Focus Theatre Papers

Total Page:16

File Type:pdf, Size:1020Kb

Focus Theatre Papers Leabharlann Naisiunta na hEireann National Library of Ireland Collection List No. 140 Focus Theatre Papers (MSS 44,831 – 44,959 & 49,492; MS L 130) (Accession No. 5905) Papers of the Focus Theatre including programmes, posters, flyers, newspaper reviews, correspondence, photographs, administrative documents, financial and business papers, invitations, photographs, scripts, and tapes, (1965 – 2001). Also includes personal papers belonging to Deirdre O’Connell. Compiled by Avice-Claire McGovern, December 2008 & August 2012 1. TABLE OF CONTENTS INTRODUCTION............................................................................................................. 5 PRODUCTIONS AT THE FOCUS THEATRE, 1967 – 2001.................................... 10 I. Plays.............................................................................................................................. 19 I.i. 1960s........................................................................................................................ 19 I.ii. 1970s ...................................................................................................................... 20 I.iii. 1980s ..................................................................................................................... 24 I.iv. 1990s...................................................................................................................... 30 I.v. 2000s....................................................................................................................... 42 II. Events.......................................................................................................................... 43 II.i. Focus Week............................................................................................................ 43 II.ii. Month of Sundays ................................................................................................. 44 II.iii. Sunday Night at Focus......................................................................................... 44 II.iii. Other events ......................................................................................................... 46 III. Administrative papers.............................................................................................. 46 III.i. Correspondence .................................................................................................... 47 III.ii. Meetings .............................................................................................................. 51 III.iii. Administrative notebooks, address books, diaries, and visitors’ books ............. 52 III.iv. General publicity and marketing......................................................................... 54 III.iv.1. Advertising in publications and related correspondence ............................. 54 III.iv.2. Other publicity correspondence................................................................... 55 III.iv.3. Miscellaneous publicity documents............................................................. 58 III.v. Tours .................................................................................................................... 58 III.vi. Focus Theatre premises ...................................................................................... 59 III.vi.1. Building maintenance including equipment and health and safety ............. 59 III.vi.2. Hiring of Focus Theatre............................................................................... 61 III.vii. Employment at Focus Theatre.......................................................................... 62 III.viii. Dublin Theatre Festival .................................................................................... 63 III.ix. Awards............................................................................................................... 63 III.x. Questionnaires..................................................................................................... 64 III.x.1. Focus Theatre questionnaires........................................................................ 64 III.x.2. Other questionnaires ..................................................................................... 64 III.xi. Miscellaneous administrative papers.................................................................. 65 IV. Business and financial papers ................................................................................. 67 IV.i. Bank statements, lodgement receipts and cheques............................................... 67 IV.ii. Bills...................................................................................................................... 68 IV.iii. Invoices .............................................................................................................. 68 IV.iv. Receipts .............................................................................................................. 70 IV.v. Box office takings and bookings ......................................................................... 72 IV.vi. Accounts, expenditure and income budgets ....................................................... 74 IV.vii. Robert J. Kidney & Co. Chartered Accountants ............................................... 77 2. IV.viii. McCrohan Quinn & Co. Registered Auditors.................................................. 78 IV.ix. Funding............................................................................................................... 79 IV.ix.1. Fundraising and sponsorship ....................................................................... 79 IV.ix.2. Friends of Focus .......................................................................................... 84 IV.x. Rights and Royalties............................................................................................ 85 IV.xi. Other financial papers......................................................................................... 88 V. Dublin City Corporation ........................................................................................... 90 VI. Arts Council .............................................................................................................. 91 VI.i. Correspondence and applications for grants......................................................... 91 VI.i.1. 1960s & 1970s............................................................................................... 91 Vi.i.2. 1980s.............................................................................................................. 92 VI.i.3. 1990s & 2000s............................................................................................... 93 VI.i.4. Reports, newsletters, brochures, leaflets, notices, application forms and newscuttings.............................................................................................................. 97 VII. Stanislavski Studio.................................................................................................. 98 VIII. Focus Newsletter.................................................................................................... 99 IX. Newscuttings about the Focus Theatre................................................................. 100 X. Photographs.............................................................................................................. 101 XI. Scripts ...................................................................................................................... 102 XI.i. Original scripts ................................................................................................... 102 XI.ii. Photocopied scripts from published works........................................................ 117 XI.iii. Unidentified scripts .......................................................................................... 122 XI.iii.1. Scripts with titles but authors unknown .................................................... 122 XI.iii.2. Scripts with no titles or authors................................................................. 122 XI.iv. Monologues, short stories and poetry............................................................... 123 XI.v. Other correspondence relating to scripts ........................................................... 123 XII. Tapes ...................................................................................................................... 124 XIII. Deirdre O’Connell’s personal papers................................................................ 125 XIII.i. Letters .............................................................................................................. 126 XIII.ii. Postcards and greeting cards........................................................................... 126 XIII.ii.1. 1960s, 1970s & 1980s.............................................................................. 127 XIII.ii.2. 1990s & 2000s ......................................................................................... 127 XIII.ii.3. Undated.................................................................................................... 129 XIII.iii. Invitations ...................................................................................................... 129 XIII.iv. Miscellaneous personal papers ...................................................................... 130 XIV. Miscellaneous Focus Theatre material .............................................................
Recommended publications
  • Aardman in Archive Exploring Digital Archival Research Through a History of Aardman Animations
    Aardman in Archive Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive | Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive: Exploring Digital Archival Research through a History of Aardman Animations Copyright © 2018 by Rebecca Adrian All rights reserved. Cover image: BTS19_rgb - TM &2005 DreamWorks Animation SKG and TM Aardman Animations Ltd. A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Media and Performance Studies at Utrecht University. Author Rebecca A. E. E. Adrian Student number 4117379 Thesis supervisor Judith Keilbach Second reader Frank Kessler Date 17 August 2018 Contents Acknowledgements vi Abstract vii Introduction 1 1 // Stop-Motion Animation and Aardman 4 1.1 | Lack of Histories of Stop-Motion Animation and Aardman 4 1.2 | Marketing, Glocalisation and the Success of Aardman 7 1.3 | The Influence of the British Television Landscape 10 2 // Digital Archival Research 12 2.1 | Digital Surrogates in Archival Research 12 2.2 | Authenticity versus Accessibility 13 2.3 | Expanded Excavation and Search Limitations 14 2.4 | Prestige of Substance or Form 14 2.5 | Critical Engagement 15 3 // A History of Aardman in the British Television Landscape 18 3.1 | Aardman’s Origins and Children’s TV in the 1970s 18 3.1.1 | A Changing Attitude towards Television 19 3.2 | Animated Shorts and Channel 4 in the 1980s 20 3.2.1 | Broadcasting Act 1980 20 3.2.2 | Aardman and Channel
    [Show full text]
  • Irish Historic Towns Atlas (IHTA), No. 20, Tuam Author
    Digital content from: Irish Historic Towns Atlas (IHTA), no. 20, Tuam Author: J.A. Claffey Editors: Anngret Simms, H.B. Clarke, Raymond Gillespie, Jacinta Prunty Consultant editor: J.H. Andrews Cartographic editor: Sarah Gearty Editorial assistants: Angela Murphy, Angela Byrne, Jennnifer Moore Printed and published in 2009 by the Royal Irish Academy, 19 Dawson Street, Dublin 2 Maps prepared in association with the Ordnance Survey Ireland and Land and Property Services Northern Ireland The contents of this digital edition of Irish Historic Towns Atlas no. 20, Tuam, is registered under a Creative Commons Attribution-Non Commercial 4.0 International License. Referencing the digital edition Please ensure that you acknowledge this resource, crediting this pdf following this example: Topographical information. In J.A. Claffey, Irish Historic Towns Atlas, no. 20, Tuam. Royal Irish Academy, Dublin, 2009 (www.ihta.ie, accessed 4 February 2016), text, pp 1–20. Acknowledgements (digital edition) Digitisation: Eneclann Ltd Digital editor: Anne Rosenbusch Original copyright: Royal Irish Academy Irish Historic Towns Atlas Digital Working Group: Sarah Gearty, Keith Lilley, Jennifer Moore, Rachel Murphy, Paul Walsh, Jacinta Prunty Digital Repository of Ireland: Rebecca Grant Royal Irish Academy IT Department: Wayne Aherne, Derek Cosgrave For further information, please visit www.ihta.ie TUAM View of R.C. cathedral, looking west, 1843 (Hall, iii, p. 413) TUAM Tuam is situated on the carboniferous limestone plain of north Galway, a the turbulent Viking Age8 and lends credence to the local tradition that ‘the westward extension of the central plain. It takes its name from a Bronze Age Danes’ plundered Tuam.9 Although the well has disappeared, the site is partly burial mound originally known as Tuaim dá Gualann.
    [Show full text]
  • The Dublin Gate Theatre Archive, 1928 - 1979
    Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
    [Show full text]
  • Issue 18 Midlands Arts 4:Layout 1
    VISUAL ARTS MUSIC & DANCE ISSUE & FILM THEATRE FREE THE WRITTEN WORD A REVIEW OF THE ARTS IN LAOIS, LONGFORD, OFFALY AND WESTMEATH WINTER 2012 18 COVER PIC Laois teens explore life Kilbeggan through a lens gallery set page 8 in stone page 17 Offaly composer Longford girl celebrated for pursues international ballet dream success page 31 page 4 Toy Soldiers, wins at Galway Film Fleadh Midland Arts and Culture Magazine | WINTER 2010 Over two decades of Arts and Culture Celebrated with Presidential Visit ....................................................................Page 3 A Word Laois native to trend the boards of the Gaiety Theatre Midlands Offaly composer celebrated for international success .....Page 4 from the American publisher snaps up Longford writer’s novel andCulture Leaves Literary Festival 2012 celebrates the literary arts in Laois on November 9, 10............................Page 5 Editor Arts Magazine Backstage project sees new Artist in Residence There has been so Irish Iranian collaboration results in documentary much going on around production .....................................................................Page 6 the counties of Laois, Something for every child Mullingar Arts Centre! Westmeath, Offaly Fear Sean Chruacháin................................................Page 7 and Longford that County Longford writers honored again we have had to Laois teens explore life through the lens...............Page 8 up the pages from 32 to 36 just to fit Introducing Pete Kennedy everything in. Making ‘Friends’ The Doctor
    [Show full text]
  • Annual Report and Accounts 2004/2005
    THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to
    [Show full text]
  • Creating, Transmitting and Maintaining Handed-Down Memories of the Emergency in Ireland
    Études irlandaises 46-1 | 2021 Passer au crible les traces du passé : modèles, cadres et métaphores The War That Never Came: Creating, Transmitting and Maintaining Handed-Down Memories of the Emergency in Ireland. Acknowledging Family Recollections of WWII Patrick Gormally Electronic version URL: https://journals.openedition.org/etudesirlandaises/10759 DOI: 10.4000/etudesirlandaises.10759 ISSN: 2259-8863 Publisher Presses universitaires de Caen Printed version Date of publication: 8 July 2021 Number of pages: 143-167 ISBN: 978-2-38185-030-6 ISSN: 0183-973X Electronic reference Patrick Gormally, “The War That Never Came: Creating, Transmitting and Maintaining Handed-Down Memories of the Emergency in Ireland. Acknowledging Family Recollections of WWII”, Études irlandaises [Online], 46-1 | 2021, Online since 08 July 2021, connection on 10 July 2021. URL: http:// journals.openedition.org/etudesirlandaises/10759 ; DOI: https://doi.org/10.4000/etudesirlandaises. 10759 Études irlandaises est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale - Partage dans les Mêmes Conditions 4.0 International. The War That Never Came: Creating, Transmitting and Maintaining Handed- Down Memories of the Emergency in Ireland. Acknowledging Family Recollections of WWII 1 Abstract: Within the context of WWII, this essay explores the notion of national and personal conflict within individuals and communities in Ireland, part of which had undergone the severing of imperial connections and the attainment of national independence less than a full generation before. In Ireland, the conflict of war on a wider stage impinged upon an inner conflict closer to the heart. To go or not to go… to war.
    [Show full text]
  • UCC Library and UCC Researchers Have Made This Item Openly Available
    UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title Life on-air: talk radio and popular culture in Ireland Author(s) Doyle-O'Neill, Finola Editor(s) Ní Fhuartháin, Méabh Doyle, David M. Publication date 2013-05 Original citation Doyle-O'Neill, F. (2013) 'Life on-air: talk radio and popular culture in Ireland', in Ní Fhuartháin, M. and Doyle, D.M. (eds.) Ordinary Irish life: music, sport and culture. Dublin : Irish Academic Press, pp. 128-145. Type of publication Book chapter Link to publisher's http://irishacademicpress.ie/product/ordinary-irish-life-music-sport-and- version culture/ Access to the full text of the published version may require a subscription. Rights © 2013, Irish Academic Press. Item downloaded http://hdl.handle.net/10468/2855 from Downloaded on 2021-09-30T05:50:06Z 1 TALK RADIO AND POPULAR CULTURE “It used to be the parish pump, but in the Ireland of the 1990’s, national radio seems to have taken over as the place where the nation meets”.2 Talk radio affords Irish audiences the opportunity to participate in mass mediated debate and discussion. This was not always the case. Women in particular were excluded from many areas of public discourse. Reaching back into the 19th century, the distinction between public and private spheres was an ideological one. As men moved out of the home to work and acquired increasing power, the public world inhabited by men became identified with influence and control, the private with moral value and support.
    [Show full text]
  • Film Is GREAT, Edition 2, November 2016
    ©Blenheim Palace ©Blenheim Brought to you by A guide for international media The filming of James Bond’s Spectre, Blenheim Palace, Oxfordshire visitbritain.com/media Contents Film is GREAT …………………………………………………………........................................................................ 2 FILMED IN BRITAIN - British film through the decades ……………………………………………………………………………………….. 9 - Around the world in British film locations ……………………………………………….…………………........ 15 - Triple-take: Britain's busiest film locations …………………………………………………………………….... 18 - Places so beautiful you'd think they were CGI ……………………………………………………………….... 21 - Eight of the best: costume dramas shot in Britain ……………………………………………………….... 24 - Stay in a film set ……………………………………………………………………………………………………………...... 27 - Bollywood Britain …………………………………………………………………………………………………………….... 30 - King Arthur's Britain: locations of legend ……………………………………………………………………...... 33 - A galaxy far, far away: Star Wars in Britain .…………………………………………………………………..... 37 ICONIC BRITISH CHARACTERS - Be James Bond for the day …………………………………………………………………………………………….... 39 - Live the Bridget Jones lifestyle ……………………………………………………………………………………..... 42 - Reign like King Arthur (or be one of his knights) ………………………………………………………….... 44 - A muggles' guide to Harry Potter's Britain ……………………………………………………………………... 46 FAMILY-FRIENDLY - Eight of the best: family films shot in Britain ………………………………………………………………….. 48 - Family film and TV experiences …………………….………………………………………………………………….. 51 WATCHING FILM IN BRITAIN - Ten of the best: quirky
    [Show full text]
  • 25 Sept –12 Oct 2014 2-012 2- 01
    25 Sept –12 Oct 2014 2-012 2- 01 Principal Funder buy tickets online www.dublintheatrefestival.com Grant Aided by phone +353 1 677 8899 in person Dublin Theatre Festival Box Office, 44 East Essex Street, Temple Bar, Dublin 2 Tickets are also available at Follow us on Twitter and most Dublin Theatre Festival Facebook for news, ticket venues (see page 73). competitions and special Presenting Partner Official Accommodation Provider Official Media Partner – offers throughout the festival. 21 July @DubTheatreFest Priority booking opens DublinTheatreFestival for Friends of the Festival. Official Broadcasting Partner Official Radio Partner Festival Champion 12 August Booking opens to the general public online, by phone and in person. – Official Vehicle Partner Opening hours Mon – Fri 10am – 6pm Sat 10am – 5pm (Sept 20 – Oct 11 only) Sun 12pm – 3pm (Sept 28 – Oct 12 only) www.dublintheatrefestival.com www.dublintheatrefestival.com welcome02 contents In order of opening 02-03 performance Hello. We have been working hard for give an indication of how vibrant its A flourishing city should offer those 04 Hamlet, Schaubühne Berlin 24 Ganesh Versus the Third Reich, 40 Jack Charles V The Crown, months to bring together the most contemporary theatre scene is. There who live, work and visit it meaningful Bord Gáis Energy Theatre Back to Back Theatre ILBIJERRI Theatre Company exciting, engaging and diverse is another Australian production in cultural experiences and I want our OReilly Theatre, Belvedere Samuel Beckett Theatre productions for this 55th festival our ever popular Family Season, festival to be a key ingredient in what 06 Vardo, ANU Productions Oonagh Young Gallery Adishatz / Adieu, 42 Book Burning, programme.
    [Show full text]
  • All We Say Is 'Life Is Crazy': – Central and Eastern Europe and the Irish
    Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title All we say is 'Life is crazy': - Central and Eastern Europe and the Irish Stage Author(s) Lonergan, Patrick Publication Date 2009 Lonergan, P. (2009) ' All we say is 'Life is Crazy': - Central and Publication Eastern Europe and the Irish Stage' In: Maria Kurdi, Literary Information and Cultural Relations Between Ireland and Hungary and Central and Eastern Europe' (Eds.) Dublin: Carysfort Press. Publisher Dublin: Carysfort Press Link to publisher's http://www.carysfortpress.com/ version Item record http://hdl.handle.net/10379/5361 Downloaded 2021-09-28T21:11:04Z Some rights reserved. For more information, please see the item record link above. All We Say is ‘Life is Crazy’: – Central and Eastern Europe and the Irish Stage Patrick Lonergan If you had visited the Abbey Theatre during 2007, you might have seen a card displayed prominently in its foyer. ‘Join Us,’ it says, its purpose being to convince visitors to become Members of the Abbey – to donate money to the theatre and, in return, to get free tickets for productions, to have their names listed in show programmes, and to gain access to special events. The choice of image to attract potential donors is easy to understand (Figure 1). The woman, we see, has reached into a chandelier to retrieve a letter, and we can tell from her expression that the discovery she’s made has both surprised and delighted her. Why is she so happy? What does the letter say? And who is that strange man, barely visible, holding her up at such an unusual angle? As well as being eye-catching, the image is also an interesting analogue for the experience of watching great drama.
    [Show full text]
  • Statement to the Oireachtas Committee of Inquiry Into the Banking Crisis in Ireland Ed Mulhall
    Statement to the Oireachtas Committee of Inquiry into the Banking Crisis in Ireland Ed Mulhall The starting premise for a discussion of RTÉ's editorial policy on the coverage of any area of public interest is that there is no single expression of it. RTÉ's output is based on a set of principles which are derived from its statutory obligations. These principles form the framework for editorial decision making and there is an editorial structure in place to monitor, discuss and challenge the editorial selections being made so as to ensure they are being adhered to. In addition, all RTÉ's activities are subject to a regulatory structure to ensure that the organisation is meeting its public service obligations. Those working in editorial roles in RTÉ operate under a shared understanding of RTÉ’s obligations under various statutes, notably the 1976 Broadcasting Act as amended and the 2009 Broadcasting Act. In RTÉ News, this translates into a very simple premise: inform the audience in the public interest. The political scientist Jean Blondel - in an essay written in honour of the late RTÉ broadcaster Brian Farrell - calls the role to inform the noblest of tasks because it is the most difficult. It requires the reporting of facts, sometimes the establishment of facts, their selection according to their importance and the presentation of them with related material to allow their meaning or significance to be understood. What is important to report in the public interest is a constantly evolving question that is impacted on by events and does not adhere to any fixed state of national consensus.
    [Show full text]
  • Profile Theatre My Children! My Africa! Press Release
    April 16, 2013 Contact: Matthew Jones 503.242.0080 or [email protected] For Immediate Release Profile Theatre presents My Children! My Africa! by Athol Fugard May 8 – May 26, 2013 (Portland, Oregon – April 16, 2013) Profile Theatre presents the final Main Stage production of its 2012-13 Athol Fugard season, My Children! My Africa!, May 8 – May 26. It’s 1985, the height of the student uprising against the South African government’s oppressive apartheid system. Passionate, dedicated teacher Mr. M inspires an unlikely pairing for an English debate competition: brilliant black student activist Thami and privileged, down-to-earth white Isabel from a neighboring school. Loyalty and friendship are put to the test when external forces prove stronger than the walls of the Karoo classroom, and hope erodes into conflict between rebellious youth and “old fashioned” ideals. “Should violence be met with violence? Or is there an alternative?” asks playwright Fugard My Children! My Africa! was written in 1989 as South Africa was struggling with the end of apartheid. Fugard captures a country in the throes of powerful change. My Children! My Africa! is the inaugural production of Profile Theatre’s new Inside Out: Community and School Tour. Following its run, My Children! My Africa! will tour to local high schools in the greater Portland area. Presented in full costume with props, sound and minimal set pieces, the play is followed by conversation with students and cast. More information, including a Resource Guide, can be found at http://profiletheatre.org/tour. As part of its education programming, Profile Theatre offers free tickets to all performances to any full-time teacher in the K-12 system or professor in an accredited college or university.
    [Show full text]