Pub Date : 2021-06-29DOI: 10.32621/acotaciones.2021.46.10
Irene Repeto
El proceso de creación del unipersonal Mi hermana extranjera servirá como punto de partida para la conceptualización de la vulnerabi-lidad escénica, concebida en este artículo como la exaltación de una herida biográfica en relación al cuerpo. A partir de la reflexión sobre teatra-lidades contemporáneas como las de Angélica Liddell y Vivi Tellas, se busca construir dicho concepto como herramienta poética que hace uso de la puesta en escena de la propia experiencia a través de la performa-tividad de la memoria. Se propone que estos conceptos pongan en crisis la construcción identitaria del ser humano para dar paso a un discurso escénico de carácter crítico que podemos identificar con el llamado tea-tro de autoficción.
{"title":"LA VULNERABILIDAD ESCÉNICA EN EL UNIPERSONAL MI HERMANA EXTRANJERA: MEMORIA, AUTOFICCIÓN Y SEXUALIDAD EN LA INFANCIA","authors":"Irene Repeto","doi":"10.32621/acotaciones.2021.46.10","DOIUrl":"https://doi.org/10.32621/acotaciones.2021.46.10","url":null,"abstract":"El proceso de creación del unipersonal Mi hermana extranjera servirá como punto de partida para la conceptualización de la vulnerabi-lidad escénica, concebida en este artículo como la exaltación de una herida biográfica en relación al cuerpo. A partir de la reflexión sobre teatra-lidades contemporáneas como las de Angélica Liddell y Vivi Tellas, se busca construir dicho concepto como herramienta poética que hace uso de la puesta en escena de la propia experiencia a través de la performa-tividad de la memoria. Se propone que estos conceptos pongan en crisis la construcción identitaria del ser humano para dar paso a un discurso escénico de carácter crítico que podemos identificar con el llamado tea-tro de autoficción.","PeriodicalId":36745,"journal":{"name":"Acotaciones","volume":"63 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84684781","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-29DOI: 10.32621/acotaciones.2021.46.09
Eleni Timplalexi, M. Santorineos
In the following paper, the case of Experiments in Automatic Writing, a festival-project that took place in October 2011 at Fournos Centre for Digital Culture in Athens, Greece, and involved collabora-tive writing and performance with the use of digital media, is presented and discussed. The project lasted for 4 days and involved 42 writers, playwrights, journalists, artists, poets, chat users, performers, actors, musicians, a visual artist and a chat bot. The article reflects on the so-cial, theoretical, writing and performative circumstances that gave rise to the project as well as its intentions and outcomes. By analyzing in depth the project, a reflective contribution to the field of digitally enhanced performance and theatre gamification practices is intended, from the point of view of the designer of the event as well as that of the practitioner. Some suggestions are made with regards to possible future uses of the methodology developed within the project framework in the arts and education sectors.
本文将介绍并讨论2011年10月在希腊雅典的Fournos数字文化中心举办的“自动写作实验”(Experiments In Automatic Writing)的案例，这是一个节日项目，涉及使用数字媒体进行协作写作和表演。该项目历时4天，涉及42位作家、剧作家、记者、艺术家、诗人、聊天用户、表演者、演员、音乐家、视觉艺术家和聊天机器人。这篇文章反映了产生这个项目的社会、理论、写作和表演环境，以及它的意图和结果。通过对项目的深入分析，从活动的设计者和实践者的角度出发，对数字增强表演和戏剧游戏化实践领域做出了反思性的贡献。就项目框架内开发的方法未来在艺术和教育部门的可能用途，提出了一些建议。
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Pub Date : 2021-06-29DOI: 10.32621/acotaciones.2021.46.06
Marios Chatziprokopiou
We are the Persians! was a contemporary adaptation of Aeschy-lus’s The Persians presented in June 2015 at the Athens and Epidaurus Festival. Performed by displaced people from Afghanistan, Pakistan and Bangladesh, and directed by Yolanda Markopoulou, the piece grew out of the Station Athens group’s five-year theatre workshops. Extracts from the original play were intertwined with performative material brought to the project by the participants: from real-life testimonies to vocal improvisations, poems, and songs in different languages. High-lighting the historical thematic of the play, this adaptation was presented as a documentary theatre piece, and the participants as ‘modern-day heralds’ who provided on stage ‘shocking accounts’ concerning ‘contem-porary wars’ (programme notes, 2015). After briefly revisiting the main body of literature on the voice of lament in ancient drama and in Aeschylus’s The Persians in particular, but also after discussing the recent stage history of the play in Greece, I conduct a close reading of this adaptation. Based on semi-directed interviews and audiovisual archives from both the rehearsals and the final show,I argue that the participants’ performance cannot be limited to their auto-biographical testimonies, which identify their status as refugees and/or asylum seekers. By intertwining Aeschylus with their own voices and languages, they reappropriate and reinvent the voice(s) of lament in ancient drama. In this sense, I suggest that We are the Persians! can be read as a hybrid performance of heteroglossia, which disrupts and potentially transforms dominant ways of receiving ancient drama on the modern Greek stage.
{"title":"FROM TESTIMONY TO HETEROGLOSSIA: THE VOICE(S) OF LAMENT IN WE ARE THE PERSIANS!","authors":"Marios Chatziprokopiou","doi":"10.32621/acotaciones.2021.46.06","DOIUrl":"https://doi.org/10.32621/acotaciones.2021.46.06","url":null,"abstract":"We are the Persians! was a contemporary adaptation of Aeschy-lus’s The Persians presented in June 2015 at the Athens and Epidaurus Festival. Performed by displaced people from Afghanistan, Pakistan and Bangladesh, and directed by Yolanda Markopoulou, the piece grew out of the Station Athens group’s five-year theatre workshops. Extracts from the original play were intertwined with performative material brought to the project by the participants: from real-life testimonies to vocal improvisations, poems, and songs in different languages. High-lighting the historical thematic of the play, this adaptation was presented as a documentary theatre piece, and the participants as ‘modern-day heralds’ who provided on stage ‘shocking accounts’ concerning ‘contem-porary wars’ (programme notes, 2015). After briefly revisiting the main body of literature on the voice of lament in ancient drama and in Aeschylus’s The Persians in particular, but also after discussing the recent stage history of the play in Greece, I conduct a close reading of this adaptation. Based on semi-directed interviews and audiovisual archives from both the rehearsals and the final show,I argue that the participants’ performance cannot be limited to their auto-biographical testimonies, which identify their status as refugees and/or asylum seekers. By intertwining Aeschylus with their own voices and languages, they reappropriate and reinvent the voice(s) of lament in ancient drama. In this sense, I suggest that We are the Persians! can be read as a hybrid performance of heteroglossia, which disrupts and potentially transforms dominant ways of receiving ancient drama on the modern Greek stage.","PeriodicalId":36745,"journal":{"name":"Acotaciones","volume":"54 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75179499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-29DOI: 10.32621/acotaciones.2021.46.02
María Konomi
This essay will investigate a series of performances in Greece that showcase the theme of crisis discussed through the particular frame of their expanded scenographic strategies as dramaturgies of crisis. This expanded scenography is not restricted to politics and aesthetics of scenographic representation extending well beyond traditional staging paradigms to aspects that reinstate the emergence of social realities and a fundamentally social conception of space. Indicatively, this includes strategies like introducing various charged elements from lived experi-ence and contemporary visual culture, as well as conflictual aesthetics of the crisis and visual and spatial dramaturgies of the precarious. Sce-nographic dramaturgies of crisis seem to thrive on new spatial perfor-mance forms that directly interact with social realities and real spaces (like site-specific performance), while they mobilize a renewed address to found, shared public space putting to use strategies of participation. In this context of the crisis, the widespread multimedia idioms and the proliferation of video and cinematic idioms are also notable. Perfor-mances that thematize aspects of the crisis, such as Revolt Athens (2016), and the twin site-specific performances built with a core topographical address, Tea Time Europe (2014-15) and Eat Time Europe (2016) will be an-alyzed as key case studies to exemplify and further contextualize their scenographic approaches as content and context-oriented formulations, as visual and spatial dramaturgies that provide us with an entryway into performing crisis.
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Pub Date : 2020-12-18DOI: 10.32621/ACOTACIONES.2020.45.04
Pere Sais Martinez, Dimitra Konstantopoulou
Across the different periods of Jerzy Grotowski´s trajectory, from Poor Theatre to Objective Drama, the article detects and examines the close connection between action, space and place within both the con- ceptual and the practical framework of each one of them. The approach concerns, in particular, the flagship spaces and places of each period, that is, the Laboratory Theatre of Wroclaw, of Poor Theatre, the buildings and the surrounding countryside of Brzezinka, of Paratheatre, and the Barn and the Yurt of the University of Irvine, of Objective Drama. Being theYurt the only building constructed for Grotowski in his trajectory and according to his precise instructions, it deserves special attention as model space with respect to the pretensions of his work.
{"title":"LOS ESPACIOS DE GROTOWSKI: DESDE EL TEATRO POBRE HASTA EL DRAMA OBJETIVO","authors":"Pere Sais Martinez, Dimitra Konstantopoulou","doi":"10.32621/ACOTACIONES.2020.45.04","DOIUrl":"https://doi.org/10.32621/ACOTACIONES.2020.45.04","url":null,"abstract":"Across the different periods of Jerzy Grotowski´s trajectory, from Poor Theatre to Objective Drama, the article detects and examines the close connection between action, space and place within both the con- ceptual and the practical framework of each one of them. The approach concerns, in particular, the flagship spaces and places of each period, that is, the Laboratory Theatre of Wroclaw, of Poor Theatre, the buildings and the surrounding countryside of Brzezinka, of Paratheatre, and the Barn and the Yurt of the University of Irvine, of Objective Drama. Being theYurt the only building constructed for Grotowski in his trajectory and according to his precise instructions, it deserves special attention as model space with respect to the pretensions of his work.","PeriodicalId":36745,"journal":{"name":"Acotaciones","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78083178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-18DOI: 10.32621/acotaciones.2020.45.05
Antoni Ramon Graells
Una isla flotante del archipiélago del «Tercer Teatro», así po- dríamos entender la casa del Odin Teatret en Holstebro. A una antigua granja en las afueras de esta pequeña población de Jutlandia, en Dina- marca, llegó en 1964 la entonces joven compañía. El articulo describe el hábitat del grupo, relacionando su crecimiento arquitectónico con el técnico-artístico. Unas láminas que trazan un discurso paralelo al tex- tual interpretan gráficamente la relación de la sede del Odin con Hols- tebro, la evolución del conjunto edificatorio y sus cualidades vivenciales.
{"title":"LA ISLA Y EL ARCHIPIÉLAGO. LA CASA DEL ODIN TEATRET EN HOLSTEBRO","authors":"Antoni Ramon Graells","doi":"10.32621/acotaciones.2020.45.05","DOIUrl":"https://doi.org/10.32621/acotaciones.2020.45.05","url":null,"abstract":"Una isla flotante del archipiélago del «Tercer Teatro», así po- dríamos entender la casa del Odin Teatret en Holstebro. A una antigua granja en las afueras de esta pequeña población de Jutlandia, en Dina- marca, llegó en 1964 la entonces joven compañía. El articulo describe el hábitat del grupo, relacionando su crecimiento arquitectónico con el técnico-artístico. Unas láminas que trazan un discurso paralelo al tex- tual interpretan gráficamente la relación de la sede del Odin con Hols- tebro, la evolución del conjunto edificatorio y sus cualidades vivenciales.","PeriodicalId":36745,"journal":{"name":"Acotaciones","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83580924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-18DOI: 10.32621/ACOTACIONES.2020.45.11
D. Sarasola, Resad
En la noche del 14 de diciembre de 1591, un Juan de la Cruz Viejo y devastado por la gangrena de una pierna, olvidado de cuidados medicos, y degradado de todos sus cargos, yace en su lecho de muerte en su humilde celda del convento carmelita de San Jose de Ubeda. Se siente morir y se dispone a quemar sus escritos, ocultos bajo el jergon, antes de que caigan en manos de la Inquisicion, cuando el espectro de Catalina Alvarez, su madre fallecida anos atras, le pide que los confie a su cuidado. Al punto, se materializa Juan Muchacho, desdoblamiento adolescente del moribundo, quien comienza a recordar su llegada a Medina del Campo con su madre y su hermano Francisco – recien fallecido su hermano Luis- para buscarse la vida. Asi se inicia la primera jornada sobre el periodo de formacion de este Juan Muchacho: primero, entra a trabajar como enfermero con 15 anos en el hospital de sifiliticos de la ciudad, dirigido por el jesuita Alfonso Alvarez de Toledo quien, viendo en Juan aptitudes para el estudio, le descarga de horas laborales para que pueda formarse en la escuela nocturna para indigentes que acaban de abrir los jesuitas en Medina. Juan Bonifacio, latinista instructor de Juan, y Alvarez de Toledo, le proponen el cargo de capellan del hospital por darle un jornal decente y garantizarle horas libres para el estudio, siempre y cuando convenga en hacerse jesuita. Pero Juan se niega a entrar en una orden que convierte el conocimiento en poder, nacida para defender al papado. Catalina insiste en que acepte para aprender el latin, lenguaje de la iglesia, que le granjeara poder y conocimiento. Juan le confiesa que ha ingresado en el convento carmelita de Santa Ana de Medina del Campo y que el prior le envia a estudiar lenguas clasicas, filosofia y teologia al Colegio de San Andres de la Universidad de Salamanca, pues necesita hombres formados. La segunda jornada se abre con el regreso a Medina de Fray Juan de Santo Matia, primer pseudonimo religioso de Juan de Yepes, tras cuatro anos en la universidad salmantina, donde ha conocido la claudicacion de Fray Luis de leon y la devotio moderna. Al concluir la celebracion de su primera misa, una beata seglar que esta celebrando su primera misa en latin dice haber entrado en extasis. Una monja de mediana edad interviene. Es Teresa de Cepeda y Ahumada, conocida como Teresa de Jesus, reformadora del Carmelo. De inmediato, surge la atraccion entre Juan y Teresa: la primera pide al segundo que le acompane en sus fundaciones, pues requiere instruccion teologica para ella y sus monjas y conferir calado ideologico a su reforma. Juan acepta y se convierte en confesor personal de Teresa, quien se siente incomoda ante la excesiva austeridad de Juan y su desprecio por las imagenes religiosas. Cuando Teresa es destinada como priora en 1572 -impuesta por las altas esferas de la orden- al convento de la Encarnacion de Avila en el que ingreso de novicia para rescatarlo del caos con su reforma, Juan de la Cruz resulta cruc
水景观变化给我们晚上回来进境的约翰老1591年12月之间讨论的愿景—半记得veridico半ficcion -后期事件之后他逃脱:安置在修道院里卡梅尔在圣何塞Salvador de Beas Jaen,年轻的紧张关系priora安娜·德·热苏斯和修女的congregacion,再经历的方法,并代行第一晚。第二个晚上欢迎更多的暴力和速射的形象记忆漩涡的两个一般capitulos 1590在马德里举行的密的秩序和1591,反动Niccolo密的人权,父亲总订单,invirtio赤脚,胡安difamo改革也有Beas肉体交易的修女,并放弃所有指控均不成立,destinandole如缎修道院的修士Penuela Jaen,在把他交给宗教法庭之前。胡安·别霍(Juan Viejo)重温了用锄头挖洞时脚后跟受伤的时刻，感受到了童年时流动的水景，这已经将他与神联系在一起。
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Pub Date : 2020-12-18DOI: 10.32621/acotaciones.2020.45.07
Claudia Cattaneo Clemente
This article analyzes a particular corpus of theater-perfor- mance: Prometheus chained according to Alberto Kurapel, a work released on March 11, 1988 in the Exile Space, Montreal, Canada and published in 1989 by the Humanitas publishing house. From the photographic images and the video of its staging, this analysis focuses attention on the body - on its various constructions / presentations - and on sound understood as a space / body that reveals another reality. Bodies that denote a dis- location caused by the notion of exile, since the actor-performer is the entity in charge of recovering memory in the utopian body of the scene, unraveling its meanings and showing its symbolic depth. The study at- tempts to answer the question: how is the historical memory of exile in Alberto Kurapel's Prometheus constructed with body and sound?
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Pub Date : 2020-12-18DOI: 10.32621/acotaciones.2020.45.08
Jorge Aznar Canet
Over the last few decades, we have witnessed how violence in fiction —as much in the television and cinema realm as in the theatre— has considerably multiplied. Sergi Belbel elaborates on various forms of violence and aggressiveness throughout his drama production, particu- larly in his plays Morir (un instante antes de morir) and La sangre. The aim of this article is to systematize the diverse displays of these phenomena in both texts on the basis of the taxonomies proposed by psychiatrist Luis Rojas Marcos in Las semillas de la violencia and biopsychologist John W. Renfrew in Agresión: naturaleza y control with a view to elucidate what types of violence and aggression are more recurrent and to draw conclu- sions on the function they play.
在过去的几十年里，我们目睹了小说中的暴力——在电视和电影领域以及在戏剧领域——是如何成倍增长的。塞尔吉·贝尔在他的戏剧作品中详细阐述了各种形式的暴力和侵略性，特别是在他的戏剧《Morir》和《La sangre》中。本文的目的是在精神病学家Luis Rojas Marcos在《Las semillas de la violencia》和生物心理学家John W. Renfrew在《Agresión: natural aleza y control》中提出的分类法的基础上，对这两种文本中这些现象的不同表现进行系统化，以阐明哪种类型的暴力和攻击更经常发生，并得出它们所起作用的结论。
{"title":"GOLPE TRAS GOLPE: VIOLENCIAS EN MORIR (UN INSTANTE ANTES DE MORIR) Y LA SANGRE, DE SERGI BELBEL","authors":"Jorge Aznar Canet","doi":"10.32621/acotaciones.2020.45.08","DOIUrl":"https://doi.org/10.32621/acotaciones.2020.45.08","url":null,"abstract":"Over the last few decades, we have witnessed how violence in fiction —as much in the television and cinema realm as in the theatre— has considerably multiplied. Sergi Belbel elaborates on various forms of violence and aggressiveness throughout his drama production, particu- larly in his plays Morir (un instante antes de morir) and La sangre. The aim of this article is to systematize the diverse displays of these phenomena in both texts on the basis of the taxonomies proposed by psychiatrist Luis Rojas Marcos in Las semillas de la violencia and biopsychologist John W. Renfrew in Agresión: naturaleza y control with a view to elucidate what types of violence and aggression are more recurrent and to draw conclu- sions on the function they play.","PeriodicalId":36745,"journal":{"name":"Acotaciones","volume":"153 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73720974","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-18DOI: 10.32621/acotaciones.2020.45.01
Inés GUÉGO RIVALAN
Alain Riffaud’s works suggest a new critical reading of dra- matic prose: offering a distinct interpretation of Luces de bohemia’s prose dynamics through the prism of ‘pneumatics’ (Riffaud, 2007), the present article brings to light the existence, throughout the play, of a specific rhythm in Esperpento dramatic prose, which relates to the notion of sen- sory anamorphosis (visual and auditory), a polymorphous component that underlies the writing. Applying the notions of ‘pneumatics’ and ‘trompe-l’oreille’ (Féron, 2010) to the study of Ramón del Valle-Inclán’s dramatic prose allows to examine the characters’ language energy by articulating the notions of breath and breathing with that of sensory mirage.
Alain Riffaud的作品提出了对戏剧散文的一种新的批判性阅读:通过“气动”(Riffaud, 2007)的棱镜，提供了对波西米亚的卢斯的散文动态的独特解释(Riffaud, 2007)，本文揭示了在整个剧本中，埃斯佩彭托戏剧散文中特定节奏的存在，这与感觉变形(视觉和听觉)的概念有关，这是一种构成写作基础的多形态成分。将“气动”和“错视”的概念应用于Ramón del Valle-Inclán的戏剧散文研究中，可以通过将呼吸和呼吸的概念与感官海市蜃楼的概念清晰地表达出来，从而检查人物的语言能量。
{"title":"DISTORSIÓN RÍTMICA Y ANAMORFOSIS SENSORIAL: LA LITERARIDAD DE LUCES DE BOHEMIA DESDE EL PRISMA DE LA «PNEUMÁTICA»","authors":"Inés GUÉGO RIVALAN","doi":"10.32621/acotaciones.2020.45.01","DOIUrl":"https://doi.org/10.32621/acotaciones.2020.45.01","url":null,"abstract":"Alain Riffaud’s works suggest a new critical reading of dra- matic prose: offering a distinct interpretation of Luces de bohemia’s prose dynamics through the prism of ‘pneumatics’ (Riffaud, 2007), the present article brings to light the existence, throughout the play, of a specific rhythm in Esperpento dramatic prose, which relates to the notion of sen- sory anamorphosis (visual and auditory), a polymorphous component that underlies the writing. Applying the notions of ‘pneumatics’ and ‘trompe-l’oreille’ (Féron, 2010) to the study of Ramón del Valle-Inclán’s dramatic prose allows to examine the characters’ language energy by articulating the notions of breath and breathing with that of sensory mirage.","PeriodicalId":36745,"journal":{"name":"Acotaciones","volume":"118 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77447404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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