user: [Q]: The following article contains an answer for the question: What was the name of what was careful to never use force or violence? , can you please find it?   Using strikes and other protest actions, Solidarity sought to force a change in government policies. In some cases, as in Bielsko-Biała, Solidarity managed to force corrupt officials of the government to lose their jobs. At the same time, it was careful never to use force or violence, so as to avoid giving the government any excuse to bring security forces into play. After 27 Bydgoszcz Solidarity members, including Jan Rulewski, were beaten up on March 19, a four-hour warning strike on March 27, involving around twelve million people, paralyzed the country. This was the largest strike in the history of the Eastern bloc, and it forced the government to promise an investigation into the beatings. This concession, and Wałęsa's agreement to defer further strikes, proved a setback to the movement, as the euphoria that had swept Polish society subsided. Nonetheless the Polish communist party—the Polish United Workers' Party (PZPR)—had lost its total control over society.Yet while Solidarity was ready to take up negotiations with the government, the Polish communists were unsure what to do, as they issued empty declarations and bided their time. Against the background of a deteriorating communist shortage economy and unwillingness to negotiate seriously with Solidarity, it became increasingly clear that the Communist government would eventually have to suppress the Solidarity movement as the only way out of the impasse, or face a truly revolutionary situation. The atmosphere was increasingly tense, with various local chapters conducting a growing number of uncoordinated strikes as well as street protests, such as the Summer 1981 hunger demonstrations in Poland, in response to the worsening economic situation. On December 3, 1981, Solidarity announced that a 24-hour strike would be held if the government were granted additional powers to suppress dissent, and that a general strike would be declared if those powers were used.
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[A]: Solidarity


[Q]: The following article contains an answer for the question: Who considered staging Il tabarro in combination with their own early work? , can you please find it?   The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's...
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[A]: Puccini


[Q]: The following article contains an answer for the question: What is the name of the person who the whole company reportedly almost tore to pieces with rapture? , can you please find it?   Tchaikovsky played the finale of his Second Symphony, subtitled the Little Russian, at a gathering at Rimsky-Korsakov's house in Saint Petersburg on January 7, 1873, before the official premiere of the entire work. To his brother Modest, he wrote, "[T]he whole company almost tore me to pieces with rapture—and Madame Rimskaya-Korsakova begged me in tears to let her arrange it for piano duet". Rimskaya-Korsakova was a noted pianist, composer and arranger in her own right, transcribing works by other members of the kuchka as well as those of her husband and Tchaikovsky's Romeo and Juliet. Borodin was present and may have approved of the work himself. Also present was Vladimir Stasov. Impressed by what he had heard, Stasov asked Tchaikovsky what he would consider writing next, and would soon influence the composer in writing the symphonic poem The Tempest.What endeared the Little Russian to the kuchka was not simply that Tchaikovsky had used Ukrainian folk songs as melodic material. It was how, especially in the outer movements, he allowed the unique characteristics of Russian folk song to dictate symphonic form. This was a goal toward which the kuchka strived, both collectively and individually. Tchaikovsky, with his Conservatory grounding, could sustain such development longer and more cohesively than his colleagues in the kuchka. (Though the comparison may seem unfair, Tchaikovsky authority David Brown has pointed out that, because of their similar time-frames, the finale of the Little Russian shows what Mussorgsky could have done with "The Great Gate of Kiev" from Pictures at an Exhibition had he possessed academic training comparable to that of Tchaikovsky.)
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[A]: Tchaikovsky


[Q]: The following article contains an answer for the question: What is the full name of the person who kill themselves? , can you please find it?   Set in the town of Wetherby in West Yorkshire, the film focuses on Jean Travers, a middle-aged spinster schoolteacher. One evening, she invites married friends for a dinner party, only to have some terrible repressions and past traumas dredged up when guest John Morgan expresses his emotional pain. The strange young man arrives at Jean's cottage the next morning with a gift of pheasants. While sitting at the kitchen table waiting for tea, he puts the barrel of a gun in his mouth and kills himself. From this point onward, the film's story is told in chronologically discrete, interlocking flashbacks to the recent and distant past, showing actions and events as seen and experienced from various points of view. The central mystery of Morgan's suicide is the fulcrum around which the narrative turns. The narrative construction of the film resembles a jigsaw puzzle and, in keeping with Hare's style of exposition, frequently appears to have key pieces missing. There are further scenes of the dinner party as well as scenes of the police investigation into the suicide. We learn Morgan had not been an invited guest—he walked in with others who assumed he was an acquaintance of Jean's, and Jean assumed that her friends had brought him with them.
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[A]:

assistant: John Morgan