In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

Q: Passage: In the late 19th and early 20th centuries, child vaudevillian Buster Keaton stays in boarding houses, rides in train boxcars, and performs with his mother and father in a knock-about (physical comedy) act called The Three Keatons. As a young man Keaton travels on his own to Hollywood and tricks his way onto the grounds of silent-film studio Famous Studio as a workman carrying a board, as in one of his trademark comic bits. 
Sneaking onto a set, he attracts the attention of a young casting director, Gloria Brent. He demonstrates his type of physical comedy to a director Kurt Bergner, whom he does not impress. But Gloria recognizes his talent and recommends him to studio head Larry Winters, who offers him a contract. Keaton begins to get small parts in other people's pictures. As his comic talent becomes more apparent and his fame and money-making power grows, he is offered a contract to direct and star in his own silent films.
Dissatisfied with not sharing the profits of his films, he is told that he must invest in his own pictures in order to profit-share. He does in "The Gambler", which is released at the same time as Al Jolson's blockbuster talkie, "The Jazz Singer", reducing public interest in it. Buster struggles to adapt to performing in talking pictures.

A: What is the full name of the person who fails to impress Kurt Bergner?
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Q: Passage: The musical and philosophical ideas behind the opera had begun in Tippett's mind several years earlier. The story, which he wrote himself, charts the fortunes of two contrasting couples in a manner which has brought comparisons with Mozart's The Magic Flute. The strain of composition, combined with his continuing responsibilities at Morley and his BBC work, affected Tippett's health and slowed progress. Following the death in 1949 of Morley's principal, Eva Hubback, Tippett's personal commitment to the college waned. His now-regular BBC fees had made him less dependent on his Morley salary, and he resigned his college post in 1951. His farewell took the form of three concerts which he conducted at the new Royal Festival Hall, in which the programmes included A Child of Our Time, the British première of Carl Orff's Carmina Burana, and Thomas Tallis's rarely performed 40-part motet Spem in alium.In 1951 Tippett moved from Limpsfield to a large, dilapidated house, Tidebrook Manor in Wadhurst, Sussex. As The Midsummer Marriage neared completion he wrote a song cycle for tenor and piano, The Heart's Assurance. This work, a long-delayed tribute to Francesca Allinson (who had committed suicide in 1945), was performed by Britten and Pears at the Wigmore Hall on 7 May 1951. The Midsummer Marriage was finished in 1952, after which Tippett arranged some of the music as a concert suite, the Ritual Dances, performed in Basel, Switzerland, in April 1953. The opera itself was staged at Covent Garden on 27 January 1955. The lavish production, with costumes and stage designs by Barbara Hepworth and choreography by John Cranko, perplexed the opera-going public and divided critical opinion. According to Bowen, most "were simply unprepared for a work that departed so far from the methods of Puccini and Verdi". Tippett's libretto was variously described as "one of the worst in the 350-year history of opera" and "a complex network of verbal symbolism", and the music as "intoxicating beauty" with "passages of superbly conceived orchestral writing". A year after the première, the critic A.E.F. Dickinson concluded that "in spite of notable gaps in continuity and distracting infelicities of language, [there is] strong evidence that the composer has found the right music for his ends".Much of the music Tippett composed following the opera's completion reflected its lyrical style. Among these works was the Fantasia Concertante on a Theme of Corelli (1953) for string orchestra, written to commemorate the 300th anniversary of the composer Arcangelo Corelli's  birth. The Fantasia would eventually become one of Tippett's most popular works, though The Times's critic lamented the "excessive complexity of the contrapuntal writing ... there was so much going on that the perplexed ear knew not where to turn or fasten itself". Such comments helped to foster a view that Tippett was a "difficult" composer, or even that his music was amateurish and poorly prepared. These perceptions were strengthened by controversies around several of his works in the late 1950s. The Piano Concerto (1955) was declared unplayable by its scheduled soloist, Julius Katchen, who had to be replaced before the première by Louis Kentner. The Dennis Brain Wind Ensemble, for whom Tippett had written the Sonata for Four Horns (1955), complained that the work was in too high a key and required it to be transposed down. When the Second Symphony was premièred by the BBC Symphony Orchestra under Boult, in a live broadcast from the Royal Festival Hall on 5 February 1958, the work broke down after a few minutes and had to be restarted by the apologetic conductor: "Entirely my mistake, ladies and gentlemen". The BBC's Controller of Music defended the orchestra in The Times, writing that it "is equal to all reasonable demands", a wording that implied the fault was the composer's.

A: What three things affected Tippett's health?
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Q: Passage: In Colombia, an American engineer named Harry Burck is overseeing the opening of his company's water pipeline. In the middle of the unveiling ceremony, a group of rebels arrives to kidnap an American diplomat who is in attendance. In the process, Harry is also kidnapped.
Word of the kidnapping reaches Harry's brother Corey and his friends Bob, Spence, and Kurt, who were all awaiting Harry's return. The men, coworkers at a factory, learn that Harry's kidnapping was orchestrated by a drug lord named Carlos Ochobar. Corey and Bob travel to Washington, D.C. to seek assistance from the U.S. government, only to be told that there are no plans to mount a rescue. Harry's father, Harry Burck, Sr., is despondent over the kidnapping of his son.
Kurt reminds his friends that they all personally owe Harry something, and that their only choice is to rescue him themselves. Despite some resistance and skepticism from Kurt and Spence, all the men eventually agree to go. Before heading to Colombia, they enlist the financial help of a sympathetic local car salesman, Jack, who insists on going along as a condition of funding the rescue, and the military expertise of a mercenary named Norman Shrike. Due to the urgency of the mission, Shrike is only able to give the group perfunctory training in military tactics.
Once in Colombia, the group encounters resistance, both from local officials and from the U.S. government. The group eventually lands in jail after being set up by one of Shrike's contacts who was going to supply them with weapons. They are handed over to U.S. officials and put on a plane back to the U.S. Just prior to takeoff, the group manages to escape, but Kurt decides to give up and go home.

A:
Where was the American diplomat in attendance when he was kidnapped?
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