English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Zendy Open

Presents the pdf analysis as premium feature

PDF Analysis

Insights

Presents the summarisation as premium feature

Summarisation

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the zaia usage as premium feature

ZAIA

Zendy Tools

Zendy Plus

Presents the access of premium content as premium feature

Premium Content

I saw this amazing thing that Kate Valk did with their method. She started looking at Cressida via an interview with Björk. It was fed to her through an earpiece, but she could also see it on a TV. She repeats Björk’s mannerisms and mimics her accent, and then she goes seamlessly into a speech from Cressida. Somebody was interviewing Björk, so when Kate was doing Björk she was talking to one of us, and it was like she was having a conversation with us, really talking to us. Then she would break into this Cressida speech. It really was engaging. She was doing about five things at once. She was playing. Something worked . . . something let them in. —Paul Ready Paul Ready was among a group of British actors representing the Royal Shakespeare Company, led by the director Rupert Goold, flown to New York to test the viability of a collaboration with the Wooster Group as part of the 2012 World Shakespeare Festival. Observing them rehearse, Ready was struck by key characteristics of the Group’s method: “inappropriate” combinations of material (Björk and Shakespeare) jostled for attention; technology and mediated material grated against ”liveness” as theater’s distinctive feature, yet focused actor and spectator on the pres-

Culture Clash: What the Wooster Group revealed about the RSC (and British theater hegemony) in Troilus &amp; Cressida.

Culture Clash: What the Wooster Group revealed about the RSC (and British theater hegemony) in Troilus & Cressida.