Given the below context:  Scene 1 ("Talk About A Child") The play starts out as Patti is checking out her house when she is dropping off Ruth's (Rhonda Davis) new foster children, Tay, Karen and Shannon. Patti tries to talk Ruth into getting more foster children since she moved in a bigger house. Her supervisor Clay stops by and checks on Patti. Tay comes in the living room and is introduce and Clay questions Tay about how he loves the new house. He says it's okay. Patti and Clay leaves to go check out a place and Clay gives Ruth his card if she wants to call him.  Scene 2 Aunt Bam steps on her porch and tells Clay and Patti to get their boxes off her grass. They all get into a brief conversation and Clay gives Aunt Bam his card but she denies it saying she has 2 kids that are grown and they never come to see her. Clay and Patti leaves and Aunt Bam checks the boxes on her grass until Tay comes out of the house screaming at her. Ruth comes out of the house and tells him to not talk to her like that and he apologize to her and goes back in the house. Ruth introduce herself to Aunt Bam and they both have a conversation. Aunt Bam has been living in the neighborhood for 39 years. Wally the mailman comes and give Aunt Bam her monthly bills but denies them and she tells him to take them back to the post office. Wally Introduces himself to Ruth, Aunt Bam tries to hook Ruth and Wally up since his wife left him for another woman. Wally leaves and Aunt Bam tells the story of the woman who lived in Ruth's house had died and was living there for 45 years prior to her moving. Ruth goes in the house so she can put her boxes down but Aunt Bam rings the doorbell. Aunt Bam tries to question Ruth about her husband disappearance but she says she has to put the boxes inside. Aunt Bam tells Ruth if one of her foster children can come and move the boxes.  Scene 3  Guess a valid title for it!
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Answer: Madea's Neighbors from Hell


Q: Given the below context:  As Harvey's interests shifted to the Pyramid, Monte Ne's resort days effectively ended and the number of visitors slowly dwindled. Activities and events at Monte Ne continued, supported by locals who still visited in large numbers. Harvey sold the Hotel Monte Ne. The hotel went through several name changes and owners, becoming the White Hotel circa 1912, the Randola Inn in 1918, the Hotel Frances in 1925, and in 1930 the Sleepy Valley Hotel. Monte Ne's larger hotels continued to be active after they, along with the dance pavilion and Elixir Spring, were foreclosed and sold at public auction. From 1927 to 1932, Missouri Row and Oklahoma Row (often called the Club House Hotels at this point) were home to the Ozark Industrial College and School of Theology, a nonsectarian school run by Dan W. Evans. The hotels housed pupils—Missouri Row for boys, Oklahoma Row for girls—and Oklahoma Row also provided classroom and dining spaces. Evans and his family lived in the tower. The dance pavilion was enclosed and served as the school chapel. In May 1932, following a mortgage foreclosure against the school, school officials were evicted and the property was sold.After he announced the building of the Pyramid, at age 69, Harvey began suffering a series of serious health problems, but continued to work tirelessly. In 1926, blood poisoning in his foot put him in a coma that lasted several days resulting in surgery, and three months of recuperation. In 1929 he and Anna were finally divorced. Three days later Harvey married his long-time personal secretary May Leake. In 1930, he came down with double pneumonia. He was also going blind and needed younger people to read his letters and the newspaper to him.  Guess a valid title for it!
A: Monte Ne


Given the below context:  Gauguin was foremost a painter; he came to ceramics around 1886, when he was taught by the French sculptor and ceramist Ernest Chaplet. They had been introduced by Félix Bracquemond who, inspired by the new French art pottery, was experimenting with the form. During that winter of 1886–87, Gauguin visited Chaplet's workshop at Vaugirard, where they collaborated on stoneware pots with applied figures or ornamental fragments and multiple handles. Gauguin first visited Tahiti in 1891 and, attracted by the beauty of Tahitian women, undertook a set of sculptural mask-like portraits on paper. They evoke both melancholy and death, and conjure the state of faaturuma (brooding or melancholy); imagery and moods later used in the Oviri ceramic. Gauguin's first wood carvings in Tahiti were with a guava wood that quickly crumbled and have not survived. He completed Oviri in the winter of 1894, during his return from Tahiti, and submitted it to the Société Nationale des Beaux-Arts 1895 salon opening in April the following year. There are two versions of what ensued: Charles Morice claimed in 1920 that Gauguin was "literally expelled" from the exhibition; in 1937 Ambroise Vollard wrote that the piece was admitted only when Chaplet threatened to withdraw his own works in protest. According to Bengt Danielsson, Gauguin was keen to increase his public exposure and availed of this opportunity by writing an outraged letter to Le Soir, bemoaning the state of modern ceramics.At the outset of 1897, Vollard addressed a letter to Gauguin about the possibility of casting his sculptures in bronze. Gauguin's response centred on Oviri: I believe that my large statue in ceramic, the Tueuse ("The Murderess"), is an exceptional piece such as no ceramist has made until now and that, in addition, it would look very well cast in bronze (without retouching and without patina). In this way the buyer would not only have the ceramic piece itself, but also a bronze edition with which to make money. Art historian Christopher Gray mentions three...  Guess a valid title for it!
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Answer:
Oviri