text:
[This piece was originally published in Shakespeare and the Making of Theatre, eds Stuart Hampton-Reeves and Bridget Escolme (Basingstoke, Hamps.: Palgrave Macmillan, 2012), 165-89. I am publishing it here under the terms I negotiated with Palgrave for self-archiving my work under my usual CC-BY-NC license; those terms were that I could post a pre-copyedited version of my contribution on my own website or institutional repository. So here you are! I hope that you'll take a look at the table of contents and, especially if you like what I've written, you consider buying the full volume or asking your library to do so. It's reasonably priced as a paperback, and it has some wonderful material in it. We've all written pieces that are intended to introduce undergraduates and others interested in a performance-based approach to Shakespeare's plays and I think you'll find it both accessible and thought-provoking. If you're curious about the process of negotiating a new contract, you can read my posts on the subject here and here.]
Sarah Werner, "Audiences" in Shakespeare and the Making of Theatre, eds Hampton-Reeves and Escolme
The subject of this chapter is at once both utterly obvious and bafflingly inexplicable. While on the one hand it is a commonplace that theatre needs, at minimum, both performers and audience, on the other hand, there is rarely sufficient questioning of what it is that audiences do. What does the presence of an audience bring to the dynamic of a performance? In Jerzy Grotowski's words, theatre is "what takes place between spectator and actor" (2002, 32). But what is it that actually takes place? Consider the list of questions we could ask about that relationship between spectator and actor:
- Are audiences passive receptacles for a performance's meaning, ideally infused with the sense of the actors' performance but in danger, on the flip side, of utterly failing to understand what the performance is telling them?
- Or does an audience participate in a performance, bringing their own reactions and sensibilities to bear upon the meanings that are created in performance? Are they makers of meaning rather than receptacles for it?
- Is an audience a collective body, something of which we can speak in the singular?
- Or are audiences collections of individual bodies, an aggregation of many different responses that should more accurately be described in the plural?
This chapter will not answer these questions definitively—these are questions that cannot be answered definitively, and it is not the purpose of this book to theorize the reception of theatre. Rather, I want to foreground these questions in order to think about how assumptions about the role of audience might affect how Shakespeare is made in the theatre.
In exploring the role of audiences, I focus on today's audiences in today's theatres. Other scholars have speculated about early modern audiences, but such work is not only speculative (if it can be difficult to know what today's audiences are doing, it is even harder to ascribe responses to past audiences), but also often unproductive for today's practitioners. If early modern audiences were rowdy, does that mean that today's audiences should be? And if they are rowdy, are they being so in the same way that a 1590s audience would have been? To focus on today's audiences does not, of course, completely eliminate a consideration of early audiences. Whether they are the same or not, both audiences are responding to a script that is approximately the same and both audiences watch their own contemporaries performing that script onstage. And, indeed, those scripts make clear that audiences are often centrally involved to the performance of a play. When Hamlet opens with the question, "Who's there?" the answer is not only Francisco and Bernardo, but also that we are always there. As Bridget Escolme (2005) has argued, the moments of audience address in Shakespeare's plays are the moments that give shape to the characters on stage and to our attitudes towards them, moments that raise fundamental questions about how and who we are. But audiences' interactions with a performance are shaped by extra-textual matters as well: playhouse architecture, performer interactions, the personal lives of spectators (see Knowles 2005 for a persuasive account of the myriad factors shaping audience reception). All these elements come together in affecting the two-way interactions between audience and performance.
Many (though not all) of the performances I discuss in this chapter are not typical of Shakespearean productions, especially in their conscious efforts to highlight the interactions between actor and audience. But if they are atypical, what seems different about them showcases more effectively those elements of making theatre and making audiences that are true for all productions.
Audience address: in text and on stage
The most obvious place to start thinking about audience is in those moments where they are clearly being addressed. Roles like that of the Chorus in Henry V, Gower in Pericles, Time in The Winter's Tale, and Rumour in 2 Henry IV exist to present the play to the audience; they speak directly to the spectators, influencing their perception of the story. As their names indicate, they are less characters than roles, appearing not so much as full-fledged people than as windows into the play. They are not, of course, necessarily transparent windows. Rumour identifies his bias from the start, but leaves unsaid what the connection might be between the rumors that he tells us are being spread and the action that follows—what is the connection between history and theatre and rumor? The Chorus is even slipperier, presenting himself as a neutral master of ceremonies who will help the audience imagine the real story behind the actors' fictions, addressing the audience in order to encourage them to "Piece out our imperfections with your thoughts" (H5 Pro. 23). But is his the only point of view in the play? Compare his speech at the start of the third act extolling the heroics of all English men, "For who is he, whose chin is but enriched / With one appearing hair, that will not follow / These culled and choice-drawn cavaliers to France?" (3.0.22-24), with the scene forty-five lines later, when Nim, Bardolph, and Pistol expressively refuse to follow Henry once more unto the breach at Harfleur. The Chorus might directly address the audience, but the play stages actions that present an alternate point of view, one that is less boosterish of Henry and more cynical about his motives and actions.
We are, of course, generally taught that Shakespeare's characters do not lie to the audience, or to themselves: when they speak in soliloquy, they are speaking what is true to them. In the opening scene of As You Like It, after Oliver has fought with his brother Orlando and set him up to lose in the wrestling match, he speaks alone on stage and confesses,
I hope I shall see an end of him, for my soul—and I know not why—hates nothing more than he. Yet he's gentle; never schooled, and yet learned; full of noble device; of all sorts enchantingly beloved; and, indeed, so much in the heart of the world, and especially of my own people, who best know him, that I am altogether misprized. But it shall not be so long. (1.1.139-45)
The speech is, in part, plot information. The audience is likely to be wondering why Oliver treats Orlando as he does; here Orlando explains it. He hates Orlando because everyone else loves him, though he also insists that he does not know why he hates him; there both is and is not reason for that hatred, but the speech emphasizes that hatred is at the heart of Oliver's actions. There are other addresses to the audience that have the same effect of commenting on a character's actions. In Taming of the Shrew, what is Petruccio up to in refusing to let Katherine eat? He tells us in a soliloquy mid-way through the play:
My falcon now is sharp and passing empty,
And till she stoop she must not be full-gorged,
For then she never looks upon her lure.
This is a way to kill a wife with kindness,
And thus I'll curb her mad and headstrong humour. (Shrew 4.1.171-73, 189-90)
And now we know what Petruccio is doing: he is taming Katherine, just as one might train a falcon.
The question to ask about these moments of direct address is not why is the character saying these lines, but why is the character saying these lines to the audience. If the purpose of moments such as these is to provide plot information and explanation, then why not have the character explicate his actions to another character onstage? Could Petruccio not divulge his strategy to Grumio? The last lines of Petruccio's speech help us understand what is lost if it were delivered to another character: "He that knows better how to tame a shrew, / Now let him speak. 'Tis charity to show" (4.1.191-92). The speech does not simply state information but draws the audience into the situation, making the audience complicit in Petruccio's actions, or at least making them question their relationship to those actions. Delivered to another character, the challenge of Petruccio's last lines stays within the fictional world of the play; delivered to the audience, the challenge expands to us all. The inclusion of the audience also shifts the responsibility for a character's actions. By including us in his strategy, and by staying silent when questioned, do we become complicit in Petruccio's treatment of Katherine? Bridget Escolme, in her study of the effects of audience address, argues that when a performer shares his or her process with the audience, speaking to them and involving them in the performance, a spectator becomes invested in that character. In her account of watching Antony Sher's Macbeth, Escolme wonders at her inability to pass judgement: "I can't judge Macbeth because I feel partially responsible for the figure he becomes in the act of performing to me" (2005, 4). (See the next section for more on audience response to Petruccio's soliloquy.)
If it seems obvious while reading the text that Oliver's and Petruccio's lines are addressed to the audience, other moments in Shakespeare's plays are less clear-cut. When Lear finds himself arguing with Goneril over the behavior of his retinue, he expresses his outrage over the insult:
Does any here know me? This is not Lear.
Does Lear walk thus, speak thus? Where are his eyes?
Either his notion weakens, his discernings
Are lethargied—ha, waking? 'Tis not so.
Who is it that can tell me who I am? (Folio text, 1.4.191-95)
Within the fictional world of the play, these are questions addressed to the other onstage characters, with the fallacy of his outrage punctured when (in the Folio version of the play) the Fool answers his final question: "Lear's shadow" (1.4.196). But in performance, are those questions that also take in the audience? Does Lear turn to the audience to include them in his address? Does the audience consider themselves addressed even if Lear does not look at them? If we are addressed, how is our relationship to Lear and to Lear affected?
The moments in which a character explicitly or implicitly addresses the audience are moments that obviously create space for a production to speak to its audience and for the audience to speak back. But it is helpful to remember that unspoken moments can invite in the audience; problems in character motivation, for instance, can create a gap that an audience fills with its own sense of consistency. Leontes's outsized jealousy often proves a stumbling block in The Winter's Tale: why is he so convinced that his wife is having an affair with his best friend? How can he dismiss her and their infant daughter so quickly? The playscript does not provide words to obviously answer these questions, but that absence need not be a block for the audience. In the 2009 production I saw directed by Sam Mendes for The Bridge Project, those questions were not answered explicitly, but were called attention to by the production's repetition of the haunting lullaby that Leontes hummed when tucking his son in at the start of the play and instinctively reprised when he briefly comforted his infant daughter before putting her aside and turning away. That soundscape, in drawing on the audience's own experiences of parenthood (ticket prices and venues meant that the audiences in Brooklyn and in London included many adults of parenting age), used those audience memories to generate a sense of both of Leontes's loss in refusing his baby and of investment in that baby's welfare. What is left blank in the text is filled in the production by the audience's emotional response. (See Hartley 2010 for an exploration of the phenomenology of theatre that makes both possible and necessary such responses.)
These examples have all been focused on the connections made with audiences by looking at the text for openings to invite them in. But it is also important to look at the theatre into which you are inviting them. How will the auditorium and the surrounding space shape the audience's expectations and experiences of the performance? The theatre in which I saw The Winter's Tale, the Brooklyn Academy of Music's Harvey Theater, was built originally as a playhouse, then converted to a movie theatre in the 1940s, and abandoned in the late 60s. BAM converted it back to a theatrical space in 1987, renovating much of the performance space while leaving remnants of the theatre's faded past visible in the architectural details and peeling paint. The result is a space that is both grand and faded, one that lends itself to a privileged nostalgia and that helped create the sense of longing that pervaded that production of The Winter's Tale.
Responding to the past: The Globe's restructed playhouse
Reactions to moments like what I have just discussed depend in part on what other cues an audience is picking up on their relationship to the performance and on how performers conceptualize their relationship to the audience. For while there can be signs in the text of direct address, there are no signs of how an audience might respond and no guarantee that an audience will react the way in which a performer expects. In her Shakespeare in Production edition of The Taming of the Shrew, Elizabeth Schafer records a range of performance strategies that have been employed for Petruccio's taming soliloquy, discussed above. As she explains in her note, "This is a crucial speech which will affect how the audience feel about the treatment of Katherina" (Schafer 2002, 180). But her edition also records the resistance that audiences can put up to what they see and hear on stage. In the archival video of the 1978 Shakespeare in the Park production in New York, when Petruccio paused after "He that knows better how to tame a shrew, / Now let him speak," a woman in the audience is recorded "shouting out and suggesting Petruchio [sic] try a little tenderness"; the actor playing the role, Raúl Juliá, "suggested that would be less dramatic but added 'I thank thee for thy advice'" (Schafer 2002, 183). This anecdote is revealing in many ways: it touches on the place of gender equality in the late 70s, on the popularity of Otis Redding, and on the star appeal of Raúl Juliá. But it also reveals how audience response is shaped by the nature of the performance; most observers would agree that it's rare for a spectator to shout back at a production, but observers would also agree that audience behavior at a free, open-air performance is different than in a mainstream, indoor theatre.
Shouting back at a production is extreme, but other indications of audience response are not, and thus might be more suitable to exploring what factors shape the reception of a performance. To that end, I want to consider a moment in a 2008 performance of King Lear done at Shakespeare's Globe Theatre in London. (1) This moment comes late in the production, in the last act. By this point in the performance, the audience has seen the division of the kingdom, riotous knights, naked wretches mingling with the audience during the storm scene, and—most horrifyingly—a sexualized blinding of Gloucester, in which the plucking out of his eyes turns into an act of foreplay for Cornwall and, especially, Regan. Cordelia has reappeared into the story, dressed in a modest grey dress with a wimple-like head covering, and has been reunited and then captured with her father. Goneril and Regan have battled for Edmund's attention, Regan has been poisoned by Goneril, and Albany has discovered Goneril's love for Edmund and their plot to kill him. After Edgar's defeat of Edmund, Goneril laments, "Thou are not vanquished, / But cozened and beguiled" (5.3.143-44). At this line, Albany turns to her with his response, "Shut your mouth, dame" (144), and the audience laughs—not a chuckle, or a murmur, but a full-throated laugh, accompanied by cheers and applause.
Why does the audience laugh? What is funny about this moment? I don't recall that the actor playing Albany set up this line as a laugh point. Nor do I recall this line in other productions getting such a reaction. So what is happening here? One possibility is that the line is funny because it sounds so very modern, so very much like how we talk today. It doesn't use words like "cozened" or even "vanquished", there's no "thy", there are no metaphors about names being "By treason's tooth bare-gnawn and canker-bit" (Lear 5.3.112). Instead, "shut your mouth" is something colloquial and accessible, something an angry person today might say to someone who has betrayed them.
One possible understanding of this moment, then, is that "shut your mouth" can provoke laughter in the shock of its familiarity. It is also possible that the audience laughs because they are relieved that Goneril is finally getting her comeuppance. She's been plotting against Albany and planning not only his death but those of her father and sisters. Is this the moment the villain gets caught, and good triumphs? It can get a laugh not necessarily because it's funny, but because it is a moment of release from the tension driving the accumulation of bad deeds, an audience endorsement of Albany's judgment against Goneril. But this is also a deeply gendered moment in a text that is full of slanders against women and in a production that flattened out any nuances of female behavior; in this King Lear, Regan and Goneril are especially evil, and Cordelia is especially good—a dynamic that does no favors to the audience appeal of any of them. The laughter and applause of the audience at this moment feels not only directed against Goneril, but against Goneril as a woman, a woman who has been held up by Lear and by this production as emblematic of all women's unkindness. Edmund's revelation as a villain is not greeted nearly as enthusiastically as Goneril's as a villainess. Much of that is due to the dynamics of the playscript; those dynamics are further exaggerated by the choices of this production.
In the early years of the Globe, journalists reviewing its productions tended to judge the Globe audience as having the wrong response, looking down on them as tourists jollying up their London visit by pretending they were at a Disneyland experience rather than appreciating the theatrical importance of Shakespeare (see Prescott). It can be tempting, from the perspective of a Shakespeare or theatre scholar, to feel that an audience fails to appreciate a performance; Helen Freshwater provides many examples of the sort of tensions and disdain that can run these lines (42-55). The moment I have described could certainly be seen as the audience failing to get what was happening in the play; it could equally be described as a failure on the production's part to get what Shakespeare was trying to do. But neither explanation addresses the ways in which meanings accrue in a performance through a variety of routes.
For instance, in exploring this moment of audience response, ought we to consider the impact of the reconstructed playhouse? In a theatre building that prides itself on its Renaissance construction, how much of the audience response is shaped by how it conceives Renaissance culture? What sort of cues are audiences getting from the playhouse (and its description in the program) that might allow for this response? Might the acceptance of the play's nasty stereotypes of women be licensed by what the audience imagines is the appropriate "Renaissance" response?
A second moment of laughter from a Globe production is helpful to consider here, this time focused on Rosalind in a 2009 performance of As You Like It: "Do you not know I am a woman? When I think, I must speak" (3.2.227-28). (2) Unlike "shut your mouth", this line is obviously intended to be a laugh line. What I found surprising was that it got such big laughs, and applause, too. I don't recall that the actor playing Rosalind hit that line any harder than any of her other laugh lines. And I don't recall other productions getting the same huge response at that moment. In the same summer's Royal Shakespeare Company production, at the performance I saw, the line got some laughs from the audience, but scattered laughs, mixed in with some mutters of disapproval (which seemed to me to be directed not toward the actor, but toward the audience's laughter at the stereotype). And in the 1998 Globe production, the same line also got only scattered laughs. At the 2009 Globe performance I saw, however, the audience response was enormous, so much so that it reminded me of the King Lear that I saw there the previous summer.
As You Like It, of course, has a very different gendered dynamic than King Lear. It has its misogyny, including the slanders against women that Rosalind voices in the persona of Ganymede-as-Rosalind. But it is not generally a play that encourages a black-and-white view of women. Why, then, such an enthusiastic audience endorsement of the stereotype of the woman who cannot hold her tongue?
The answer, I think, lies in part in the contemporary note that I noticed in "shut your mouth." This As You Like It was a version that played up the comedy with plenty of anachronistic mugging from Touchstone—at his entrance into Arden he does a sarcastic, but recognizably modern, arms-in-the-air victory dance (a dance that went sour when he stepped in some shit). And when Jaques explains the meaning of "ducdame" (2.5.53), he gestures so that the fools called into a circle are not the foresters (as is typical), but the Globe audience. In these ways, and in others, the production encouraged a participatory identification, setting up a dynamic in which the audience moves back into a Renaissance frame of mind, but moves back through the presentness of the play, through moments that are recognizably familiar. Jokes such as the seeming stumble Touchstone made when talking about "Your 'if' is the only pacemaker—peacemaker, not pacemaker" (5.4.91-2) reinforce the immediacy of the performance both by letting audiences feel the thrill of thinking they saw a mistake by the performer and by reminding them that this is a twenty-first-century actor playing to twenty-first-century spectators. (3)
These anachronistic moments help the audience see themselves in the play. But they might also give license to a politics in the audience that is not set free in other venues. What attitudes do audiences bring with them to reconstructed theatres and how might those politics might play out? If a theatrical space that looks early modern—that sells itself as being connected to original practices—is a safe haven for at least some audience members to give voice to anti-feminist sentiments, what does that mean for actors and directors who might not intend for those politics to come into play, or who might wish to counter those politics? I want to emphasize that I am not insisting that the plays need to be staged as feminist, or through any particular political discourse. But an awareness of audience responses is a necessary part of creating a theatrical event. And for performances in reconstructed theatrical spaces, the question of what assumptions an audience brings to that space—and how their gender politics are shaped by that space—needs to be further explored.
Foregrounding spectatorship: The Toneelgroep's Roman Tragedies
So far I've been considering how audiences shape the meanings they find in and take from performances. But it is also possible to see audiences as more immediately being part of a performance. The Toneelgroep Amsterdam's production of Roman Tragedies is one example of how audiences can become part of a performance in ways that complicate both what they are watching and the act of watching. Roman Tragedies is a six-hour performance of Coriolanus, Julius Caesar, and Antony and Cleopatra that toured internationally in 2009-2010. Directed by Ivo van Hove and featuring a cast of actors as well as stage technicians who video and project live action and recorded clips, the production also centrally involved audience members who are invited onto stage, where they can sit on sofas to watch the live performance and the video playing on monitors, and where they buy and consume food and drinks. (Christian Billing's review of the production, which he saw in its London venue, provides a detailed and thoughtful description of how the performance worked.)
It might be tempting to describe this as participatory theatre, the sort of communal, empowering enterprise that is often associated with Augusto Boal's Forum Theatre. (See Freshwater for a history of this theatre movement and a thoughtful critique of its limitations, pp 55-76.) And many of the reviews and buzz surrounding the show had to do with the movement of the audience, which was treated, correctly so, as a novelty for Shakespearean theatre. But the effect of this audience movement situated spectators not as participants in the drama, but as fractured consumers of it. Audience members did not interact with the actors, even when seated next to them. And much of the time, especially for those seated on stage, spectators preferred to watch the videos playing on the screens in front of them, rather than the live actors next to them. Even when occupying the same space, audience and actors did not share the stage.
One effect of this was to highlight the ways in which all spectators see different performances. Even in traditionally designed theatre, one individual audience member will react to and understand a performance differently than another audience member. In Roman Tragedies, each member of the audience experienced the production from a different perspective, whether that perspective came from where in the theatre or stage they were sitting or from which monitor they were watching. (Of course, spectators were not required to move around during the performance, and there were certainly people who chose not to do so. I was one of those: when I saw the production in Montreal, I stayed in the same seat in the auditorium for the whole six hours.)
While highlighting the multiple perspectives of the audience was one result of the audience staging, a more prominent effect was to situate the audience as passive consumers of the spectacle and politics being played out in the performance. For even while the audience moved to and from the auditorium to the stage, they did so at the behest of the production: loudspeaker announcements urged audience members to come on stage after the first twenty minutes and shooed them back to their seats for the final hour of the performance. The audience's movements were both encouraged and circumscribed in ways reflecting the production's larger themes. In reshaping Shakespeare's plays for his Roman Tragedies, van Hove not only updated the mise-en-scène to a modern world of politics (complete with power suits, Senate hearings, and omnipresent media broadcasts), but he cut out all the scenes of the plebeians: there were no citizens listening to Coriolanus's plea, no murdering Cinna the Poet, no guards querying Antony's effeminization by Cleopatra. Any direct addresses to the citizens in Shakespeare's plays were staged as being spoken into television cameras, videos that were then broadcast back to the audience on monitors. That offstage citizenry was replaced by the onstage bodies of the audience, but rather than talking back or rebelling in any of the mob-like ways that Shakespeare's plebeians do, the audience of Roman Tragedies remained silent and docile, consuming food, news, and spectacle. By bringing the audience on stage and into proximity with the actors, van Hove and Toneelgroep emphasized how removed we are from political centers of power today, and how much we have ceded our voices and actions to the lulling comforts of mediated watching. The presence of the audience is a crucial part of how Roman Tragedies makes its meanings, but it works by striking a balance between staging the audience to itself, both incorporating them into the play's mise-en-scène and keeping them at an arm's length from the action.
It is possible, in my description of this production, to see its treatment of the audience as slightly hostile, as if the production were using the audience against itself. But that would misunderstand how central the audience was to the performance's success. There was nothing underhanded about how the production worked; there was no expectation that the audience was participating in the action of the play, that there was room for spectators to shoot back as plebeians. And if the production created a passive audience as part of its deliberate exploration of politics and culture in the early twenty-first century, it also forged strong connections with the audience. Part of those connections resulted from the duration of the marathon performance: the six hours spent in a shared space as part of a shared experience yoked together performers and audience. That joint effort was highlighted when, in the final play, the actor playing Enobarbus unexpectedly left the theatre to agonize in public (on the street outside the theatre in Montreal, in the Barbican carpark in London) before returning to the theatre to commit suicide. With a videographer trailing him and catching the confusion of bystanders, projecting both the actor and the real-world spectators for the theatre audience to observe, the moment separated those who were within the fictional world from those who were not. Those real-world spectators walking down the street did not know what to make of the man weeping to himself in Dutch. The theatre audience did, or thought they did, but how different were they from the outside spectators? How much do we know what we are seeing, whether we are inside the theatre or out?
Conclusion: making and being made
I started off this chapter by listing some of the questions that I was going to leave unanswered. Do audiences receive meanings or make meanings? Should we think of audiences as a collective body or as discrete bodies? What is it that takes place between spectator and actor? The different moments in plays and productions that I have highlighted suggest different answers. The laughter in the Globe King Lear and As You Like It seems to me not created through a partnership between performer and audience but through external factors that impose their conditions on both. On the other hand, the audience's proximity to and absence from the action of Toneelgroep's Roman Tragedies was deliberately fostered by the performers in order to create their production's meaning in cooperation with their spectators. In all those performances, my individual response and position as a member of the audience separates my discrete self from responses of other audience members; at the same time, the sense of a collective enterprise shaped my reactions to the performance and the other spectators.
I have, in these examples, spoken specifically of my reactions to these performances: I did not find anything to laugh at in Goneril's or Rosalind's lines, I did not move around the theatre to explore the angles from which I might have approached Roman Tragedies. I have tried not to assume what others have thought or felt, raising questions rather than making statements about their possible responses. But as insistent as I have been about this, it remains a difficult rhetorical strategy to put into practice: the temptation to speak authoritatively about how an audience reacted or what they felt is a strong one. And there are some good reasons for this desire to speak of the audience as a collective body rather than a gathering of discrete persons. One of the hallmarks of live theatre is that we experience it collectively: as a collective of performers and a collective of spectators. The difference between seeing a performance as part of an audience, as opposed to on your own, is obvious to anyone who has spent time seeing both movies in a cinema and on a screen in your living room. The presence of other spectators and their audible responses shapes how we, in turn, respond, whether our reactions are the same or different from those surrounding us. Performers, whether theatre, music, dance, comedy, or politicians, speak of audiences on a particular night responding differently than on other nights—laughing at different moments, bringing a different energy, being more or less responsive, more or less engaged. Given this collective nature of the audience, we cannot entirely dismiss their generalized experience, even as we must also remember that no individual spectator will have the same response as another.
Given the number of examples I have provided from productions that, in their foregrounding of audience awareness, might seem to be atypical of Shakespearean theatre, I want to share one more instance from a more traditional production style, one in which the stage is lit and the audience watches from seats in a darkened auditorium. In this 2006 production of Measure for Measure at the Folger Theatre, the linchpin of the production came when Mariana begged Isabella to join her in asking for Angelo's life to be spared. It is a moment that is often perplexing. Angelo has betrayed and disdained Mariana at every turn; were he to be executed after their marriage, as the Duke has planned, Mariana's honor and her wealth would be restored. Isabella, in turn, has no desire to help Angelo, who has shamed her, betrayed her, and killed her brother. In most productions, I have experienced this moment as yet one more instance in which the two women are made to jump through hoops to satisfy the Duke's own needs. But in this performance, something shifted for me. The moment was staged with Mariana on her knees facing the Duke and the audience. When Mariana reached out her hand to Isabella to join her, the blocking made that moment register as an invitation to the audience as well: the success of the play hinged on Mariana's convincing us to move beyond bitterness and revenge toward the hope of love and redemption. It is the only time in which I have felt Mariana to be the emotional center of the play, and in a production that was consistently strong and interesting, it is the moment that has continued to stay with me. Part of its success is how it was staged: it created an opening for the audience to see itself as part of the action and resolution of the play. It also drew on a powerful performance by Michele Osherow in the role of Mariana, one of the few characters in the production who was at all likeable; Osherow was also the play's dramaturg and a friend of Aaron Posner, the director, extra-textual roles that might have helped create the dynamics that allowed her to take a central role despite the small amount of time the character is onstage.
But I also know that part of the success of this moment came from the specifics of my place as spectator. When I saw this production, my father was dying and I was struggling with that pain and loss. It was a time when a message about learning to move forward into the future with love and hope would have been particularly resonant for me. In thinking about how audiences are made by performances, and how performances are made by audiences, I cannot separate the two dynamics here. The difference between what this performance of Measure for Measure staged and what I saw in it perhaps cannot be delineated. And that is the greatest challenge of thinking about audiences and making Shakespeare. Each makes the other, and whether we are performers or audience, we will not have the last word.
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Prescott, Paul (2005) "Inheriting the Globe: The Reception of Shakespearean Space and Audience in Contemporary Reviewing" in Barbara Hodgdon and W. B. Worthen (eds) A Companion to Shakespeare and Performance (Oxford: Blackwell P), 359-75.
Ridout, Nicholas (2006) Stage Fright, Animals, and Other Theatrical Problems. Cambridge: U Cambridge P.
Schafer, Elizabeth, ed. (2002) The Taming of the Shrew, William Shakespeare. Shakespeare in Production. Cambridge: Cambridge UP.
Bennett, Susan (1996) Theatre Audiences: A Theory of Production and Reception. Second edition. London: Routledge.
Blau, Herbert (1990) The Audience. Baltimore, MD: Johns Hopkins UP.
Kennedy, Dennis (2009) The Spectator and the Spectacle: Audiences in Modernity and Postmodernity. Cambridge: Cambridge UP.
McAuley, Gay (1999) Space in Performance: Making Meaning in the Theatre. Ann Arbor, Michigan: U Michigan P.
Phelan, Peggy (1993) Unmarked: The Politics of Performance. London: Routledge.
- I saw an evening performance on Wednesday, 23 July 2008, seated in the Lower Gallery.[↩]
- I saw a matinee performance on Friday, 26 June 2009, seated in the Lower Gallery.[↩]
- I refer to this as a seeming mistake because another spectator at a performance on June 13th describes the same joke on Peter Kirwan's blog, The Bardathon. For more on why a performer would want to pretend to make a mistake, see Nicholas Ridout's compelling analysis of audience responses to failure (129-60).[↩]


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A big shot attorney had to spend a couple of days in the hospital. He was a royal pain to the nurses because he bossed them around just like he did his staff. None of the hospital staff wanted to have anything to do with him.
The head nurse was the only one who could stand up to him. She came into his room and announced, 'I have to take your temperature.' After complaining for several minutes, he finally settled down, crossed his arms and opened his mouth.
'No, I'm sorry,' the nurse stated, 'but for this reading, I can't use an oral thermometer.' This started another round of complaining but eventually he rolled over and barred his behind.
After feeling the nurse insert the thermometer, he heard her announce, 'I have to get something. Now you just stay JUST LIKE THAT until I get back.'
She left the door to his room open on her way out. Her cursed under his breath as he heard people walking past his door, laughing.
After a half hour, the man's doctor came into the room.'
'What's going on here?' asked the doctor.
Angrily, the man answered, 'What's the matter, Doc? Haven't you ever seen someone having their temperature taken?'
After a pause, the doctor confessed……..
So there you have it folks, NEVER tick off a nurse!! You never know what they'll do!!!

subset: commoncrawl


text: Quote:[b][i]Ive had offers for 19 k and even 21 k and this is no BS. We have a lot of rich old retired people around here. Old peeps really like my car b/c it looks classy. [/quote]You got offered that much money for your car and you didnt sell it b/c?????????????????????I dont understand that


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16 Jun 2015 | Apical
Asian Agri and Apical Team Up with TFT to Enhance Supply Chain Traceability
June 16th 2015 - Asian Agri and Apical Group announced today their partnership with The Forest Trust (TFT) – a global environmental non-profit organisation focused on helping companies run responsible supply chains.
13 May 2015 | Apical
Apical Set to Boost Smallholders' Land Productivity with New-Generation Seedlings
SINGAPORE, 13 MAY 2015 – Apical Group, a processor and trader of palm oil, will work with one of Indonesia's leading oil palm growers Asian Agri, to distribute new-generation seedlings to its smallholders for the replanting of their aging palms, that will see land productivity increase by 50 percent in the new cycle.
23 Jun 2012 | Apical
APICAL raises US$350 million in syndicated loan
SINGAPORE, 22 June, 2012 – APICAL Group Limited (APICAL), a major player in the mid to downstream palm oil industry with 5% market share in the global palm oil industry, today announced the successful raising of significant syndicated loan facilities totalling US$350 million.


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Designers are thinking "off the cuff" for fall accessorizing. Cuff bracelets are versatile accessories that make an effortless fashion statement on bare arms. Designers add their own interpretations with gems, prints and other details for a fresh take on a simple piece.
Where to Find Cuffs (Sponsored):
L'Indochineur Paris-Hanoi
Horn cuff with orange lacquer
Adel Chefridi
18KGold, Satin Finish, Pink Sapphires
Cuffs Couture
Celeste cuff in gold
Yvone Christa New York
Handmade filigree cuffs
Anna Pellissari
Rose quartz on pink leather band
The Paz Collective
Multicolored tourmalines on ivory colored cuff
Evocateur Style
Leopard print on 22K gold leaf cuff
Pame' Designs
Oxidized brass


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Accommodation Singapore Singapore Pillows & Toast Heritage Your Review
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Pillows & Toast is proud to unveil our second branch! We are continuing the good service & amenities at our second branch! *** Stay with us because 1) we do not have any air-con curfew in the entire hostel.


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Luca Toni insists he "still wants to have fun" after signing a one-year contract with Hellas Verona.
The club was promoted into Serie A this summer and will be able to count on the 36-year-old's experience.
"I signed today and now we'll wait for next week so I can get to know my teammates and start a new season," he told the official club website.
"There was a delay in finalising this move because we were expecting a baby. Now things are a little more settled, we decided along with my family to come to Verona.
"Clearly I am very motivated. I've had a good career, I'm happy and if I decided to come here it's because I want to put myself back in the game.
"I could easily have retired or gone on a long vacation, but I am at Verona because I still want to have fun."
See the latest Serie A predictions and betting tips with Eurotips.co.uk


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Let us go through barley health benefits, nutrition information, side effects and history of this superfood.
Barley is a cereal grain that can be consumed in a number of ways. It has a wonderful nut-like flavor and a rich pasta-like, chewy regularity. It is similar in look to wheat berries, albeit with a lighter shade to it. Sprouted barley has naturally occurring maltose, which can be used for making malt syrups and can act as a sweetener. Fermented barley can be employed as a component in beer and other types of alcoholic drinks.
History of Barley
The origins of barley are Southeast Asia and Ethiopia, where it has been for many centuries. It was used as food for humans and animals and also for making alcoholic beverages. The most ancient recorded instance of alcoholic drinks from barley was that of barley wine in Babylonia in 2800 BC. Also, barley water has been a part of traditional medicine for many centuries.
Barley was used by the athletes in Greece and was also a staple ingredient in the bread-making process. Most athletes confirmed that their immense strength was obtained from the use of barley. Roman gladiators also continued the use of barley to attain increased body strength. In China, barley was promoted as a grain that increased virility. As of today, barley is produced across the world and the United States is one of the leading producers of barley.
Health benefits of Barley
- Barley consumption is known reduce the blood pressure and lower the blood sugar and cholesterol levels. People with high cholesterol can gain from barley consumption as the fiber content in it can reduce the blood pressure and cholesterol. Barley tends to slow down the process of stomach emptying and hence the appetite can be controlled due to feelings of satiety. This can eventually result in lowering of the insulin and blood sugar levels.
- Barley has been recommended for increasing the endurance levels and strength for thousands of years. It is also known to promote loss of weight.
- Research indicates that barley can be used to alleviate digestive abnormalities such as stomach pain, diarrhea, and inflammatory bowel disorders.
- Barley consumption is also known to prevent certain cancers such as stomach cancer and to treat a lung disorder called bronchitis.
- Boils on the skin may be treated by the application of barley
- Barley is a rich source of vitamins, fatty oils, proteins and carbohydrates.
- It can be used as a natural sweetener and can thus lower the excess consumption of refined sugar. This can lower the risk to developing diabetes and other related disorders.
Side effects of Barley
- Consumption of barley foods in normal amounts, during pregnancy or while breastfeeding, is not known to cause any side effects. However, intake of barley sprouts can cause harmful side effects.
- Consumption of barley flour can sometimes result in asthma
- Barley has gluten content. Hence, individuals with celiac disease should avoid its consumption as it can worsen the condition.
- Barley has an effect on blood sugar levels. Hence one should abstain from barley consumption at least for two weeks prior to any surgery, as barley can hinder blood sugar levels during and post surgery.
- Barley has fiber which interferes with the absorption of medications by the body. This can nullify the effect of prescription drugs.
- Barley lowers the blood sugar levels and when it is consumed with diabetic medications, there is increased risk of blood sugar becoming too low.
Barley Nutrition Facts
Nutritional value per 100 g
|1,474 kJ (352 kcal)
|1.2 g
|– Sugars
|0.8 g
|– Dietary fiber
|15.6 g
|77.7 g
|9.9 g
Related posts:


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H&H announces new season
Next season, Harry Christophers will lead the Handel and Haydn Society in Bach's "St. Matthew Passion" and Mozart's "Coronation" Mass. That and other details of H&H's 2011-12 season were announced this week.
The "Coronation" Mass, with soprano Rosemary Joshua, will be recorded for future release on Christophers's CORO label, to form an eventual trio of live Mozart recordings alongside last season's performance of the Mass in C Minor and this season's upcoming performance of Mozart's Requiem.
Christophers will also lead a season-opening Haydn-Mozart program with fortepiano soloist Kristian Bezuidenhout; a performance of Vivaldi's "Four Seasons" with H&H's recently appointed concertmaster Aisslinn Nosky as soloist; and the annual holiday traversals of Handel's "Messiah."
Next season's guest conductors will include Rinaldo Alessandrini, Steven Fox, and Jean-Marie Zeitouni.
The "St. Matthew Passion" performances come as part of H&H's efforts to spotlight its own venerable history, in anticipation of its bicentennial in 2015. Specifically, the Society is programming each year one masterwork it premiered in this country. In the case of the "St. Matthew Passion," H&H gave the first U.S. performance in 1871, and the first complete performance came in 1879.
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By Heather · Print This Post
I hope everyone is having a wonderful holiday season. It's been busy for us. So busy, that we didn't follow last's week's plan very well. But that was fine. We switched the meals around and ate up the leftovers in the refrigerator. That's the beauty of meal planning: You can move the meals around if necessary, and you know that you still have the ingredients to fix a meal.
This week, I still have some shopping and wrapping to do, so it will be another week of quick and easy cooking. (If you still need some gift ideas for gluten-free friends and family, check out my post for gift ideas.)
Monday – Parmesan Chicken Nuggets
A kid-favorite meal. Bite-sized pieces of chicken breaded with gluten-free bread crumbs and Parmesan cheese, and baked until golden brown. Serving with French fries and steamed broccoli.
Tuesday – Pork Chops
Boneless pork chops cooked with sauteed mushrooms. Serving with rice and green beans.
Wednesday – Chili
Making traditional beef and red bean chili. Serving with gluten-free cornbread.
Thursday – Baked Ham
Baking a ham and serving with garlic roasted fingerling potatoes and Brussels sprouts.
Friday – Christmas
We'll be spending Christmas day with the family. Instead of a sit-down meal, we will probably have a buffet-style meal that works best with all the gift exchange activities. So, I'm planning on taking a hot spinach artichoke dip, baked potato skins, and a variety of gluten-free cookies. Great items for grazing all day! (And perhaps gaining a few pounds along the way. :))
Saturday – Leftovers
I don't think we'll need to cook today. Maybe just some fresh fruit and vegetables to serve with leftovers.
Sunday – Pupusas
Hoping to find the time and energy to try a new recipe for filling pupusas.
Oops! Here's the link for the Baked Salmon recipe, just in case you're looking for it.
Need more menu ideas?
- Check out this week's Gluten-Free Menu Swap, hosted by Cheryl at Gluten Free Goodness this week.
- Laura at OrgJunkie.com hosts Menu Plan Monday every week. You'll find links to hundreds of meal plans (not necessarily gluten-free) there.
- Or, check out some of my past menu plans.
1 Comments
sounds like a tasty week! and I'd love to hear more about the pupusas.
have a great holiday.


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We spent much of this past long weekend doing large batch cooking (Chicken Soup, J.'s Favorite Goulash, smoked brisket, smoked beef ribs, and swordfish) so that J. could play with his newest kitchen toy, a pressure cooker/canner. I don't even blink when he tells me about the next gadget he is interested in buying, because whatever it is we wind up using it. I know I've mentioned many times how helpful we find our vacuum sealer: I use it for packaging soups and stews for the freezer, and every few months J. will do a ton of meat on the smoker and portion it out in vacuum-sealed bags. Now we're canning food too, both in glass jars and in retort pouches. It's very time consuming, so I'm curious to see how we like the food that has been treated this way.
For this week, though, we're back to food we cook and eat the same day. I'd like to bake something sweet this week, too.
Monday: Smoked beef ribs, chopped salad
Tuesday: Spaghetti & Baked Meatballs, green salad, roasted cauliflower
Wednesday: Make Your Own Pizza, carrot, red pepper, & celery sticks
Thursday: Baked Ziti, Light Wheat Rolls, steamed green beans
Friday: Mighty Grains Salad, Pull-Apart Challah, Roasted Carrots with Thyme (repeat from last week)
Saturday: Lamb Burgers (we have one package of ground lamb left from our share through Roxbury Farm), rolls, spinach salad
Sunday: My birthday! I'm not responsible for dinner.
For more menu planning ideas, check out Laura at Organizing Junkie.


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AMD has backtracked on whether or not it thinks that DirectX is a bad thing.
Last week, Richard Huddy of AMD was quoted as saying that the aged Microsoft API DirectX was "getting in the way" of PC gaming performance.
"We often have at least ten times as much horsepower as an Xbox 360 or a PS3 in a high-end graphics card, yet it's very clear that the games don't look ten times as good… To a significant extent, that's because, one way or another, for good reasons and bad – mostly good, DirectX is getting in the way," he said.
It all seemed fairly clear to us and we can't see how you could take something like that the wrong way.
However Huddy has since been on the blower to all and sundry saying his comments were taken out of context and he still loves the Volish API really.
Now Huddy claims that AMD isn't looking to change the world and that ditching DirectX would really only be of benefit to "high-end gaming developers."
Speaking to CRN, he said that DirectX was not something that most developers want, but if you held a vote, they would go for Direct X or Open GL, because it's a great platform.
Huddy said that Direct X provides a highly stable platform. It's hard to crash a machine with Direct X, as there's lots of protection to make sure the game isn't taking down the machine, which is certainly rare especially compared to ten or fifteen years ago.
Confused? Yeah we were too. We think Huddy was more consistent when he worked with Emu.


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It was only two games. The A's won one and lost one. And they illustrated what is really good and bad about this team. On Tuesday night, the dominant pitching continued, this time from Brett Anderson. He threw eight innings … Continue reading
Monthly Archives: April 2011
That the A's picked up the series split this weekend against the Tigers is pretty fantastic. I mean, did you see the way that series started? First there was Phil Coke completely owning the A's lineup on Thursday night. Phil … Continue reading
After a road trip through three cities in which the A's went 5-4, our beloved green and gold sit with a 6-6 record on the 2011 season, exactly .500. I don't think you could have asked for much more after … Continue reading


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1. symptoms of pericarditis
2. diagnosis of pericarditis
3. Treatment of pericarditis
4. Types of pericarditis
Pericarditis is an inflammation of visceralparietal pericardium and leaflets, characterized by fibrotic changes or accumulation of fluid in its cavity, resulting in impaired heart function.
pericardium function is to maintain the correct orientation of the heart and myocardial protection from strong growths in serious overload.
The disease can cause a variety of bacterial and viral infections, ischemic heart disease, pneumonia, allergic reactions, connective tissue diseases, and autoimmune or neoplastic processes.
Pericardial fluid is plasma ultrafiltrate and in a healthy person the number of its time.And with the development of the disease is enhanced plasma output through the vascular wall into the inflamed tissue of the pericardium.This leads to increase of pressure and formation of adhesions.These processes greatly reduce the efficiency of the heart rate
The disease rarely occurs alone, basically it is a complication of other diseases.Therefore, there is no specific clinical pericarditis, as in the case of more severe symptoms of heart failure appear.
symptoms of pericarditis are:
Often the symptoms of pericarditis are expressed in varying degrees, depending on the form of the disease: acute (lasting less than 6 weeks) or chronic (lasting more than 2 months).
the purpose of diagnosis of this disease complex examination is used, which consists of:
inspection will determine cyanosis (bluish color of the skin and mucous membranes), swelling of the neck veins and leg swelling.Auscultation using a stethoscope gives the possibility to determine the presence of pericardial friction noise.Electrocardiography and echocardiography are also quite informative for detection of the disease.A blood test will reveal markers of inflammation.
pericarditis pericarditis Treatment options depend on the characteristics of the disease and of its gravity.In the case of the acute form of recommended hospitalization, but at a less severe treatment may be performed on an outpatient basis.
pericarditis Treatment includes NSAIDs (non-steroidal anti-inflammatory drugs).Ibuprofen specialists often use because it has fewer side effects than the analogues, as well as a positive effect on the coronary blood flow.If the disease is on the background of the development of coronary heart disease, it is recommended to use diclofenac or aspirin.The medicines of the third row in the treatment of pericarditis include indomethacin.
Along with NSAIDs, it is desirable to use drugs that protect the mucous membrane of the digestive tract that help avoid stomach ulcers.
Within 14 days you can evaluate the correctness of the chosen regimen.If it is chosen correctly, the treatment of pericarditis is continued until the absolute disappearance of symptoms and an additional 7 days, reducing the dose of the last two days to complete the cancellation.If the selected non-steroidal anti-inflammatory drug was not effective, it is necessary to replace it with another drug group.
avoid relapse after recovery the patient should necessarily be under the control of the attending physician.
There are such kinds of diseases like:
Acute pericarditis develops as a result of infections, acute myocardial infarction, chronic renal failure, rheumatoid arthritis, allergic reactions, and systemic lupus erythematosus.
Clinical manifestations and etiological factors of the disease are highly variable, so it is difficult to diagnose.The initial stages of diagnosis of acute pericarditis suggest blood tests, chest X-ray and echocardiography.Acute pericarditis is especially important to prevent compression of the myocardium with blood or exudate, which slowly accumulates in the pericardial cavity.
Treatment of acute pericarditis spend NSAIDs and antibiotics, and for the prevention of side effects of steroids use.In order to eliminate the complications of the disease are also used diuretics, as shown in atrial fibrillation antiarrhythmic drugs.
pericardial effusion is caused by an infectious or allergic inflammation and often complicates the course of tuberculosis, rheumatic fever, streptococcal or staphylococcal infections.He even has a name exudative pericarditis and its characteristic feature is the accumulation of fluid in the pericardial cavity or other body fluids (blood, pus, transudate).Over time, this causes a stretching of the outer pericardium.As a result of exudative pericarditis occurs with the formation of the organization effusion pericardial adhesions, resulting in increased pressure inside the pericardium and disturbed hemodynamics.
flow exudative pericarditis depends on the severity of infection, the volume and amount of pericardial fluid.In this form of the disease may be bouts of weakness, cyanosis, relaxation pulse, loss of consciousness.
main treatment for pericarditis effusion pericardial fluid is evacuated by a puncture.
constrictive compressive or form of the disease usually develops as a result of exudative pericarditis, but can sometimes occur as an independent disease.It is characterized by thickening of the pericardium and the violation of its ability to stretch during the heart.Over time, the sealed pericardium occurs leaving calcium salts and the gradual fusion of the outer shell with the heart.In this form of the disease, a so-called phenomenon of "stone heart", due to the postponement of a large amount of calcium in the pericardium.
Causes of constrictive pericarditis are diseases of the blood and kidneys, rheumatism, tuberculosis, injuries of the chest and heart, as well as other infections.
Diagnosis of the disease is difficult, because of pericarditis symptoms resemble symptoms of congestive heart failure.
On examination, the patient is determined by the swelling of the face, hands, ears, and cyanosis.Key features of constrictive pericarditis is an increased venous pressure and constant tachycardia.The disease is not treated conservatively, but only by surgery.
Dry (fibrous) pericarditis is a disease in which due to violations of vascular permeability in the pericardial cavity propotevaet fibrinogen and fibrin is deposited in the form.
main clinical symptoms of pericarditis are:
With timely treatment to the expert and proper treatment, the prognosis for most patients is favorable.
This article is available exclusively in the educational purposes and is not research material or professional medical advice.
make an appointment to see a doctor
Contents: 1. Causes of eyesore 2. Types disease 3. Diagnosis and treatment of eyesores eyesore or wall-eye -it is a disease ...
Contents: 1. Causes of femoral hernia 2. Types of hernias 3. Symptoms 4. Complications of femoral hernia 5. Treatment of ...
Contents: 1. reasons bartholinitis 2. Symptoms bartholinitis 3. features of the disease 4. Diagnosis and treatment bartholini...


text: At Hotel La Fauceille, you'll be within a 15-minute drive of St. Jacques Church and Le Castillet. Guests indulge in body treatments, then grab a bite to eat at the restaurant. A bar/lounge and a fitness center are other highlights, and rooms at this upscale hotel offer furnished patios and flat-screen TVs.


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Customise the Txp admin interface with CSS
This little plugin lets you add your own stylesheet to the TXP Admin Interface so that you can customse it with your own styles.
This little plugin lets you add your own stylesheet to the TXP Admin Interface so that you can customse it with your own styles.
This is a little plugin that makes columns by taking any html (usually article bodies) and splits it up among multiple divs for use in creating multiple-column text layouts. All that is needed is a little CSS to make the magic work.
<div class="<txp:section />">
<txp:section />

This is really simple but read on for more info.
The rss_admin_resize plugin allows you to customize the size of the primary textareas and input fields while editing articles, pages, styles and forms. Your settings can be completely customized on a new tab that will be added to your admin interface (admin -> resize). If you work on multiple computers you'll be able to customize the...
Allows for conditional stylesheets on a per-article basis.
A nice little style-switcher script that can work independently of Textpattern, and can be set up with very little fuss.
fla_altlist_link is a style-switch hyperlink generator. It allows you to easily and quickly create links to alternate stylesheets switcher with fla_style_switcher.
fla_style_switcher is a stylesheet switching system. It enables a cookie-based style switcher system, based on Build a PHP Switcher by Chris Clark, published on alistapart.com.
This is a mod to change the style of the tabs in the admin area.
These are the default CSS and template for an original Textpattern installation.
38 articles


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FERRAGAMO CEO expects smaller impact on luxury sales in Japan
In a recent interview, Michele Norsa, CEO of Salvatore Ferragamo, one of the leading international luxury brands in Japan, with 83 points of sales expects the impact of the earthquake and tsunami to have a lesser impact on sales of luxury. He noted that the most affected areas have been the rural ones, which have a smaller contribution to the country's GDP than Osaka, Tokyo and Kobe. Most of the company's staff returned to work normally and have shown a strong resiliance.


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#3 looks like it could correspond to manaphy and becuse he lives in the drifting ruins and he was prince of the sea
#4 could stand for lugias ocarina
#5 xcould stand for the water type pokemon
#6 ?
#3 looks like it could correspond to manaphy and becuse he lives in the drifting ruins and he was prince of the sea
#4 could stand for lugias ocarina
#5 xcould stand for the water type pokemon
#6 ?
Last edited by email@example.com; 11th December 2011 at 8:37 PM.
pokemon y-5215-1007-9222- gira
Friend safari - electric - snorunt,piloswine. beartic
completed all kalos dex's
completed national dex
Especially because it adds some sort of symmetry to Unova. Think about it:
-In the Northwest, there is Dragonspiral Tower, connected to the Tao trio.
-In the Mid-South, there is the Relic Castle, which is apparently connected to the Tao Trio, and the original location of the Dark/Light Stone.
-In the Southeast, there is the Giant Chasm, home to a member of the Tao Trio, just north of the third ancient ruins site in Unova, the Abyssal Ruins.
However, the people of Lacunosa say that, according to myth, Kyurem appeared in a comet. I'm not sure how these two myths work together. :s Anyone have any ideas? I'm thinking that maybe, Kyurem didn't appear in a comet, but was the "comet" itself. Would this event have to do with sinking of the Abyssal Ruins? Perhaps Kyurem sank them, tried to fly north, but plummeted to the earth due to his poor shape just outside of Lacunosa Town?
I like to think there was 2 kingdoms, Relic Castle, and Abyssal Ruins were each the 2 capitols. Dragon Spiral Tower was the neutral ground where either Kingdom could meet to disscuss kingdom stuff.
When the kingdom that would become the Abyssal Ruins sank, that Kingdom's dragon retreated to Dragon Spiral Tower, while the one in Relic Castle stayed in it's town.
Some sort of disaster struck, sinking the east kingdom, and turning the west kingdom into a harsh desert.
With Kyurem I have a little though of how it happened.
I say the original dragon(you know the one that the Tao Trio were before the split) flew up high into the sky before it split, which in turn would cause the corpse a.k.a Kyurem to come plumeting to the Earth. Now, as an Ice type Kyurem's body would heat up upon re-entry causing it to appear as a comet. Upon impact a giant shockwave caused the water around the impact zone(which would later become known as the Giant Chasm) to create a tsunami which traveled south and sunk the the ancient civilization that would later become known as the Abyssal Ruins.
A little bit more about Kyurem, if we consider what I mentioned above, it would explain why Kyurem appears more broken than it would be normally, since it is asymetrical. With the Legend of Lucanosa about Kyurem eating people and pokemon alike could be true as he appears as a corpse(zombie anyone), appears to be damaged and could be trying to heal itself, and with being an absence of energy hence the Ice typing and can no longer keep a steady source of energy like Resiram/Zekrom(I consider these guys the/a physical embodient of Thermal/Electrical Energy respectively, so they do not require an external energy source since they are/produce it.). So Kyurem is required to eat or suck out the energy of other organisms in order to still function. This is all the myths I recall involving Kyurem.
This is all in my opinion and the way I see how these events transpired, so both myths can be true.
Last edited by shadow wolf; 3rd January 2012 at 6:25 AM.
... -_-' What, were you expecting a cookie?
I've been reading a lot of this thread, and I haven't seen the theory I'm most interested in.
For me, because I have White:
'King defeated Reshiram alone.
Reshiram joined King in a day. (Since, if you defeat a Pokemon, you have the chance to catch it and it will be 'yours', essentially)
King called Pokemon 'beings'. (I really like this theory!)
The great King, N.'
In Black, you would replace Reshiram with Zekrom.
Black FC: 4083 5723 8887
King defeated ③ alone.
④ joined King in a day.
King called ⑤ beings.
King is hope and future.
The great King ⑥.
Its said that reshiram and zekrom came from one dragon with the dispute from the brothers , kyurem was thought to be the leftover corpse.
its also thought that kyurem could have other signature moves but cannot learn it yet.
its ice burn and freeze shock so he gets either when united with one of them im guessing so
3 Reshiram/Zekrom depending
4 Reshiram/Zekrom depending
5 im not sure
6 Kyurem
well thats my theory
5 im not sure about thats the tricky part for i kinda think its not connected with this
i got this info of kyurem zekrom and reshiram from bulbapedia
I always thought the Abyssal Ruins had something to do with Sinnoh lore. You find plates that belong to Arceus and Cynthia is interested in investigating it.
And I will say that this would not be the first time a previous-generation legendary has made it into a 3rd game for a generation's region, precedent being the Articuno, Zapdos, and Moltres roaming Sinnoh in the Platinum post-game.
I agree that it would make much more sense to promote current-gen legends with the Ruins, especially since they have a good chance of being linked to the main story by the third game (especially by virtue of the symbols that switch depending on which version of the game you have*). But even though I see it being more likely to relate to Unovan Pokemon, I can see some reasons for them to promote a previous-gen Pokemon in Unova, if not necessarily through the Abyssal Ruins.
*I see this as the main evidence that the Ruins, at least, are probably related to Unovan Pokemon, as no previous-Gen legends are B/W version exclusives, whereas Reshiram, Zekrom, Tornadus, and Thundurus fit that bill in B/W. Previous Gen things might be related to other areas, but since the Abyssal Ruins' runes are linked to differences in the Black and White games, they're probably related to Unovan Pokemon.
EDIT: Just so there aren't misunderstandings, this is more of me thinking "out loud" than arguing a point. I just used your post as a jumping off point.
Last edited by Ememew; 13th January 2012 at 4:41 AM.
This is really interesting! I bet the King refers to N? This entire legend could be explained more in Gray?
If you believe that the cuneiform was written long enough ago that the structure in which you find it now qualifies as "ancient ruins", then no, it likely doesn't refer to a character who's a teenager in the present day.
Some manner of deeper explanation in the third game is probable.
Read this whole thread a few days ago, lots of interesting theories being thrown around here. Well, some are a little painful to try and read through... but for the most part, it really got me excited for the next game this gen! BW's story seems so much more intricate than any other game previous... I'm intrigued to find out the tales behind Kyurem. I highly doubt any previous gen Pokemon has anything to do with the Abyssal Ruins, it makes no sense that they would go to all this trouble to give a place to an older legendary. Its something to do with the Tao Trio, and a lot of things that are difficult to speculate about (the story of the brothers, the Relic Castle/Dragonspiral Tower) because we don't know enough yet. All I can say is that I'm definitely getting Gray (or whatever its called) when it comes out. Things like this just make me feel even more baffled when people say "the new Pokemon games suck"... earlier gens were fantastic too, but none of them had a plot like this one.
Sorry if this has already been said, as I've only read the first few pages, but perhaps the plates have something to do with it; Maybe it was some tribe of people who thought Arceus was their king and so thats why all the plates are there, and "King" of course refers to him. just a thought.
Copy/Paste this into your signature if you support a MOTHER 3 remake on the 3DS!-started by ToedandTrue
Finished hunts:
Spoiler:- Shinies :D:
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As BCVM has said, it's unlikely that they're using the Abyssal Ruins to promote a Pokemon from an older Generation--Arceus belonging in Abyssal Ruins would make sense if the Abyssal Ruins were an event-only area, specifically for Arceus distribution, I think.
I wouldn't say Arceus (or other past Legendaries, like Regigigas) couldn't be referenced in the Abyssal Ruins, but I think if any Legendary is supposed to be the focus here, it'd be a 5th Gen Legend. Kyurem makes the most sense, with it living so close to the Abyssal Ruins, and with Reshiram and Zekrom appearing respectively in the other two ancient structures in Unova.
I want to say that the "King," if it isn't a Pokemon, is an ancient member of Team Plasma, but that's saying quite a lot about Team Plasma, and indicates that it has a very long history. This, however, may contradict the dialogue of the seven sages, which often seems to hint that Ghetsis was the founder of Team Plasma. (Or, perhaps, the one who revived Team Plasma...?)
Last edited by Grei; 26th January 2012 at 6:23 AM.
i like the prophecy idea but lets consider this
King defeated ③ alone.
④ joined King in a day.
King called ⑤ beings.
King is hope and future.
The great King ⑥.
3 could mean n/ghetsis
4 possibly cheren and bianca
5 maby means "all" reffering to the pokedex quest
if "king" is the player then this could reffer to the player stopping ghetsis' plan to seperate humans and pokemon thus incurring hope for the future
the great king [insert player name here]
My theory in Pokemon White is that the relic castle was where the brother who had Zekrom was and the brother with Resiram was in Dragon Spiral Tower. When the brothers went to stop the war the Ruins and Relic Castle was destroyed in the process so the people long forgot about Zekrom hence why no one knew about Zekrom in White and the other brother with Resiram remained and Rule over what was left of the kingdom.
White FC 3869 2724 3144
i cant even get to the second floor


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While promoting I'm Not There in September at the Venice Film Festival, late actor Heath Ledger said at one point in his life he had wished to pursue another rock biopic: the story of Nick Drake, the singer-songwriter who overdosed on anti-depressants in 1974 at the age of twenty-six. According to MTV News, Ledger told a news conference, "I was obsessed with his story and his music and I pursued it for a while and still have hopes to kind of tell his story one day." Evidently, Ledger's "obsession with an artist by the name of Nick Drake" led him to make a video for Drake's "Black Eyed Dog" that has only been screened twice (once at Bumbershoot and once at a Drake event in L.A.) and has yet to leak to the Internet. The black-and-white clip reportedly consists mainly of footage of Ledger, and concludes with the actor drowning himself in a bathtub.
Ledger also reportedly had plans to start a record label with Ben Harper called Masses Music Co. Ledger directed the video for Harper's "Morning Yearning," as well as a clip for the label's first signing, Australian singer Grace Woodroofe.
Related Stories:
• Shock at Sundance: Peter Travers Remembers Heath Ledger
• Heath Ledger's Lonesome Trail: March 2006 Cover Story
• "I'm Not There" at the Venice Film Fest: Video Interview With Todd Haynes and Heath Ledger


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Twitter Chat: Preventing HPV 7.29.13
Centers for Disease Control | 07.24.13
Join CDC Director Dr. Tom Frieden on Monday, July 29 from 3-4PM ET for a Twitter chat with CDC experts to discuss how we can work with doctors and parents to increase HPV vaccination rates and protect the next generation from cancers caused by HPV.
Human papillomavirus (HPV) is the most common sexually transmitted infection in the United States. Almost every sexually active person will get HPV at some point in their lives.
The good news is there is a safe, effective vaccine available to prevent the kinds of cancer and other diseases caused by HPV.
Last month, CDC reported that vaccine-preventable HPV infections in teen girls have decreased by more than half since we started vaccinating against HPV in 2006. This report, while encouraging, was a wake-up call that we need to ramp up our efforts to increase HPV vaccination rates. Only one third of girls between the ages of 13 and 17—our daughters, sisters, nieces—have received the full HPV vaccination series.
How many wake-up calls do we need? It's time to increase the number of adolescents and teens vaccinated against HPV. Join this important conversation!
When: Monday, July 29, 3:00-4:00PM EDT
Join the conversation: Follow Dr. Frieden on Twitter @DrFriedenCDC and use the hashtag #CDCchat to participate.
Published in Get Involved
Tagged under awareness, cancer, CDC, girls, HPV, prevention, sex, Twitter, vaccine, women


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Posted by Dave_Id on November 11, 2012 at 15:58:50 from (18.104.22.168):
I got this sent to me by one of my veteran brothers.
Happy Brother's Day
You may have served in Combat or in non-combat.
You may have retired out or you may have served for a short time. You may have been a draftee or a volunteer. You may have served in the Corps, Army, Navy, Air Force, Coast Guard or the Merchant Marines,
BUT YOU SERVED. YOU DID YOUR JOB HONORABLY and for that I am PROUD to call you Brother.
You may have served during Korea , WWII,. Vietnam, Persian Gulf, Iraq or Afghanistan, But you served, you did not run.
You have a DD 214 with those words "HONORABLY DISCHARGED" two of the most noble words in the world.
Again I am proud to know each and every one of you.
*Today is Band of Brothers' Day*; send this to all your brothers, fathers, sons and fellow veterans you know. Happy Brothers' Day!To the cool men that have touched my life: Here's to you!!
I was never a hero, but I am thankful and proud to have served among them
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Paul Prescott
Paul Prescott (28/11/89 / Bridgend)
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Night With You
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That of you only I could see
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I think the diva of this thread was Chiron, whom graciously stole the words from my lips. I completely agree with what you said Chiron. I often observe the same issue over and over again, and while I am pretty confident in understanding the underlying reasons and causes for the same patterns of behavior, I often think to myself "what the nibblets is wrong with most of these people. Not that I am trying to get up in everyone's grill and be judge mental of people I do wonder both about the people who either factiously want their fantasies to come alive or those who are simply young and or new to the craft; and then I also with the same thought wonder about the more experienced and well rounded practitioners' of the craft and ask myself why they don't even attempt to make an effort to help those in need and are asking for help.
I get that it is extremely exhausting and annoying when the same questions are asked over and over, and I understand that some of the people aren't here to dedicate their time and effort to the study of the craft. But while I understand that and the many other reasons why it has become difficult for the experienced practitioners to stand up, be dedicated to helping those in need and being assertive and resourceful, I also know that in life and reality there will always people who aren't serious towards the cause or the study. Whether it be a lazy coworker, a sloppy waitress, a boring teacher etc. there is always going to be the people who don't have the passion, the desire, the will, or the love to dedicate their time to try and uphold the expectations, the dedication, or the strength to carry on even when "nibblets" hit the fan.
So great we established some thoughts on the causes and reasons why the cycle of fluffiness exists, we get it, we know their are flaws within our community just as we all should know there are flaws within every community and group. So here is my question to you all: "What in the sweet corn do you plan to do to fix the problem, instead of blabbering about how and why it sucks?" Yes, that's right I said it, I am in a fierce mood and I have had one heck of a southern peachy day.
You know if you set aside of the fact that it gets annoying as heck to get asked the same questions over, or the fact that some people aren't really here to learn and be told what is what; all you have to do is take the few seconds to answer a question or at the very least be resourceful enough to point whoever in the right direction. If they don't like your answer then screw them, don't get all sassy and huffy because they don't want to learn and listen to what you have to say. I understand you want these people to take what you say and understand it, take it to heart, but really at the end of the day what matters is that you spoke your mind, you at least had the respect and courage to make an effort.
To give you some advice from my own experience I will tell you that through my time here and elsewhere I started out where I was like "Yeah, that's right, I know what I'm talking about, and I am here to turn heads, impress people, and make a difference!" And you know what I have learned after finding out that you'd be lucky as a two piece and a biscuit if just one or two people cared to even pay attention: That no matter how hard you try to make a difference, the most important thing that matters in the end is whether or not after all your hard work, time, and effort is if what you did helped you grow spiritually, if you learned a lesson, or found some tid bit of understanding out of all this mess we call magic.
Our community is a rubix cube of this and that, and all kinds of gumbo. We have so many people from all kinds of walks of life, all kinds of juicy personalities, all kinds of backgrounds. We as a spiritual community are so diverse and enriched in so many paths and beliefs, it is truly a spectacular achievement that we manage to stick together through all the popsicles that we endure. I think even though we have our flaws and we face our own challenges and trails, we are a strong, brave, and triumphant family of individuals and brothers and sisters. So in light of all of this sugar and spice laid before you, I say these last words to you tonight: "Shut the deli meats up, and start upholding the standards that as kindred of the craft we expect; if you know it and got it share it with those who ask or those willing to listen; otherwise stuff your face with something other than donuts!"


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We need to talk about your meat. Not just because it is Lent and some folks like to abstain from eating meat on Fridays, but because as Americans we eat way too much of it. According to a recent study we consume nearly 50% more meat daily than what is required!
Since college is one of the most important times during our adult developmental stage, it's a good idea to start forming healthy habits now instead of suffering the consequences later. One of these habits is managing our meat intake. According to the USDA, a college aged female should eat 5.5 ounces and a male 6.5 ounces of meat daily (this will vary from person to person, please reference this USDA chart for more info).
So in the spirit of Lent, we wanted to remind you of some of the easy and delicious meatless meals we have available here on Cooking in College.
Fish Tacos are one of our favorite things to make all year round.
You can't go wrong with this super easy mac n' cheese recipe.
One of our newer recipes, creamy sun-dried tomato and spinach pasta, is anything but a sacrifice for giving up meat.
Or how about trying something a little bit more romantic like this French onion soup?
You can never go wrong with banana pancakes. Never.
Finally, if you would like to know a little more about eating protein, here is an awesome infographic by the Good Food Blog:


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About this event
- Web site
- www.cpt.univ-mrs.f…
- When
- 6–11 May 2013
- Where
- Cargèse, Corsica, France
- Registration deadline
- Apr 14, 2013
- Contact address
C. Roland Triay
Centre de Physique Théorique
Campus de Luminy, Case 907
Marseille cedex 9
- Tel
- +33(0)491269519
- Fax
- +33(0)491269553
- firstname.lastname@example.com…
Hot Topics in Modern Cosmology
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"I had unprotected sex with a boy on Friday. The next day i started my period. Then on Sunday i took the morning after pill, which was 38 hours after i had sex with the boy. After i took it, my period kind of stopped. I just need to know ..."
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A MAN from Worthing survived a 100ft cliff fall when his car left the road and plunged into the sea.
The driver was able to escape from his Ford Focus and make his way to the rocks following the incident, in Roedean, near Brighton, which happened just after midnight this morning (Sunday, April 13).
Miraculously the 33-year-old man suffered little more than cuts, bruises and other minor injuries a spokesman for Sussex Police said.
The falling car managed to clear the undercliff promenade after leaving the A259, landing in the water.
The lucky motorist is currently being treated at the Royal Sussex County Hospital in Brighton.
Chief Inspector Martin Pattenden said: "The driver is very lucky to have survived.
"I hesitate to use the word 'miraculous' but to fall in a moving vehicle off a cliff and survive the hazards at the bottom like rocks and to not fall into deep water is extremely lucky.
"But this could have been a very different story if it had been high tide."
Newhaven Coastguard sent a cliff technician down a ladder supplied by East Sussex Fire and Rescue Service from the promenade to the beach to join firefighters and paramedics who were already with the man.
Sussex Police and the South East Coast Ambulance Service also attended the incident.
The Newhaven Coastguards used a rescue stretcher to pull the injured driver up the cliff.
Some 22 emergency service workers were on scene.
Brighton and Newhaven lifeboat crews also made a brief search of the area and checked the car for any other casualties.
The Ford Focus has now been recovered from the scene and the cause of the crash is under investigation.
Chief Insp Pattenden said the force is keen to speak to witnesses to determine the cause of the crash.
He is urging anyone with any information to call Sussex Police on 101.
*Do you know the driver? Email email@example.com


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Ok, so call me immature, but I think the "leprechaun poop" idea is my favorite.
We will be sharing more of these Pinterest boards this year. We hope you LOVE them.
Ideas and Inspiration to Create Your Life.
Holidays & Parties, St. Patrick's Day
by Kirsten · · 2 Comments ·
is the author of this post. Wanna know more about the Chicks? Click here. :)


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More info: Failure Analysis Lab


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NEW Rolled Ball Screw Compact Nut Series
Product Announcement from MISUMI USA
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