Back in the .16th century, political plays were all about men. Not now. For some time, American female playwrights have followed the (1) of Wendy Wasrstein, a 50-year-old Brooklyn-born dramatist, who work has focud (2) family drama and personal (3) . Overtly political plays were considered (4) and unfashionable. But this is no longer so often the (5) . A new generation of female playwrights (6) tackling such subjects (7) racism, rape and apartheid. The quality of the plays has varied (8) 凉拌包菜. The best (9) their subjects with nuance and subtlety, while it is the more controversial pr6ductions (10) fall flat. With topical issues now the stuff 0fshallow, made-for-television movies, audiences are looking to the theatre for something more (11) . Rebecca Gilman's previous play, "Spinning into Butter", dealt with white racism in academia; her current drama, "Boy Gets Girl", gives a feminist take on male arching and objeetificati6n of women. Kia Corthron has three plays, including "Force Continuum", (12) with racial issues (13) or coming to the New York stage this year. But perhaps the most老师真棒 (14) recent play on political themes to (15) is "The Syringa Tree", a one-woman show about gregation in South Africa in the 1960s, written and (16) by Pamela Glen. (17) the play had trouble (18) an audience when it (19) in September last year, critical acclaim and persistent word-of-mouth followed, gradually (20) to make "The Syringa Tree" one of the city's most popular offerings. |
At current online-ed rates, it is almost impossible for web publishers that create their own content to make money—just ask any of the two dozen, to eCountries that have gone bust in the past month alone. The mason for the bloodbath is simple: advertirs are not willing m pay enough for web ads to support the cost of displaying them. To e why, consider a credit-card firm that wants to find customers online. Say it runs a campaign to display its banner ad to 2 million viewers. Using industry averages, one out of every 200 viewers can be expected to click on the ad: one out of every 100 of tho will actually sign up for a credit card. Thus, the campaign would yield 100 new customers. Offline. the firm pays about $150 for each customer it acquires, through anything from direct mail to television ads. Using the same rate, it would therefore be willing to pay $15.000 for tho 2 million online-ad views, or a cost-per-thousand- views (CPM) rate of $7.50. Now consider the economics of the website that is running tho ads. It probably does not have its own ad sales team, so it is getting tho credit-card ads from an advertising network such as DoubleClick. The network takes half the revenues, leaving the site with a CPM of $3.75. Imagine that the site is very successful, say among the top few hundred on the web. If so, it may be able to generate 10m page views 'a month. At $3.75 per thousand views, that means revenue of $37,500 a month. Take out hardware, software and bandwidth costs, and enough might be left to support two employees or so. This grim picture can be improved by lling more than one ad per page. but such clutter **es at the cost of a lower rate of "click-throughs" and, eventually, even lower CPMs. The site can try to charge higher CPMs by providing more information about viewer demographics, to help advertirs target their ads, or by claiming that it has a sign that may justify a fee for brand-building advertirs. But advertirs are skeptical. The biggest web portals get their content almost for free—a mixture of material from other-sites and content created by viewers—and attract so much traffic that they can support huge organizations on low CPMs. But for most smaller websites, there is no way out. Tho that cannot find revenue sources beyond advertising will either go bust or be forced to admit that their site is a non-profit enterpri. If truth-in-advertising rules were enforced, most dotcoms would be dotorgs. |
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