Direct Download Show Program - The Pear Avenue Theatre

LLISTERRI, J. (2003) “Lingüística y tecnologías del lenguaje”, Lynx. Panorámica de EstudiosLingüísticos (Departament de Teoria dels Llenguatges, Universitat de València) 2: 9-71.http://liceu.uab.es/~joaquim/publicacions/TecnoLing_Lynx02.pdfEn este contexto se utiliza también el término ingeniería lingüística (IL oLE, Language Engineering) para referirse a la aplicación de las técnicasinformáticas al desarrollo de aplicaciones que incluyen componentesrelacionados con el tratamiento del lenguaje y del habla (Ingeniería lingüística;Martí y Llisterri, 2001; Pierrel, 2000). En cambio, con el uso de la expresión“industrias de la lengua” se pretende reflejar el potencial económico y comercialdel ámbito que nos ocupa. Existe igualmente la denominación “lingüísticainformática”, que suele hacer referencia al uso de herramientas informáticas enla investigación lingüística. Finalmente, “lingüística computacional” (LC o CL,Computational Linguistics) podría entenderse como la disciplina que abarcatanto el procesamiento del lenguaje como el del habla desde una perspectivageneral o desde un punto de vista teórico (Gómez, 2000a, b; Grishman, 1986;Jurafsky y Martin, 2000; Sidorov, 2001; Uszkoreit, 2000), aunque en ocasionesse encuentra esta denominación empleada como sinónimo de “procesamientodel lenguaje natural” 1 .En las tecnologías lingüísticas suele distinguirse entre las que se centran enla lengua escrita y las que tienen por objeto el habla. Las primeras se englobanen el campo conocido como procesamiento del lenguaje natural –aunquetambién podrían definirse como tecnologías del texto escrito-, mientras que lassegundas se denominan tecnologías del habla. El desarrollo de estas tecnologíasy sus aplicaciones requieren disponer de los llamados recursos lingüísticos,entre los que se cuentan los corpus, los diccionarios y las gramáticas.El presente trabajo pretende describir la labor del lingüista en los ámbitosmencionados, tanto en lo que se refiere al desarrollo de las tecnologías yrecursos básicos como en lo que concierne la creación de aplicaciones quedirectamente puedan integrarse en programas informáticos de uso local, en lared o en entornos que requieran la interacción entre personas y ordenadores. Enningún caso tiene intención de presentar exhaustivamente las tecnologías dellenguaje, ni tampoco describir con detalle las diversas áreas que las constituyen;por tal motivo, se ha intentado recoger una bibliografía básica para cada tema,de modo que el lector pueda profundizar en las cuestiones que más le interesen.Cabe advertir también que se han primado los aspectos lingüísticos másgenéricos sobre los tecnológicos, por lo que, en muchos casos, no se refleja lacomplejidad real de las diversas técnicas y aplicaciones que se discuten.Finalmente, aunque existe una actividad muy notable en la creación detecnologías y recursos para el catalán, el gallego y el vasco, tanto los ejemplos1Una discusión más detallada de la terminología y de las relaciones entre estas disciplinaspuede encontrarse en Moure y Llisterri (1996).2

and guests included such prominent African Americans as W.E.B. Du Bois,Paul Robeson, and Langston Hughes. In 1938 the Hansberrys bought a housein a white Chicago neighborhood and lived in it for eight months, but violenceand Illinois law forced them out. With the help of the NAACP, they won a suitagainst restrictive covenants (decided by the U.S. Supreme Court in 1940), butresidential segregation continued de facto.While attending the University of Wisconsin, Hansberry was inspiredby Sean O‟Casey‟s powerful depiction of an impoverished Dublin family in Junoand the Paycock. After two years she dropped out of college, moved to NewYork, and began working for Paul Robeson‟s newspaper Freedom. She wrotearticles about liberal causes including nuclear disarmament. , anti-colonialism,women‟s rights, and racial equality, but A Raisin in the Sun is her majorcontribution to the reconsideration of American values. Named the best play of1959 by the New York Drama Critics Circle, Raisin ran for 530 performances. Itstarred Sidney Poitier, Ruby Dee, and Diana Sands. Hansberry also wrote thescreenplay for the 1961 film based on her play. Bruce Norris‟s 2010 PulitzerPrize-winning play Clybourne Park was inspired by Hansberry‟s drama. The firstwork by an African American to be produced on Broadway, Raisin launched thecareers of many African-American performers and broke the ground forplaywrights including August Wilson and Lynn Nottage. For 30 years SanFrancisco‟s Lorraine Hansberry Theatre has continued this tradition byproducing plays by and about African Americans.. The specific setting of Raisin—Chicago‟s South Side ghetto in the1950s—gives rise to equally specific issues, including the confinement of agrowing African-American population into too small a space, the prohibitivelyhigh cost of decent housing; the exclusion of most blacks from factory andoffice jobs, limiting their earning power; and a crackdown on doctorsperforming abortions, sending desperate women to unlicensed practitioners. Wealso see a conflict of values between black immigrants from the South (likeLena) and their children raised in the North, as well as dawning interest byAfrican Americans in Africa itself. Two of these concerns are reflected inelements unfortunately cut from the original production and the film:Beneatha‟s new hairstyle and Mrs. Johnson‟s warnings about violence againstblacks who move into white neighborhoods (these elements are included in thisproduction). Specific as the play‟s issues are, everyone can identify with theunderlying themes, including family relationships and economic struggle.Hansberry took her title from Langston Hughes‟ poem “DreamDeferred,” which asks what happens when dreams must be postponed. Do theydry up, sag, stink—or explode? Like Ibsen‟s A Doll’s House, Raisin asks us tothink about what happens after the action is over and to consider how we areimplicated in our society‟s hypocrisies and repressions. If we walk away fromthis play feeling happy about the world, we have not been paying attention towhat Hansberry is telling us.--Susan PetitWho’s Who in This ProductionRené Marquerite Banks (Mrs. Johnson) is a graduate of CaliforniaState Polytechnic University, Pomona, with a B.A in Theater Arts;she wrote and performed a one-woman show Behind Bars: Wit DemFools at the Pomona Black Box. She portrayed Antonio inShakespeare‟s Much Ado About Nothing at Pomona Town Center and LorraineHansberry/ Mama in To Be Young Gifted And Black with the 2 nd Street Theatre.Recently she played Simone in the original play Bus Stop Journals by ProfessorOwen Seda from the University of Zimbabwe. Miss Banks is pleased to makeher debut performance at the Pear.Alec F. Brown (George Murchison) is thrilled to be making his debut atthe Pear. He is originally from Sacramento, where he fell in lovewith theatre at a very early age when he played Oberon in AMidsummer Night’s Dream. He is very glad to be part of such animportant play in American theatre. Alec currently attends Santa ClaraUniversity, where he is majoring in Theatre Arts. At SCU he was recently seenas Astrov in Uncle Vanya and as Banquo in Macbeth.Bezachin Jifar (Joseph Asagai ) permanently moved from Ethiopia tothe U.S. in 2005. He has appeared in Ragtime with South Bay MusicalTheater; has participated in Playground‟s Monday night stagedreadingseries; and has played the title role in Santa Clara University‟sMacbeth - a role so good, he believes, it was worth losing one's head for. Herecently graduated with a B.A. in Theater Arts from SCU and would like tothank his director for involving him in Raisin before he leaves for NY to pursuehis MFA in playwriting. Tx Aldo. DOMINOES... (dollar in the swear jar)!!Keith Marshall (Karl Lindner) is excited to be working with anamazingly talented cast on such an important piece of AmericanTheater. He was recently seen in George Packer's Betrayed at StanfordUniversity, and in Renegade Theatre Experiment's All This Intimacyand Killer Joe. Many thanks to Aldo for casting him, to the PearAvenue Theatre for choosing this piece, and to his family and friends for theirconstant support.Kendra Owens (Lena Younger) has performed in The Vagina Monologues(The Center for Spiritual Living and Engage Her Conference atBerkeley), Nickel and Dimed (Pear Avenue Theatre), Doubt (PacificRepertory Theatre, Carmel), The Sugar Witch (Northside Theatre andNew Conservatory Theatre, S.F.), Waiting to Dance (Renegade TheatreExperiment), Best Little Whorehouse in Texas (The Willows Theatre), Anton in ShowBusiness (Palo Alto Players), Ooh Bla Dee (Understudy, Theatreworks), The

Charlotte Dickson * Walt Doucett & Sally Hayse * Dave & Ruth EakinEmily & Par Edsell * Kathy & Bruce Fitzgerald * Frank Friedlander * Victor &Beverly Fuchs * Bennett & Joan Gates * Dr. & Mrs. B.D. GaynorAdrienne Gillespie * Lynn Gordon & David Simon * Martha & Bob HelselthGabrielle Higgins & Bill Steinmetz * Charlotte Jacobs * Kevin &Melinda Johnson * Christina & Deepak Kamra * Pat Kapowich * Kay MahonTerrence McCarthy * Mary & Thomas Nee * Ross & Cate Nelson * Jim &Barbara Newton * Laura Nuhn * Jill O‟Nan * Judy Ousterhout * Natalie &Peter Panfili * Boaz Porat * Alex & Laura Praszker * Frances & DonaldRagno * Jennifer & Donald Ragno * Betty & Joe Renati * Tracy &Cynthia Rogers * Gary Rohloff *Antoinette & Dey RoseSusan Rosenberg * Bill & Sherrean Rundberg * Thomas & Noel Ryan * ElaineSausotte & Michael Keys Hall * Amy Schenone * Rebecca Schenone * NormaSchleunes * Steve Schumann * Christina & Maurice Sciammas * Lewis SilverLaura Stefanski * Maggie Streets * Carol & Douglas Tanner David & OndreaTricaso * Lynne Weber * Robert Wenzlau & Julie JomoCaryn Huberman YacowitzBlossom$: To $99Josephine Abel * Marlene Anderson * Midori Aogaichi * Shawna BatemanJane Benson * Mitchell Bolen * Gordon & Sharon Bower * Marina BrodskayaMr. & Mrs. Frank Carney * Daryl Carr * Harold Chapman * Judy ChiassonFrank & Lorraine Collins * Dorothy Comstock * Caroline CooperDavid & Anne-Ly Crump-Garay * Jean Cudlip * Nancy DavidsonAllison Davis * Monica Devens * Bill Dodd * Joseph Durand * Deborah DuttonDoris Dyen * Nicole & Donald Ellis * Liz Elms * James & Dorothy FadimanOscar & Theda Firschein * Jewel Seehaus Fisher * Ronald Gentile * Jo GilbertAdrienne Gillespie * Elaine Goldman * Dean GoodmanIrene Grenier *Frances Hancock * Toni Heren * Byron Hubbel * Patricia HughesChristy Jerkovich * Earl Karn * Siobhan Kenney * Lisa LaRocca * Ernest LiebermanDena McFarland * Kathleen McGeary * Cheryl McNamara * Richard Medugno * Tekla& Eric Nee * Clare Novak * David Payne * Patricia Peterson * Susan PetitJack & Susan Pines * Christine Wills Price * Toby Reitman * Lester RobertsSteven Rock * Diana Roome * Elaine Rossignol * Robert RothrockJean Scandlyn * Janine Schenone * Matt Schenone * Ray SchenoneGerry Schoennaueram * Allegra Seale * Julia Seiff * Barbara & Skip ShapiroMyrna Soper * Verna & Robert Spinrad * Nancy Ginsburg Stern * Burton SukhovKevin & Barbara Susco * Beverley Taylor * Elizabeth Truro & James QuinnPatricia Tyler & Ben Marks * Hava & Oskar Vierny * Sherry Waki * Kristin WalterMarilyn Walter * Lisa Wiseman * Vivie Zau * Irene ZubeckNEXT UP AT THE PEARTHE FIFTH OF JULYbyLanford Wilson9/16 – 10/9This beautiful, funny play is Lanford Wilson’svaledictory to the spirit of the 1960s. Friends andfamily, lovers and strangers hang out on a porch inLebanon, Missouri, around Independence Day, 1977,as the nation begins its third century and theTalley family tries to figure out what’s next for them.If Chekhov had been born a century later and afew thousand miles west, he might have writtenthis wise and compassionate play.-------------------------------------------------------------------------------------