cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.20375/0000-0011-48dd-4
title: Winterreise. Und sind wir selber Götter

description: Abstract: 
Following Schubert’s Die Winterreise, the play deals with the journey of Schubert (or several Schuberts) in a mental institution. He finds out about the betrayal of his muse and, in the end, attempts to escape. 
 
 Details: 
The actors sit at a long table and shred paper, then scrunch it up. They stand up, hug each other, and read letters. They scrunch up the letters and throw them through the room. They take each other’s hands and, upon “Now!”, jump from the stage in the background. 
An actor wrapped in paper rolls onto the stage. He discovers that the documents on the ground are his letters and songs. He and Another actor read the letters aloud. The first actor, reciting, pins letters to a door. He presents himself as Franz Schubert. The other actors in the background say they are Schubert, too. They discuss which of them is Schubert, which one, and when. The man who first claimed to be Schubert gets agitated. He says that it has become colder and holds a monologue about the continuous snow. Finally, the actors crawl out from beneath the table. They frolic and roll across the floor, throw snow, and dance with paper garlands. 
Schubert sings. He bows once he is done, and the crowd does not respond. They return to their places at the table.
DOI: 10.20375/0000-0011-48e0-f
title: Lost Love Lost_Synopsis.pdf
DOI: 10.20375/0000-0011-48e3-c
title: Muuuh_Synopsis.pdf
DOI: 10.20375/0000-0011-48e6-9
title: Orlando_Synopsis.pdf
DOI: 10.20375/0000-0011-48e8-7
title: Maison de Santé_Synopsis.pdf
DOI: 10.20375/0000-0011-48ea-5
title: Anwesend. Aufgehoben_Synopsis.pdf
DOI: 10.20375/0000-0011-48ec-3
title: Schillers Schreibtisch_Synopsis.pdf
DOI: 10.20375/0000-0011-48ee-1
title: Sieben_Synopsis.pdf
DOI: 10.20375/0000-0011-48f0-d
title: Schweigen Impossible_Synopsis.pdf
DOI: 10.20375/0000-0011-48ef-0
title: Schweigen Impossible - eine Begegnung von Übersetzern, Dolmetschern und Besserwissern

description: Abstract:
The play delves into the challenges of communication between individuals with and without disabilities, blurring the lines of who is considered disabled as the narrative unfolds. The irony of incompetent translators and impostors combines humour as well as philosophizing about human interaction and communication.

Details:
The play commences with André, a wheelchair user, making a dramatic entrance onto the stage, uttering incomprehensible words. Five men attempt to engage with him, but their impatience, selective hearing, or assumption that André speaks a different language hinder communication. Eventually, the men and André take their seats at the stage’s edge, bathed in dim light, with a black canvas serving as both curtain and backdrop. Despite the visual separation, their feet (or André’s wheels) remain visible.
During the song “Rose Garden,” an audio cassette recorder traverses the stage, while another actor appears to translate the lyrics into sign language. This scene repeats later, with the recorder passing by thrice, even when no music plays, emphasizing the characters' ability to sense the song through movement alone.
Likewise, other recorded scenes recur, such as a heated argument between two men, accompanied by yelling and indecipherable sounds. Despite a sign language translator, the dialogue escalates into verbal violence, rendering the interpreter unable to keep up. The exchange ends with one man shouting “ass” before exiting, providing the only understandable word in this scene.
Another recurring scene involves a blond man enthusiastically shouting “Interview!” In these dialogues, he poses questions, only to receive answers that never align with his inquiries. For instance, when inquiring about the pyramids, he is met with an explanation in broken English regarding the perpetually unfinished Berlin Airport, emphasizing the idea of “always waiting.”
The play interconnects these scenes with brief dance or song displays, spanning from traditional children’s music to expressive dance. It culminates with a scene featuring three men attempting to translate an academic article on communication into sign language. The sign language interpreter, fluent in English but not German, struggles to convey the complex German-to-English translation of the intricate sentences. Amid this, the men realize that the academic text remains inaccessible to individuals with disabilities, adding a poignant layer to the narrative.
DOI: 10.20375/0000-0011-48f2-b
title: Dschingis Khan_Synopsis.pdf
DOI: 10.20375/0000-0011-48f4-9
title: Un Label-Description.pdf
DOI: 10.20375/0000-0011-48f6-7
title: Blaumeier-Atelier_Description.pdf
DOI: 10.20375/0000-0011-48f8-5
title: Klabauter Theater_Description.pdf
DOI: 10.20375/0000-0011-48fa-3
title: Die Tonne_Description.pdf
DOI: 10.20375/0000-0011-48d0-1
title: Germany
DOI: 10.20375/0000-0011-48fd-0
title: Theama Theater_Description.pdf
DOI: 10.20375/0000-0011-48fb-2
title: Greece
DOI: 10.20375/0000-0011-4900-b
title: Blue Teapot Theatre_Description.pdf
DOI: 10.20375/0000-0011-48fe-f
title: Ireland
DOI: 10.20375/0000-0011-4903-8
title: Teatro La Ribalta_Description.pdf
DOI: 10.20375/0000-0011-4905-6
title: Un peep show per Cenerentola_Synopsis.pdf
DOI: 10.20375/0000-0011-4907-4
title: Superabile_Synopsis.pdf
DOI: 10.20375/0000-0011-4909-2
title: Il ballo_Synopsis.pdf
DOI: 10.20375/0000-0011-490b-0
title: Otello Circus_Synopsis.pdf
DOI: 10.20375/0000-0011-490d-e
title: Compagnia Pippo Delbono_Description.pdf
DOI: 10.20375/0000-0011-490f-c
title: Teatro Buffo_Description.pdf
DOI: 10.20375/0000-0011-4901-a
title: Italy
DOI: 10.20375/0000-0011-4912-7
title: Teatr 21_Description.pdf
DOI: 10.20375/0000-0011-4910-9
title: Poland
DOI: 10.20375/0000-0011-4915-4
title: Per.Art_Description.pdf
DOI: 10.20375/0000-0011-4913-6
title: Serbia
DOI: 10.20375/0000-0011-4918-1
title: Moments Art DaNSa_description.pdf
DOI: 10.20375/0000-0011-491a-f
title: Palmyra Teatro_description.pdf
DOI: 10.20375/0000-0011-491c-d
title: Teatro Paladio_Description.pdf
DOI: 10.20375/0000-0011-491e-b
title: Nadie_Synopsis.pdf
DOI: 10.20375/0000-0011-4920-7
title: Corralarte_Description.pdf
DOI: 10.20375/0000-0011-4922-5
title: Y me busco_Synopsis.pdf
DOI: 10.20375/0000-0011-4924-3
title: El tinglao_Description.pdf
DOI: 10.20375/0000-0011-4926-1
title: Enki Teatro_Description.pdf
DOI: 10.20375/0000-0011-4928-f
title: Cía Deconné_Description.pdf
DOI: 10.20375/0000-0011-492a-d
title: La perspectiva del suricato_Synopsis.pdf
DOI: 10.20375/0000-0011-492c-b
title: Centro Dramático Nacional_Description.pdf
DOI: 10.20375/0000-0011-492e-9
title: Cáscaras Vacías_Synopsis.pdf
DOI: 10.20375/0000-0011-4930-5
title: Hamlet, una versión recontra libre _Synopsis.pdf
DOI: 10.20375/0000-0011-4932-3
title: Madre de Azúcar_Synopsis.pdf
DOI: 10.20375/0000-0011-4934-1
title: Supernormales_Synopsis.pdf
DOI: 10.20375/0000-0011-4936-f
title: VertebradasArtesEscénicas_Description.pdf
DOI: 10.20375/0000-0011-4938-d
title: Molinos ¡a mí! _Synopsis.pdf
DOI: 10.20375/0000-0011-493a-b
title: Alquimistes Teatre_Description.pdf
DOI: 10.20375/0000-0011-493c-9
title: Fundación Psico Ballet Maite León_Descripción.pdf
DOI: 10.20375/0000-0011-4916-3
title: Spain
DOI: 10.20375/0000-0011-493f-6
title: Moomsteatern_Description.pdf
DOI: 10.20375/0000-0011-493d-8
title: Sweden
DOI: 10.20375/0000-0011-4942-1
title: HORA_Description.pdf
DOI: 10.20375/0000-0011-4944-f
title: Disabled Theater_Synopsis.pdf
DOI: 10.20375/0000-0011-4946-d
title: Gott_Synopsis.pdf
DOI: 10.6084/m9.figshare.24830760
title: Limits of mitochondrial genes in delimiting species within a Carbula species complex (Hemiptera: Pentatomidae)

description: data sets (mitogenome and COI)
DOI: 10.6084/m9.figshare.24830760.v1
title: Limits of mitochondrial genes in delimiting species within a Carbula species complex (Hemiptera: Pentatomidae)

description: data sets (mitogenome and COI)
DOI: 10.20375/0000-0011-4948-b
title: Teatro Danzabile_Synopsis.pdf
DOI: 10.20375/0000-0011-494a-9
title: Dimitri Teatro_Descripción.pdf
DOI: 10.20375/0000-0011-4940-3
title: Switzerland
DOI: 10.20375/0000-0011-494d-6
title: Hijinx Theatre_Description.pdf
DOI: 10.20375/0000-0011-494f-4
title: Metamorphosis_Synopsis.pdf
DOI: 10.20375/0000-0011-4951-0
title: Blue Apple Theatre_Description.pdf
DOI: 10.20375/0000-0011-4953-e
title: Pinocchia_Synopsis.pdf
DOI: 10.20375/0000-0011-4952-f
title: Pinocchia

description: Abstract:
The play Pinocchia is a digital performance consisting of clips from different actors. Pinocchia has not only one but several stages and tells the story of an old man, Frank, who lost his wife and needs to deal with a care-assistant robot. The community centre provided this robot called Eva to help Frank in his daily life and to light up his day. However, Frank is not content with this “box of tricks.” 
 
Details: 
Since his wife Grace passed away, Frank has been trapped in deep loneliness. Therefore, the play’s opening deals with questions about life, death, and the perception of us, the human beings. People with disabilities present the topic in short clips which were not recorded on a stage but in an environment similar to an allotment.
The central part of the play, which follows the opening scenes, is situated in Frank’s house, precisely in his living room. An employee from the community centre joins Frank in his loneliness by launching a care-assist robot called Eva at the older man’s house. Although Eva should be an appealing company for Frank, he rejects the offer of the robot of telling a joke or helping him with his daily life.
Frank wants “someone to sit and watch a sunset with”; he is disinclined to have so much contact with a robot that is only a “box full of tricks” and data. So, Eva is left by Frank in the corner of his living room. Contrary to Frank’s opinion that Eva is a useless device filled with data, Verity, Frank’s neighbour, sees the robot’s advantages. Eva is at least “never grumpy”; she even sees a similarity with the puppet Pinocchio in the robot. That is why Verity calls Eva “Pinocchia.” 
Even though Verity wants to convince Frank to take the opportunity of Eva’s presence, the older man embitters even more in his depression of missing his wife. Without him noticing, Frank suffers from a UTI, a urinary tract infection, which causes fever and hallucinations to him. For this reason, Frank hears Eva talking to him mistakenly, “I have missed you” instead of her daily question, “How can I assist you?”.
On a walk to get a newspaper, Frank meets other people from his city whose behaviour seems normal. But, in Frank’s perception, the citizens are all trying to annoy him. As he strolls through his neighbourhood, Frank faints and is rescued by his robot Eva who calls the ambulance.
When Frank wakes up at home, Eva is by his side, and Verity, fortunately, cares a lot about Frank. She provides him tea and pie and visits Frank’s house. After all that happened, Frank feels closer to Eva and begins to like his robot. Eva and Frank are talking about the joy of life and grasping at the chance of being a human with feelings and memories. 
“Today is the youngest you are ever going to be,” explains Eva to Frank, who realizes now that he should be grateful for being alive. Together with Verity, Frank returns to his pastime activity, the allotment, and is sure about enjoying life from now on. Thanks to his “box of tricks,” Frank gained back his will to make the most out of his life and move on, without forgetting his wife, Grace.
DOI: 10.20375/0000-0011-4955-c
title: Lashings of Ginger Beer _Synopsis.pdf
DOI: 10.20375/0000-0011-4957-a
title: Frankenstein_Synopsis.pdf
DOI: 10.20375/0000-0011-4959-8
title: Graeae Theatre Company_Description.pdf
DOI: 10.20375/0000-0011-495b-6
title: Mushroom Theatre Company_Description.pdf
DOI: 10.20375/0000-0011-495d-4
title: Mind the Gap_Description.pdf
DOI: 10.15139/s3/xjoub5
title: Youth Athletes Gratitude Study, 2019

description: Participants: 504 youth athletes from 17 high schools across Taiwan initially participated in the multi-wave study. The number of participants at each wave of assessment varied across timepoints due to attrition. At Wave 1, the mean age of participants was 15.29 years (SD = 0.48), and the athletes engaged in 28 different sports. Procedure: Participants filled out questionnaires on their general gratitude and gratitude towards sports throughout their high school life (i.e., six semesters across four years). The Gratitude Questionnaire-Taiwan version (GQ-T; Chen et al., 2009) was used to assess dispositional gratitude, whereas the Gratitude Questionnaire-Sport (GQ-S; Chen and Kee, 2008) was used to assess gratitude within the context of sports. Both scales were derived from the Gratitude Questionnaire (GQ; McCullough et al., 2002) and have shown consistent reliability and validity in previous studies. Additional information about the participants, procedure, and scales used can be found in the related publications listed below. This study was approved by the National Taiwan University review board (201712ES027).
DOI: 10.20375/0000-0011-494b-8
title: United Kingdom
DOI: 10.20375/0000-0011-4961-e
title: Tytgat Chocolat_General Description.pdf
DOI: 10.20375/0000-0011-4963-c
title: Tytgat Chocolat – Episode I Synopsis.pdf
DOI: 10.20375/0000-0011-4965-a
title: Tytgat Chocolat- Episode II Synopsis.pdf
DOI: 10.20375/0000-0011-4967-8
title: Tytgat Chocolat – Episode III_Synopsis.pdf
DOI: 10.20375/0000-0011-4969-6
title: Tytgat Chocolat – Episode IV_Synopsis.pdf
DOI: 10.20375/0000-0011-496b-4
title: Tytgat Chocolat – Episode V_Synopsis.pdf
DOI: 10.20375/0000-0011-496d-2
title: Tytgat Chocolat – Episode VI.pdf
DOI: 10.20375/0000-0011-496f-0
title: Tytgat Chocolat - Episode VII_Synopsis.pdf
DOI: 10.20375/0000-0011-495f-2
title: Belgium
DOI: 10.20375/0000-0011-4972-b
title: Ognuno è perfetto_General Description.pdf
DOI: 10.20375/0000-0011-4974-9
title: Ognuno è perfetto – Chapter I_Synopsis.pdf
DOI: 10.20375/0000-0011-4976-7
title: Ognuno è perfetto – Chapter II_Synopsis.pdf
DOI: 10.20375/0000-0011-4978-5
title: Ognuno è perfetto – Chapter III_Synopsis.pdf
DOI: 10.20375/0000-0011-4977-6
title: Ognuno è perfetto - Chapter 3

description: Abstract 
When Tina and her mother are repatriated to Albania, Rick secretly embarks on a trip to find her and marry her. Accompanied by his friends, the trip turns into an adventure that, soon enough, will be interrupted by Ivan and Miriam. 

Details 
Tina and her mother are detained in an expulsion centre, and Rick cannot visit her without receiving an official written allowance. However, he insists he wants to see her and heads to the centre with a bunch of flowers without Ivan’s permission. The guards, moved by his stubbornness and his love for Tina, allow him to see her through the gates. There, he promises to love her forever, asks her to marry him, and they exchange makeshift rings. 
That same night, Miriam gives him the bad news that Tina and Katarina have been repatriated and banned from re-entering the country. Rick falls first into depression, and no matter Miriam and Ivan’s efforts, he refuses to get out of bed and go back to work. Tina and Katarina are in Pristina, in Kosovo, hiding from the men who were threatening them. She only manages to call Rick once from a public computer, very shortly. 
Meanwhile, his colleagues, out of solidarity, want to go on a strike and then all visit Rick’s house to cheer him up and convince him to go back to work. When Cedrini tells him that if he marries Tina, she can come back to Italy, they start to plan a trip to go find her in Albania and help them get married. To keep it a secret, they make up a scouting trip to the Alps. Rick invents an excuse to ask his father for money and convinces him that he has accepted that he cannot be with Tina. 
Nevertheless, Ivan does not trust the supposed scout’s group and goes up to Miriam at the factory to ask to talk to them directly, but she refuses to protect Rick’s independence and privacy. While leaving, he looks back at Miriam while she is working and realizes that he starts to feel something for her. 
The crew takes off by train towards Trieste and then changes to a bus to Croatia. There, Rick tries to withdraw some money and pays for the trip with a credit card, which he stole from his father. Ivan receives some messages about the withdrawals on his phone and blocks them. When they go to a restaurant and cannot pay for dinner, they run away. 
They miss the bus to Serbia, but luckily, they have an Italian man who can drive them to Zara, Croatia. However, when they get there, Cedrini realizes that Zara was not a stop in the itinerary towards Albania. That night, they go to a party and get drunk, and Cristian almost gets into a fight with a bodyguard. Cedrini, who had secretly brought his cell phone, called his parents, and alarmed them. They manage to trace him in Zara and alert Ivan and Miriam, who promptly take off in a camper to go find them.
The episode ends by showing that Ivan, while driving, is worried and gets angry with Miriam because she refused to help him check up on the scouts’ trip and keep an eye on Rick. She is visibly sorry, tries to cheer him up, and wants to help him drive, but he does not listen to her.
DOI: 10.20375/0000-0011-497a-3
title: Ognuno è perfetto – Chapter IV_Synopsis.pdf
DOI: 10.20375/0000-0011-497c-1
title: Ognuno è perfetto – Chapter V_Synopsis.pdf
DOI: 10.20375/0000-0011-497e-f
title: Ognuno è perfetto – Chapter VI_Synopsis.pdf
DOI: 10.20375/0000-0011-4971-c
title: Ognuno è perfetto

description: General description 
Emma, an old paraplegic woman in a wheelchair, narrates the story of Rick, a 24-year-old with Down syndrome, courageously striving for independence. She is the ex-manager of the Old Abrate Chocolate Factory, where Rick finds his first real long-term job. Here, a whole team of other people affected by Down syndrome are responsible for the packaging. 
When his uncle tries to convince the family to close a deal with a French buyer who would take over the packaging department, Miriam, Emma’s daughter, and current manager of the factory, is ready to fight to keep Rick and his colleagues’ jobs. 
Rick quickly hits it off with his colleagues, who will soon become some of his most valuable friends. Among them, he meets his soulmate, Tina, a girl with Kosovar origins. While Rick’s love life is flourishing, his parents’ relationship is falling apart. When Rick’s mother leaves for a business trip, Ivan takes care of his son alone for the first time. Out of concern for his son’s well-being, Ivan starts showing up at the factory to check on him. There, he meets Miriam, for whom he unexpectedly begins to develop some feelings.
Some complications emerge when the authorities deport Tina and her mother to Kosovo since they illegally live in Italy. Rick does not give up and embarks with his friends on a secret, improvised adventure to find Tina, marry her, and thus make it possible for her to re-enter the country. As soon as Ivan and Miriam find out about the trip, they rescue them.
 Despite some unfortunate encounters, Ivan and Rick reach Kosovo, and after finding Tina, they get married. For Rick and his friends and Ivan and Miriam, the trip transforms into a chance to bond and disclose intimate secrets. 
Even though the Abrate Factory merges with the French buyers, Ivan and Miriam keep going and open a restaurant where the packaging team can work. As Rick lives happily with his wife and has a stable job, Ivan and Miriam fall in love, and they finally find happiness in each other and their new business.
DOI: 10.20375/0000-0011-4970-d
title: Italy
DOI: 10.20375/0000-0011-4982-8
title: Mon petit frère de la Lune_Synopsis.pdf
DOI: 10.20375/0000-0011-4984-6
title: Les Oracles_Synopsis.pdf
DOI: 10.20375/0000-0011-4986-4
title: Sphinx_Synopsis.pdf
DOI: 10.20375/0000-0011-4985-5
title: Sphinx

description: Abstract: 
The French short films Les Oracles, Sphinx, and Œdipe, chronicle the life of Œdipe, a young man with Down syndrome. The films are a contemporary take on the Greek mythological figure Oedipus. The second film depicts his quest to free Thebes from Sphinx.

Details: 
Sphinx showcases the confrontation between Œdipe and the Sphinx. In a montage with glimpses from the future, a young man is seen gearing up to fight the Sphinx, shouting repeatedly: “I’m going to fuck her.” A shot of his corpse suggests that the Sphinx killed him. Scene shifts and Œdipe reaches Thebes. He enters the building the monster resides in and after a few bureaucratic checks (contractual consent, transfer of his “voucher” to his supposed mother, his last supper), he is finally led to the roof. The sphinx has her back to him, does not react to his entrance and seems asleep. The night passes. When the sphinx wakes up, she laughs for a few minutes. She is depicted as a drag queen in a costume with feathers and fur. When she catches the sight of Œdipe, she enquires if he has been watching her for long. Wordlessly, he goes over to her and combs her hair with a comb he received from a guard. She sings an opera style musical number on the fluidity of gender and the necessity of death. The song culminates into an oral coitus between Œdipe and the Sphinx. Later, they are shown being intimate, arm in arm, and Œdipe manages to answer Sphinx’s question liberating Thebes. Œdipe is told that he is to marry Queen Jocasta. He calls his foster parents, who do not answer. It is insinuated that they are having sex.
DOI: 10.20375/0000-0011-4988-2
title: Oedipe_Synopsis.pdf
DOI: 10.20375/0000-0011-4987-3
title: ŒDIPE

description: Abstract: 
The French short films Oracles, Sphinx, and OEdipe, chronicle the life of OEdipe, a young man with Down syndrome. The films are a contemporary take on the Greek mythological figure Oedipus. The third film delves into his backstory and crucial life moments – his birth, expulsion, marriage with his mother, and the murder of his father.

Details:
Œdipe does not follow a single storyline; it instead shows different elements of the Oedipus myth. In the first scene, Œdipe and his daughter Antigone visit an elderly couple in order to cure a woman of the plague. Œdipe is already without eyes at this point. The film jumps to Œdipes birth; his mother, Jocasta, is shown delivering him in a rural stone hut. His father, Laios, hands the baby to another man, who later abandons him. This is followed by the wedding of Jocasta and Œdipe, which is staged as a shamanic and longstanding ritual. The scene ends with them sleeping together. The next scene stages the story of Chrysippus, a young boy who is assaulted and raped by Laios. As Chrysippus's father learns about this, he curses Laios and all his descendants; it is led to believe that this is the core of the story. In another jump into the future, we see Jocasta hanging herself, supposedly after she knows about Œdipes origins. She is seen wearing golden needles, taking the form of two snakes. When Œdipe sees his mother, he panics, and it is suggested that he uses those needles to remove his eyes. Œdipe is also to be seen wearing those needles in the earlier films. The movie ends with Œdipe entering a dark stage, wearing the king of Thebes cloak and crown, receiving loud applause from the audience. This jumps to a young woman entering the exact location with the same clothing in bright light; Œdipe is gone, and the audience as well. The stage and some short backstage scenes from before seem out of context and do not fit into the narration of the Oedipus myth.
DOI: 10.20375/0000-0011-4980-a
title: France
DOI: 10.20375/0000-0011-498b-f
title: Blu_Synopsis.pdf
DOI: 10.20375/0000-0011-498e-c
title: El viaje de María_Synopsis.pdf