<|begin_of_text|><|start_header_id|>system<|end_header_id|>You are an expert on climate change, human mobility and migration. Answer the question truthfully.<|eot_id|><|start_header_id|>user<|end_header_id|>Here are the title and abstract of a scientific paper probably related to climate change, human mobility and migration..
Title:"Inside Fateh!Azzam's 'Baggage':: Monologue and forced migration."
Abstract:"The work of Palestinian playwright Fateh Samih Azzam arises from his experience growing up as a refugee and from his strong commitment to human rights. His latest play, Baggage, is set in a crowded airport where a lone Traveler re-enacts the Catastrophe of 1948 and its consequences. This article begins by positioning Azzam's work in relation to post-1948 Palestinian theatre. It then looks in detail at how Baggage, written as a monodrama, incorporates a number of devices including airport announcements and other voiceovers to imbue monologue with dialogue. The question of the relationship between monologue and dialogue is examined in the context of the emergence of the 'political' in performance and especially in relation to Jon Erickson's recent contention that dialogues facilitate the representation of conflicting world views whereas monologues tend to be 'vehicles for the overarching world view of the playwright' Next, it discusses a recent staging of Baggage in Famagusta, North Cyprus, focusing in particular on the way in which the production was able to embellish and extend devices contained in the written text of the play to facilitate a movement from monologue to dialogue. In its conclusion, the article returns to the prevalence of monologue in Palestinian drama and to Erickson's idea that monologue involves partiality to one side of a dispute. The article contends that productions of Baggage, which, like the one in Famagusta, accentuate the dialogical, will make it clear that the play is not just a memory play for Palestinians, but that it also cries out for all those forced out of their homes and into what Edward Said has called 'the trauma of exile' Furthermore, it argues that the Traveler's monologues need to be heard and should initiate dialogues, which in some parts of the world have not yet even begun. Finally, it suggests that the universal appeal of this and other Palestinian plays could be even more striking were the heavy use of politically oriented symbolism counterbalanced by a more minimalist Beckett-like aestheticism.."
I have six questions you need to answer.
Q1: Is this article is about 'human migration mobility': 1 = yes; 0 = no. Answer with a number. Do not give a textual explanation.

Q2: What drivers of migration and mobility does the article study? 0 = 'other', 1 = 'climate', 2 = 'environment', 3 = 'economic', 4 = 'conflict', 5 = 'political', 6 = 'social', 7 = 'family'. Answer with a number or a sequence of numbers separated by commas. Do not give a textual explanation. 

Q3: What is the overall sentiment of the article?:0 = 'neutral', 1 = 'negative', 2 = 'positive'. Answer with a number. Do not give a textual explanation.

Q4: What type of climate or environmental keywords are explicitly mentioned?:  0 = 'none', 1 = 'algal blooms', 2 = 'infestation', 3 = 'infectious diseases', 4 = 'ocean acidification', 5 = 'sea ice', 6 = 'acid rain', 7 = 'drought', 8 = 'cold wave', 9 = 'heat wave', 10 = 'glacial', 11 = 'wildfire', 12 = 'air pollution', 13 = 'biodiversity loss', 14 = 'coastal erosion', 15 = 'land degradation', 16 = 'deforestation', 17 = 'desertification', 18 = 'water pollution', 19 = 'diebacks', 20 = 'permafrost loss', 21 = 'sand mining', 22 = 'sea level rise', 23 = 'earthquake', 24 = 'tsunami', 25 = 'volcanic', 26 = 'flood', 27 = 'avalanche', 28 = 'landslide', 29 = 'downburst', 30 = 'thunderstorm', 31 = 'sandstorm', 32 = 'haze', 33 = 'storm', 34 = 'cyclone', 35 = 'blizzard', 36 = 'hail', 37 = 'snow', 38 = 'tornado', 39 = 'wind', 40 = 'hurricane', 41 = 'typhoon', 42 = 'other'. Answer with a number or a sequence of numbers separated by commas. Do not give a textual explanation. 

Q5: What discipline does the article belong to?: 0 = 'other', 1 = 'social science', 2 = 'natural science', 3 = 'arts and humanities', 4 = 'multidiscipline and interdiscipline'. Answer with a number. Do not give a textual explanation.

Q6: Does the article apply quantitative and/or statistical analysis?: 0 = 'no', 1 = 'yes'. Answer with a number. Do not give a textual explanation.

Use the following template: 

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Q2 = [];
Q3 = [];
Q4 = [];
Q5 = [];
Q6 = [].<|eot_id|><|start_header_id|>assistant<|end_header_id|>Answer:
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Q6 = [0].
Inside Fateh!Azzam's 'Baggage':: Monologue and forced migration
The work of Palestinian playwright Fateh Samih Azzam arises from his experience growing up as a refugee and from his strong commitment to human rights. His latest play, Baggage, is set in a crowded airport where a lone Traveler re-enacts the Catastrophe of 1948 and its consequences. This article begins by positioning Azzam's work in relation to post-1948 Palestinian theatre. It then looks in detail at how Baggage, written as a monodrama, incorporates a number of devices including airport announcements and other voiceovers to imbue monologue with dialogue. The question of the relationship between monologue and dialogue is examined in the context of the emergence of the 'political' in performance and especially in relation to Jon Erickson's recent contention that dialogues facilitate the representation of conflicting world views whereas monologues tend to be 'vehicles for the overarching world view of the playwright' Next, it discusses a recent staging of Baggage in Famagusta, North Cyprus, focusing in particular on the way in which the production was able to embellish and extend devices contained in the written text of the play to facilitate a movement from monologue to dialogue. In its conclusion, the article returns to the prevalence of monologue in Palestinian drama and to Erickson's idea that monologue involves partiality to one side of a dispute. The article contends that productions of Baggage, which, like the one in Famagusta, accentuate the dialogical, will make it clear that the play is not just a memory play for Palestinians, but that it also cries out for all those forced out of their homes and into what Edward Said has called 'the trauma of exile' Furthermore, it argues that the Traveler's monologues need to be heard and should initiate dialogues, which in some parts of the world have not yet even begun. Finally, it suggests that the universal appeal of this and other Palestinian plays could be even more striking were the heavy use of politically oriented symbolism counterbalanced by a more minimalist Beckett-like aestheticism.