Pub Date : 2023-04-03DOI: 10.1080/23322551.2023.2218185
Ioulia Marouda, Adriana La Selva, Pieter-Jan Maes
ABSTRACT The notion of ‘pre-expressivity' is central to the field of ‘theatre anthropology', explored by Eugenio Barba and his theatre group Odin Teatret. It refers to the elementary level of the energetic dynamics that render an actor's body scenically ‘alive' and 'present'. In the current study, we explore the potential of immersive technologies and bodily interaction interfaces for supporting the transmission of embodied knowledge. We begin by outlining a critical epistemological framework that calls for new accounts of knowledge distribution. We describe the process of mapping different training strands developed by Odin Teatret's actors, using motion capture technology. Further on, we approach the translation of such embodied practices into data and, consequently, into an immersive experience of archival navigation. In our study, we used audiovisual objects as environmental constraints, what we term as immersive archi-textures, and employ Laban efforts applied to motion capture data analysis as a model for qualifying movement patterns. We will base our writings on a particular experiment, which has captured Odin actress Roberta Carreri’s exercise Six States of Water within the virtual archive. In this exercise, the trainee is called to perform a specific score of actions with different qualities of energy, translated as different states of water.
{"title":"From capture to texture: affective environments for theatre training in virtual reality (VR)","authors":"Ioulia Marouda, Adriana La Selva, Pieter-Jan Maes","doi":"10.1080/23322551.2023.2218185","DOIUrl":"https://doi.org/10.1080/23322551.2023.2218185","url":null,"abstract":"ABSTRACT The notion of ‘pre-expressivity' is central to the field of ‘theatre anthropology', explored by Eugenio Barba and his theatre group Odin Teatret. It refers to the elementary level of the energetic dynamics that render an actor's body scenically ‘alive' and 'present'. In the current study, we explore the potential of immersive technologies and bodily interaction interfaces for supporting the transmission of embodied knowledge. We begin by outlining a critical epistemological framework that calls for new accounts of knowledge distribution. We describe the process of mapping different training strands developed by Odin Teatret's actors, using motion capture technology. Further on, we approach the translation of such embodied practices into data and, consequently, into an immersive experience of archival navigation. In our study, we used audiovisual objects as environmental constraints, what we term as immersive archi-textures, and employ Laban efforts applied to motion capture data analysis as a model for qualifying movement patterns. We will base our writings on a particular experiment, which has captured Odin actress Roberta Carreri’s exercise Six States of Water within the virtual archive. In this exercise, the trainee is called to perform a specific score of actions with different qualities of energy, translated as different states of water.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"20 1","pages":"52 - 73"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81736541","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 : 2022-10-02DOI: 10.1080/23322551.2022.2151778
Jane Collins, T. Brejzek
This general issue, although not thematically conceived, nevertheless over the course of four articles moves back and forth between what scenography does, following Rachel Hann (Beyond Scenography, 2019), to positing an argument for how scenography comes into being. All the articles offer a detailed and comprehensive exposition of the conceptual and multimodal practical approaches underpinning the development of the works described, exposing the interface between functionality, aesthetics and meaning. As a result, they offer real insight not only into the creative process but also into the myriad ways in which audience perception can be shaped by scenographic means. The first two articles are also linked thematically as they both focus on the plays of Samuel Beckett, in this instance his radio plays and their reimagining as immersive performance, installation and participatory event, by Dublinbased Pan Pan Theatre. In ‘The Listening Environment: The Impact of Space, Sound and Lighting in Pan Pan’s All That Fall’, Chloé Duane combines in-depth performance analysis, interviews with theatre practitioners, and a detailed examination of audience feedback, to consider the carefully crafted spatial, visual and aural elements of Pan Pan Theatre’s 2011 stage adaptation of Beckett’s All That Fall (1957). Duane is interested in how these scenographic elements combine with Beckett’s dramaturgy to steer the audience towards their ‘individual and internal visualisation of the play’s narrative’. Jimmy Eadie is a sound designer who has worked closely with Pan Pan Theatre over a number of years. In ‘Sounding Beckett: A Practitioner’s Perspective’ he provides a forensic analysis of the rigorous research and painstaking process, the testing and retesting of ideas and materials that underpin his soundscapes for Pan Pan’s adaptations of three of Beckett’s radio plays in different staged environments. Once again, we visit the 2011 adaptation of All that Fall (1957), in addition to Embers (1959) and Cascando (1963), all restaged by Pan Pan between 2011 and 2022. Eadie’s reflexive analysis of his practice, whilst reinforcing the integrity of sound as an artistic medium in its own right, also highlights the value of collaboration and interdisciplinarity in the production of affective theatrical sound design. With their focus on scenography and audience perception, both these articles move beyond established scholarship that considers Beckett’s plays as literary texts and offer a much-needed analysis of them as plays in performance. The next article and the visual essay that follows it are both concerned with light, or rather light and darkness. They both present arguments that break down the binary of light and dark to offer a more nuanced appreciation of the subtle effects and changes in the texture of the materiality of light as it fluctuates between those two states. In ‘(House)Lights Out: Encounters with Darkness and Compositions of Going Dark’, Yaron Shyldkrot asks
{"title":"Editors’ introduction","authors":"Jane Collins, T. Brejzek","doi":"10.1080/23322551.2022.2151778","DOIUrl":"https://doi.org/10.1080/23322551.2022.2151778","url":null,"abstract":"This general issue, although not thematically conceived, nevertheless over the course of four articles moves back and forth between what scenography does, following Rachel Hann (Beyond Scenography, 2019), to positing an argument for how scenography comes into being. All the articles offer a detailed and comprehensive exposition of the conceptual and multimodal practical approaches underpinning the development of the works described, exposing the interface between functionality, aesthetics and meaning. As a result, they offer real insight not only into the creative process but also into the myriad ways in which audience perception can be shaped by scenographic means. The first two articles are also linked thematically as they both focus on the plays of Samuel Beckett, in this instance his radio plays and their reimagining as immersive performance, installation and participatory event, by Dublinbased Pan Pan Theatre. In ‘The Listening Environment: The Impact of Space, Sound and Lighting in Pan Pan’s All That Fall’, Chloé Duane combines in-depth performance analysis, interviews with theatre practitioners, and a detailed examination of audience feedback, to consider the carefully crafted spatial, visual and aural elements of Pan Pan Theatre’s 2011 stage adaptation of Beckett’s All That Fall (1957). Duane is interested in how these scenographic elements combine with Beckett’s dramaturgy to steer the audience towards their ‘individual and internal visualisation of the play’s narrative’. Jimmy Eadie is a sound designer who has worked closely with Pan Pan Theatre over a number of years. In ‘Sounding Beckett: A Practitioner’s Perspective’ he provides a forensic analysis of the rigorous research and painstaking process, the testing and retesting of ideas and materials that underpin his soundscapes for Pan Pan’s adaptations of three of Beckett’s radio plays in different staged environments. Once again, we visit the 2011 adaptation of All that Fall (1957), in addition to Embers (1959) and Cascando (1963), all restaged by Pan Pan between 2011 and 2022. Eadie’s reflexive analysis of his practice, whilst reinforcing the integrity of sound as an artistic medium in its own right, also highlights the value of collaboration and interdisciplinarity in the production of affective theatrical sound design. With their focus on scenography and audience perception, both these articles move beyond established scholarship that considers Beckett’s plays as literary texts and offer a much-needed analysis of them as plays in performance. The next article and the visual essay that follows it are both concerned with light, or rather light and darkness. They both present arguments that break down the binary of light and dark to offer a more nuanced appreciation of the subtle effects and changes in the texture of the materiality of light as it fluctuates between those two states. In ‘(House)Lights Out: Encounters with Darkness and Compositions of Going Dark’, Yaron Shyldkrot asks ","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"10 1","pages":"149 - 151"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74586778","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 : 2022-10-02DOI: 10.1080/23322551.2022.2150370
Jakob Oredsson
ABSTRACT Symbiotic Scenes was a work of scenography created as part of the artistic research project Scenography as Symbiosis. It was realized on an empty lot between the cultural center TOU and the fjord in the former industrial area of Stavanger East, Norway, in September 2021. The work was developed through a research process carried out over the course of one year in this public context. Symbiotic Scenes was mediated by a 4 × 5 meter LED screen held by a revealed scaffolding structure. Its context, components and experience are described in this short written essay and explored visually through photographic documentation. The work is contextualized through a description of the artistic research project Scenography as Symbiosis to further emphasize the work as embedded within a broader artistic endeavor. With one of its beginnings in the word skenographia as connected to the theatre of ancient Greece, the research project explores ways of imagining an ontology of scenography, meaning contemplating how scenography comes into being through realizing works of scenography in various diverse contexts. Embedded within this endeavor is a queering of binaries such as foreground-background, inside-outside, active-passive, and present-absent. Finally, an interpretation of symbiosis through the philosophical framework of Object-oriented Ontology is described. Embracing this understanding of symbiosis, Symbiotic Scenes is imagined as having existed as a new symbiotic object, which appeared through biographical symbiosis between interwoven gradually transforming objects already existing within the environment. A state of being incessantly interweaved appears to be the how of the being of Symbiotic Scenes.
{"title":"Symbiotic Scenes – Incessantly Interweaved","authors":"Jakob Oredsson","doi":"10.1080/23322551.2022.2150370","DOIUrl":"https://doi.org/10.1080/23322551.2022.2150370","url":null,"abstract":"ABSTRACT Symbiotic Scenes was a work of scenography created as part of the artistic research project Scenography as Symbiosis. It was realized on an empty lot between the cultural center TOU and the fjord in the former industrial area of Stavanger East, Norway, in September 2021. The work was developed through a research process carried out over the course of one year in this public context. Symbiotic Scenes was mediated by a 4 × 5 meter LED screen held by a revealed scaffolding structure. Its context, components and experience are described in this short written essay and explored visually through photographic documentation. The work is contextualized through a description of the artistic research project Scenography as Symbiosis to further emphasize the work as embedded within a broader artistic endeavor. With one of its beginnings in the word skenographia as connected to the theatre of ancient Greece, the research project explores ways of imagining an ontology of scenography, meaning contemplating how scenography comes into being through realizing works of scenography in various diverse contexts. Embedded within this endeavor is a queering of binaries such as foreground-background, inside-outside, active-passive, and present-absent. Finally, an interpretation of symbiosis through the philosophical framework of Object-oriented Ontology is described. Embracing this understanding of symbiosis, Symbiotic Scenes is imagined as having existed as a new symbiotic object, which appeared through biographical symbiosis between interwoven gradually transforming objects already existing within the environment. A state of being incessantly interweaved appears to be the how of the being of Symbiotic Scenes.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"89 1","pages":"208 - 226"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87472440","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 : 2022-10-02DOI: 10.1080/23322551.2022.2139487
C. Duane
ABSTRACT This article explores how scenography, specifically the visual-aural-spatial elements of a performance, shapes the response of an audience by acting as either a guiding element to a performance or its primary meaning. Through the case study of Pan Pan Theatre’s All That Fall (2011) in the Abbey Theatre, Dublin, this article investigates how the sound, lighting and spatial designs exploit the audience’s embodied responses. In conjunction with in-depth performance analysis, this article will utilise audience feedback and theatre practitioner interviews in order to investigate how scenography organises the relationship of the audience to the performance through the active foregrounding of perception, as well as demonstrating the evolving theatrical engagements/responses to Beckett’s work.
本文探讨了舞台设计，特别是表演的视觉-听觉-空间元素，如何通过作为表演的指导元素或其主要意义来塑造观众的反应。本文以2011年在都柏林Abbey剧院上演的Pan Pan剧院的《All That Fall》为例，探讨了声音、灯光和空间设计如何利用观众的体现反应。结合深入的表演分析，本文将利用观众反馈和戏剧从业者访谈，以调查场景设计如何通过感知的积极前景来组织观众与表演的关系，并展示对贝克特作品的不断发展的戏剧参与/反应。
{"title":"The listening chamber: experiencing scenography in Pan Pan’s All That Fall","authors":"C. Duane","doi":"10.1080/23322551.2022.2139487","DOIUrl":"https://doi.org/10.1080/23322551.2022.2139487","url":null,"abstract":"ABSTRACT This article explores how scenography, specifically the visual-aural-spatial elements of a performance, shapes the response of an audience by acting as either a guiding element to a performance or its primary meaning. Through the case study of Pan Pan Theatre’s All That Fall (2011) in the Abbey Theatre, Dublin, this article investigates how the sound, lighting and spatial designs exploit the audience’s embodied responses. In conjunction with in-depth performance analysis, this article will utilise audience feedback and theatre practitioner interviews in order to investigate how scenography organises the relationship of the audience to the performance through the active foregrounding of perception, as well as demonstrating the evolving theatrical engagements/responses to Beckett’s work.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"136 1","pages":"152 - 169"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89073364","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 : 2022-10-02DOI: 10.1080/23322551.2022.2147345
J. Eadie
ABSTRACT This article discusses theatre sound design through the lens of a practitioner-researcher. What follows is a reflection on the process, context and significance of this practice within theatre arts. Initially touching on some of the terminology and theory behind the development of this discipline, the discussion will focus on the application of design methods and strategies to three radio adaptations of Samuel Beckett’s works: All that Fall (1957), Embers (1959) and Cascando 1963). The aim of this critique is to broaden the discussion on theatrical sound design by analysing specific works and design strategies from my own experience as a practitioner engaging with these three seminal Beckett works. This article argues that theatre sound design is an intermedial, holistic process that can reinforce or counterpoint a specific mood or atmosphere, reveal performance characteristics and, most importantly, contribute to the advancement of the storytelling, which is at the heart of most theatre productions.
本文以一个实践者兼研究者的视角来探讨剧场声音设计。接下来是对戏剧艺术中这种实践的过程、背景和意义的反思。本课程将首先触及这一学科发展背后的一些术语和理论，然后重点讨论设计方法和策略在三部改编自塞缪尔·贝克特作品的广播剧中的应用:All that Fall (1957)， Embers(1959)和Cascando(1963)。这篇评论的目的是通过分析具体的作品和设计策略来扩大对戏剧声音设计的讨论，这是我作为一名实践者参与这三部开创性的贝克特作品的经验。本文认为，戏剧音效设计是一个中间的整体过程，可以强化或呼应特定的情绪或氛围，揭示表演特征，最重要的是，有助于推进故事叙述，这是大多数戏剧作品的核心。
{"title":"Sounding Beckett: a practitioner’s perspective","authors":"J. Eadie","doi":"10.1080/23322551.2022.2147345","DOIUrl":"https://doi.org/10.1080/23322551.2022.2147345","url":null,"abstract":"ABSTRACT This article discusses theatre sound design through the lens of a practitioner-researcher. What follows is a reflection on the process, context and significance of this practice within theatre arts. Initially touching on some of the terminology and theory behind the development of this discipline, the discussion will focus on the application of design methods and strategies to three radio adaptations of Samuel Beckett’s works: All that Fall (1957), Embers (1959) and Cascando 1963). The aim of this critique is to broaden the discussion on theatrical sound design by analysing specific works and design strategies from my own experience as a practitioner engaging with these three seminal Beckett works. This article argues that theatre sound design is an intermedial, holistic process that can reinforce or counterpoint a specific mood or atmosphere, reveal performance characteristics and, most importantly, contribute to the advancement of the storytelling, which is at the heart of most theatre productions.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"12 1","pages":"170 - 188"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88724076","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 : 2022-10-02DOI: 10.1080/23322551.2022.2147762
Yaron Shyldkrot
ABSTRACT This article examines encounters with darkness through compositions of houselights and their elimination, arguing that not all brushes with darkness are alike. While eradicating houselights directs seeing and focuses attention, which already implies a dramaturgical-compositional significance, the design of light in the auditorium is predominantly relegated to a preshow preamble that will quickly be switched off. In response, I propose that houselights play an integral part in the performance event and carry a richer dramaturgical and scenographic role than is normally assigned to them. In a related move, within the growing study of theatrical darkness, the verb ‘to plunge' has been embraced to refer to the immersion of audiences in darkness. However, the recurring use of the term obscures the many ways through which audiences are invited into darkness. Expanding the formulation of the plunge, this article traces the potential embedded in different encounters with darkness, paying close attention to the affective experiences of the juncture of light and darkness. Turning to theatre in the dark, I examine how (house)light is eliminated and darkness emerges in David Rosenberg and Glen Neath's Fiction (2015), Fye and Foul’s Cathedral (2016) and my performance of Campfire (2016). I do so through a move between toning and tuning, suggesting how akin to the compositions of lighting on stage, designing lights in the auditorium and the course of powering them off can impact the sense- and meaning-making in/of the performance, setting the tone and attuning audiences to what is about to unfold.
{"title":"(House)lights out: encounters with darkness and compositions of going dark","authors":"Yaron Shyldkrot","doi":"10.1080/23322551.2022.2147762","DOIUrl":"https://doi.org/10.1080/23322551.2022.2147762","url":null,"abstract":"ABSTRACT This article examines encounters with darkness through compositions of houselights and their elimination, arguing that not all brushes with darkness are alike. While eradicating houselights directs seeing and focuses attention, which already implies a dramaturgical-compositional significance, the design of light in the auditorium is predominantly relegated to a preshow preamble that will quickly be switched off. In response, I propose that houselights play an integral part in the performance event and carry a richer dramaturgical and scenographic role than is normally assigned to them. In a related move, within the growing study of theatrical darkness, the verb ‘to plunge' has been embraced to refer to the immersion of audiences in darkness. However, the recurring use of the term obscures the many ways through which audiences are invited into darkness. Expanding the formulation of the plunge, this article traces the potential embedded in different encounters with darkness, paying close attention to the affective experiences of the juncture of light and darkness. Turning to theatre in the dark, I examine how (house)light is eliminated and darkness emerges in David Rosenberg and Glen Neath's Fiction (2015), Fye and Foul’s Cathedral (2016) and my performance of Campfire (2016). I do so through a move between toning and tuning, suggesting how akin to the compositions of lighting on stage, designing lights in the auditorium and the course of powering them off can impact the sense- and meaning-making in/of the performance, setting the tone and attuning audiences to what is about to unfold.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"9 1","pages":"189 - 207"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82124223","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 : 2022-10-02DOI: 10.1080/23322551.2022.2151777
C. Baugh
Jerzy Gurawski was a student in the Faculty of Architecture at the Kraków University of Technology working on his final diploma project in early 1958 when he attended a guest lecture by Jerzy Grotowski on the subject of old Hindu erotica. Discovering excitement and stimulation in each other’s company, they began an artistic collaboration which, for the next half dozen years, explored approaches to making theatre and performance that in turn have influenced and in many ways underpinned artistic practices for the last 60 years. The social and political context of this remarkable collaboration is much more than interesting biographical background. From 1953, Polish communism had undergone a gentle de-Stalinization that in some small but significant ways allowed theatre to struggle into popularity, although the stylistic dictum of Socialist Realism decreed by the Congress of Polish Writers’ Union of 1949 still determined representational approaches. However, for young people, theatre clubs served as a narcotic metaphor and opportunity for social, political and artistic rebellion. Most importantly, they could initiate provocative theatre work whose physical and spatial performance could not be readily censored by the state.
{"title":"A tribute to Jerzy Gurawski (1936–2022)","authors":"C. Baugh","doi":"10.1080/23322551.2022.2151777","DOIUrl":"https://doi.org/10.1080/23322551.2022.2151777","url":null,"abstract":"Jerzy Gurawski was a student in the Faculty of Architecture at the Kraków University of Technology working on his final diploma project in early 1958 when he attended a guest lecture by Jerzy Grotowski on the subject of old Hindu erotica. Discovering excitement and stimulation in each other’s company, they began an artistic collaboration which, for the next half dozen years, explored approaches to making theatre and performance that in turn have influenced and in many ways underpinned artistic practices for the last 60 years. The social and political context of this remarkable collaboration is much more than interesting biographical background. From 1953, Polish communism had undergone a gentle de-Stalinization that in some small but significant ways allowed theatre to struggle into popularity, although the stylistic dictum of Socialist Realism decreed by the Congress of Polish Writers’ Union of 1949 still determined representational approaches. However, for young people, theatre clubs served as a narcotic metaphor and opportunity for social, political and artistic rebellion. Most importantly, they could initiate provocative theatre work whose physical and spatial performance could not be readily censored by the state.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"64 1","pages":"248 - 252"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89556609","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：