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.
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Question: Passage: The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Durer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the triptychs, are among the most significant and accomplished of the late Netherlandish period
The Reformation brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background. Pieter Bruegel the Elder, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his genre scenes were complex, with overtones of religious skepticism and even hints of nationalism.

Answer: What is the full name of the Netherlandish painter who was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective?

Question: Passage: South Boston teenager Jason Tripitikas is a fan of martial arts films and awakens from a dream of a battle between the Monkey King and celestial soldiers in the clouds. He visits a pawn shop in Chinatown to buy wuxia DVDs and discovers a golden staff. On his way home, Tripitikas is harassed by some hooligans, whose leader Lupo attempts to use him to help them rob the shop-owner Hop, who is shot by Lupo. Hop tells Tripitikas to deliver the staff to its rightful owner and Tripitikas flees with the staff. He is cornered on the rooftop before being pulled off the roof by the staff.
When Tripitikas regains consciousness, he finds himself in a village in ancient China that is under attack by armored soldiers. The soldiers see his staff and attempt to seize it. He is saved by the inebriated traveling scholar Lu Yan, a supposed "immortal," who remains alert and agile even when drunk. Lu tells him the story of the rivalry between the Monkey King and the Jade Warlord. The Warlord tricked the King into setting aside his magic staff, Ruyi Jingu Bang, and transformed the immortal into a stone statue, but the King cast his staff far away before the transformation. Lu ends the tale with a prophecy about a "Seeker" who will find the staff and free the King. Just then, they are attacked by the Warlord's men again, but manage to escape with the help of Golden Sparrow, a young woman. She reveals that her family was murdered by the Warlord, against whom she has sworn revenge.

Answer: What is the last name of the person that Lupo tries to get to participate in the robbery?

Question: Passage: Productions during the 1980s included the company's first presentations of Pelleas and Melisande (1981), Parsifal (1986) and Billy Budd (1988). 1980s productions that remained in the repertory for many years included Xerxes directed by Hytner, and Rigoletto and The Mikado directed by Jonathan Miller. In 1984 ENO toured the United States; the travelling company, led by Elder, consisted of 360 people; they performed Gloriana, War and Peace, The Turn of the Screw, Rigoletto and Patience. This was the first British company to be invited to appear at the Metropolitan Opera in New York, where Patience received a standing ovation and Miller's production of Rigoletto, depicting the characters as mafiosi, was greeted with a mixture of enthusiasm and booing. In 1990 ENO was the first major foreign opera company to tour the Soviet Union, performing the Miller production of The Turn of the Screw, Pountney's production of Macbeth, and Hytner's much-revived Xerxes.The 'Powerhouse' era ended in 1992, when all three of the triumvirate left at the same time. The new general director was Dennis Marks, formerly head of music programmes at the BBC, and the new music director was Sian Edwards. Pountney's post of director of productions was not filled. Marks, inheriting a large financial deficit from his predecessors, worked to restore the company's finances, concentrating on restoring ticket sales to sustainable levels. A new production by Miller of Der Rosenkavalier was a critical and financial success, as was a staging of Massenet's Don Quixote, described by the critic Hugh Canning as "the kind of old-fashioned theatre magic which the hair-shirted Powerhouse regime despised".Marks was obliged to spend much time and effort in securing the funding for an essential restoration of the Coliseum, a condition on which ENO had acquired the freehold of the theatre in 1992. At the same time the Arts Council was contemplating a cut in the number of opera performances in London, at the expense of ENO, rather than Covent Garden. By increasing ticket sales in successive years, Marks demonstrated that the Arts Council's proposition was unrealistic. After what The Independent described as "a sustained period of criticism and sniping at the ENO by music critics", Edwards resigned as music director at the end of 1995. Paul Daniel became ENO's next music director. In 1997, Marks resigned. No official reason was announced, but one report stated that he and the ENO board had disagreed about his plans to move the company from the Coliseum to a purpose-built new home. Daniel took over the management of the company until a new general director was appointed.Daniel inherited from Marks a company thriving artistically and financially. The 19971998 season played to 75 per cent capacity and made a surplus of 150,000. Daniel led the campaign against yet another proposal to merge Covent Garden and ENO, which was rapidly abandoned. In 1998 Nicholas Payne, director of opera at Covent Garden, was appointed as ENO's general director. Productions in the 1990s included the company's first stagings of Beatrice and Benedict (1990), Wozzeck (1990), Jenufa (1994), A Midsummer Night's Dream (1995), Die Soldaten (1996), and Dialogues of the Carmelites (1999). Co-productions, enabling opera houses to share the costs of joint enterprises, became important in this decade. In 1993 ENO and Welsh National Opera collaborated on productions of Don Pasquale, Ariodante and The Two Widows.

Answer:
What did the company that toured the United States in 1984 produce in 1990?