The article presents and discusses etymological background, cultural adaptations and different perspectives to the key concepts in drama and theatre, starting from western and Chinese conceptions. Drama has at least three levels of meaning: (1) as an overarching concept for fictional and non-fictional cultural practices; (2) as an aesthetic learning practice within education; and (3) as a script made for theatre performances. The drama is thus a frame for the actions, and within this frame there might be other frames, marking different roles and perspectives. The meaning and potential for knowing in drama and theatre lie between those layers and differences. This idea is illustrated by a comparison between the British pioneers and partners Dorothy Heathcote and Gavin Bolton, and by exploring how divergent views on theatre and art lead to differences in perspective about a specific approach to educational drama, mantle of the expert.
{"title":"Conceptions of drama and theatre","authors":"Tor-Helge Allern, Stig A. Eriksson","doi":"10.1386/atr_00067_1","DOIUrl":"https://doi.org/10.1386/atr_00067_1","url":null,"abstract":"The article presents and discusses etymological background, cultural adaptations and different perspectives to the key concepts in drama and theatre, starting from western and Chinese conceptions. Drama has at least three levels of meaning: (1) as an overarching concept for fictional and non-fictional cultural practices; (2) as an aesthetic learning practice within education; and (3) as a script made for theatre performances. The drama is thus a frame for the actions, and within this frame there might be other frames, marking different roles and perspectives. The meaning and potential for knowing in drama and theatre lie between those layers and differences. This idea is illustrated by a comparison between the British pioneers and partners Dorothy Heathcote and Gavin Bolton, and by exploring how divergent views on theatre and art lead to differences in perspective about a specific approach to educational drama, mantle of the expert.","PeriodicalId":41248,"journal":{"name":"Applied Theatre Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48202076","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}
Cooperation between Shanghai Theatre Academy (STA) and Western Norway University of Applied Sciences (HVL) has a nearly twenty-year history. The current project between STA and HVL, which began in 2018, is financed by the Norwegian Government. The partners seek to strengthen the quality of education and research within applied theatre, especially the fields of process drama and theatre in education (TiE). The current project between STA and HVL, which began in 2018, seeks to strengthen the quality of education and research within applied theatre, especially the fields of process drama and theatre in education (TiE). This issue presents some important contributions made by the project to the international field of applied theatre.
{"title":"Editorial","authors":"Tor-Helge Allern, Gong Baorong, Adam Cziboly","doi":"10.1386/atr_00064_2","DOIUrl":"https://doi.org/10.1386/atr_00064_2","url":null,"abstract":"Cooperation between Shanghai Theatre Academy (STA) and Western Norway University of Applied Sciences (HVL) has a nearly twenty-year history. The current project between STA and HVL, which began in 2018, is financed by the Norwegian Government. The partners seek to strengthen the quality of education and research within applied theatre, especially the fields of process drama and theatre in education (TiE). The current project between STA and HVL, which began in 2018, seeks to strengthen the quality of education and research within applied theatre, especially the fields of process drama and theatre in education (TiE). This issue presents some important contributions made by the project to the international field of applied theatre.","PeriodicalId":41248,"journal":{"name":"Applied Theatre Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42307384","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}
The article is conceived as a survey exploration of significant historic developmental stages of the Norwegian educational drama field. The article first engages in an historical consideration of educational dramatics from traces of performed education in old Norse culture, via school drama organized by the church in the Middle Ages, to a decline of drama and theatre after Pietism in the eighteenth century, with a succeeding narrower view of knowledge and teaching in the following century and scarce information about drama as education. The focus then turns to deliberation of educational reforms in the twentieth and twenty-first centuries, offering new possibilities for drama pedagogy through the Progressive Education movement, followed by identifying the position of drama in the six national curriculum reforms from 1939 to 2020 and the changing role of the subject area resulting from policy accentuations underlying curriculum revisions.
{"title":"Educational drama in Norway: From cultural expression to curriculum element","authors":"Stig A. Eriksson, Tor-Helge Allern","doi":"10.1386/atr_00068_1","DOIUrl":"https://doi.org/10.1386/atr_00068_1","url":null,"abstract":"The article is conceived as a survey exploration of significant historic developmental stages of the Norwegian educational drama field. The article first engages in an historical consideration of educational dramatics from traces of performed education in old Norse culture, via school drama organized by the church in the Middle Ages, to a decline of drama and theatre after Pietism in the eighteenth century, with a succeeding narrower view of knowledge and teaching in the following century and scarce information about drama as education. The focus then turns to deliberation of educational reforms in the twentieth and twenty-first centuries, offering new possibilities for drama pedagogy through the Progressive Education movement, followed by identifying the position of drama in the six national curriculum reforms from 1939 to 2020 and the changing role of the subject area resulting from policy accentuations underlying curriculum revisions.","PeriodicalId":41248,"journal":{"name":"Applied Theatre Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48090377","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}
In this practice-oriented article, each author has found an example in their national contemporary literary legacy to be explored through educational drama approaches. One is a short story (and a one-act play version of the story) by Lao She, China; the other is a short story by Tor Åge Bringsværd, Norway. Both stories are about experiences on train journeys and the article presents ideas for how to use them in drama pedagogical settings. Each author contextualizes their drama approach in terms of current public curriculum policies relevant to aesthetic education and drama education in each country, and theory from the field literature.
{"title":"From short story to process drama: A Chinese and a Norwegian classroom approach","authors":"Xu Jun, Stig A. Eriksson","doi":"10.1386/atr_00069_1","DOIUrl":"https://doi.org/10.1386/atr_00069_1","url":null,"abstract":"In this practice-oriented article, each author has found an example in their national contemporary literary legacy to be explored through educational drama approaches. One is a short story (and a one-act play version of the story) by Lao She, China; the other is a short story by Tor Åge Bringsværd, Norway. Both stories are about experiences on train journeys and the article presents ideas for how to use them in drama pedagogical settings. Each author contextualizes their drama approach in terms of current public curriculum policies relevant to aesthetic education and drama education in each country, and theory from the field literature.","PeriodicalId":41248,"journal":{"name":"Applied Theatre Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43158421","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}
Since its inaugural conference in 1995, the International Drama in Education Research Institute (IDIERI) Conference has become one of the prominent research meetings in the field of drama education and applied theatre. Held triennially, the IDIERI Conference has brought together leading academics and practitioners to share practices and deepen their critical engagement with research. Recently, though, the impact of the COVID-19 pandemic on public health and international travel, as well as growing concerns around lowering carbon emissions, has thrown the purpose of academic conferences into existential uncertainty. In July 2022, the University of Warwick is set to host the tenth IDIERI Conference as a ‘hybrid’ live in-person and virtual conference with accompanying ‘local’ modes of workshop facilitation. This article offers a timely retrospective informed by reflections from past convenors and related literature. We analyse IDIERI’s role in the research community, focusing on its scope, its shifting boundaries and intersections, its internationalism and diversity, as well as its significance in the future sustainability of our evolving discipline.
{"title":"Convening the International Drama in Education Research Institute (IDIERI) Conference: Past, present and futures","authors":"Rachel Turner-King, Jennifer Kitchen","doi":"10.1386/atr_00059_1","DOIUrl":"https://doi.org/10.1386/atr_00059_1","url":null,"abstract":"Since its inaugural conference in 1995, the International Drama in Education Research Institute (IDIERI) Conference has become one of the prominent research meetings in the field of drama education and applied theatre. Held triennially, the IDIERI Conference\u0000 has brought together leading academics and practitioners to share practices and deepen their critical engagement with research. Recently, though, the impact of the COVID-19 pandemic on public health and international travel, as well as growing concerns around lowering carbon emissions, has\u0000 thrown the purpose of academic conferences into existential uncertainty. In July 2022, the University of Warwick is set to host the tenth IDIERI Conference as a ‘hybrid’ live in-person and virtual conference with accompanying ‘local’ modes of workshop facilitation.\u0000 This article offers a timely retrospective informed by reflections from past convenors and related literature. We analyse IDIERI’s role in the research community, focusing on its scope, its shifting boundaries and intersections, its internationalism and diversity, as well as its significance\u0000 in the future sustainability of our evolving discipline.","PeriodicalId":41248,"journal":{"name":"Applied Theatre Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49458125","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}
Collaborative playbuilding is an emerging arts-based research design that uses playwriting and playbuilding as tools of inquiry for artists and researchers to investigate sociological questions, dealing with such matters as racial and class conflict, youth offenders, school safety, stereotypes of urban teenage girls, women and obesity, and social justice. Researchers use the design to generate and disseminate data; however, the literature reveals a lack of studies that show how the playbuilding process ‐ the actual structuring and crafting of the performance script ‐ can be used as a primary means of data analysis. In this article, I discuss my study, in which I used collaborative playbuilding to investigate why some African Americans leave the Black Church and choose not to return. I argue that although I conducted my research using traditional qualitative methods (i.e. interviews, questionnaires, observations and a focus group), I relied on the playbuilding process to serve as an act of crystallization, which provided me with creative distance to analyse the narrative data in interesting ways, yielding findings not previously seen in the literature and thus supporting the efficacy of the arts-based design.
{"title":"Collaborative playbuilding and the act of crystallization","authors":"James Webb","doi":"10.1386/atr_00061_1","DOIUrl":"https://doi.org/10.1386/atr_00061_1","url":null,"abstract":"Collaborative playbuilding is an emerging arts-based research design that uses playwriting and playbuilding as tools of inquiry for artists and researchers to investigate sociological questions, dealing with such matters as racial and class conflict, youth offenders, school safety,\u0000 stereotypes of urban teenage girls, women and obesity, and social justice. Researchers use the design to generate and disseminate data; however, the literature reveals a lack of studies that show how the playbuilding process ‐ the actual structuring and crafting of the performance script\u0000 ‐ can be used as a primary means of data analysis. In this article, I discuss my study, in which I used collaborative playbuilding to investigate why some African Americans leave the Black Church and choose not to return. I argue that although I conducted my research using traditional\u0000 qualitative methods (i.e. interviews, questionnaires, observations and a focus group), I relied on the playbuilding process to serve as an act of crystallization, which provided me with creative distance to analyse the narrative data in interesting ways, yielding findings not previously seen\u0000 in the literature and thus supporting the efficacy of the arts-based design.","PeriodicalId":41248,"journal":{"name":"Applied Theatre Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43622102","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}
Michelle Chamblin, Shalinie Sarju, Laura L. Wood, Nafeeza Uddin-Schmidt
This mixed-methods study explored the impact of a theatre-based community mental health and education initiative to address racism. Comparisons were examined between participants who either just saw a musical that centred on the theme of racism, or who saw the same musical and partook in a post-show experiential workshop that used restorative justice practices and drama therapy/applied theatre exercises. The results established that participants who saw the show and attended the post-show workshop (n = 38), in comparison to participants who only saw the show (n = 69), significantly (p = .001) agreed that the combined experience allowed them to reflect on biases and other forms of discrimination. Researchers also discovered that age and gender yielded considerable differences across groups. Additionally, there were five themes that were derived from the applied thematic analysis. Participants reported: (1) increased knowledge; (2) that they felt emotions; (3) that they connected with others; (4) that they experienced personal transformation in the here and now; and (5) that they were inspired to enact change. These qualitative themes supported quantitative analysis, which concluded that, while the theatre experience alone was impactful, the workshop augmented the central message and cultivated participants’ deeper reflections.
{"title":"Addressing racism and restoring justice: A theatre and education-based approach to community mental wellness","authors":"Michelle Chamblin, Shalinie Sarju, Laura L. Wood, Nafeeza Uddin-Schmidt","doi":"10.1386/atr_00063_1","DOIUrl":"https://doi.org/10.1386/atr_00063_1","url":null,"abstract":"This mixed-methods study explored the impact of a theatre-based community mental health and education initiative to address racism. Comparisons were examined between participants who either just saw a musical that centred on the theme of racism, or who saw the same musical and partook\u0000 in a post-show experiential workshop that used restorative justice practices and drama therapy/applied theatre exercises. The results established that participants who saw the show and attended the post-show workshop (n = 38), in comparison to participants who only saw the show (n = 69), significantly\u0000 (p = .001) agreed that the combined experience allowed them to reflect on biases and other forms of discrimination. Researchers also discovered that age and gender yielded considerable differences across groups. Additionally, there were five themes that were derived from the applied thematic\u0000 analysis. Participants reported: (1) increased knowledge; (2) that they felt emotions; (3) that they connected with others; (4) that they experienced personal transformation in the here and now; and (5) that they were inspired to enact change. These qualitative themes supported quantitative\u0000 analysis, which concluded that, while the theatre experience alone was impactful, the workshop augmented the central message and cultivated participants’ deeper reflections.","PeriodicalId":41248,"journal":{"name":"Applied Theatre Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45993175","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}
The environment, both physical and emotional, within which we all live, work, love and hate, is increasingly disturbing, if not unbearably undoing. The relentlessness of the Covid 19 pandemic, the ongoing nuclear threat and catastrophic horror generated by the war in Ukraine, and the evermore urgent climate crisis with which we are all faced, produces states of mind within us all that are often terrifying. To be able to feel and think in such circumstances is perhaps an impossible challenge, and yet an absolutely necessary one for us all to face, if we are to act with wisdom, courage and care, in the face of these multiple and unavoidable terrors. In these very difficult circumstances, does psychotherapy and its accumulated wisdom have anything to offer? We suggest it does.
{"title":"Editorial","authors":"P. O'Connor, Kelly Freebody","doi":"10.1386/atr_00058_2","DOIUrl":"https://doi.org/10.1386/atr_00058_2","url":null,"abstract":"\u0000 \u0000 \u0000 \u0000The environment, both physical and emotional, within which we all live, work, love and hate, is increasingly disturbing, if not unbearably undoing. The relentlessness of the Covid 19 pandemic, the ongoing nuclear threat and catastrophic horror generated by the war in Ukraine, and the evermore urgent climate crisis with which we are all faced, produces states of mind within us all that are often terrifying. To be able to feel and think in such circumstances is perhaps an impossible challenge, and yet an absolutely necessary one for us all to face, if we are to act with wisdom, courage and care, in the face of these multiple and unavoidable terrors. In these very difficult circumstances, does psychotherapy and its accumulated wisdom have anything to offer? We suggest it does. \u0000 \u0000 \u0000 \u0000","PeriodicalId":41248,"journal":{"name":"Applied Theatre Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49500788","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}
This article describes the critical process drama framework and highlights its potential to disrupt the status quo through an agenda of exploration and wonder. Generated through arts-based research exploring process drama as an enactment of critical pedagogy, the cumulative case study drew upon a document analysis of Cecily O’Neill’s Seal Wife workshop and exploration of the ‘mantle of the expert’ dramatic inquiry form. Developed to enact critical process drama, six key concepts ‐ hope, aesthetic, agency, agitation, action and ambiguity ‐ operate as an interwoven and reflexive framework to inform drama practice. Dynamic, relational and essential, these six concepts enact the theories of critical pedagogy and process drama as dialectical, improvisational approaches committed to transformation and social justice. As educators and artists, we cannot dance forever in the imagination or plod along hopelessly in reality. Through critical process drama participants, can operate critically in new worlds and significantly between worlds. We need to travel between and transform through transitions. In the crack between the light and dark we can dance and dance and dance.
本文描述了关键过程戏剧框架，并强调了它通过探索和惊奇的议程破坏现状的潜力。通过以艺术为基础的研究，探索过程戏剧作为批判性教育学的制定，累积案例研究借鉴了Cecily O ' neill的海豹妻子研讨会的文件分析和对“专家的斗篷”戏剧探究形式的探索。为了制定批判性过程戏剧，六个关键概念——希望、审美、代理、激动、行动和模糊——作为一个相互交织和反思性的框架，为戏剧实践提供信息。这六个概念是动态的、相互关联的、必不可少的，它们制定了批判教育学理论，并将戏剧过程作为致力于变革和社会正义的辩证的、即兴的方法。作为教育工作者和艺术家，我们不能永远在想象中舞蹈，也不能在现实中绝望地前进。通过批判性的过程戏剧参与者，可以在新的世界和世界之间进行批判性的操作。我们需要在过渡中穿梭和转变。在光明与黑暗的夹缝中，我们可以跳啊跳啊跳。
{"title":"Dancing into a critical process drama","authors":"C. Coleman","doi":"10.1386/atr_00060_1","DOIUrl":"https://doi.org/10.1386/atr_00060_1","url":null,"abstract":"This article describes the critical process drama framework and highlights its potential to disrupt the status quo through an agenda of exploration and wonder. Generated through arts-based research exploring process drama as an enactment of critical pedagogy, the cumulative case study\u0000 drew upon a document analysis of Cecily O’Neill’s Seal Wife workshop and exploration of the ‘mantle of the expert’ dramatic inquiry form. Developed to enact critical process drama, six key concepts ‐ hope, aesthetic, agency, agitation, action and ambiguity\u0000 ‐ operate as an interwoven and reflexive framework to inform drama practice. Dynamic, relational and essential, these six concepts enact the theories of critical pedagogy and process drama as dialectical, improvisational approaches committed to transformation and social justice. As\u0000 educators and artists, we cannot dance forever in the imagination or plod along hopelessly in reality. Through critical process drama participants, can operate critically in new worlds and significantly between worlds. We need to travel between and transform through transitions. In the crack\u0000 between the light and dark we can dance and dance and dance.","PeriodicalId":41248,"journal":{"name":"Applied Theatre Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43974313","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}
The author draws attention to Playback Theatre’s ability to translate stories that speak to social injustice in South Africa. When the Playback Theatre ensemble intra-acts with stories, it encourages affective consciousness through social artistry. This is crucial in highlighting the potential of Playback Theatre to stage stories that steer away from reductionist portrayals. The author undertakes a diffractive analysis of two stories within the performance that concerns the contestation of gender roles and patriarchy in South Africa. Narrative reticulation and intra-actions are employed to reveal how performative translations in Playback Theatre provide an opportunity to magnify issues pertaining to social justice.
{"title":"Playback Theatre and the significance of intra-actions in staging social artistry","authors":"Kathy Barolsky","doi":"10.1386/atr_00062_1","DOIUrl":"https://doi.org/10.1386/atr_00062_1","url":null,"abstract":"The author draws attention to Playback Theatre’s ability to translate stories that speak to social injustice in South Africa. When the Playback Theatre ensemble intra-acts with stories, it encourages affective consciousness through social artistry. This is crucial in highlighting\u0000 the potential of Playback Theatre to stage stories that steer away from reductionist portrayals. The author undertakes a diffractive analysis of two stories within the performance that concerns the contestation of gender roles and patriarchy in South Africa. Narrative reticulation and intra-actions\u0000 are employed to reveal how performative translations in Playback Theatre provide an opportunity to magnify issues pertaining to social justice.","PeriodicalId":41248,"journal":{"name":"Applied Theatre Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44686486","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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