83:'s talents and use of African American culture became one of the greatest successes in the African American cultural production. It was one of the first African American dramatic theater companies to make its way to the Broadway stage. Some even say it paved the way for other great African Americans to showcase their talents. In addition, the theater found a way to create a middle ground between white and black cultural drama. For approximately three years after its opening,
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57:, also white; though all its performers were African American. The organization was unique and controversial during its era, primarily for being one of the few African American Theatre Companies to perform European theatrical works, but also, among other things, for producing theatrical works of African American playwrights for both African American and Non-African American audiences.
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with the guarantee for a particular show, were infuriated at discovering that the bill had been switched at curtain time and another show was being offered. This not only angered the audience, it upset the actors, who only at the last minute learned what show they would perform. As a consequence the acting suffered and the
Broadway productions received mixed reviews."
245:, that, at the time, were not thought to be plays for African American performers and that cut in on the financial gains of other theatre companies who felt that ethically they had exclusive rights to European works. Instead of playing exclusively for audiences in Harlem, The Ethiopian Art Theatre chose ambitiously to work within the mainstream
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when the show opened in New York on 7 May 1923, it faced enforced segregated seating at
Broadway's Frazee Theatre. The African American Press and many in the audience were given seats in the balcony, but they, "flatly refused to occupy them." Eventually the management withdrew segregated seating and
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are not stereotyped: They have dignity, pride, and a love of God, family, and neighbors. Nor did other works produced by The
Ethiopian Art Players stereotype African Americans as drunks, prostitutes, criminals, or clowns who grin and sham their way through life. Thus The Ethiopian Art Players not
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O'Neil also caused internal and external strife when he couldn't decide which pieces from the company's repertoire to perform. "O'Neil eager to capitalize on the "novelty" of
African American actors in "mainstream" plays, frequently switched shows at the last minute. Audiences, purchasing tickets
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magazine in 1923, the aims of The
Ethiopian Art Theater were to create "dramatic pieces" that have "universal appeal" for both African Americans as for other races including Caucasians and Asians. Secondly, the organization sought to encourage African Americans and Whites in the construction of
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the performance continued for two weeks before returning to Harlem." David
Krasner writes, "any attendees of the opening night's performance had to be forcibly removed from the theatre, while others interrupted with "laughter and loud talk" during "the climax of the play."
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In its brief existence, The
Ethiopian Art Theatre managed to stir-up considerable controversy — to a level that, in some instances, challenged its otherwise well-established credibility. The biggest controversy came from external conflicts
265:"With only modest success, they opened on Broadway for only two weeks and then returned to Lafayette before closing their New York engagement and disbanding entirely." The company gave rise to several noteworthy careers such as:
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dramatic literature and theater. Last, the
Ethiopian Art Theater sought to extend this experience to other organizations and cities where there was a large African American community in the hopes of establishing similar theaters.
93:. Such roles were normally played by white actors but Washington fought to play this role. In addition, O'Neil revised Salome for one week in May 1923 to include African American features, and created a jazzy version of
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only performed classical
European works and opened the door of mainstream professional theatre to African American performers, but the company also opened doors for realistic plays about African American life.
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Another point of tension between the company, the New York City
Critics, and the greater New York theatre establishment was the fact that The Ethiopian Theatre Company chose to perform works such as
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made a statement proclaiming it a success by saying how "Financially the experiment was a failure; but dramatically and spiritually it was one of the greatest successes that this country has seen."
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As a response to numerous social, legal, and artistic restrictions on African Americans in the early 20th century, the Ethiopian Art Theater became a significant means of African American
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Along with The Ethiopian Art Theatre's European theatrical repertoire the group was also committed to performing works by African American playwrights. The company, "requested help from
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192:, came to Broadway, New York. Financially the experiment was a failure; but dramatically and spiritually it was one of the greatest successes this country as ever seen.
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The African American Theatre Directory 1816-1960: A Comprehensive Guide to Early Black Theatre Organizations, Companies, Theatres, and Performing Groups
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This article is about The Ethiopian Art Theatre founded 1922 in Chicago. For the company with a similar name founded 1924 in New York, see
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Early Black American Playwrights and Dramatic Writers: A Biographical Directory and Catalog of Plays, Films, and Broadcasting Scripts
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scene. Supporters of the theater group saw the organization as a way to promote cultural and economic development in the community.
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The theater hit some financial struggles due to the lack of donors in the Ethiopian Art Theater organization. Still,
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49:. There are differing views over the precise year that the company was founded, 1922 or 1923. The founder was
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The Negro Drama in America took another step forward when The Ethiopian Art Players under
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Whiting Up: Whiteface Minstrels and Stage Europeans in African American
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became the first Negro actress to play a mulatto in the play
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1017:"The Ethiopian Art Theatre," by Addell Austin Anderson,
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1076:"Opinion of W.E.B. Du Bois: The Ethiopian Art Theatre"
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741:"Creating Negro Drama Is Aim of New Theatre,"
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1905:Ensemble Español Spanish Dance Theater
864:Encyclopedia of the Harlem Renaissance
708:Encyclopedia of the Harlem Renaissance
478:May 1923, Dunbar Theatre, Philadelphia
392:May 1923, Dunbar Theatre, Philadelphia
894:A History of African American Theatre
766:"Opinion: The Ethiopian Art Theatre,"
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566:National Ethiopian Art Theatre, Inc.
295:John Jay College of Criminal Justice
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2318:African-American arts organizations
1805:Lithuanian Opera Company of Chicago
936:by David Krasner, PhD (born 1952),
1415:Music, theater and performing arts
838:University of North Carolina Press
720:(born 1957) & Sandra L. West;
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796:"The Play — Jazzed Shakespeare"
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2002:Grant Park Symphony Orchestra
1935:Ruth Page Center for the Arts
1763:The Practical Theatre Company
1052:by Bernard L. Peterson, Jr.,
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1920:Hubbard Street Dance Chicago
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1997:Chicago Symphony Orchestra
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35:The Ethiopian Art Players
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1966:Chicago Gay Men's Chorus
1930:Luna Negra Dance Theater
1758:Playwrights Theatre Club
1667:Porchlight Music Theatre
1586:Theatre Building Chicago
994:Chelsea House Publishers
753:, April 19, 1925, pg. 18
745:Elizabeth Gertrude Stern
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463:The Chip Woman's Fortune
398:The Chip Woman's Fortune
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1866:San Carlo Opera Company
1738:Illinois Theatre Center
1092:Encyclopædia Britannica
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505:By Caesar G. Washington
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984:The Harlem Renaissance
836:by Marvin McAllister,
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1856:Chicago Opera Company
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1088:"Harlem Renaissance,"
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334:The Follies of Scapin
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2054:Briar Street Theater
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1987:Chicago Philharmonic
1861:Crosby's Opera House
1800:DuPage Opera Theatre
960:James Weldon Johnson
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430:The Comedy of Errors
31:Colored Folk Theatre
27:Chicago Folk Theatre
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1992:Chicago Sinfonietta
1846:Chicago Grand Opera
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1815:Music Theater Works
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1481:Chicago Shakespeare
1461:Bailiwick Repertory
798:(drama review), by
710:(google books link)
548:Drama, 1 act (1924)
90:The Great White Way
2313:Harlem Renaissance
2286:Culture of Chicago
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2212:Central Music Hall
2039:Auditorium Theatre
2034:Arie Crown Theater
1956:Chicago a cappella
1836:Chicago City Opera
1748:New Age Vaudeville
1551:Oracle Productions
1476:Chicago Dramatists
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261:The Curtain Closes
172:7 May 1923 at the
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348:
347:
338:
337:
329:
328:
327:
326:
320:
319:Medieval drama
314:
313:
304:
301:
289:
280:characters in
262:
259:
213:
210:
194:
190:Raymond O'Neil
174:Frazee Theatre
141:W.E.B. Du Bois
126:
120:
116:W.E.B. Du Bois
81:Raymond O'Neil
62:
59:
51:Raymond O'Neil
13:
10:
9:
6:
4:
3:
2:
2335:
2324:
2321:
2319:
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2288:
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2259:
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2240:
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2209:
2207:
2203:
2197:
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2179:
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2174:
2172:
2169:
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2159:
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2147:
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2128:
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2112:
2110:
2107:
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2100:
2097:
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2042:
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2037:
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2032:
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2027:
2026:
2024:
2020:
2017:
2013:
2003:
2000:
1998:
1995:
1993:
1990:
1988:
1985:
1984:
1982:
1978:
1972:
1969:
1967:
1964:
1962:
1959:
1957:
1954:
1952:
1949:
1948:
1946:
1942:
1936:
1933:
1931:
1928:
1926:
1923:
1921:
1918:
1916:
1915:Hedwig Dances
1913:
1911:
1908:
1906:
1903:
1901:
1898:
1896:
1893:
1892:
1890:
1886:
1883:
1877:
1867:
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1859:
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1779:
1769:
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1759:
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1739:
1736:
1734:
1731:
1729:
1726:
1724:
1721:
1719:
1716:
1714:
1713:Ethiopian Art
1711:
1709:
1706:
1704:
1701:
1699:
1696:
1695:
1693:
1689:
1683:
1680:
1678:
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1625:
1623:
1620:
1618:
1615:
1614:
1612:
1608:
1602:
1599:
1597:
1596:Under the Gun
1594:
1592:
1589:
1587:
1584:
1582:
1579:
1577:
1574:
1572:
1569:
1567:
1564:
1562:
1559:
1557:
1554:
1552:
1549:
1547:
1544:
1542:
1539:
1537:
1536:Neo-Futurists
1534:
1532:
1529:
1527:
1524:
1522:
1519:
1517:
1514:
1512:
1509:
1507:
1504:
1502:
1499:
1497:
1494:
1492:
1489:
1487:
1484:
1482:
1479:
1477:
1474:
1472:
1469:
1467:
1464:
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1447:
1444:
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1441:
1439:
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1432:
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1424:
1420:
1416:
1409:
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1402:
1397:
1395:
1390:
1389:
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1374:
1366:
1364:
1360:
1356:
1355:
1352:
1346:
1343:
1341:
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1333:
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1328:
1326:
1323:
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1314:
1311:
1307:
1304:
1302:
1299:
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1275:
1274:Neighborhoods
1272:
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1010:
1006:
1003:
999:
995:
991:
987:
985:
979:
976:
973:
969:
965:
962:(1971–1938),
961:
958:
953:
950:
947:
943:
939:
935:
930:
928:
926:
924:
922:
920:
916:
913:
909:
905:
901:
900:Errol G. Hill
897:
895:
889:
886:
883:
879:
875:
871:
867:
865:
859:
857:
855:
851:
847:
843:
839:
835:
833:
827:
824:
819:
811:
807:
806:
802:(1870–1959),
801:
797:
792:
789:
785:
781:
777:
776:
771:
767:
762:
760:
756:
752:
751:
746:
742:
737:
734:
731:
727:
723:
722:Facts on File
719:
715:
711:
709:
703:
700:
697:
693:
689:
685:
683:
677:
675:
671:
665:
659:
653:
650:
644:
639:
638:
634:
630:
627:
624:
621:
619:Marion Taylor
618:
615:
612:
609:
607:
606:Charles Olden
604:
602:
599:
596:
593:
591:Solomon Bruce
590:
588:
585:
582:
579:
578:
574:
567:
563:
560:
557:
554:
550:
547:
546:
545:
544:
541:
538:
537:
532:
528:
525:
521:
517:
515:
511:
507:
504:
501:
500:
499:
498:
495:
492:
491:
486:
485:
480:
477:
475:
471:
470:
469:
468:
465:
464:
460:
459:
454:
450:
448:
444:
441:
438:
437:
436:
435:
432:
431:
427:
426:
421:
417:
416:
415:
414:
411:
410:
406:
405:
400:
399:
394:
391:
389:
385:
384:
383:
382:
379:
378:
374:
373:
367:
365:
361:
360:
359:
358:
355:
352:
351:
346:
342:
341:
340:
339:
336:
335:
331:
330:
325:
321:
318:
317:
316:
315:
312:
311:
307:
306:
302:
296:
292:Marvie Brooks
288:
285:
284:
279:
274:
272:
268:
260:
258:
254:
252:
248:
244:
243:
238:
234:
233:
228:
223:
211:
205:
204:
199:
193:
191:
185:
183:
179:
175:
171:
168:
167:
152:
151:
146:
142:
138:
134:
133:
124:
119:
117:
112:
110:
106:
102:
101:
96:
92:
91:
86:
82:
78:
73:
70:
69:
65:According to
60:
58:
56:
52:
48:
44:
40:
36:
32:
28:
24:
19:
2284:
2109:Merle Reskin
2084:CIBC Theatre
1622:Child's Play
1516:Lookingglass
1446:A Red Orchid
1183:Demographics
1141:Architecture
1090:
1079:
1046:
1042:
1018:
990:Harold Bloom
982:
978:
956:
952:
933:
892:
888:
862:
830:
826:
809:
803:
791:
773:
748:
736:
707:
702:
680:
652:
625:Walter White
611:Evelyn Preer
587:Laura Bowman
555:
539:
529:Directed by
493:
482:
461:
428:
407:
396:
375:
353:
332:
308:
281:
278:Richardson's
276:
271:Laura Bowman
267:Evelyn Preer
264:
255:
240:
230:
224:
215:
201:
198:W.E.B DuBois
187:
182:W.E.B DuBois
170:
164:
148:
130:
128:
122:
113:
104:
98:
88:
74:
66:
64:
34:
30:
29:, later the
26:
22:
21:
1753:New Variety
1723:Goat Island
1718:First Folio
1672:Remy Bumppo
1576:Steppenwolf
1566:Second City
1345:Visual arts
1325:Skyscrapers
1200:Expressways
800:John Corbin
526:, Gus Smith
524:Edna Thomas
447:Shakespeare
420:Shakespeare
388:Oscar Wilde
303:Productions
237:Shakespeare
227:Oscar Wilde
212:Controversy
206:, July 1923
184:lauded it:
95:Shakespeare
2302:Categories
1980:Symphonies
1951:Bella Voce
1257:Newspapers
1247:Literature
1215:Government
1081:The Crisis
775:The Crisis
666:References
616:Arthur Ray
203:The Crisis
169:opened on
132:The Crisis
68:The Crisis
2262:Festivals
2171:Park West
1879:Music and
1610:Itinerant
1591:Trap Door
1571:Silk Road
1526:MCA Stage
1456:Annoyance
1429:companies
1301:musicians
1242:Landmarks
1210:Geography
1193:companies
1027:0040-5574
874:Routledge
846:768082798
784:0011-1422
718:Aberjhani
540:Cooped Up
518:Starring
137:N.A.A.C.P
37:— was an
2267:Theaters
1944:Choruses
1581:Strawdog
1521:Marriott
1511:Lifeline
1438:Resident
1373:Category
1235:timeline
1230:politics
1062:21226973
1056:(1990);
1002:52766257
966:(1930);
946:49260895
940:(2002);
912:50696418
882:55990187
876:(2004);
872:(eds.),
730:50941803
724:(2003);
696:65288151
690:(1997);
635:See also
310:Everyman
290:—
247:New York
195:—
105:Everyman
2022:Theater
1788:Current
1768:Redmoon
1708:Defiant
1677:StarKid
1662:Organic
1657:Oobleck
1556:Organic
1501:Goodman
1496:Factory
1427:Theater
1419:Chicago
1335:Tourism
1306:theater
1269:Museums
1225:History
1188:Economy
1178:Culture
1151:Climate
1146:Beaches
1130:Chicago
364:Büchner
345:Molière
109:cabaret
2205:Former
2015:Venues
1829:Former
1691:Former
1486:Chopin
1363:Portal
1330:Sports
1291:People
1220:Harbor
1095:(2011)
1060:
1025:
1000:
972:812315
970:
944:
910:
880:
844:
782:
728:
716:), by
694:
514:Harlem
484:Salome
377:Salome
354:George
297:(2004)
232:Salome
155:
125:(play)
2255:Lists
2166:Metro
2149:Music
2123:Opera
1888:Dance
1881:dance
1781:Opera
1733:House
1491:Court
1296:music
1279:Parks
1252:Media
1171:gangs
1166:Crime
645:Notes
1698:BoHo
1682:TUTA
1318:list
1284:list
1205:Flag
1058:OCLC
1023:ISSN
998:OCLC
968:OCLC
942:OCLC
908:OCLC
878:OCLC
842:OCLC
818:.com
780:ISSN
726:OCLC
692:OCLC
561:1925
556:(née
440:jazz
235:and
219:...
162:...
1417:in
1031:doi
988:by
898:by
814:www
810:via
768:by
743:by
551:By
472:By
445:By
418:By
386:By
343:By
322:By
239:'s
229:'s
139:).
97:'s
2304::
1506:iO
1078:,
1008:^
992:,
918:^
853:^
772:,
758:^
747:,
673:^
522:,
512:,
249:,
79:.
1407:e
1400:t
1393:v
1122:e
1115:t
1108:v
1050:,
1037:)
1033::
1029:(
986:,
896:,
866:,
834:,
821:)
712:(
684:,
568:)
217:"
160:"
153:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.