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John Tiffany has ripped a page from the Diane Paulus playbook. Much like the American Repertory Theater’s (A.R.T.) artistic director, the Englishman is expanding the boundaries of theater, even taking his productions into the streets and onto the facades of buildings.Tiffany is the associate director of the National Theatre of Scotland, a nomadic production company with no official home base. Instead, it travels the country visiting remote locations and creating theater productions wherever it can: in a museum, on a ferry, even in a forest. The company’s motto is “theatre without walls.”In 2006, Tiffany helped to direct “Home,” a production that took place in 10 locations across Scotland simultaneously. In his particular production, people with video cameras rappelled off an apartment tower in Glasgow and shot a series of scenes with his actors that were unfolding in different apartments. The footage was then displayed on a giant video screen to an audience seated on a grassy hill below.The 2009 production of “Transform” operated like a mystery where the audience took on the starring role of detective. The crowd was unleashed on a local town to gather information about a missing girl, encountering actors and clues along the way.A current fellow at the Radcliffe Institute for Advanced Study, Tiffany called the interactive play a kind of “treasure hunt where the narrative was the treasure” during the institute’s 2010–11 Julia S. Phelps Annual Lecture in Art and the Humanities.Tiffany is using his year at Harvard to examine a much more intimate, intrinsic side of theater, one he argues is just as provocative and groundbreaking as his company’s imaginative works and “just as radical and as powerful a tool in terms of the evolution of theater.”As a fellow at Radcliffe, he is exploring paralanguage, or “everything that comes out of our mouths when we communicate apart from the words.” Intonation, volume, accents, and dialects are Tiffany’s domain for the academic year, as are things such as the works of Shakespeare, aphasics, and linguistics, among others.“I am increasingly excited to explore onstage the way we actually speak,” said Tiffany. “We stutter, and we stammer, and we ‘um’ and ‘ah’ and ‘er.’ When you hear that onstage it sounds radical, it’s shocking, and surprising, and it also has the potential to make an audience active and alert and gripped.”Last semester Tiffany spent uncounted hours reading about the fields of linguistics and neuroscience and examining areas like code switching or moving between variations of languages in different contexts.Over the next few months, he is studying how people communicate through their pitch and intonation, even their pauses or the spaces between their words. He is researching the way that public figures like Franklin D. Roosevelt, Ronald Reagan, and even Adolf Hitler carefully crafted their speaking styles.Through his work, Tiffany has connected with Nancy Kanwisher of the Brain and Cognitive Sciences Department at the Massachusetts Institute of Technology, audited classes with Harvard Linguistics Professor Maria Polinksy, and discussed the Bard with Marjorie Garber, Harvard’s William R. Kenan Jr. Professor of English and of Visual and Environmental Studies, and a Shakespeare expert.Though he had no plans to create a theater piece based on his year at Radcliffe, Paulus insisted.“She dangled a carrot which I couldn’t refuse,” said Tiffany of Paulus, who offered up her second-year M.F.A. students at the A.R.T. Institute for his use. Tiffany will direct the students’ final show of the season, based on his research.“I’ve got 18 lab rats,” he said, laughing.With his research, Tiffany hopes to capture a realistic energy that paralanguage offers. He also hopes to forge a greater connection with his audiences and possibly change the nature of what people consider theater.“We don’t use the full resource of our voices on stage in terms of its communication,” he said. “It’s because — writers and directors and actors — we love lines that are witty and articulate and are beautifully structured, and that is wonderful. I don’t think for a second we shouldn’t do that. But I think there is other potential as well with this research, because we don’t speak like that. I wonder if there is a lyricism and an energy to be found in something which reflects much more truthfully how we speak.”
The three largest Austrian Pensionskassen are increasing their dominance of Austria’s Pensionskassen market, holding 73% of the €17.4bn managed by the 16 funds, according to the Austrian financial supervisor (FMA).In 2012, VBV, Valida and APK, accounted for just over 71% of the assets in the sector, but consolidation such as APK takeover the company pension fund of the Austrian Economic Chamber WKÖ increased the share.Adding roughly another €700m from the Valida Industrie Pensionskasse – the former company pension fund for Siemens – to the assets held by Valida, the market share of the three largest funds increases to almost 77%.Additionally, on average multi-employer pension funds, including the three largest Austrian funds, achieved a better return in 2013 at 5.3% than company pension funds which only managed 3.9%. It was the first time in three years that the multi-employer funds outperformed the company Pensionskassen. The performance of the smaller funds in the post-crisis year of 2009 was already significantly better, at 12.6% annual return, compared to a negative performance of -8.45% for the larger funds.However, performance figures in Austria should only ever be viewed as a very rough average, as multi-employer funds have to offer different portfolios for larger clients while company pension funds only put in place one or two portfolios.Under the most recent amendment to the law governing Austrian Pensionskassen, some pension funds used the opportunity to reduce the number of portfolios, which lead to an overall decrease from 140 to 124 year-on-year across all pension funds. However, some schemes created sub-portfolios instead.Overall, the FMA confirmed a 5.1% average return for all Austrian Pensionskassen for 2013, with returns ranging from 0.4% to 5.8% depending on the risk-return profile of a portfolio.For the Betriebliche Kollektivversicherung (BVK), an insurance-based occupational pension solution, the FMA reported a 20% increase in assets over the last year to €643.4m.
Fernando Alonso’s return to the Indianapolis Motor Speedway on Tuesday was without issue as the former Formula One champion eyes finally claiming a win at the Indianapolis 500.The Spaniard failed to qualify for the race last year in a spectacularly woeful effort by McLaren but managed to get around 2020’s opening day of practice without any concerns.Alonso finished the day in fifth behind James Hinchliffe of Andretti Autosport who sat atop of the leaderboard.Alonso has returned to Indianapolis Motor Speedway for a third attempt at winning the final leg of motorsports’ version of the Triple Crown. Alonso won the Monaco Grand Prix in 2006 and 2007 for the first leg of the Triple Crown. He added back-to-back wins at the 24 Hours of Le Mans in 2018 and 2019, leaving the American classic as the only missing race.The Spaniard is due to return to Formula One with Renault in 2021,s meaning this year’s Indianapolis 500 could be his last attempt at completing the trifecta. Last Updated: 13th August, 2020 07:14 IST Fernando Alonso Hits The Track Ahead Of Final Shot At Indianapolis 500 Fernando Alonso’s return to the Indianapolis Motor Speedway on Tuesday was without issue as the former Formula One champion eyes finally claiming a win at the Indianapolis 500. Written By First Published: 13th August, 2020 07:14 IST LIVE TV WATCH US LIVE SUBSCRIBE TO US Associated Press Television News COMMENT FOLLOW US