document_title: Theatre of the Absurd

question_text: who belongs to the absurd school of drama

text: Theatre of the Absurd

text: Origin[edit]

text: In the first edition of The Theatre of the Absurd, Esslin saw the work of these playwrights as giving artistic meaning to Albert Camus's philosophy that life is inherently without meaning, as illustrated in his work The Myth of Sisyphus. In the first (1961) edition, Esslin presented the four defining playwrights of the movement as Samuel Beckett, Arthur Adamov, Eugène Ionesco, and Jean Genet, and in subsequent editions he added a fifth playwright, Harold Pinter—although each of these writers has unique preoccupations and characteristics that go beyond the term "absurd."[4][5] Other writers associated with this group by Esslin and other critics include Tom Stoppard,[6] Friedrich Dürrenmatt,[7] Fernando Arrabal,[8] Edward Albee,[9] Boris Vian,[10] and Jean Tardieu.[4][5][8]

text: Significant precursors[edit]

text: Though the label "Theatre of the Absurd" covers a wide variety of playwrights with differing styles, they do have some common stylistic precursors (Esslin [1961]). These precursors include Elizabethan tragicomedy, formal experimentation, pataphysics, surrealism, Dadaism, and most importantly existentialism.

text: Elizabethan – tragicomedy[edit]

text: The mode of most "absurdist" plays is tragicomedy.[11][12] As Nell says in Endgame, "Nothing is funnier than unhappiness … it's the most comical thing in the world".[13] Esslin cites William Shakespeare as an influence on this aspect of the "Absurd drama."[14] Shakespeare's influence is acknowledged directly in the titles of Ionesco's Macbett and Stoppard's Rosencrantz and Guildenstern Are Dead. Friedrich Dürrenmatt says in his essay "Problems of the Theatre", "Comedy alone is suitable for us … But the tragic is still possible even if pure tragedy is not. We can achieve the tragic out of comedy. We can bring it forth as a frightening moment, as an abyss that opens suddenly; indeed, many of Shakespeare's tragedies are already really comedies out of which the tragic arises."[15]

text: Though layered with a significant amount of tragedy, the Theatre of the Absurd echoes other great forms of comedic performance, according to Esslin, from Commedia dell'arte to vaudeville.[11][16] Similarly, Esslin cites early film comedians and music hall artists such as Charlie Chaplin, the Keystone Cops and Buster Keaton as direct influences. (Keaton even starred in Beckett's Film in 1965.)[17]

text: Formal experimentation[edit]

text: As an experimental form of theatre, many Theatre of the Absurd playwrights employ techniques borrowed from earlier innovators. Writers and techniques frequently mentioned in relation to the Theatre of the Absurd include the 19th-century nonsense poets, such as Lewis Carroll or Edward Lear;[18] Polish playwright Stanisław Ignacy Witkiewicz;[19] the Russians Daniil Kharms,[20] Nikolai Erdman,[21] and others; Bertolt Brecht's distancing techniques in his "Epic theatre";[22] and the "dream plays" of August Strindberg.[4][23]

text: One commonly cited precursor is Luigi Pirandello, especially Six Characters in Search of an Author.[23][24] Pirandello was a highly regarded theatrical experimentalist who wanted to bring down the fourth wall presupposed by the realism of playwrights such as Henrik Ibsen. According to W. B. Worthen, Six Characters and other Pirandello plays use "Metatheatre—roleplaying, plays-within-plays, and a flexible sense of the limits of stage and illusion—to examine a highly-theatricalized vision of identity".[25]

text: Another influential playwright was Guillaume Apollinaire whose The Breasts of Tiresias was the first work to be called "surreal".[26][27][28]

text: Pataphysics, surrealism, and Dadaism[edit]

text: One of the most significant common precursors is Alfred Jarry whose wild, irreverent, and lascivious Ubu plays scandalized Paris in the 1890s. Likewise, the concept of 'pataphysics—"the science of imaginary solutions"—first presented in Jarry's Gestes et opinions du docteur Faustroll, pataphysicien (Exploits and Opinions of Dr. Faustroll, pataphysician)[29] was inspirational to many later Absurdists,[27] some of whom joined the Collège de 'pataphysique, founded in honor of Jarry in 1948[26][30] (Ionesco,[31] Arrabal, and Vian[31][32] were given the title Transcendent Satrape of the Collège de 'pataphysique). The Alfred Jarry Theatre, founded by Antonin Artaud and Roger Vitrac, housed several Absurdist plays, including ones by Ionesco and Adamov.[33][34]

text: Artaud's "The Theatre of Cruelty" (presented in The Theatre and Its Double) was a particularly important philosophical treatise. Artaud claimed theatre's reliance on literature was inadequate and that the true power of theatre was in its visceral impact.[35][36][37] Artaud was a Surrealist, and many other members of the Surrealist group were significant influences on the Absurdists.[38][39][40]

text: Absurdism is also frequently compared to Surrealism's predecessor, Dadaism (for example, the Dadaist plays by Tristan Tzara performed at the Cabaret Voltaire in Zürich).[41] Many of the Absurdists had direct connections with the Dadaists and Surrealists. Ionesco,[42][43] Adamov,[44][45] and Arrabal[46] for example, were friends with Surrealists still living in Paris at the time including Paul Eluard and André Breton, the founder of Surrealism, and Beckett translated many Surrealist poems by Breton and others from French into English.[47][48]

text: Relationship with existentialism[edit]

text: Many of the Absurdists were contemporaries with Jean-Paul Sartre, the philosophical spokesman for existentialism in Paris, but few Absurdists actually committed to Sartre's own existentialist philosophy, as expressed in Being and Nothingness, and many of the Absurdists had a complicated relationship with him. Sartre praised Genet's plays, stating that for Genet, "Good is only an illusion. Evil is a Nothingness which arises upon the ruins of Good".[49]

text: Ionesco, however, hated Sartre bitterly.[50] Ionesco accused Sartre of supporting Communism but ignoring the atrocities committed by Communists; he wrote Rhinoceros as a criticism of blind conformity, whether it be to Nazism or Communism; at the end of the play, one man remains on Earth resisting transformation into a rhinoceros[51][52] Sartre criticized Rhinoceros by questioning: "Why is there one man who resists? At least we could learn why, but no, we learn not even that. He resists because he is there".[53][54] Sartre's criticism highlights a primary difference between the Theatre of the Absurd and existentialism: the Theatre of the Absurd shows the failure of man without recommending a solution.[55] In a 1966 interview, Claude Bonnefoy, comparing the Absurdists to Sartre and Camus, said to Ionesco, "It seems to me that Beckett, Adamov and yourself started out less from philosophical reflections or a return to classical sources, than from first-hand experience and a desire to find a new theatrical expression that would enable you to render this experience in all its acuteness and also its immediacy. If Sartre and Camus thought out these themes, you expressed them in a far more vital contemporary fashion". Ionesco replied, "I have the feeling that these writers – who are serious and important – were talking about absurdity and death, but that they never really lived these themes, that they did not feel them within themselves in an almost irrational, visceral way, that all this was not deeply inscribed in their language. With them it was still rhetoric, eloquence. With Adamov and Beckett it really is a very naked reality that is conveyed through the apparent dislocation of language".[56]

text: In comparison to Sartre's concepts of the function of literature, Samuel Beckett's primary focus was on the failure of man to overcome "absurdity" - or the repetition of life even though the end result will be the same no matter what and everything is essentially pointless - as James Knowlson says in Damned to Fame, Beckett's work focuses, "on poverty, failure, exile and loss — as he put it, on man as a 'non-knower' and as a 'non-can-er' ."[57] Beckett's own relationship with Sartre was complicated by a mistake made in the publication of one of his stories in Sartre's journal Les Temps Modernes.[58] Beckett said, though he liked Nausea, he generally found the writing style of Sartre and Heidegger to be "too philosophical" and he considered himself "not a philosopher".[59]

text: History[edit]

text: The "Absurd" or "New Theater" movement was originally a Paris-based (and a Rive Gauche) avant-garde phenomenon tied to extremely small theaters in the Quartier Latin. Some of the Absurdists, such as Jean Genet,[60] Jean Tardieu,[61] and Boris Vian.,[62] were born in France. Many other Absurdists were born elsewhere but lived in France, writing often in French: Samuel Beckett from Ireland;[61] Eugène Ionesco from Romania;[61] Arthur Adamov from Russia;[61] Alejandro Jodorowsky from Chile and Fernando Arrabal from Spain.[63] As the influence of the Absurdists grew, the style spread to other countries—with playwrights either directly influenced by Absurdists in Paris or playwrights labelled Absurdist by critics. In England some of those whom Esslin considered practitioners of the Theatre of the Absurd include Harold Pinter,[61] Tom Stoppard,[64] N. F. Simpson,[61] James Saunders,[65] and David Campton;[66] in the United States, Edward Albee,[61] Sam Shepard,[67] Jack Gelber,[68] and John Guare;[69] in Poland, Tadeusz Różewicz,[61] Sławomir Mrożek,[61] and Tadeusz Kantor;[70] in Italy, Dino Buzzati;[71] and in Germany, Peter Weiss,[72] Wolfgang Hildesheimer,[61] and Günter Grass.[61] In India, both Mohit Chattopadhyay[73] and Mahesh Elkunchwar[73] have also been labeled Absurdists. Other international Absurdist playwrights include Tawfiq el-Hakim from Egypt;[74] Hanoch Levin from Israel;[75] Miguel Mihura from Spain;[76] José de Almada Negreiros from Portugal;[77] Mikhail Volokhov [78] from Russia; Yordan Radichkov from Bulgaria;[79] and playwright and former Czech President Václav Havel,[61] and others from the Czech Republic and Slovakia.[citation needed]

text: Major productions[edit]

text:
Jean Genet's The Maids (Les Bonnes) premiered in 1947.[80]
Eugène Ionesco's The Bald Soprano (La Cantatrice Chauve) was first performed on May 11, 1950 at the Théâtre des Noctambules. Ionesco followed this with The Lesson (La Leçon) in 1951 and The Chairs (Les Chaises) in 1952.[81][82]
Samuel Beckett's Waiting for Godot was first performed on 5 January 1953 at the Théâtre de Babylone in Paris.[83]
In 1957, Genet's The Balcony (Le Balcon) was produced in London at the Arts Theatre.[84]
That May, Harold Pinter's The Room was presented at The Drama Studio at the University of Bristol.[85][86] Pinter's The Birthday Party premiered in the West End in 1958.[87]
Edward Albee's The Zoo Story premiered in West Berlin at the Schiller Theater Werkstatt in 1959.[88]
On October 28, 1959, Krapp's Last Tape by Beckett was first performed at the Royal Court Theatre in London.[89]
Fernando Arrabal's Picnic on the Battlefield (Pique-nique en campagne) came out in 1958.[90][91]
Genet's The Blacks (Les Nègres) was published that year but was first performed at the Théatre de Lutèce in Paris on 28 October 1959.[92]
1959 also saw the completion of Ionesco's Rhinoceros which premiered in Paris in January 1960 at the Odeon.[93]
Beckett's Happy Days was first performed at the Cherry Lane Theatre in New York on 17 September 1961.[94]
Albee's Who's Afraid of Virginia Woolf? also premiered in New York the following year, on October 13.[88]
Pinter's The Homecoming premiered in London in June 1965 at the Aldwych Theatre.[95][96]
Peter Weiss's Marat/Sade (The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade) was first performed in West Berlin in 1964 and in New York City a year later.[97]
Tom Stoppard's Rosencrantz & Guildenstern Are Dead premiered at the Edinburgh Festival Fringe in 1966.[98]
Arrabal's Automobile Graveyard (Le Cimetière des voitures) was also first performed in 1966.[90]
Lebanese author Issam Mahfouz's play The Dictator premiered in Beirut in 1969.[99]
Griselda Gambaro`s 'The Camp' was given its British London premiere in October 1981 by Internationalist Theatre: the multi-racial cast included Richard Trent, Roy Lee and Angelique Rockas. Directed by Barry Phillips and translated by William Oliver (1971)[100]
Beckett's Catastrophe—dedicated to then-imprisoned Czech dissident playwright Václav Havel, who became president of Czechoslovakia after the 1989 Velvet Revolution—was first performed at the Avignon Festival on July 21, 1982.[101][102] The film version (Beckett on Film, 2001) was directed by David Mamet and performed by Harold Pinter, Sir John Gielgud, and Rebecca Pidgeon.[103]

text: Legacy[edit]

text: Echoes of elements of "The Theatre of the Absurd" can be seen in the work of many later playwrights, from more avant-garde or experimental playwrights like Suzan-Lori Parks—in The Death of the Last Black Man in the Whole Entire World and The America Play,[104] for example—to relatively realistic playwrights like David Mamet—in Glengarry Glen Ross, which Mamet dedicated to Harold Pinter.[105][106][citation needed] Irish playwright Martin McDonagh in plays such as Pillowman[107] addresses some of the themes and uses some of the techniques of Absurdism, especially reminiscent of Beckett[108] and Pinter.[109][110]

text: In addition, the absurd drama has also found its way in Urdu literature, Mazaron Ke Phool [i.e. Graveyard Flowers] (2008) by contemporary Pakistani writer, poet and columnist Mujtaba Haider Zaidi is the first absurd drama in the history of Urdu literature. Created in the pattern of ancient Greek tragedies, the drama contains only two characters, and carries both poetry and prose in it, and hence fulfills all the requirements necessary for a perfect Absurd drama.[citation needed]

text: Theatrical features[edit]

text: Plays within this group are absurd in that they focus not on logical acts, realistic occurrences, or traditional character development; they, instead, focus on human beings trapped in an incomprehensible world subject to any occurrence, no matter how illogical.[111][112][113] The theme of incomprehensibility is coupled with the inadequacy of language to form meaningful human connections.[26] According to Martin Esslin, Absurdism is "the inevitable devaluation of ideals, purity, and purpose"[114] Absurdist drama asks its viewer to "draw his own conclusions, make his own errors".[115] Though Theatre of the Absurd may be seen as nonsense, they have something to say and can be understood".[116] Esslin makes a distinction between the dictionary definition of absurd ("out of harmony" in the musical sense) and drama's understanding of the Absurd: "Absurd is that which is devoid of purpose... Cut off from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless, absurd, useless".[117]

text: Characters[edit]

text: The characters in Absurdist drama are lost and floating in an incomprehensible universe and they abandon rational devices and discursive thought because these approaches are inadequate.[118] Many characters appear as automatons stuck in routines speaking only in cliché (Ionesco called the Old Man and Old Woman in The Chairs "uber-marrionettes").[119][120] Characters are frequently stereotypical, archetypal, or flat character types as in Commedia dell'arte.[121][122][123]

text: The more complex characters are in crisis because the world around them is incomprehensible.[123] Many of Pinter's plays, for example, feature characters trapped in an enclosed space menaced by some force the character can't understand. Pinter's first play was The Room – in which the main character, Rose, is menaced by Riley who invades her safe space though the actual source of menace remains a mystery[124] – and this theme of characters in a safe space menaced by an outside force is repeated in many of his later works (perhaps most famously in The Birthday Party). In Friedrich Dürrenmatt's The Visit the main character, Alfred, is menaced by Claire Zachanassian; Claire, richest woman in the world with a decaying body and multiple husbands throughout the play, has guaranteed a payout for anyone in the town willing to kill Alfred.[125] Characters in Absurdist drama may also face the chaos of a world that science and logic have abandoned. Ionesco's recurring character Berenger, for example, faces a killer without motivation in The Killer, and Berenger's logical arguments fail to convince the killer that killing is wrong.[126] In Rhinocéros, Berenger remains the only human on Earth who hasn’t turned into a rhinoceros and must decide whether or not to conform.[127][128] Characters may find themselves trapped in a routine, or in a metafictional conceit, trapped in a story; the title characters in Tom Stoppard's Rosencrantz & Guildenstern Are Dead, for example, find themselves in a story (Hamlet) in which the outcome has already been written.[129][130]

text: The plots of many Absurdist plays feature characters in interdependent pairs, commonly either two males or a male and a female. Some Beckett scholars call this the "pseudocouple".[131][132] The two characters may be roughly equal or have a begrudging interdependence (like Vladimir and Estragon in Waiting for Godot[129] or the two main characters in Rosencrantz & Guildenstern Are Dead); one character may be clearly dominant and may torture the passive character (like Pozzo and Lucky in Waiting for Godot or Hamm and Clov in Endgame); the relationship of the characters may shift dramatically throughout the play (as in Ionesco's The Lesson[133] or in many of Albee's plays, The Zoo Story[134][135] for example).

text: Language[edit]

text: Despite its reputation for nonsense language, much of the dialogue in Absurdist plays is naturalistic. The moments when characters resort to nonsense language or clichés—when words appear to have lost their denotative function, thus creating misunderstanding among the characters—make the Theatre of the Absurd distinctive.[26][136] Language frequently gains a certain phonetic, rhythmical, almost musical quality, opening up a wide range of often comedic playfulness.[137] Jean Tardieu, for example, in the series of short pieces Theatre de Chambre arranged the language as one arranges music.[138] Distinctively Absurdist language ranges from meaningless clichés to vaudeville-style word play to meaningless nonsense.[133][139] The Bald Soprano, for example, was inspired by a language book in which characters would exchange empty clichés that never ultimately amounted to true communication or true connection.[140][141] Likewise, the characters in The Bald Soprano—like many other Absurdist characters—go through routine dialogue full of clichés without actually communicating anything substantive or making a human connection.[142][143] In other cases, the dialogue is purposefully elliptical; the language of Absurdist Theater becomes secondary to the poetry of the concrete and objectified images of the stage.[144] Many of Beckett's plays devalue language for the sake of the striking tableau.[145] Harold Pinter—famous for his "Pinter pause"—presents more subtly elliptical dialogue; often the primary things characters should address are replaced by ellipsis or dashes. The following exchange between Aston and Davies in The Caretaker is typical of Pinter:

text: Much of the dialogue in Absurdist drama (especially in Beckett's and Albee's plays, for example) reflects this kind of evasiveness and inability to make a connection.[134] When language that is apparently nonsensical appears, it also demonstrates this disconnection. It can be used for comic effect, as in Lucky's long speech in Godot when Pozzo says Lucky is demonstrating a talent for "thinking" as other characters comically attempt to stop him:

text: Nonsense may also be used abusively, as in Pinter's The Birthday Party when Goldberg and McCann torture Stanley with apparently nonsensical questions and non-sequiturs:

text: As in the above examples, nonsense in Absurdist theatre may be also used to demonstrate the limits of language while questioning or parodying the determinism of science and the knowability of truth.[149][150][151] In Ionesco's The Lesson, a professor tries to force a pupil to understand his nonsensical philology lesson:

text: Plot[edit]

text: Traditional plot structures are rarely a consideration in The Theatre of the Absurd.[153] Plots can consist of the absurd repetition of cliché and routine, as in Godot or The Bald Soprano.[154] Often there is a menacing outside force that remains a mystery; in The Birthday Party, for example, Goldberg and McCann confront Stanley, torture him with absurd questions, and drag him off at the end, but it is never revealed why.[155] In later Pinter plays, such as The Caretaker[156] and The Homecoming,[157] the menace is no longer entering from the outside but exists within the confined space. Other Absurdists use this kind of plot, as in Edward Albee's A Delicate Balance: Harry and Edna take refuge at the home of their friends Agnes and Tobias because they suddenly become frightened.[158] They have difficulty explaining what has frightened them:

text: Absence, emptiness, nothingness, and unresolved mysteries are central features in many Absurdist plots:[160] for example, in The Chairs an old couple welcomes a large number of guests to their home, but these guests are invisible so all we see is empty chairs, a representation of their absence.[161] Likewise, the action of Godot is centered around the absence of a man named Godot, for whom the characters perpetually wait. In many of Beckett's later plays, most features are stripped away and what's left is a minimalistic tableau: a woman walking slowly back and forth in Footfalls,[162] for example, or in Breath only a junk heap on stage and the sounds of breathing.[163][164]

text: The plot may also revolve around an unexplained metamorphosis, a supernatural change, or a shift in the laws of physics. For example, in Ionesco's Amédée, or How to Get Rid of It, a couple must deal with a corpse that is steadily growing larger and larger; Ionesco never fully reveals the identity of the corpse, how this person died, or why it's continually growing, but the corpse ultimately – and, again, without explanation – floats away.[165][166] In Jean Tardieu's "The Keyhole" a lover watches a woman through a keyhole as she removes her clothes and then her flesh.[167]

text: Like Pirandello, many Absurdists use meta-theatrical techniques to explore role fulfillment, fate, and the theatricality of theatre. This is true for many of Genet's plays: for example, in The Maids, two maids pretend to be their mistress; in The Balcony brothel patrons take on elevated positions in role-playing games, but the line between theatre and reality starts to blur. Another complex example of this is Rosencrantz and Guildenstern are Dead: it's a play about two minor characters in Hamlet; these characters, in turn, have various encounters with the players who perform The Mousetrap, the play-within-the-play in Hamlet.[129][168] In Stoppard's Travesties, James Joyce and Tristan Tzara slip in and out of the plot of The Importance of Being Earnest.[169]

text: Plots are frequently cyclical:[133] for example, Endgame begins where the play ended[170] – at the beginning of the play, Clov says, "Finished, it's finished, nearly finished, it must be nearly finished"[171] – and themes of cycle, routine, and repetition are explored throughout.[172]


document_title: List of cities in Australia by population

question_text: which is the most populated city in australia

root

text: Greater Capital City Statistical Areas/Significant Urban Areas by population[edit]

text: Each capital city forms its own Greater Capital City Statistical Area (GCCSA), which according to the Australian Bureau of Statistics (ABS) represents a broad socioeconomic definition of each of the eight state and territory capital cities.[1] Significant Urban Areas are similarly defined but include population centres which are not capital cities. In Australia, the population of the GCCSA/SUA is the most-often quoted figure for that city's population, though these correspond to the more common and international usage of metropolitan areas.

tag: p

text: The following ranks GCCSAs and SUAs which are not included within the GCCSAs.

text: Greater Capital City Statistical Areas are in bold, the remainder are Significant Urban Areas.

text:
Rank

GCCSA/SUA

State/Territory

June 2017[2]

2011 Census[3]
Population

Growth

Percentage ofnational population (June 2017)

1

Sydney

New South Wales

5,131,326

4,391,674

+16.84%

20.86%

2

Melbourne

Victoria

4,850,740

3,999,982

+21.27%

19.72%

3

Brisbane

Queensland

2,408,223

2,065,996

+16.56%

9.79%

4

Perth

Western Australia

2,050,138

1,728,867

+18.18%

8.31%

5

Adelaide

South Australia

1,313,927

1,262,940

+5.62%

5.42%

6

Gold Coast–Tweed Heads

Queensland/New South Wales

693,321

557,822

+18.91%

2.70%

7

Newcastle–Maitland

New South Wales

491,183

398,770

+20.67%

1.96%

8

Canberra–Queanbeyan

Australian Capital Territory/New South Wales

447,457

391,645

+14.25%

1.82%

9

Sunshine Coast

Queensland

375,399

270,770

+20.18%

1.32%

10

Wollongong

New South Wales

299,203

268,944

+11.25%

1.22%

11

Geelong

Victoria

260,138

173,454

+49.98%

1.06%

12

Hobart

Tasmania

226,884

211,656

+7.19%

0.92%

13

Townsville

Queensland

195,346

162,292

+11.12%

0.73%

14

Cairns

Queensland

165,925

133,911

+13.45%

0.62%

15

Darwin

Northern Territory

146,612

120,586

+21.58%

0.60%

16

Toowoomba

Queensland

145,631

105,984

+27.97%

0.55%

17

Ballarat

Victoria

103,481

91,801

+12.72%

0.42%

18

Bendigo

Victoria

97,096

86,079

+12.80%

0.39%

19

Albury–Wodonga

New South Wales/Victoria

91,923

82,083

+11.99%

0.37%

20

Mackay

Queensland

91,788

82,220

+5.56%

0.35%

21

Rockhampton

Queensland

90,427

77,293

+4.05%

0.33%

22

Launceston

Tasmania

88,871

73,681

+7.04%

0.32%

23

Bunbury

Western Australia

86,478

65,608

+13.52%

0.30%

24

Bundaberg

Queensland

84,857

64,243

+10.30%

0.29%

25

Coffs Harbour

New South Wales

79,878

67,341

+4.81%

0.29%

26

Hervey Bay

Queensland

76,181

52,042

+8.00%

0.23%

27

Wagga Wagga

New South Wales

68,492

48,680

+9.88%

0.22%

28

Tamworth

New South Wales

66,473

47,536

+8.28%

0.21%

29

Shepparton–Mooroopna

Victoria

64,942

46,505

+9.97%

0.21%

30

Port Macquarie

New South Wales

62,948

41,723

+12.52%

0.19%

31

Gladstone–Tannum Sands

Queensland

62,932

41,966

+7.19%

0.18%

32

Mildura

Victoria

60,347

38,735

+9.32%

0.17%

33

Traralgon–Morwell

Victoria

41,626

39,705

+4.84%

0.17%

34

Orange

New South Wales

40,079

36,468

+9.90%

0.16%

35

Bowral–Mittagong

New South Wales

39,300

34,858

+12.74%

0.16%

36

Busselton

Western Australia

38,289

30,286

+26.42%

0.15%

37

Geraldton

Western Australia

37,931

35,749

+6.10%

0.15%

38

Dubbo

New South Wales

37,666

33,997

+10.79%

0.15%

39

Nowra–Bomaderry

New South Wales

37,027

33,338

+11.07%

0.15%

40

Warragul–Drouin

Victoria

36,538

29,944

+22.02%

0.15%

41

Bathurst

New South Wales

36,448

32,479

+12.22%

0.15%

42

Warrnambool

Victoria

34,912

32,380

+7.82%

0.14%

43

Albany

Western Australia

34,151

30,656

+11.40%

0.14%

44

Kalgoorlie–Boulder

Western Australia

30,541

30,842

−0.99%

0.12%

45

Devonport

Tasmania

30,153

29,051

+3.79%

0.12%

46

Mount Gambier

South Australia

29,472

27,756

+6.18%

0.12%

47

Lismore

New South Wales

28,764

28,285

+1.69%

0.12%

48

Nelson Bay

New South Wales

27,606

25,074

+10.10%

0.12%

49

Maryborough

Queensland

27,347

26,214

+4.32%

0.11%

50

Burnie–Wynyard

Tasmania

26,993

26,869

+0.46%

0.11%

51

Alice Springs

Northern Territory

26,674

25,186

+5.91%

0.11%

52

Victor Harbor–Goolwa

South Australia

26,358

23,850

+10.52%

0.11%

53

Taree

New South Wales

26,314

25,421

+3.51%

0.11%

54

Ballina

New South Wales

25,656

23,509

+9.13%

0.10%

55

Morisset–Cooranbong

New South Wales

24,694

21,774

+13.41%

0.10%

56

Armidale

New South Wales

24,326

22,464

+8.29%

0.10%

57

Goulburn

New South Wales

23,588

21,484

+9.66%

0.10%

58

Whyalla

South Australia

21,978

21,991

−0.06%

0.09%

59

Gympie

Queensland

21,501

19,510

+10.21%

0.09%

60

Forster–Tuncurry

New South Wales

21,020

19,500

+7.80%

0.09%

61

Echuca–Moama

Victoria

20,851

19,309

+7.99%

0.08%

62

Griffith

New South Wales

19,972

17,900

+11.58%

0.08%

63

Grafton

New South Wales

19,089

18,359

+3.98%

0.08%

64

Wangaratta

Victoria

19,067

17,686

+7.81%

0.08%

65

St Georges Basin–Sanctuary Point

New South Wales

18,770

12,611

+48.84%

0.08%

66

Yeppoon

Queensland

18,764

16,372

+14.61%

0.08%

67

Mount Isa

Queensland

18,563

20,569

−9.75%

0.08%

68

Murray Bridge

South Australia

18,382

16,708

+10.02%

0.07%

69

Broken Hill

New South Wales

17,780

18,517

−3.98%

0.07%

70

Camden Haven

New South Wales

17,343

15,741

+10.18%

0.07%

71

Moe–Newborough

Victoria

16,726

16,674

+0.31%

0.07%

72

Karratha

Western Australia

16,477

16,476

+0.01%

0.07%

73

Singleton

New South Wales

16,461

16,135

+2.02%

0.07%

74

Batemans Bay

New South Wales

16,452

15,733

+4.57%

0.07%

75

Horsham

Victoria

16,426

15,894

+3.35%

0.07%

76

Port Lincoln

South Australia

16,342

15,221

+7.36%

0.07%

77

Ulladulla

New South Wales

15,890

14,149

+12.31%

0.06%

78

Warwick

Queensland

15,328

14,607

+4.94%

0.06%

79

Kempsey

New South Wales

15,190

14,494

+4.80%

0.06%

80

Bairnsdale

Victoria

15,155

13,243

+14.44%

0.06%

81

Sale

Victoria

14,826

14,258

+3.98%

0.06%

82

Broome

Western Australia

14,539

12,766

+13.89%

0.06%

83

Ulverstone

Tasmania

14,429

14,109

+2.27%

0.06%

84

Port Hedland

Western Australia

14,314

13,772

+3.94%

0.06%

85

Port Pirie

South Australia

14,286

14,043

+1.73%

0.06%

86

Emerald

Queensland

14,047

13,219

+6.26%

0.06%

87

Port Augusta

South Australia

13,988

13,658

+2.42%

0.06%

88

Lithgow

New South Wales

13,059

12,249

+6.61%

0.05%

89

Colac

Victoria

12,465

11,778

+5.83%

0.05%

90

Muswellbrook

New South Wales

12,401

11,791

+5.17%

0.05%

91

Esperance

Western Australia

12,222

11,432

+6.91%

0.05%

92

Mudgee

New South Wales

12,186

10,483

+16.25%

0.05%

93

Parkes

New South Wales

11,231

10,941

+2.65%

0.05%

94

Swan Hill

Victoria

11,061

10,430

+6.05%

0.04%

95

Portland

Victoria

10,937

10,715

+2.07%

0.04%

96

Kingaroy

Queensland

10,484

9,808

+6.89%

0.04%

tag: table

text: 50 largest urban centres by population[edit]

text: Urban Centres are defined by the Australian Bureau of Statistics as being a population cluster of 1,000 or more people. For statistical purposes, people living in Urban Centres are classified as urban. The figures below represent the populations of the contiguous built-up areas of each city; with State and territory capitals in bold. These figures are only updated every census, as the ABS does not render population projections for Urban Centres, and as such can only be as up-to-date as the most recent census year.

text:
Rank(2016)

Urban Centre

Estimated resident population

SA1/GCCSA(if part of larger statistical area)

Ranking in state or territory, 2016

2016 census

2011 census

2006 census

ACT

NSW

NT

Qld

SA

Tas

WA

Vic

1

Sydney

4,321,535

[4]

3,908,642

[5]

3,641,422

[6]

Sydney

1

2

Melbourne

4,196,198

[7]

3,707,530

[8]

3,371,888

[9]

Melbourne

1

3

Brisbane

2,054,614

[10]

1,874,427

[11]

1,676,389

[12]

Brisbane

1

4

Perth

1,874,578

[13]

1,627,576

[14]

1,256,035

[15]

Perth

1

5

Adelaide

1,165,632

[16]

1,103,979

[17]

1,040,719

[18]

Adelaide

1

6

Gold Coast–Tweed Heads

600,335

[19][20]

533,660

[21][22]

454,436

[23][24]

2

2

7

Canberra–Queanbeyan

431,668

[25][26]

391,474

[27][28]

356,120

[29][30]

Canberra

1

3

8

Newcastle

322,278

[31]

308,308

[32]

288,732

[33]

4

9

Central Coast

307,742

[34]

297,713

[35]

282,726

[36]

Sydney

5

10

Wollongong

261,896

[37]

245,942

[38]

234,482

[39]

6

11

Sunshine Coast

243,377

[40]

209,263

[41]

184,662

[42]

3

12

Hobart

178,009

[43]

170,975

[44]

128,557

[45]

Hobart

1

13

Townsville

168,729

[46]

157,748

[47]

128,808

[48]

Townsville

4

14

Geelong

157,104

[49]

143,291

[50]

137,220

[51]

2

15

Cairns

144,730

[52]

133,893

[53]

98,349

[54]

Cairns

5

16

Darwin

118,456

[55]

103,016

[56]

89,905

[57][58]

Darwin

1

17

Toowoomba

100,032

[59]

96,597

[60]

95,265

[61]

6

18

Ballarat

93,759

[62]

85,935

[63]

78,221

[64]

3

19

Bendigo

92,379

[65]

82,794

[66]

76,051

[67]

4

20

Mandurah

83,294

[68][69]

75,306

[70][71]

71,097

[72][73]

Perth

2

21

Albury–Wodonga

83,104

[74][75]

77,232

[76][77]

73,497

[78][79]

7

5

22

Maitland

78,015

[80]

67,132

[81]

61,431

[82]

Newcastle

8

23

Mackay

75,710

[83]

74,219

[84]

66,874

[85]

7

24

Launceston

75,329

[86]

74,085

[87]

71,395

[88]

2

25

Bunbury

71,090

[89]

64,385

[90]

54,482

[91]

3

26

Rockhampton

61,214

[92]

61,724

[93]

60,827

[94]

8

27

Melton

54,456

[95]

45,624

[96]

35,490

[97]

Melbourne

6

28

Hervey Bay

52,073

[98]

48,680

[99]

41,225

[100]

9

29

Bundaberg

50,148

[101]

49,750

[102]

46,961

[103]

10

30

Wagga Wagga

48,263

[104]

46,913

[105]

46,735

[106]

9

31

Coffs Harbour

48,225

[107]

45,580

[108]

26,353

[109]

10

32

Shepparton–Mooroopna

46,199

[110]

42,741

[111]

38,773

[112]

7

33

Port Macquarie

44,814

[113]

41,491

[114]

39,219

[115]

11

34

Orange

37,182

[116]

34,992

[117]

31,544

[118]

12

35

Mildura–Buronga

35,598

[119][120]

33,432

[121][122]

30,823

[123][124]

13

8

36

Sunbury

34,425

[125]

33,062

[126]

29,566

[127]

Melbourne

9

37

Dubbo

34,339

[128]

32,327

[129]

30,574

[130]

14

38

Tamworth

33,885

[131]

36,131

[132]

33,475

[133]

15

39

Bathurst

33,587

[134]

31,294

[135]

28,992

[136]

16

40

Gladstone

33,418

[137]

32,073

[138]

28,808

[139]

11

41

Geraldton

31,982

[140]

31,349

[141]

27,420

[142]

4

42

Nowra–Bomaderry

30,853

[143]

27,988

[144]

27,478

[145]

17

43

Warrnambool

30,709

[146]

29,284

[147]

28,150

[148]

10

44

Kalgoorlie–Boulder

29,875

[149]

30,840

[150]

28,242

[151]

5

45

Albany

29,373

[152]

26,643

[153]

25,196

[154]

6

46

Lismore

27,569

[155]

27,474

[156]

27,069

[157]

18

47

Gawler

26,472

[158]

23,957

[159]

20,006

[160]

Adelaide

2

48

Mount Gambier

26,148

[161]

25,199

[162]

23,494

[163]

3

49

Traralgon

25,485

[164]

24,590

[165]

21,960

[166]

11

50

Busselton

25,329

[167]

21,407

[168]

15,386

[169]

7

text: 50 largest local government areas by population[edit]

text: Local government areas are the main units of local government in Australia. They may be termed cities, shires, councils or other names, and all function similarly. Brisbane, which covers multiple LGAs, is the only state capital city with a local government area covering a significant portion of its urban area. Other capital cities are serviced by LGAs which cover a much smaller proportion of their total urban areas. A New South Wales review of local government areas resulted in various amalgamations of local government authorities in the state, reflected below. Where marked as new, the local government authority did not exist in this format at the 2011 census and the population is based on an amalgamation of 2015 Australian Bureau of Statistics population figures.[170]

text: The following table lists local government areas ranked by order based on the estimated population as sourced from the 2016 census.

text:
Rank(2016)

Local government area

Estimated resident population

Statistical Division/District

Ranking in state, 2016

2016 census

2011 census

Qld

NSW

WA

Vic

SA

1

City of Brisbane

1,131,156

[171]

1,041,839

[172]

Brisbane

1

2

City of Gold Coast

555,721

[173]

494,501

[174]

Gold Coast

2

3

Moreton Bay Region

425,302

[175]

378,045

[176]

Brisbane

3

new

4

Canterbury-Bankstown Council

346,302

[177]

350,983

[178]

Sydney

1

5

City of Blacktown

336,962

[179]

301,099

[180]

Sydney

2

new

6

Central Coast Council

327,736

[181]

331,007

[182]

Central Coast

3

7

City of Logan

303,386

[183]

278,050

[184]

Brisbane

4

8

City of Casey

299,301

[185]

252,382

[186]

Melbourne

1

9

Sunshine Coast Region

294,367

[187]

306,909

[188]

Sunshine Coast

5

new

10

Northern Beaches Council

252,878

[189]

263,413

[190]

Sydney

4

11

City of Greater Geelong

233,429

[191]

210,875

[192]

Geelong

2

new

12

City of Parramatta Council

226,149

[193]

215,925

[194]

Sydney

5

13

Sutherland Shire

218,464

[195]

210,863

[196]

Sydney

6

14

City of Wyndham

217,122

[197]

161,575

[198]

Melbourne

3

new

15

Cumberland Council

216,079

[199]

219,147

[200]

Sydney

7

16

City of Stirling

210,208

[201]

195,702

[202]

Perth

1

17

City of Sydney

208,374

[203]

169,505

[204]

Sydney

8

18

City of Liverpool

204,326

[205]

180,143

[206]

Sydney

9

19

City of Wollongong

203,630

[207]

205,231

[208]

Wollongong

10

20

City of Fairfield

198,817

[209]

198,301

[210]

Sydney

11

21

City of Whittlesea

197,491

[211]

154,880

[212]

Melbourne

4

22

City of Hume

197,376

[213]

167,562

[214]

Melbourne

5

23

City of Lake Macquarie

197,371

[215]

189,006

[216]

Newcastle

12

24

City of Penrith

196,066

[217]

178,467

[218]

Sydney

13

25

City of Brimbank

194,319

[219]

182,735

[220]

Melbourne

6

26

City of Ipswich

193,733

[221]

166,904

[222]

Brisbane

6

27

City of Wanneroo

188,212

[223]

152,077

[224]

Perth

2

28

City of Townsville

186,757

[225]

174,492

[226]

Townsville

7

29

City of Monash

182,618

[227]

169,280

[228]

Melbourne

7

new

30

Inner West Council

182,043

[229]

169,799

[230]

Sydney

14

31

City of Boroondara

167,231

[231]

159,184

[232]

Melbourne

8

32

City of Onkaparinga

166,766

[233]

159,575

[234]

Adelaide

1

33

City of Moreland

162,558

[235]

147,243

[236]

Melbourne

9

34

City of Whitehorse

162,078

[237]

151,334

[238]

Melbourne

10

35

Toowoomba Region

160,779

[239]

151,189

[240]

Toowoomba

8

36

The Hills Shire

157,243

[241]

141,995

[242]

Sydney

15

37

City of Campbelltown (New South Wales)

157,006

[243]

145,969

[244]

Sydney

16

38

Cairns Region

156,901

[245]

145,338

[246]

Cairns

9

39

City of Newcastle

155,411

[247]

148,534

[248]

Newcastle

17

40

Shire of Mornington Peninsula

154,999

[249]

144,608

[250]

Melbourne

11

41

City of Joondalup

154,445

[251]

152,405

[252]

Perth

3

42

City of Knox

154,110

[253]

149,301

[254]

Melbourne

12

43

City of Greater Dandenong

152,050

[255]

135,605

[256]

Melbourne

13

44

City of Kingston

151,389

[257]

142,426

[258]

Melbourne

14

45

Yarra Ranges Shire

149,537

[259]

144,541

[260]

Melbourne

15

46

Redland City

147,010

[261]

138,667

[262]

Brisbane

10

new

47

Georges River Council

146,841

[263]

134,655

[264]

Sydney

18

48

City of Darebin

146,719

[265]

136,474

[266]

Melbourne

16

49

Hornsby Shire

142,667

[267]

137,237

[268]

Sydney

19

50

City of Glen Eira

140,875

[269]

131,013

[270]

Melbourne

17

text: Apart from the City of Brisbane, the populations of the central local government areas in other capitals are relatively small. As at the 2016 Census, Melbourne had 135,959, Darwin 78,804, Hobart 50,439, Adelaide 22,063 and Perth 21,797. Generally speaking, there are many suburban local government areas in most Australian capitals that are significantly larger in population than the central business district local government area.


document_title: Dancing with the Stars (U.S. season 1)

question_text: who was the first dancing with the stars winner

text: Dancing with the Stars (U.S. season 1)

text: Couples[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2015) (Learn how and when to remove this template message)

text: The six professionals and celebrities that competed were:[3]

text:
Celebrity
Notability (known for)
Professional partner
Status

Trista Sutter
Reality television star
Louis Van Amstel
Eliminated 1st
on June 8, 2005

Evander Holyfield
Professional boxer
Edyta Sliwinska
Eliminated 2nd
on June 15, 2005

Rachel Hunter
Supermodel & actress
Jonathan Roberts
Eliminated 3rd
on June 22, 2005

Joey McIntyre
NKOTB singer
Ashly DelGrosso
Third place
on June 29, 2005

John O'Hurley
Actor & game show host
Charlotte Jorgensen
Runner-up
on July 6, 2005

Kelly Monaco
Actress
Alec Mazo
Winner
on July 6, 2005

text: Scoring chart[edit]

text:
Couple
Place
1
2
1+2
3
4
5
6

Kelly & Alec
1
13
17
30
21
26
22+25=47
25+30=55

John & Charlotte
2
20
26
46
24
21
27+27=54
27+27=54

Joey & Ashly
3
20
21
41
22
20
20+25=45

Rachel & Jonathan
4
20
24
44
26
25

Evander & Edyta
5
18
14
32
13

Trista & Louis
6
18
19
37

text: Average chart[edit]

text: This table only counts for dances scored on a traditional 30-point scale.

text:
Rank by
average
Place
Couple
Total
Number of
dances
Average

1
2
John & Charlotte
199
8
24.9

2
4
Rachel & Jonathan
95
4
23.8

3
1
Kelly & Alec
179
8
22.4

4
3
Joey & Ashly
128
6
21.3

5
6
Trista & Louis
37
2
18.5

6
5
Evander & Edyta
45
3
15.0

text: Pro's average chart[edit]

text:
Rank by
average
Place
Couple
Average

1
2
Charlotte Jorgensen
24.9

2
6
Louis van Amstel
21.8

3
1
Alec Mazo
20.6

4
4
Jonathan Roberts
19.4

5
5
Edyta Sliwinska
19.1

6
3
Ashly DelGrosso
16.7

text: Highest and lowest scoring performances[edit]

text:
Dance
Celebrity
Highest score
Celebrity
Lowest score

Cha-cha-cha
John O'Hurley
Joey McIntyre
20
Evander Holyfield
18

Waltz
Rachel Hunter
20
Kelly Monaco
13

Rumba
Rachel Hunter
24
Kelly Monaco
17

Quickstep
John O'Hurley
27
Evander Holyfield
14

Jive
Joey McIntyre
22
Evander Holyfield
13

Tango
Rachel Hunter
26
John O'Hurley
24

Samba
Kelly Monaco
26
Joey McIntyre
20

Paso doble
John O'Hurley
27
Kelly Monaco
Joey McIntyre
25

Foxtrot
John O'Hurley
27
Joey McIntyre
20

Freestyle
Kelly Monaco
30
John O'Hurley
27

text: Trista Sutter is the only star to not land on this list

text: Couples' highest and lowest scoring performances[edit]

text: According to the traditional 30-point scale.

text:
Couples
Highest Scoring Dances
Lowest Scoring Dances

Kelly & Alec
Freestyle (30)
Waltz (13)

John & Charlotte
Foxtrot, Paso doble, Quickstep & Freestyle (27)
Cha-cha-cha (20)

Joey & Ashly
Paso doble (25)
Cha-cha-cha, Samba and Foxtrot (20)

Rachel & Jonathan
Tango (26)
Waltz (20)

Evander & Edyta
Cha-cha-cha (18)
Jive (13)

Trista & Louis
Rumba (19)
Waltz (18)

text: Weekly scores and songs[edit]

text: Unless indicated otherwise, individual judges scores given in the charts below (given in parentheses) are listed in this order from left to right: Carrie Ann Inaba, Len Goodman, Bruno Tonioli.

text: Week 1[edit]

text:
Couple
Score
Dance
Music

Joey & Ashly
20 (7, 7, 6)
Cha-cha-cha
"Crazy in Love"—Beyoncé

Rachel & Jonathan
20 (7, 6, 7)
Waltz
"Three Times A Lady"—Lionel Richie

Evander & Edyta
18 (5, 7, 6)
Cha-cha-cha
"Respect"—Aretha Franklin

Kelly & Alec
13 (5, 4, 4)
Waltz
"I Have Nothing"—Whitney Houston

John & Charlotte
20 (7, 7, 6)
Cha-cha-cha
"September"—Earth, Wind & Fire

Trista & Louis
18 (6, 6, 6)
Waltz
"Come Away with Me"—Norah Jones

text: Week 2[edit]

text:
Couple
Score
Dance
Music
Result

Rachel & Jonathan
24 (8, 8, 8)
Rumba
"I Don't Wanna Miss a Thing"—Aerosmith from Armageddon
Bottom two

Joey & Ashly
21 (8, 7, 6)
Quickstep
"You're The One That I Want"—John Travolta and Olivia Newton-John
Safe

Trista & Louis
19 (6, 7, 6)
Rumba
"Endless Love"—Diana Ross and Lionel Richie
Eliminated

John & Charlotte
26 (8, 9, 9)
Quickstep
"Let's Face The Music and Dance"—Irving Berlin
Safe

Kelly & Alec
17 (5, 6, 6)
Rumba
"Hero"—Enrique Iglesias
Safe

Evander & Edyta
14 (5, 4, 5)
Quickstep
"It Don't Mean a Thing"—Duke Ellington
Safe

text: Week 3[edit]

text:
Couple
Score
Dance
Music
Result

Evander & Edyta
13 (5, 4, 4)
Jive
"Reet Petite"—Jackie Wilson
Eliminated

Rachel & Jonathan
26 (8, 9, 9)
Tango
"Toxic"—Britney Spears
Safe

Kelly & Alec
21 (6, 7, 8)
Jive
"Footloose"—Kenny Loggins
Safe

John & Charlotte
24 (9, 8, 7)
Tango
"Dance with Me"—Debelah Morgan
Safe

Joey & Ashly
22 (7, 7, 8)
Jive
"I'm Still Standing"—Elton John
Bottom two

text: Week 4[edit]

text:
Couple
Score
Dance
Music
Result

Joey & Ashly
20 (7, 6, 7)
Samba
"Tequila"—The Champs
Safe

Rachel & Jonathan
25 (7, 9, 9)
Samba
"Soul Bossa Nova"—Quincy Jones
Eliminated

John & Charlotte
21 (7, 8, 6)
Samba
"Just The Two of Us"—Grover Washington, Jr. and Bill Withers
Bottom two

Kelly & Alec
26 (9, 9, 8)
Samba
"Bailamos"—Enrique Iglesias
Safe

John & Charlotte
Rachel & Jonathan
Kelly & Alec
Joey & Ashly
N/A
Viennese Waltz
"I Got You Babe"—Sonny & Cher

text: Week 5[edit]

text:
Couple
Score
Dance
Music
Result

John & Charlotte
27 (9, 9, 9)
Foxtrot
"Let There Be Love"—Nat King Cole
Safe

27 (9, 9, 9)
Paso doble
"España cañí"—Mexicana Aleque la-Band

Kelly & Alec
22 (8, 7, 7)
Foxtrot
"Don't Know Why"—Norah Jones
Bottom two

25 (9, 8, 8)
Paso doble
"Bamboleo"—Gipsy Kings

Joey & Ashly
20 (8, 6, 6)
Foxtrot
"Big Spender"—Shirley Bassey from Sweet Charity
Third place

25 (9, 8, 8)
Paso doble
"Eye of the Tiger"—Survivor

text: Week 6: Finale[edit]

text:
Couple
Score
Dance
Music
Result

John & Charlotte
27 (9, 9, 9)
Quickstep
"Let's Face The Music and Dance"—Irving Berlin
Runner-up

27 (9, 9, 9)
Freestyle
"I'm So Excited"—The Pointer Sisters

Kelly & Alec
25 (7, 9, 9)
Samba
"Bailamos"—Enrique Iglesias
Winner

30 (10, 10, 10)
Freestyle
"Let's Get Loud"—Jennifer Lopez

text: Dance off[edit]

text:
Couple
Score
Style
Music
Result

Kelly & Alec
25 (7, 9, 9)
Cha-cha-cha
"Lady Marmalade"—All Saints
Runner-up

24 (9, 7, 8)
Quickstep
"Diamonds are a Girl's Best Friend"—Marilyn Monroe

25 (8, 8, 9)
Freestyle
"Get The Party Started"—Pink

John & Charlotte
22 (7, 8, 7)
Rumba
"The Look of Love"—Anita Baker
Winner

30 (10, 10, 10)
Waltz
"You Light Up My Life"—Whitney Houston

25 (8, 8, 9)
Freestyle
"I Am What I Am"—Gloria Gaynor

text: Dance chart[edit]

text:
Couple
1
2
3
4
5
6

Kelly and Alec
Waltz
Rumba
Jive
Samba
Viennese Waltz
Foxtrot
Paso doble
Samba
Freestyle

John and Charlotte
Cha-cha-cha
Quickstep
Tango
Samba
Viennese Waltz
Foxtrot
Paso doble
Quickstep
Freestyle

Joey and Ashly
Cha-cha-cha
Quickstep
Jive
Samba
Viennese Waltz
Foxtrot
Paso doble

Rachel and Jonathan
Waltz
Rumba
Tango
Samba
Viennese Waltz

Evander and Edyta
Cha-cha-cha
Quickstep
Jive

Trista and Louis
Waltz
Rumba


document_title: Retroperistalsis

question_text: antiperistalsis is controlled by which part of brain

text: Retroperistalsis

text: This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2014) (Learn how and when to remove this template message)

text: Retroperistalsis is the reverse of the involuntary smooth muscle contractions of peristalsis. It usually occurs as a precursor to vomiting. Local irritation of the stomach, such as bacteria or food poisoning, activates the emetic center of the brain which in turn signals an imminent vomiting reflex. Food then moves in the opposite direction, often from the duodenum into the stomach.

text: Retroperistalsis occurs pathologically during vomiting and physiologically at first part of duodenum where it protects from high acidity of food, and also at terminal ileum, where an amount of water and electrolyte is absorbed to assist defecation.

text: Peristalsis is the wormlike movement by which the alimentary canal or other tubular organs with both longitudinal and circular muscle fibers propel their contents, consisting of a wave of contraction passing along the tube. Increased peristalsis means faster movement of ingesta through the gut and less absorption of fluid, both tending to diarrhea. Reduced peristalsis means a longer alimentary sojourn, greater inspissation of ingesta and a tendency to constipation. See also peristaltic, paralytic ileus. Peristalsis,  involuntary movements of the longitudinal and circular muscles, primarily in the digestive tract but occasionally in other hollow tubes of the body, that occur in progressive wavelike contractions. Peristaltic waves occur in the esophagus, stomach, and intestines. The waves can be short, local reflexes or long, continuous contractions that travel the whole length of the organ, depending upon their location and what initiates their action.

text: In the esophagus, peristaltic waves begin at the upper portion of the tube and travel the whole length, pushing food ahead of the wave into the stomach. Particles of food left behind in the esophagus initiate secondary peristaltic waves that remove retained material. One wave travels the full length of the tube in about nine seconds. The peristaltic-wave contractions in the esophagus of humans are weak compared with those of most other mammals. In cud-chewing animals, such as cows, reverse peristalsis can occur so that the food is brought back from the stomach to the mouth for rechewing.

text: When the stomach is filled, peristaltic waves are diminished. The presence of fat in a meal can completely stop these movements for a short period until it is diluted with gastric juices or removed from the stomach. Peristaltic waves start as weak contractions at the beginning of the stomach and progressively become stronger as they near the distal stomach regions. The waves help to mix the stomach contents and propel food to the small intestine. Usually, two to three waves are present at one time in different regions of the stomach, and about three waves occur each minute.

text: In the small intestine, local stimulation of the intestinal smooth muscle by the presence of food particles causes contractions that tend to travel from the stimulated point in both directions. Under normal circumstances, the progress of the contractions in an oral direction is quickly inhibited, while the contractions travelling away from the mouth tend to persist. If the intestine is paralyzed by applying such drugs as nicotine or cocaine to the intestinal wall, the contractions initiated by local stimulations travel equally well in both directions. Ordinarily, peristaltic waves appear in the small intestine at irregular intervals and travel for varying distances; some travel only a few inches, others a few feet. They serve to expose food to the intestinal wall for absorption and to move it forward.

text: In the large intestine (or colon), the peristaltic wave, or mass movement, is continuous and progressive; it advances steadily toward the anal end of the tract, pushing waste material in front of the wave. When these movements are vigorous enough to pass fecal masses into the rectum, they are followed by the desire to defecate. If feces are passed to the rectum and not evacuated from the body, they are returned to the last segment of the colon for longer storage by reverse peristaltic waves. Peristaltic waves are particularly important in helping to remove gas from the large intestine and in controlling bacterial growth by mechanically acting as a cleansing agent that dislodges and removes potential colonies of bacteria.


document_title: Goal-line technology

question_text: when was goal line technology first introduced in the premier league

text: Goal-line technology

text: Background[edit]

text: In association football, a goal is scored if the whole of the ball crosses the goal line between the goalposts and under the crossbar. In most cases, this is relatively unambiguous (goal nets being a low-tech way of verifying that the ball passed the correct side of the goalposts). Occasionally however situations occur when it is difficult for referees and their assistants to tell if a goal has been scored before a rebound, save, or defender's clearance from the goal area.

text: Rules[edit]

text: Since 2012, goal-line technology has been permitted in matches. Text relating to goal-line technology can now be found within four of the Laws of the Game:

text:
Law 1 (The Field of Play): permitting modifications to the goal frame.
Law 2 (The Ball): permitting the use of approved balls with integrated technology.
Law 5 (The Referee): requiring the referee to test a goal-line technology system prior to a match and not use it if a fault is found.
Law 10 (The Method of Scoring): permitting use of goal-line technology to verify whether or not goals have been scored. It states that "the use of GLT must be stipulated in the respective competition rules".

tag: ul

text: The Laws themselves are not specific as to the nature of Goal Line technology systems, however other documentation from FIFA, which is cited by the Laws, goes into more detail. The FIFA Quality Programme for GLT Testing Manual[7] precisely define the requirements of the systems. Four basic requirements of a system are stipulated:

text:
The system must address only the matter of whether a goal has been scored or not.
The system must be accurate.
The system must indicate the scoring of a goal immediately, confirming this within one second.
The system must communicate its information solely to the match officials (via vibration and visual alert on the referee's watch)

text: FIFA have a system whereby a particular technology provider needs to show effectiveness to successfully obtain a license for their technology, then an installation within a particular stadium must pass a "final installation test" before use, and before each game the referee must check that the system is functional.[8][9]

text: Current implementation[edit]

text:
Due to the expense of goal-line technology systems, the technology is only currently used at the very top levels of the game. In domestic competition, goal-line technology is only regularly used in a few major European leagues:
Serie A,[10]
Ligue 1,[11]
the Bundesliga,[12]
and the Premier League.[13]

text: As of  January 2018[update], FIFA's website list 144 stadiums with licensed GLT installations, all of which use the Hawk-Eye system.[14] GoalControl is also licensed for use,[15] but is not currently installed in any stadium

text: History[edit]

text: Pre-implementation history[edit]

text: Prior to 2012, competitions were unable to implement technology as provision was not made for it in the Laws. The Laws of association football are controlled by the International Football Association Board (IFAB), a body on which FIFA holds 50% of the voting power, sufficient to veto any changes to the laws.

text: Compared to other sports, association football was late to allow technology to assist with in-game decisions. The matter was a subject of debate within the game for over a decade with the game's lawmakers resisting calls for its implementation.

text: Throughout the 2000s various incidents incited discussion as to the potential for goal-line technology in the game.[16][17][18][19] The lack of use of technology in association football was contrasted with other sports, which had incorporated video replays and other systems into their rules.[20]

text: In response to this, FIFA decided to test a system by Adidas in which a football with an embedded microchip would send a signal to the referee if it crossed a sensor going through the goal.[21] According to FIFA president Sepp Blatter, "We did different tests at the Under-17 World Cup in Peru but the evidence wasn't clear so we will carry out trials in junior competitions in 2007".[21] However, those trials did not materialise and by 2008, Blatter had rejected the system outright, describing the technology as 'only 95% accurate'.[21] FIFA and IFAB were resistant to introducing technology in the game, voting in March 2010 to permanently ditch the technology.[22]

text: Following several refereeing errors at the 2010 FIFA World Cup – including the disallowed goal in Germany's 4–1 victory over England, when Frank Lampard hit a shot from outside of the penalty box that bounced off the crossbar and over the line; the ball came back out and the goal was disallowed because the assistant referee did not call for a goal[23] – Blatter announced that FIFA would reopen the goal-line technology discussion.[24]

text: Before Euro 2012, UEFA president Michel Platini dismissed the need for goal-line technology, instead arguing for placing additional assistant referees behind the goal. However, in a Group D match with Ukraine losing 1–0 to England, the on-field officials did not see Ukraine's Marko Dević's shot briefly cross the line before it was cleared by England's John Terry, although an offside in the build-up to the incident was too unnoticed by the match officials.[25][26]

text: Initial testing[edit]

text: Heeding calls for the use of technology, in July 2011 FIFA began a process of sanctioned tests that eventually resulted in the approval of the systems used in the current game.

text: The first stage of testing considered multiple goal-line technology systems, with the requirement that the system notified the referee of the decision within one second of the incident happening. The message needed to be relayed via a visual signal and vibration.[27] Tests were conducted by Empa between September and December 2011.[28] Tested systems included:[28]

text:
A system from Carios Technologies, in collaboration with Adidas based around a modified ball with an implanted chip, and a magnetic field generated by thin cables behind the goal line. The system could detect if the ball passed through the field.[29]
GoalRef: Another system based on generated magnetic fields and a sensor within the ball.[30]
Goalminder: A system based on cameras installed in the goal frame. This provided a visual playback to officials rather than an automatic goal-or-no-goal alert.[31][32]
Hawk-Eye: A Sony-owned system based several on multiple high-speed cameras whose images are used to which triangulate the position of the ball.[30] Hawk-Eye systems were, and still are, used in several other sports for supporting officiating decisions.[33]

text: Second phase of testing[edit]

text: On 3 March 2012, IFAB announced that two of the eight proposed systems had proceeded to the second stage of testing. These were Hawk-Eye and GoalRef.[28] In the second phase of testing, the manufacturer of the technology chose a stadium to test its technology in a number of imagined scenarios. Testing was also conducted in professional training sessions and in laboratories to account for different climatic conditions and other magnetic field distortions. Tests on the watch to be worn by referees were also be undertaken. The systems also each underwent testing in some competitive matches.

text: GoalRef technology underwent match testing in some Danish Superliga matches in the first half of 2012.[34][35] Following the second phase trials, on 5 July 2012 IFAB approved GoalRef in principle, making it available for use in professional matches under a set of revised Laws of the Game. Each installation however would also require licensing approval for use in the individual stadium, on a 12-month basis. The 2012 FIFA Club World Cup was the first tournament where GoalRef was used by a match referee. Goal Ref was used for the first time on 6 December 2012 in the first match of the 2012 FIFA Club World Cup.[36]

text: The first match to use the Hawk-Eye goal-line technology was Eastleigh F.C. versus A.F.C. Totton in the Hampshire Senior Cup final at St Mary's Stadium, Southampton in England on 16 May 2012. Although it used Hawk-Eye, the system had no bearing on the referee's decisions and the system readings were only available to FIFA's independent testing agency.[37] The system was also in place for the technology's second test on 2 June for England's friendly match against Belgium.[30]

text: Introduction[edit]

text: Following the success of the trials, in July 2012 IFAB voted unanimously to officially amend the Laws of the Game to permit (but not require) goal-line technology.[38]

text: In December 2012, FIFA announced it would introduce goal-line technology at the 2012 FIFA Club World Cup in Japan.[39] Hawk-Eye technology was employed at Toyota Stadium, while GoalRef was used at International Stadium Yokohama.

text: GoalControl, a camera-based system which uses 14 high-speed cameras located around the pitch and directed at both goals, was used at 2013 Confederations Cup, partly as a trial for use at the next year's World Cup.[40][41]

text: The Football Association announced that Hawk-Eye would be used in the 2013–14 Premier League season.[42] On 16 December 2013, it was announced that Hawk-Eye would be used in three of the four quarter-finals and any subsequent matches in the League Cup.[43] The system was used when, on the very next day, in the Sunderland – Chelsea quarter-final, a goal from Frank Lampard was allowed.[44] The first goal to be decisively awarded using goal-line technology in the English Premier League was Edin Džeko's goal for Manchester City against Cardiff City on 18 January 2014.[45]

text: Following success at the Confederations Cup, GoalControl was used at the 2014 FIFA World Cup. The first goal given by the technology was in the 15 June 2014 group stage match between France and Honduras.[46]

text: Goal Line Technology was implemented across the major European competitions. In December 2014, the Bundesliga clubs approved goal-line technology that will be introduced at the start of the 2015–16 Bundesliga season. The league picked the cheaper Hawk-Eye system over two German technologies.[47] GoalControl was introduced for Ligue 1 for the start of the 2015–16 Ligue 1 season.[48][49] Ligue 1 later switched to using Hawk-Eye in 2018 after the GoalControl system made errors.[50]

text: Goal Line Technology was used in the UEFA Europa League final, UEFA Champions League, European Championship and Copa America for the first time in 2016.[51][52][53]

text: Criticism[edit]

text: Human element is lost[edit]

text: While advocates for goal-line technology maintain that it would significantly reduce refereeing errors during play, there are also criticisms of the technology. Much of the criticism came from within FIFA itself including former FIFA president Sepp Blatter. Apart from the criticisms revolving around the technical aspects of the two proposed technologies, critics point out that such technology would impact on the human element of the game and remove the enjoyment of debating mistakes.[54] Sepp Blatter has been quoted as saying "Other sports regularly change the laws of the game to react to the new technology. ... We don't do it and this makes the fascination and the popularity of football".[55]

text: A study suggested that in the 2010–11 Premier League season "errors took place nearly 30% of the time that video replays could help prevent", but some people claim that instant replays would interrupt the flow of the game and take away possible plays.[56]

text:
Other critics believe it would be prohibitively expensive to implement the technology at all levels of the game and particularly for smaller/poorer football associations. FIFA officials have expressed a preference for 'better refereeing' as well as more match officials over implementing the technology.[57]
Advocates in turn cite the many examples of incorrect goal-line decisions deciding important games and point out that the technology has improved much since the initial trials carried out by FIFA.  Advocates contend that any extra help for the referee should outweigh arguments that it would lead to non-uniform rules (since not all football associations would be able to implement it).

text: Blatter had been opposed to goal-line technology until Frank Lampard's disallowed goal in the 2010 World Cup  where the ball clearly crossed the line.[27][58][59]

text: The introduction of additional assistant referees, who are mostly positioned beside the goal-line, was partly in order to facilitate in such situations.

text: Cost[edit]

text: In April 2013, MLS commissioner Don Garber confirmed that MLS would not adopt goal-line technology for the 2014 season, citing cost as the overriding factor. GoalControl installation would cost about $260,000 per stadium, and a further $3,900 for each game.[60]

text: In early 2014, the vast majority of teams in the two divisions of the German Bundesliga voted against introducing goal-line technology for financial reasons. The costs per club would have ranged from  €250,000 for a chip inside the ball up to €500,000 for Hawk-Eye or GoalControl. The manager of 1. FC Köln, Jörg Schmadtke, summarized the vote with "The cost is so exorbitant, that using this (technology) is not acceptable".[61]

text: World governing body FIFA are set to make £300,000 from the Premier League’s decision to install goal-line technology in all top-flight stadiums before the start of next season. Each of the 20 clubs will have to pay FIFA £15,000 to install, test and receive the ‘FIFA quality seal’ for Hawk-Eye’s camera-based system, which is expected to cost around £250,000 per ground in total. FIFA will also make an extra £15,000 from Wembley Stadium, which will have the technology installed for use in events such as the FA Cup semi-finals and final.

text: The Scottish Professional Football League stated in December 2017 that it would not be implementing goal-line technology, as it is only affordable for the richest leagues in Europe.[62]