturing out at age 16 to a country that gets us to a little bit more climatically similar to Hawaii again, because he's palm trees. And the next slide, we can read if we watch close and you tell us what it says as a sign on the tram. Well, it says it's the Metro do Porto and Porto is a, you pointed out to me, I did not know, it's a city in Portugal and it has this light rail system, which is astonishingly the tracks run through this beautifully groomed lawn, which is an amazing thing to look at. And it's obviously an electrically powered one with the overhead wires. And then on the right, here's a view of something we talk about very frequently. This is port because port city, that's the name Porto. And those are shipping containers. And we go from shipping containers to something traditional. Exactly. And again, light rail, on grade, electric, we have that in Hawaii guys from hard to get it back. Next slide. So on the left, you see the harbor. On the right side, you see some rock walls with rather big pieces. And the next slide, you will intrigued by the fine pictonics of it, right? Correct. And I looked at the joints between these two, these large, rustic rocks. And I thought, maybe those little rocks had just been inserted there just for aesthetic reasons, but you pointed out, no, this is dry stack. And maybe those actually function to keep the big rocks in the place that they're supposed to be. And it looks old fashioned. But as you pointed out, at the top, you can see that this is actually a modern wall that's using something that looks more traditional.  On the right side, this is again, thanks to my home away from home in the prairie, the University of Braskin in Lincoln basically helped me to go and visit this place here. They supported us when we had papers to check that we presented them and they sent you as far as Portugal. And so here, this is an end to it on the right side. So lines roll with and the roses, but obviously then as the additional posts that the cables indicate, you know, at this point, this was the architect is Eduardo Sotomura, who won the Pritzker Prize later. And he basically was widely published. This was actually started in 93, the same year, then got there and then they were completed the last ones in 1999. So it was widely published as I knew about it. And people try to peek over the fence. So the owner of this end unit basically try to prevent that, which didn't really work because they're sagging. So didn't really keep people away from trying to peek over that. So next slide is basically the situation that Eduardo says he wanted to model it after this was in the neighborhood, a traditional piazza that has trees and benches. And then there's the backdrop of the rock wall and there's the floor. And this is where the transition is from the public outdoors into the private outdoors, the courtyard, that's the threshold. And that's what he alluded to. Next slide. And only when you get close to this kind of situation here, this is powder coated metal. This is what covers additional doors that it reminds us of ed, by the way, and Ron telling us that the ed was so short, he always likes to do the tall doors. So this might be a reference also to ed. And also the garage doors are basically integrated as sliding doors. And next slide is because I didn't meet anyone there, so I needed to pull this from the web. This is pretty much how it looks behind that, large courtyards separated by walls, door seating glass, lords inside out, all the goodies. And next slide. Eduardo is a self-acclaimed fan of Mies von der Rohe. And similar to, and we've been talking that the museum, new state's gallery in Berlin is refurbished and it will open one of these days after David Schippelfield has touched it up, leaving no signature of himself as we were reporting on. And that was the last project Mies did in 1969. And that was the first time where he pushed the glass envelope back, so the roof creates an overhang that's very familiar to us, what groups should do in Hawaii to create shelter from rain and the sun. And similar to his master, Eduardo moved from single stories to high rises, and we've been recording on his fantastic Borgo towers in the show referencing he had the bottom right. And one can see that the North and South Passage, you were explaining that very eloquently, elegantly back then, had these horizontal fins that they basically helped to shade. And they almost seemed like a little miniature bonsai version of their roof overhang of the state gallery. Yeah, yeah. And also not to forget, there is at the top right the model picture of the National Gallery, and our gallery has some of its merged courtyard on the right side. So next slide, I leave this up to you because I put this in because it's one of your favorite pictures. Well, on the right there is a picture of the Bauhaus, the original, not the 1825-1926 Bauhaus school in Germany, which is incredibly architecturally ahead of its time when it was constructed. And you got to go visit it, which I have not been able to do yet, but when you visited just a short time ago and parked the very modern Audi, the little Audi with the aluminum body, you also got to park it next to a 1967 or 68 Mercury Cougar, that's just the ultimate American car. And then facing that red car, parked is a Volkswagen Beetle Easy Breezy convertible. So we have a cluster of very interesting cars all parked there at the Bauhaus. Yeah, absolutely. And you asked me last year, because that was the Bauhaus anniversary, and it took me until now, and talking, to give you an idea, I want, Susanne and I, I want to walk Maka to Makai from the Noah Falls to Waikiki because a few hours in Germany from the Alps to the north or a Baltic Sea, basically 11 hours on the Autobahn, which don't get to jealous. It's not as much fun anymore as in the century where there are fewer cars. Yeah, right. And the Bauhaus was built by Walter Gropius in 2526, and but the director, from 30 to 33, before the Bauhaus had to close because the mountain closed and it directly was used on the rower. I want to recommend a reading assignment on the left, this is what my parents gave me as a gift for my birthday. This is a cartoon, a manga by a Spanish architect. That is absolutely fantastic. It hasn't been translated to English, so you have to wait for that. Are you using it for your weekly German lessons? I think it would be a little too complex for that. Okay, then wait for the English one, which hopefully comes out soon. But at the bottom of the double page, it basically points out Courtyard, that means has always issued for its students, both at the Bauhaus and later at the IIC Illinois Institute of Technology in Chicago, that director in America. So next slide. And these are the parts of the exercises bought by its students and by its mentees. Also pointing out, Middle-Left has the North era. They were like actually the origin of the pre-fossil archaic courtyards. They've always been working with the sun, and so these also facing south. So very biochromatic, you know, consideration. And next slide. Once again, when I came back to Nebraska, I had to get myself a new schlossenkoyza, well an old new schlossenkoyza. This is my 93 Lincoln Count car, my tempered PI mobile. And they also didn't just only support you to go to other countries, also to venture out in the United States. So same distance that it takes me north to south in my country here was a trip from Lincoln out east to Chicago. Because I heard that there's, while Mies has actually never built any of these courtyards, some of his mentees have. And this is an architect, the name Yao Chun-Wong. And these were the pre-GPS cell phone, you know, digital era. This was Rand McNally and myself with a vague idea whether this is what I ventured out. And I almost gave up until I parked there and I asked a guy on the street and he said, oh, you're talking about these garages. And I felt like, yes, I made it. So let's go to the next slide. We're going to rush through a little bit because we're getting close to the end. There's also a pretty background picture. Very beautifully, again, as you said before, about the German inclinement here, you know, tempered. So this only works in the summer that well. But very lush, very beautiful next slide. And once you get closer, you see once again, these slips, these slices, next slide, which are the openings that basically get you to the units. Once again, I wasn't able to get in. There wasn't anyone I could ask to let me in. But I found a next slide is blank. That, again, again, there's a magic here, again, of 62. They were built from 61 until 67. And again, they are by this mentee and disciple of the master.  Last and final slide, I leave up to you to comment on because it's something that you only have at the very top of the highest mountain back in Hawaii, right? That's right. Well, this is a wintertime picture of the interior, one of these part of this complex that we've just been looking at. And on the left is the interior, which is nice and snug and warm. And you can see that the sun is coming in through the glass walls. But on the right, it's outdoors, and it's in Chicago, and it's in the winter, and there's snow. And we do not have to deal with snow in our everyday life here in the Hawaiian islands. So we are lucky in that respect. But what this does show you is even in a temperate climate, you can make use of this type of courtyard construction in a way that we have here, the advantage of being able to open up those walls and open up those sliding doors and be outdoors and indoors at the same time. Absolutely. And to get us, you know, we're at the end of the show to get us back to, we continue to be on the courtyard. And next time we're going to move a little closer to our climate zone in Hawaii, and we're going to move all across the continental U.S. to the other side, which is reconnecting with our friend Ron Lindgren, partner and friend of the legendary Ed Killingsworth. And on behalf of Ed, Ron is going to share his early work, which is very surprise, surprise courtyard space. So until then, stay all safe and sound and increasingly easy, breezy, and easy, breezy. Bye-bye.


In the last few classes we had looked at non-dimensional thrust and ISP for cases wherein the efficiencies were all unity right let us now look at the case where efficiencies are not equal to unity and let us see how the equations change there now if you look at the TS diagram for a turbojet with efficiencies what you will let us consider only the simple cycle no after burner this is a cycle with 100% efficiency now if you have non-unity efficiencies now if you have non-unity efficiencies you will get a cycle like this the dashed ones are for non-unity efficiencies now when we did the analysis for a ramjet we saw that we were able to handle efficiencies of the non-moving parts namely intake then burner then nozzle right here in addition to these we have the compressor and the turbine okay when addition we have good thing about this is we will we are going to look at it in two different ways we are going to handle efficiencies with relate related with the non-moving parts in the same way as we did in the ramjet analysis that is we are going to look at intake burner and nozzle same way as in ramjet here we are going to look at it a little differently okay just to refresh your memory the intake efficiencies can be varying from 0.6 to 0.9 and is a strong function of the Mach number then we have compressor efficiency which can be of the order of 0.8 to 0.87 then the burner is 0.93 to 0.95 then turbine efficiencies and finally nozzle efficiencies of the order of note is one thing that both these two are lower than these two right there is a difference between the two of them that is both these have an adverse pressure gradient to cope with which is why they will have a typically diffuses and compresses will have a lower efficiency compared to turbines and nozzles okay now let us do our cycle analysis cycle analysis the expression for thrust per unit mass flow rate right or non-dimensional thrust what is this expression now this is the same as earlier that is P7-T0 x right this is for optimally expanded flow in the nozzle okay so therefore P7 is equal to P0 that term vanishes out the pressure thrust term vanishes out we have to find expressions for these two ratios okay to find expression for T7 x T0 okay before we go there let us first look at what is different from the all-unit cycle now if you remember in the previous case when we analyze ramjet efficiencies we dealt with slightly differently we said for the non-moving parts if you look at intake burner and nozzle we included the efficiency terms in the pressure cascading the reason for that being that if you assume that it goes to the same same stagnation temperature let us say we are looking at intake on a TS diagram if you are looking at only an intake process this is for 100% efficient cycle now the assumption that we made was a non-isentropic process would go something like this to 2- wherein the temperatures are the same the stagnation temperatures of 2 and 2- are the same only that these pressures are different right these are constant pressure lines these are different and therefore we looked at handling this terms with only efficiencies coming up in the pressure terms fine the flow is at most stagnation it is not stagnation no when at the end of diffuser intake 2 point 2 so 2 we are assuming that it is a stagnation temperature okay but we know as T0 is the content of energy in the flow yes okay if some losses are there so energy should not be equal to the ideal energy like ht0 of the ideal idle is not equal to ht0 dash true so how can we see in real systems what we look at is when we are looking at an intake okay if if the process were isentropic you would have a certain pressure recovery okay at the end of the isentropic compression you would have a certain pressure recovery if the process is real what is the pressure recovery or what is the pressure at the end of such a process is what you are looking at so from that perspective if you look at this here you are trying to capture what is the pressure recovery okay this efficiency would then indicate whether it is 100% efficient 90% 60% efficient the pressure terms contain the efficiency part right and here if you look at this case we have only turbine and compressor to take care of right now in the turbine and compressor what we do is we know that the power of the turbine the work or the power produced by the turbine must be equal to the power consumed by the compressor right because of the balance between the two so if you remember we did not say Tau C and Tau T are two different things we try to combine them through one equation so if we take efficiencies of turbine and compressor there we are going to complete the cycle so even in this analysis we will carry out cascading wherein we will deal with efficiencies in terms of pressure for the non-moving parts and when we come to the compressor and turbine we look at what happens between the power or the compressor and the turbine with efficiencies okay now if you look at compressor turbine power balance or before we go there our efficiency is defined for the compressor and turbine ? C is defined as T T 3- T T 2 T T 3- T T 2 okay and similarly the turbine efficiency is defined as T T 4- T T 5 divided by T T 4- T T 5- okay this is obvious from this figure where this is T T 5- this is T T 3- okay so let us now try and do the cycle analysis and try to get these two ratios so from here if you are going to do a similar analysis to what we did in ramjet okay would whatever we had derived in the previous classes for T 7 by T 0 be any different see compressor turbine power balance will consider efficiency is there but otherwise in the temperatures while cascading we do not look at efficiency true but they appear as tau C and tau T right if you look at the expression they like appear as tau C and tau T when you include that power balance tau C and tau C T cannot be independent terms so when you include them in the power balance that is when you get the real expression for both of connecting both of them okay so let us do the cascading so firstly cascading temperatures okay we want an expression for T 7 by T 0 similar to the previous cases T 1 by T T 7 into T T 7 by T T 6 T T 6 by T T 5 T T 5 by T T 4 T T 4 by T T 3 T 0 okay. Now as in the previous case what is this this is a ratio of stagnation to static so I can express it in terms of Mach number this is flow through jet pipe this is one now this is flow through nozzle one this is flow through jet pipe again one this is pi T sorry tau T and this is flow through the main combustor one and this is tau C this is one flow through intake and this is ? 0 right so it is similar to what we had earlier derived that is sorry this has to be T T 4 by T B and then if we put it in terms of ? B the expression that we get is we know that T B and ? B are related that is so from here I get T B would be equal to ? B by T C ? 0 and if I substitute it finally I will get T 7 by T 0 is equal to T T T C this and this cancels out I get okay now I need an expression for Mach number ratio which I will get by cascading pressures so we know that P 7 by P 0 is equal to 1 equal to P 7 by P T 7 P T 7 by P T 6 x P T 6 by P T 5 P T 5 by P T 4 now when we cascade pressures if you remember what we did with ramjet we will get efficiencies here so this is one is equal to 1 by 1 plus ? – 1 by 2 M 7 square x P T 7 by P T 6 this is flow through nozzle so this has an efficiency that is the nozzle efficiency okay now flow through the jet pipe also as an efficiency let me call it ? JP if it is on it will be different value if it is off be a slightly different value then what is this P T 5 by P T 4 this is ? T x ? burner this is through the combustor then this is through the compressor so this is ? C this is intake x ? 0 to the power of now just like when we did ramjet analysis we will club all these efficiencies into one and we will define ? ? as if I define it this way I can express all the terms here as a power of ? by ? – 1 okay this is as the intelligent way of putting it here so that we will get the same powers so ? T I know is nothing but ? T to the power of ? by ? – 1 I will put all of them so I will get 1 plus M 7 ? C ? 0 okay if you look at this expression we wanted in the denominator that value so we have got this so now I can write T 7 by T 0 as equal to I can cancel the ? T terms write it as ? 0 now we are interested in mark number ratios and the other thing that I know about us 1 plus ? – 1 by 2 M 0 square is equal to ? 0 so using these two expressions I get the mark number ratio as M 7 by M 0 is equal to ? T T C ? 0 – 1 okay now we know both the ratios temperature as well as Mach number so we substitute them in the equation and find out how it looks like so when we put them in this non-dimensional thrust equation M ? a 0 we get ? B by ? if we put efficiencies is equal to 1 here we recover back the turbojet equation right so we have put this is equal to 1 which is what is the turbojet equation right now we need to find an expression connecting Tau C and Tau T right so this comes from from compressor turbine power balance we get M ? a Cp T T 3 – T T 2 this is the actual power consumed by the compressor this must be equal to M ? a Cp T T 4 – T T 5 dash this is the actual power delivered by the turbine okay. So here we have assumed Cp to be constant yes you can take a mechanical efficiency which will turn out to be that you will have to take one by mechanical efficiency here you can include that you can assume it to be 1 if you want to include it you can put it here okay. So Cp is equal to constant and the other assumption is that I am sorry to write here 1-f because there is a larger mass flow rate and the other assumption that we will make is f is very much less than 1 okay now using this we will get we also know how to connect efficiency of the compressor to this right you remember what was the efficiency T T 3 by – T T 2 divided by okay so I get I want this term I want this term sorry so I will get it as T T 3 – T T 2 divided by ? C and similarly turbine efficiency was T T 4 – T T 5 dash divided by okay. So if I take these efficiency terms into account these equations will we will be able to rewrite as follows okay right I think this mechanical efficiency needs to be included here and not here because if mechanical efficiencies are non-unity which is less than 1 then the compressor requires more than what the turbine can give so you have to include it here so it will be if you cross model reply it will be a fraction compressor will only get a fraction of what the turbine develops okay fine so where does mechanical efficiency come in here in this equation right fine so we are interested in T C and T T so to get that we divide both sides by T 0 T T 4 by T 0 – T T 5 by T 0 what is T T 3 by T 0 T T 3 by T T 2 x T T 2 by T 0 right what is this T T 2 this is 1 for flow through diffuser or intake this is what is this now see and this is ? 0 so this term becomes ? 0 and similarly on this side what is T T 4 by T 0 this is ? B and this term would be T T 5 by T T 4 x T T 4 by T 0 okay so T T 4 by T 0 is ? B this is so T T x ? B so we get ? 0 by ? B x ? C ? T mechanical right or T T is equal to 1 – ? 0 by ? B now if you look at this expression what happens if efficiencies are not equal to 1 then this term increases right and you will get a lesser T T fine that means that you will have lower and lower pressure at the end of the turbine fine that correct sorry if you have unity you will have ? 0 by ? B x T C – 1 but if you have non unity then what happens this term is large and therefore 1 – this will be small which is again what I said earlier that is correct so you will get T T to be small fine and then T T is small the pressure ratio the pressure at the end of turbine is low and sometimes if the efficiencies are very poor one might actually end up having a turbine at the end of which there is no power left for there is nothing left for expansion through the nozzle which means there will be no thrust that is produced so one needs to be careful about efficiencies here so that we do not end up in such a situation okay now we have been able to derive expressions for non-dimensional thrust for all situations that is efficiency is not equal to one efficiency is equal to one and optimally expanded flow as well as nozzle being choked and we have also looked at after burner without after burner and what is the other mode of water methanol injection also we looked at right now here in this case ISP by a0 that does not change the expression does not change but f by m dot a0 will be different because you now have efficiency terms coming okay the expression for ISP by a0 would be now I sorry I think we need to derive this see there is efficiency term involved and therefore the TT4 by because of which we need to re look at what is the ISP expression so if we look at ISP by a0 we had in the previous classes looked at this expression this is 1 by f into f by m dot a a0 okay now how do we get 1 by f we get 1 by f by looking at the energy balance across the burner so from across the burner I get m dot f into Q is equal to m dot a into 1 plus f remember in the earlier expression that we wrote when the efficiencies were 1 we were looking at TT3 only right because if you look at what happens due to non-isentropic process this temperature would be higher than or different than the earlier temperature so you have a situation where in this is different so therefore that will come here right so we make the assumption that we done earlier that is f is very much less than 1 so I can take out this quantity and I get my expression for 1 by f is equal to TT4 by T0 now we know that compressor efficiency is ? C is equal to TT3 – TT2 okay so using this goes to the denominator so it will be we know efficiency is denoted in this fashion so I can connect from TT3 – to TT3 here so 1 by f is equal to Q by CPT0 before I do that I will just do a small manipulation with this expression TT3 by TT2 – 1 into TT2 I can write this expression rewrite this as this and TT3 – by TT2 – 1 this and this cancels out I am interested in this expression so I will get TT3 – by TT2 as equal to TT3 by TT3 – by TT2 would be 1 – what is this TT3 by TT2 this is tau C okay so 1 plus this goes here you get this now we have been able to get the expression for TT3 – by TT2 we can use it here and we can write TT3 – by T0 as equal to this expression is what we have derived just now what is this this is nothing but ? 0 so I get TT3 by T0 is equal to ? C – 1 divided by ? C into ? 0 so finally my 1 by f term comes out to be ? B – ? 0 to 1 plus tau C – 1 okay this is the expression that we get so what happens to if you plug this in in the ISP by A0 expression you get ISP by A0 is equal to Q by CP T0 is the expression that we get for ISP by A0 now if you see in this expression what happens if ? C is not equal to 1 this part reduce increases and therefore ? B – this would be small right so can I now say it is advantages to have a non-efficient compression process if you look at this expression it is a it is in a sense it disguises some things we have not written the full expression for F by M. A0 where in efficiency terms are also there right if you look at this it appears as if this part will be reduced will be increased and therefore the entire term will be smaller and as a consequence ISP will be higher but if ? C becomes large that means is is a low value not large it is a low value then what happens is the pressure ratio across the compressor or the pressure at the end of the turbine becomes smaller and smaller they will you will not have any power left for expansion through the nozzle right so although it looks very deceiving here it is not the actual case you need to plug in the values for ? C and other things into this expression and then see how it looks like we look at it in the next class thank you.


This paper proposes a methodology for calculating return periods and design quantiles in a multi-dimensional environment. It introduces a consistent theoretical framework for the calculation of return periods using copulas and the Kendall's Tau measure. Additionally, it presents different approaches for identifying suitable design events, which are of utmost importance in practical applications. A case study involving the behavior of a dam is used to illustrate the proposed methods. This article was authored by G. Salvadori, C. de Michele and F. Durante.


Hey stampers, welcome to another week of Watch It Weekly Wednesday. I'm Aubrey, part of the Stampin' Jill creative team. Today I'm going to share with you a cute gift idea using our simply classic treat boxes. They're these cute, cute little two by two boxes. This is what they look like. They come flat like this. They have the lid and the bottom part. And then you put them together and they just go like that. It's super cute. They're really fun to decorate up and to use as little gifts. So here's one that I have recently decorated. So cute. You can put just some treats or something in there. But the problem is you can only give so many treats if this box is so little, right? So we recently went to our up playing Janet Baker's. We went to an event at her house and she showed us a really fun idea on how to extend these boxes just like this. Look how cute that is. Sending hugs. So let me show you. She just uses designer series paper and wraps it around and then it extends this box. I'm not sure if you can see that down in there. But I wanted to show you how to do this. So I'm going to start with a piece of designer series paper. This is 8 inches by 4 inches. Now you can do this side as tall as you want. It can go up to 12 inches. But this one that wraps around the box needs to be 8 inches. So we're going to score this at 1-7 eighths, 3-3 quarters, 5-5 eighths, and then 7-1 half. So I have 4 score lines. And then I'm just going to fold on my score lines here and grab a box. I'm going to take my lid off and just work with this white bottom part. And on this, I like to use tear and tape. I feel like it holds my paper on my box really well. So I'm just going to line one of these edges with tear and tape just like that. And then I'll tear off that top wax paper. And I'm going to adhere this shorter flap. This one's just a half inch here on the edge. And I'm just going to adhere that right to that tear and tape along that edge. And then I'm going to just wrap my box around. It's already scored. And it's going to come and meet back up at that seam, just like that. I like to put another little extra piece of tear and tape just to keep things nice and snug. So I like to just put another one right on my box there. Then I really know that paper is not going to go anywhere. You don't really need to do that, but it's up to you. OK, and then I'm going to put more just right along this last edge of my designer series paper, just like that. I have my little base. So then my lid goes on like this, just like that. OK, now I want to decorate this up just a little bit. So I have another piece of paper. Now this is eight inches as well, but I don't score this one. And my reason is that this is just, it's a little bigger than one in seven eighths per side, but a little smaller than two inches. So the scoring is it gets really tricky when you're dealing with sixteenths of an inch. So since it's such a teeny little skinny piece of paper, it's really easy just to fold right around there. So I'm just going to put just a little teeny bit of tear and tape here. You could also use a blue dot if you have those handy. That would work great too. And I'm just going to adhere that here and I'm just going to wrap it around. So I'm going to give it kind of its own score lines around here, just like that. Now you can do that with a bigger piece too, but it's a little harder with how big this is. So I would recommend scoring that piece, but with this littler piece, you can just wrap it just like that. And I am going to use a glue dot just to secure that on this end, just like that. OK, put my lid on and then we can put all sorts of amounts of candy in there. OK, so then I want to add a cute tag. Now I used the Tis the Season stamp from the Christmas to Remember stamp set. I love this cute little stamp. And then I'm going to use this punch and punch that out. And the nice thing about this punch is that it also can hole punch for me.   And I'm going to use my glue dots to adhere those together. And then holly leaves are not complete without some berries, right? So I have some cute little red rhinestones and I'm just going to add those as berries like that. And then that's my tag. OK, just like that, you have cute little holly berries. So then I'm going to use some cute ribbon and I'll tie that on there. Here, let me bring in the finished product. You can see how cute is the season and then put, I don't know, some cute little candy cane sticks or chocolate. Who doesn't love chocolate and just give that as a little neighbor gift or a teacher gift or something like that. Super fun. So let me show you a few other box ideas. I've come up with using this. So like I said, you can use any size of designer series paper. This is a six inch piece. OK. And I did think so much, so fun. And then you can even do a big one.  Isn't that so pretty? And congratulations on reaching reaching a whole new level of awesome. Can you even imagine the gift you could put in here for somebody? I love it. So I've had so much fun playing with these simply classic treat boxes. And thank you so much to Janet Baker for this great idea of how to extend them. If you have any questions or would like to place an order, make sure to email us at sudemonstrator at gmail.com or visit us at stampinjail.com. Thanks so much. And we'll see you next week for another Watch It Weekly Wednesday.