In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

[EX Q]: Passage: Frusciante continued to collaborate with his friend Omar Rodriguez-Lopez. Along with providing guitar work to The Mars Volta's studio albums, The Bedlam In Goliath and Octahedron, and Rodriguez-Lopez's solo albums Se Dice Bisonte, No Bufalo and Calibration (Is Pushing Luck and Key Too Far), he functioned as executive producer for Rodriguez-Lopez's directorial film debut, The Sentimental Engine Slayer. The film debuted at the Rotterdam Film Festival in February 2010. Along with work on the film, Frusciante and Rodriguez-Lopez have released two collaborative records in May 2010. The first is the album Omar Rodriguez-Lopez & John Frusciante, an album with just the two of them, the other a quartet record, Sepulcros de Miel, consisting of Rodriguez-Lopez, Frusciante, Juan Alderete and Marcel Rodriguez-Lopez.
Frusciante also contributed music to the documentary film, Little Joe, based upon Joe Dallesandro. In 2009, Frusciante appeared in the documentary, "The Heart is a Drum Machine." His full-length, forty-five-minute interview is available in the special features of the DVD release.On December 7, 2011, the Red Hot Chili Peppers were named 2012 inductees for the Rock And Roll Hall Of Fame. In an interview that same day, Anthony Kiedis talked about Frusciante and if he would attend the ceremony. Kiedis stated, "It would be a guess on my behalf on whether or not he'll come. I can't imagine that he would, but it's a 'you never know' kind of thing. I haven't talked to him in quite a while. I don't know where he's at these days. He'll obviously be more than welcome, and embraced if he does. If he doesn't, that's cool too." Flea also spoke about Frusciante by saying "He left us so many great gifts. He's a phenomenal musician and songwriter who gave so much to our band. All the feelings I have for him not being in the band any more ... He really took us to a higher level." Frusciante eventually declined to be present for the Red Hot Chili Peppers' induction into the Rock and Roll Hall of Fame in April.
Question: What is the full name of the person that provided guitar work to The Mars Volta's studio albums?
[EX A]: John Frusciante.

[EX Q]: Passage: By the late 1950s, Covent Garden was gradually abandoning its policy of productions in the vernacular; such singers as Maria Callas would not relearn their roles in English. This made it easier for Tucker to point up the difference between the two London opera companies. While Covent Garden engaged international stars, Sadler's Wells focused on young British and Commonwealth performers. Colin Davis was appointed musical director in succession to Gibson in 1961. The repertoire continued to mix familiar and unfamiliar operas. Novelties in Davis's time included Pizzetti's Murder in the Cathedral, Stravinsky's Oedipus rex, Richard Rodney Bennett's The Mines of Sulphur and more Janacek. Sadler's Wells's traditional policy of giving all operas in English continued, with only two exceptions: Oedipus rex, which was sung in Latin, and Monteverdi's L'Orfeo, sung in Italian, for reasons not clear to the press. In January 1962, the company gave its first Gilbert and Sullivan opera, Iolanthe, on the day on which the Savoy operas came out of copyright and the D'Oyly Carte monopoly ended. The production was well received (it was successfully revived for many seasons until 1978) and was followed by a production of The Mikado in May of the same year.The Islington theatre was by now clearly too small to allow the company to achieve any further growth. A study conducted for the Arts Council reported that in the late 1960s the two Sadler's Wells companies comprised 278 salaried performers and 62 guest singers. The company had experience of playing in a large West End theatre, such as its 1958 sell-out production of The Merry Widow that had transferred to the 2,351-seat London Coliseum for a summer season. Ten years later, the lease of the Coliseum became available. Stephen Arlen, who had succeeded Tucker as managing director, was the primary advocate for moving the company. After intense negotiations and fund-raising, a ten-year lease was signed in 1968. One of the company's last productions at the Islington theatre was Wagner's The Mastersingers, conducted by Goodall in 1968, which 40 years later was described by Gramophone magazine as "legendary". The company left Sadler's Wells with a revival of the work with which it had re-opened the theatre in 1945, Peter Grimes. Its last performance at the Rosebery Avenue theatre was on 15 June 1968.
Question: What are the names of the people that wrote the opera The Mikado?
[EX A]: Gilbert.

[EX Q]: Passage: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brancusi, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Academie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.
Question: What form became the primary motif of Moore's sculpture?
[EX A]:
the Chac Mool.