You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
It is 450 years since William Shakespeare was born and there are events planned around the world to mark the anniversary. Yet one pleasure denied even the biggest Shakespeare fanatic will be to watch his work in a theatre which he wrote for or acted in. In London, no purpose-built theatres survive from his day. Where did they all go? By Vincent DowdBBC World Service Peter Sillitoe strides into New Inn Broadway, London EC2, aware that for a theatre-lover disappointment is about to follow. Nonetheless, he's used to explaining why this unloved little street in Shoreditch is vital to the history of drama. He's the perfect person to tour London's Shakespeare sites with. For two years Sillitoe worked on the ShaLT (Shakespearean London Theatres) project. It pulled together existing research about the playhouses of London during Shakespeare's career as a writer (roughly 1588 to 1612). From 1576 the street in Shoreditch was home to The Theatre, the first purpose-built home for drama in Britain since Roman times. As a hungry young actor, Shakespeare made his home there after moving from Warwickshire to London. "Until that point performances were mainly in grand private homes or in taverns," says Sillitoe. "There was just no concept of a theatre being a building in its own right. "From the 1570s that started to change - possibly because London was growing, and there were more people demanding intelligent entertainment." Even the word theatre, as opposed to playhouse, may have evoked comparison with Greek and Roman culture. Sillitoe taps the shabby grey hoardings on New Inn Broadway which mask The Theatre's foundations, uncovered in 2008. "Some scholars believe this may have been where Romeo and Juliet was first performed. "It's not an easy connection to make these days, but I encourage people to use their mind's eye and conceive of how this area was when Shakespeare was a young man." Today, a new 235-seat theatre is proposed as part of the site's redevelopment. A year after The Theatre opened came The Curtain, built about 100 yards to the south. Three years ago, part of the Curtain's foundations were located during excavation work. Now a major redevelopment has been approved by Hackney Council that will include a permanent display of the Curtain's foundations. Sillitoe says there is increasing pressure to rebuild this part of London. "The area went untouched for decades, but now we're discovering more about what lies beneath. "Though I'm not sure much of what's going up will evoke the England of the 16th and early 17th Centuries." So he suggests a side trip to investigate where Shakespeare lived while he wrote. From the early 1600s, the writer lodged with a refugee Huguenot family in Silver Street, Cripplegate - now part of the Barbican. It is possible that while there he wrote King Lear and Macbeth. Legal documents mean we know more about his time in Silver Street than at any other London address. But Silver Street, like the theatres of Shoreditch, has effectively disappeared. The closest we get is the massive underground car park which lurks beneath London Wall on the same spot. Not inappropriately, hidden at its far end, is a chunk of London wall which may have stood close to where Shakespeare lodged. "It's not much," admits Sillitoe. "But outside of Stratford-upon-Avon it's the closest we get to anywhere Shakespeare slept and ate. It's frustrating." In 1599 Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and headed south of the river to establish the Globe theatre. The site is just down river of where Southwark Bridge now stands. It is not to be confused with the reconstructed Shakespeare's Globe a few minutes away. Those who run the new theatre, opened in 1997, have always made clear it's not on the exact site of the original Globe, though many visitors assume otherwise. The location of the original Globe, off Park Street, was identified only in the late 1980s. Today it is indicated by a large plaque in the cobbles. Peter Sillitoe laments that the site, almost inevitably, is now a car park. "At least this one isn't underground," he says. Almost opposite stand the far more extensive remains of The Rose, opened before the Globe in 1587. In 1989 the foundations were deliberately flooded to keep them from crumbling in the air. "Maybe it's inevitable," Sillitoe continues, "but Sam Wanamaker made such a success of Shakespeare's Globe that The Rose has sometimes been a bit forgotten. "The Rose is a fascinating place and more intact than the sites north of the Thames. It's worth visiting and gives you a sense of what it must have been like in Shakespeare's time." It is thought The Rose played host to Titus Andronicus, one of Shakespeare's earliest plays. But Peter Sillitoe gives a warning: "Academics debate endlessly where individual plays were acted, but the truth is the companies played wherever was available. "Hamlet or King Lear didn't settle down for a nice six-month run somewhere. Actors were more like wandering minstrels." Any theatre fan would love to be able to walk into The Theatre or The Curtain or The Rose. "But they were all destroyed, says Sillitoe. "Partly by Puritan distaste for theatre in the 1640s, and then by the Great Fire of 1666. Later came World War II bombing and, I'm afraid, an indifference to the buildings' fate generally." To finish the tour, Peter Sillitoe takes me to Shakespeare's Globe. It is filled with visitors. "No one really predicted it, but the success of a well-researched reconstruction like this has been a massive help to something like the ShaLT project," he says. "A whole new public interest arose which simply hadn't been there. "Compare today to where we were 30 years ago. We know a lot more about The Theatre and The Curtain and excavation has at least begun there. What survives of The Rose is open to view, and the public has taken Shakespeare's Globe to its heart in a way no one expected. "The negative is that we don't have a Shakespearean theatre functioning on its exact original site. Probably we never will. "But William Shakespeare would be amazed at what we can learn about his world all these centuries later, just by walking around London for three or four hours and taking careful note."

Here is a summary requirement:
Summarize the information about the old London theatres in a timeline as mentioned in this article.

Please summarize the above article based on the given requirement:

# Output (a):
- 1576: The Theatre, the first purpose-built home for drama in Britain since Roman times, is built in Shoreditch, London.
- 1577: The Curtain theatre is built about 100 yards south of The Theatre.
- 1587: The Rose theatre opens, predating the Globe.
- 1599: Shakespeare's theatre group, the Chamberlain's Men, establish the Globe theatre south of the river.
- Late 1980s: The location of the original Globe is identified off Park Street.
- 1989: The Rose's foundations are flooded to prevent them from crumbling in the air.
- 2008: The Theatre's foundations are uncovered on New Inn Broadway.
- 2010s: Excavation work locates part of the Curtain's foundations; Hackney Council approves a major redevelopment including a permanent display of the Curtain's foundations.

# Output (b):
-In 1576, The Theatre opened in Shoreditch, London, becoming the first purpose-built home for drama in Britain since Roman times.

-Three years later, The Curtain opened in the same area.

-In 1599, Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and headed south of the river to establish the Globe theatre.

-The Rose theatre also opened in 1587, before the Globe.

-All of these theatres were destroyed over time, with the last one, the Globe, being rebuilt in 1997.

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (a)

Instruction:
Here is an article:
It is 450 years since William Shakespeare was born and there are events planned around the world to mark the anniversary. Yet one pleasure denied even the biggest Shakespeare fanatic will be to watch his work in a theatre which he wrote for or acted in. In London, no purpose-built theatres survive from his day. Where did they all go? By Vincent DowdBBC World Service Peter Sillitoe strides into New Inn Broadway, London EC2, aware that for a theatre-lover disappointment is about to follow. Nonetheless, he's used to explaining why this unloved little street in Shoreditch is vital to the history of drama. He's the perfect person to tour London's Shakespeare sites with. For two years Sillitoe worked on the ShaLT (Shakespearean London Theatres) project. It pulled together existing research about the playhouses of London during Shakespeare's career as a writer (roughly 1588 to 1612). From 1576 the street in Shoreditch was home to The Theatre, the first purpose-built home for drama in Britain since Roman times. As a hungry young actor, Shakespeare made his home there after moving from Warwickshire to London. "Until that point performances were mainly in grand private homes or in taverns," says Sillitoe. "There was just no concept of a theatre being a building in its own right. "From the 1570s that started to change - possibly because London was growing, and there were more people demanding intelligent entertainment." Even the word theatre, as opposed to playhouse, may have evoked comparison with Greek and Roman culture. Sillitoe taps the shabby grey hoardings on New Inn Broadway which mask The Theatre's foundations, uncovered in 2008. "Some scholars believe this may have been where Romeo and Juliet was first performed. "It's not an easy connection to make these days, but I encourage people to use their mind's eye and conceive of how this area was when Shakespeare was a young man." Today, a new 235-seat theatre is proposed as part of the site's redevelopment. A year after The Theatre opened came The Curtain, built about 100 yards to the south. Three years ago, part of the Curtain's foundations were located during excavation work. Now a major redevelopment has been approved by Hackney Council that will include a permanent display of the Curtain's foundations. Sillitoe says there is increasing pressure to rebuild this part of London. "The area went untouched for decades, but now we're discovering more about what lies beneath. "Though I'm not sure much of what's going up will evoke the England of the 16th and early 17th Centuries." So he suggests a side trip to investigate where Shakespeare lived while he wrote. From the early 1600s, the writer lodged with a refugee Huguenot family in Silver Street, Cripplegate - now part of the Barbican. It is possible that while there he wrote King Lear and Macbeth. Legal documents mean we know more about his time in Silver Street than at any other London address. But Silver Street, like the theatres of Shoreditch, has effectively disappeared. The closest we get is the massive underground car park which lurks beneath London Wall on the same spot. Not inappropriately, hidden at its far end, is a chunk of London wall which may have stood close to where Shakespeare lodged. "It's not much," admits Sillitoe. "But outside of Stratford-upon-Avon it's the closest we get to anywhere Shakespeare slept and ate. It's frustrating." In 1599 Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and headed south of the river to establish the Globe theatre. The site is just down river of where Southwark Bridge now stands. It is not to be confused with the reconstructed Shakespeare's Globe a few minutes away. Those who run the new theatre, opened in 1997, have always made clear it's not on the exact site of the original Globe, though many visitors assume otherwise. The location of the original Globe, off Park Street, was identified only in the late 1980s. Today it is indicated by a large plaque in the cobbles. Peter Sillitoe laments that the site, almost inevitably, is now a car park. "At least this one isn't underground," he says. Almost opposite stand the far more extensive remains of The Rose, opened before the Globe in 1587. In 1989 the foundations were deliberately flooded to keep them from crumbling in the air. "Maybe it's inevitable," Sillitoe continues, "but Sam Wanamaker made such a success of Shakespeare's Globe that The Rose has sometimes been a bit forgotten. "The Rose is a fascinating place and more intact than the sites north of the Thames. It's worth visiting and gives you a sense of what it must have been like in Shakespeare's time." It is thought The Rose played host to Titus Andronicus, one of Shakespeare's earliest plays. But Peter Sillitoe gives a warning: "Academics debate endlessly where individual plays were acted, but the truth is the companies played wherever was available. "Hamlet or King Lear didn't settle down for a nice six-month run somewhere. Actors were more like wandering minstrels." Any theatre fan would love to be able to walk into The Theatre or The Curtain or The Rose. "But they were all destroyed, says Sillitoe. "Partly by Puritan distaste for theatre in the 1640s, and then by the Great Fire of 1666. Later came World War II bombing and, I'm afraid, an indifference to the buildings' fate generally." To finish the tour, Peter Sillitoe takes me to Shakespeare's Globe. It is filled with visitors. "No one really predicted it, but the success of a well-researched reconstruction like this has been a massive help to something like the ShaLT project," he says. "A whole new public interest arose which simply hadn't been there. "Compare today to where we were 30 years ago. We know a lot more about The Theatre and The Curtain and excavation has at least begun there. What survives of The Rose is open to view, and the public has taken Shakespeare's Globe to its heart in a way no one expected. "The negative is that we don't have a Shakespearean theatre functioning on its exact original site. Probably we never will. "But William Shakespeare would be amazed at what we can learn about his world all these centuries later, just by walking around London for three or four hours and taking careful note."

Here is a summary requirement:
Summarize the information about the old London theatres in a timeline as mentioned in this article.

Please summarize the above article based on the given requirement:

- 1576: The Theatre, the first purpose-built home for drama in Britain since Roman times, is built in Shoreditch, London.
- 1577: The Curtain theatre is built about 100 yards south of The Theatre.
- 1587: The Rose theatre opens, predating the Globe.
- 1599: Shakespeare's theatre group, the Chamberlain's Men, establish the Globe theatre south of the river.
- Late 1980s: The location of the original Globe is identified off Park Street.
- 1989: The Rose's foundations are flooded to prevent them from crumbling in the air.
- 2008: The Theatre's foundations are uncovered on New Inn Broadway.
- 2010s: Excavation work locates part of the Curtain's foundations; Hackney Council approves a major redevelopment including a permanent display of the Curtain's foundations.

-In 1576, The Theatre opened in Shoreditch, London, becoming the first purpose-built home for drama in Britain since Roman times.

-Three years later, The Curtain opened in the same area.

-In 1599, Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and headed south of the river to establish the Globe theatre.

-The Rose theatre also opened in 1587, before the Globe.

-All of these theatres were destroyed over time, with the last one, the Globe, being rebuilt in 1997.


You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
It is 450 years since William Shakespeare was born and there are events planned around the world to mark the anniversary. Yet one pleasure denied even the biggest Shakespeare fanatic will be to watch his work in a theatre which he wrote for or acted in. In London, no purpose-built theatres survive from his day. Where did they all go? By Vincent DowdBBC World Service Peter Sillitoe strides into New Inn Broadway, London EC2, aware that for a theatre-lover disappointment is about to follow. Nonetheless, he's used to explaining why this unloved little street in Shoreditch is vital to the history of drama. He's the perfect person to tour London's Shakespeare sites with. For two years Sillitoe worked on the ShaLT (Shakespearean London Theatres) project. It pulled together existing research about the playhouses of London during Shakespeare's career as a writer (roughly 1588 to 1612). From 1576 the street in Shoreditch was home to The Theatre, the first purpose-built home for drama in Britain since Roman times. As a hungry young actor, Shakespeare made his home there after moving from Warwickshire to London. "Until that point performances were mainly in grand private homes or in taverns," says Sillitoe. "There was just no concept of a theatre being a building in its own right. "From the 1570s that started to change - possibly because London was growing, and there were more people demanding intelligent entertainment." Even the word theatre, as opposed to playhouse, may have evoked comparison with Greek and Roman culture. Sillitoe taps the shabby grey hoardings on New Inn Broadway which mask The Theatre's foundations, uncovered in 2008. "Some scholars believe this may have been where Romeo and Juliet was first performed. "It's not an easy connection to make these days, but I encourage people to use their mind's eye and conceive of how this area was when Shakespeare was a young man." Today, a new 235-seat theatre is proposed as part of the site's redevelopment. A year after The Theatre opened came The Curtain, built about 100 yards to the south. Three years ago, part of the Curtain's foundations were located during excavation work. Now a major redevelopment has been approved by Hackney Council that will include a permanent display of the Curtain's foundations. Sillitoe says there is increasing pressure to rebuild this part of London. "The area went untouched for decades, but now we're discovering more about what lies beneath. "Though I'm not sure much of what's going up will evoke the England of the 16th and early 17th Centuries." So he suggests a side trip to investigate where Shakespeare lived while he wrote. From the early 1600s, the writer lodged with a refugee Huguenot family in Silver Street, Cripplegate - now part of the Barbican. It is possible that while there he wrote King Lear and Macbeth. Legal documents mean we know more about his time in Silver Street than at any other London address. But Silver Street, like the theatres of Shoreditch, has effectively disappeared. The closest we get is the massive underground car park which lurks beneath London Wall on the same spot. Not inappropriately, hidden at its far end, is a chunk of London wall which may have stood close to where Shakespeare lodged. "It's not much," admits Sillitoe. "But outside of Stratford-upon-Avon it's the closest we get to anywhere Shakespeare slept and ate. It's frustrating." In 1599 Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and headed south of the river to establish the Globe theatre. The site is just down river of where Southwark Bridge now stands. It is not to be confused with the reconstructed Shakespeare's Globe a few minutes away. Those who run the new theatre, opened in 1997, have always made clear it's not on the exact site of the original Globe, though many visitors assume otherwise. The location of the original Globe, off Park Street, was identified only in the late 1980s. Today it is indicated by a large plaque in the cobbles. Peter Sillitoe laments that the site, almost inevitably, is now a car park. "At least this one isn't underground," he says. Almost opposite stand the far more extensive remains of The Rose, opened before the Globe in 1587. In 1989 the foundations were deliberately flooded to keep them from crumbling in the air. "Maybe it's inevitable," Sillitoe continues, "but Sam Wanamaker made such a success of Shakespeare's Globe that The Rose has sometimes been a bit forgotten. "The Rose is a fascinating place and more intact than the sites north of the Thames. It's worth visiting and gives you a sense of what it must have been like in Shakespeare's time." It is thought The Rose played host to Titus Andronicus, one of Shakespeare's earliest plays. But Peter Sillitoe gives a warning: "Academics debate endlessly where individual plays were acted, but the truth is the companies played wherever was available. "Hamlet or King Lear didn't settle down for a nice six-month run somewhere. Actors were more like wandering minstrels." Any theatre fan would love to be able to walk into The Theatre or The Curtain or The Rose. "But they were all destroyed, says Sillitoe. "Partly by Puritan distaste for theatre in the 1640s, and then by the Great Fire of 1666. Later came World War II bombing and, I'm afraid, an indifference to the buildings' fate generally." To finish the tour, Peter Sillitoe takes me to Shakespeare's Globe. It is filled with visitors. "No one really predicted it, but the success of a well-researched reconstruction like this has been a massive help to something like the ShaLT project," he says. "A whole new public interest arose which simply hadn't been there. "Compare today to where we were 30 years ago. We know a lot more about The Theatre and The Curtain and excavation has at least begun there. What survives of The Rose is open to view, and the public has taken Shakespeare's Globe to its heart in a way no one expected. "The negative is that we don't have a Shakespearean theatre functioning on its exact original site. Probably we never will. "But William Shakespeare would be amazed at what we can learn about his world all these centuries later, just by walking around London for three or four hours and taking careful note."

Here is a summary requirement:
Summarize the information about the old London theatres in a timeline as mentioned in this article.

Please summarize the above article based on the given requirement:

# Output (a):
The first purpose-built theatre in Britain since Roman times, The Theatre, was built in Shoreditch in 1576. The Curtain was built about 100 yards south of The Theatre three years later. In 1599, Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and established the Globe theatre south of the river. The Rose, which opened before the Globe in 1587, is located opposite the Globe. All of these theatres were destroyed, partly due to Puritan distaste for theatre in the 1640s, the Great Fire of 1666, World War II bombing, and general indifference to the buildings' fate. Today, the sites of The Theatre, The Curtain, and The Rose have been excavated and are open to view, but there is no functioning Shakespearean theatre on its exact original site.

# Output (b):
1576: The Theatre, the first purpose-built home for drama in Britain since Roman times, was built in Shoreditch.
1587: The Rose theatre was opened before the Globe.
1599: Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and headed south of the river to establish the Globe theatre.
1640s: Puritan distaste for theatre led to the destruction of many theatres.
1666: The Great Fire of London destroyed many theatres.
1940s: World War II bombing destroyed many theatres.
1989: The foundations of The Rose were deliberately flooded to keep them from crumbling in the air.
1997: The new Shakespeare's Globe theatre was opened.
2008: The Theatre's foundations were uncovered in Shoreditch.
2015: A major redevelopment was approved by Hackney Council that will include a permanent display of the Curtain's foundations.

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (b)

Instruction:
Here is an article:
It is 450 years since William Shakespeare was born and there are events planned around the world to mark the anniversary. Yet one pleasure denied even the biggest Shakespeare fanatic will be to watch his work in a theatre which he wrote for or acted in. In London, no purpose-built theatres survive from his day. Where did they all go? By Vincent DowdBBC World Service Peter Sillitoe strides into New Inn Broadway, London EC2, aware that for a theatre-lover disappointment is about to follow. Nonetheless, he's used to explaining why this unloved little street in Shoreditch is vital to the history of drama. He's the perfect person to tour London's Shakespeare sites with. For two years Sillitoe worked on the ShaLT (Shakespearean London Theatres) project. It pulled together existing research about the playhouses of London during Shakespeare's career as a writer (roughly 1588 to 1612). From 1576 the street in Shoreditch was home to The Theatre, the first purpose-built home for drama in Britain since Roman times. As a hungry young actor, Shakespeare made his home there after moving from Warwickshire to London. "Until that point performances were mainly in grand private homes or in taverns," says Sillitoe. "There was just no concept of a theatre being a building in its own right. "From the 1570s that started to change - possibly because London was growing, and there were more people demanding intelligent entertainment." Even the word theatre, as opposed to playhouse, may have evoked comparison with Greek and Roman culture. Sillitoe taps the shabby grey hoardings on New Inn Broadway which mask The Theatre's foundations, uncovered in 2008. "Some scholars believe this may have been where Romeo and Juliet was first performed. "It's not an easy connection to make these days, but I encourage people to use their mind's eye and conceive of how this area was when Shakespeare was a young man." Today, a new 235-seat theatre is proposed as part of the site's redevelopment. A year after The Theatre opened came The Curtain, built about 100 yards to the south. Three years ago, part of the Curtain's foundations were located during excavation work. Now a major redevelopment has been approved by Hackney Council that will include a permanent display of the Curtain's foundations. Sillitoe says there is increasing pressure to rebuild this part of London. "The area went untouched for decades, but now we're discovering more about what lies beneath. "Though I'm not sure much of what's going up will evoke the England of the 16th and early 17th Centuries." So he suggests a side trip to investigate where Shakespeare lived while he wrote. From the early 1600s, the writer lodged with a refugee Huguenot family in Silver Street, Cripplegate - now part of the Barbican. It is possible that while there he wrote King Lear and Macbeth. Legal documents mean we know more about his time in Silver Street than at any other London address. But Silver Street, like the theatres of Shoreditch, has effectively disappeared. The closest we get is the massive underground car park which lurks beneath London Wall on the same spot. Not inappropriately, hidden at its far end, is a chunk of London wall which may have stood close to where Shakespeare lodged. "It's not much," admits Sillitoe. "But outside of Stratford-upon-Avon it's the closest we get to anywhere Shakespeare slept and ate. It's frustrating." In 1599 Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and headed south of the river to establish the Globe theatre. The site is just down river of where Southwark Bridge now stands. It is not to be confused with the reconstructed Shakespeare's Globe a few minutes away. Those who run the new theatre, opened in 1997, have always made clear it's not on the exact site of the original Globe, though many visitors assume otherwise. The location of the original Globe, off Park Street, was identified only in the late 1980s. Today it is indicated by a large plaque in the cobbles. Peter Sillitoe laments that the site, almost inevitably, is now a car park. "At least this one isn't underground," he says. Almost opposite stand the far more extensive remains of The Rose, opened before the Globe in 1587. In 1989 the foundations were deliberately flooded to keep them from crumbling in the air. "Maybe it's inevitable," Sillitoe continues, "but Sam Wanamaker made such a success of Shakespeare's Globe that The Rose has sometimes been a bit forgotten. "The Rose is a fascinating place and more intact than the sites north of the Thames. It's worth visiting and gives you a sense of what it must have been like in Shakespeare's time." It is thought The Rose played host to Titus Andronicus, one of Shakespeare's earliest plays. But Peter Sillitoe gives a warning: "Academics debate endlessly where individual plays were acted, but the truth is the companies played wherever was available. "Hamlet or King Lear didn't settle down for a nice six-month run somewhere. Actors were more like wandering minstrels." Any theatre fan would love to be able to walk into The Theatre or The Curtain or The Rose. "But they were all destroyed, says Sillitoe. "Partly by Puritan distaste for theatre in the 1640s, and then by the Great Fire of 1666. Later came World War II bombing and, I'm afraid, an indifference to the buildings' fate generally." To finish the tour, Peter Sillitoe takes me to Shakespeare's Globe. It is filled with visitors. "No one really predicted it, but the success of a well-researched reconstruction like this has been a massive help to something like the ShaLT project," he says. "A whole new public interest arose which simply hadn't been there. "Compare today to where we were 30 years ago. We know a lot more about The Theatre and The Curtain and excavation has at least begun there. What survives of The Rose is open to view, and the public has taken Shakespeare's Globe to its heart in a way no one expected. "The negative is that we don't have a Shakespearean theatre functioning on its exact original site. Probably we never will. "But William Shakespeare would be amazed at what we can learn about his world all these centuries later, just by walking around London for three or four hours and taking careful note."

Here is a summary requirement:
Summarize the information about the old London theatres in a timeline as mentioned in this article.

Please summarize the above article based on the given requirement:

The first purpose-built theatre in Britain since Roman times, The Theatre, was built in Shoreditch in 1576. The Curtain was built about 100 yards south of The Theatre three years later. In 1599, Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and established the Globe theatre south of the river. The Rose, which opened before the Globe in 1587, is located opposite the Globe. All of these theatres were destroyed, partly due to Puritan distaste for theatre in the 1640s, the Great Fire of 1666, World War II bombing, and general indifference to the buildings' fate. Today, the sites of The Theatre, The Curtain, and The Rose have been excavated and are open to view, but there is no functioning Shakespearean theatre on its exact original site.

1576: The Theatre, the first purpose-built home for drama in Britain since Roman times, was built in Shoreditch.
1587: The Rose theatre was opened before the Globe.
1599: Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and headed south of the river to establish the Globe theatre.
1640s: Puritan distaste for theatre led to the destruction of many theatres.
1666: The Great Fire of London destroyed many theatres.
1940s: World War II bombing destroyed many theatres.
1989: The foundations of The Rose were deliberately flooded to keep them from crumbling in the air.
1997: The new Shakespeare's Globe theatre was opened.
2008: The Theatre's foundations were uncovered in Shoreditch.
2015: A major redevelopment was approved by Hackney Council that will include a permanent display of the Curtain's foundations.


You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
It is 450 years since William Shakespeare was born and there are events planned around the world to mark the anniversary. Yet one pleasure denied even the biggest Shakespeare fanatic will be to watch his work in a theatre which he wrote for or acted in. In London, no purpose-built theatres survive from his day. Where did they all go? By Vincent DowdBBC World Service Peter Sillitoe strides into New Inn Broadway, London EC2, aware that for a theatre-lover disappointment is about to follow. Nonetheless, he's used to explaining why this unloved little street in Shoreditch is vital to the history of drama. He's the perfect person to tour London's Shakespeare sites with. For two years Sillitoe worked on the ShaLT (Shakespearean London Theatres) project. It pulled together existing research about the playhouses of London during Shakespeare's career as a writer (roughly 1588 to 1612). From 1576 the street in Shoreditch was home to The Theatre, the first purpose-built home for drama in Britain since Roman times. As a hungry young actor, Shakespeare made his home there after moving from Warwickshire to London. "Until that point performances were mainly in grand private homes or in taverns," says Sillitoe. "There was just no concept of a theatre being a building in its own right. "From the 1570s that started to change - possibly because London was growing, and there were more people demanding intelligent entertainment." Even the word theatre, as opposed to playhouse, may have evoked comparison with Greek and Roman culture. Sillitoe taps the shabby grey hoardings on New Inn Broadway which mask The Theatre's foundations, uncovered in 2008. "Some scholars believe this may have been where Romeo and Juliet was first performed. "It's not an easy connection to make these days, but I encourage people to use their mind's eye and conceive of how this area was when Shakespeare was a young man." Today, a new 235-seat theatre is proposed as part of the site's redevelopment. A year after The Theatre opened came The Curtain, built about 100 yards to the south. Three years ago, part of the Curtain's foundations were located during excavation work. Now a major redevelopment has been approved by Hackney Council that will include a permanent display of the Curtain's foundations. Sillitoe says there is increasing pressure to rebuild this part of London. "The area went untouched for decades, but now we're discovering more about what lies beneath. "Though I'm not sure much of what's going up will evoke the England of the 16th and early 17th Centuries." So he suggests a side trip to investigate where Shakespeare lived while he wrote. From the early 1600s, the writer lodged with a refugee Huguenot family in Silver Street, Cripplegate - now part of the Barbican. It is possible that while there he wrote King Lear and Macbeth. Legal documents mean we know more about his time in Silver Street than at any other London address. But Silver Street, like the theatres of Shoreditch, has effectively disappeared. The closest we get is the massive underground car park which lurks beneath London Wall on the same spot. Not inappropriately, hidden at its far end, is a chunk of London wall which may have stood close to where Shakespeare lodged. "It's not much," admits Sillitoe. "But outside of Stratford-upon-Avon it's the closest we get to anywhere Shakespeare slept and ate. It's frustrating." In 1599 Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and headed south of the river to establish the Globe theatre. The site is just down river of where Southwark Bridge now stands. It is not to be confused with the reconstructed Shakespeare's Globe a few minutes away. Those who run the new theatre, opened in 1997, have always made clear it's not on the exact site of the original Globe, though many visitors assume otherwise. The location of the original Globe, off Park Street, was identified only in the late 1980s. Today it is indicated by a large plaque in the cobbles. Peter Sillitoe laments that the site, almost inevitably, is now a car park. "At least this one isn't underground," he says. Almost opposite stand the far more extensive remains of The Rose, opened before the Globe in 1587. In 1989 the foundations were deliberately flooded to keep them from crumbling in the air. "Maybe it's inevitable," Sillitoe continues, "but Sam Wanamaker made such a success of Shakespeare's Globe that The Rose has sometimes been a bit forgotten. "The Rose is a fascinating place and more intact than the sites north of the Thames. It's worth visiting and gives you a sense of what it must have been like in Shakespeare's time." It is thought The Rose played host to Titus Andronicus, one of Shakespeare's earliest plays. But Peter Sillitoe gives a warning: "Academics debate endlessly where individual plays were acted, but the truth is the companies played wherever was available. "Hamlet or King Lear didn't settle down for a nice six-month run somewhere. Actors were more like wandering minstrels." Any theatre fan would love to be able to walk into The Theatre or The Curtain or The Rose. "But they were all destroyed, says Sillitoe. "Partly by Puritan distaste for theatre in the 1640s, and then by the Great Fire of 1666. Later came World War II bombing and, I'm afraid, an indifference to the buildings' fate generally." To finish the tour, Peter Sillitoe takes me to Shakespeare's Globe. It is filled with visitors. "No one really predicted it, but the success of a well-researched reconstruction like this has been a massive help to something like the ShaLT project," he says. "A whole new public interest arose which simply hadn't been there. "Compare today to where we were 30 years ago. We know a lot more about The Theatre and The Curtain and excavation has at least begun there. What survives of The Rose is open to view, and the public has taken Shakespeare's Globe to its heart in a way no one expected. "The negative is that we don't have a Shakespearean theatre functioning on its exact original site. Probably we never will. "But William Shakespeare would be amazed at what we can learn about his world all these centuries later, just by walking around London for three or four hours and taking careful note."

Here is a summary requirement:
Summarize the information about the old London theatres in a timeline as mentioned in this article.

Please summarize the above article based on the given requirement:

# Output (a):
The first purpose-built theatre in Britain since Roman times, The Theatre, was built in Shoreditch in 1576. The Curtain was built about 100 yards south of The Theatre three years later. In 1599, Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and established the Globe theatre south of the river. The Rose, which opened before the Globe in 1587, is located opposite the Globe. All of these theatres were destroyed, partly due to Puritan distaste for theatre in the 1640s, the Great Fire of 1666, World War II bombing, and general indifference to the buildings' fate. Today, the sites of The Theatre, The Curtain, and The Rose have been excavated and are open to view, but there is no functioning Shakespearean theatre on its exact original site.

# Output (b):
- 1576: The Theatre, the first purpose-built home for drama in Britain since Roman times, is built in Shoreditch, London.
- 1577: The Curtain theatre is built about 100 yards south of The Theatre.
- 1587: The Rose theatre opens, predating the Globe.
- 1599: Shakespeare's theatre group, the Chamberlain's Men, establish the Globe theatre south of the river.
- Late 1980s: The location of the original Globe is identified off Park Street.
- 1989: The Rose's foundations are flooded to prevent them from crumbling in the air.
- 2008: The Theatre's foundations are uncovered on New Inn Broadway.
- 2010s: Excavation work locates part of the Curtain's foundations; Hackney Council approves a major redevelopment including a permanent display of the Curtain's foundations.
- Current: a new 235-seat theatre is proposed as part of the Theatre's redevelopment.

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (b)

Instruction:
Here is an article:
It is 450 years since William Shakespeare was born and there are events planned around the world to mark the anniversary. Yet one pleasure denied even the biggest Shakespeare fanatic will be to watch his work in a theatre which he wrote for or acted in. In London, no purpose-built theatres survive from his day. Where did they all go? By Vincent DowdBBC World Service Peter Sillitoe strides into New Inn Broadway, London EC2, aware that for a theatre-lover disappointment is about to follow. Nonetheless, he's used to explaining why this unloved little street in Shoreditch is vital to the history of drama. He's the perfect person to tour London's Shakespeare sites with. For two years Sillitoe worked on the ShaLT (Shakespearean London Theatres) project. It pulled together existing research about the playhouses of London during Shakespeare's career as a writer (roughly 1588 to 1612). From 1576 the street in Shoreditch was home to The Theatre, the first purpose-built home for drama in Britain since Roman times. As a hungry young actor, Shakespeare made his home there after moving from Warwickshire to London. "Until that point performances were mainly in grand private homes or in taverns," says Sillitoe. "There was just no concept of a theatre being a building in its own right. "From the 1570s that started to change - possibly because London was growing, and there were more people demanding intelligent entertainment." Even the word theatre, as opposed to playhouse, may have evoked comparison with Greek and Roman culture. Sillitoe taps the shabby grey hoardings on New Inn Broadway which mask The Theatre's foundations, uncovered in 2008. "Some scholars believe this may have been where Romeo and Juliet was first performed. "It's not an easy connection to make these days, but I encourage people to use their mind's eye and conceive of how this area was when Shakespeare was a young man." Today, a new 235-seat theatre is proposed as part of the site's redevelopment. A year after The Theatre opened came The Curtain, built about 100 yards to the south. Three years ago, part of the Curtain's foundations were located during excavation work. Now a major redevelopment has been approved by Hackney Council that will include a permanent display of the Curtain's foundations. Sillitoe says there is increasing pressure to rebuild this part of London. "The area went untouched for decades, but now we're discovering more about what lies beneath. "Though I'm not sure much of what's going up will evoke the England of the 16th and early 17th Centuries." So he suggests a side trip to investigate where Shakespeare lived while he wrote. From the early 1600s, the writer lodged with a refugee Huguenot family in Silver Street, Cripplegate - now part of the Barbican. It is possible that while there he wrote King Lear and Macbeth. Legal documents mean we know more about his time in Silver Street than at any other London address. But Silver Street, like the theatres of Shoreditch, has effectively disappeared. The closest we get is the massive underground car park which lurks beneath London Wall on the same spot. Not inappropriately, hidden at its far end, is a chunk of London wall which may have stood close to where Shakespeare lodged. "It's not much," admits Sillitoe. "But outside of Stratford-upon-Avon it's the closest we get to anywhere Shakespeare slept and ate. It's frustrating." In 1599 Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and headed south of the river to establish the Globe theatre. The site is just down river of where Southwark Bridge now stands. It is not to be confused with the reconstructed Shakespeare's Globe a few minutes away. Those who run the new theatre, opened in 1997, have always made clear it's not on the exact site of the original Globe, though many visitors assume otherwise. The location of the original Globe, off Park Street, was identified only in the late 1980s. Today it is indicated by a large plaque in the cobbles. Peter Sillitoe laments that the site, almost inevitably, is now a car park. "At least this one isn't underground," he says. Almost opposite stand the far more extensive remains of The Rose, opened before the Globe in 1587. In 1989 the foundations were deliberately flooded to keep them from crumbling in the air. "Maybe it's inevitable," Sillitoe continues, "but Sam Wanamaker made such a success of Shakespeare's Globe that The Rose has sometimes been a bit forgotten. "The Rose is a fascinating place and more intact than the sites north of the Thames. It's worth visiting and gives you a sense of what it must have been like in Shakespeare's time." It is thought The Rose played host to Titus Andronicus, one of Shakespeare's earliest plays. But Peter Sillitoe gives a warning: "Academics debate endlessly where individual plays were acted, but the truth is the companies played wherever was available. "Hamlet or King Lear didn't settle down for a nice six-month run somewhere. Actors were more like wandering minstrels." Any theatre fan would love to be able to walk into The Theatre or The Curtain or The Rose. "But they were all destroyed, says Sillitoe. "Partly by Puritan distaste for theatre in the 1640s, and then by the Great Fire of 1666. Later came World War II bombing and, I'm afraid, an indifference to the buildings' fate generally." To finish the tour, Peter Sillitoe takes me to Shakespeare's Globe. It is filled with visitors. "No one really predicted it, but the success of a well-researched reconstruction like this has been a massive help to something like the ShaLT project," he says. "A whole new public interest arose which simply hadn't been there. "Compare today to where we were 30 years ago. We know a lot more about The Theatre and The Curtain and excavation has at least begun there. What survives of The Rose is open to view, and the public has taken Shakespeare's Globe to its heart in a way no one expected. "The negative is that we don't have a Shakespearean theatre functioning on its exact original site. Probably we never will. "But William Shakespeare would be amazed at what we can learn about his world all these centuries later, just by walking around London for three or four hours and taking careful note."

Here is a summary requirement:
Summarize the information about the old London theatres in a timeline as mentioned in this article.

Please summarize the above article based on the given requirement:

The first purpose-built theatre in Britain since Roman times, The Theatre, was built in Shoreditch in 1576. The Curtain was built about 100 yards south of The Theatre three years later. In 1599, Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and established the Globe theatre south of the river. The Rose, which opened before the Globe in 1587, is located opposite the Globe. All of these theatres were destroyed, partly due to Puritan distaste for theatre in the 1640s, the Great Fire of 1666, World War II bombing, and general indifference to the buildings' fate. Today, the sites of The Theatre, The Curtain, and The Rose have been excavated and are open to view, but there is no functioning Shakespearean theatre on its exact original site.

- 1576: The Theatre, the first purpose-built home for drama in Britain since Roman times, is built in Shoreditch, London.
- 1577: The Curtain theatre is built about 100 yards south of The Theatre.
- 1587: The Rose theatre opens, predating the Globe.
- 1599: Shakespeare's theatre group, the Chamberlain's Men, establish the Globe theatre south of the river.
- Late 1980s: The location of the original Globe is identified off Park Street.
- 1989: The Rose's foundations are flooded to prevent them from crumbling in the air.
- 2008: The Theatre's foundations are uncovered on New Inn Broadway.
- 2010s: Excavation work locates part of the Curtain's foundations; Hackney Council approves a major redevelopment including a permanent display of the Curtain's foundations.
- Current: a new 235-seat theatre is proposed as part of the Theatre's redevelopment.


You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
It is 450 years since William Shakespeare was born and there are events planned around the world to mark the anniversary. Yet one pleasure denied even the biggest Shakespeare fanatic will be to watch his work in a theatre which he wrote for or acted in. In London, no purpose-built theatres survive from his day. Where did they all go? By Vincent DowdBBC World Service Peter Sillitoe strides into New Inn Broadway, London EC2, aware that for a theatre-lover disappointment is about to follow. Nonetheless, he's used to explaining why this unloved little street in Shoreditch is vital to the history of drama. He's the perfect person to tour London's Shakespeare sites with. For two years Sillitoe worked on the ShaLT (Shakespearean London Theatres) project. It pulled together existing research about the playhouses of London during Shakespeare's career as a writer (roughly 1588 to 1612). From 1576 the street in Shoreditch was home to The Theatre, the first purpose-built home for drama in Britain since Roman times. As a hungry young actor, Shakespeare made his home there after moving from Warwickshire to London. "Until that point performances were mainly in grand private homes or in taverns," says Sillitoe. "There was just no concept of a theatre being a building in its own right. "From the 1570s that started to change - possibly because London was growing, and there were more people demanding intelligent entertainment." Even the word theatre, as opposed to playhouse, may have evoked comparison with Greek and Roman culture. Sillitoe taps the shabby grey hoardings on New Inn Broadway which mask The Theatre's foundations, uncovered in 2008. "Some scholars believe this may have been where Romeo and Juliet was first performed. "It's not an easy connection to make these days, but I encourage people to use their mind's eye and conceive of how this area was when Shakespeare was a young man." Today, a new 235-seat theatre is proposed as part of the site's redevelopment. A year after The Theatre opened came The Curtain, built about 100 yards to the south. Three years ago, part of the Curtain's foundations were located during excavation work. Now a major redevelopment has been approved by Hackney Council that will include a permanent display of the Curtain's foundations. Sillitoe says there is increasing pressure to rebuild this part of London. "The area went untouched for decades, but now we're discovering more about what lies beneath. "Though I'm not sure much of what's going up will evoke the England of the 16th and early 17th Centuries." So he suggests a side trip to investigate where Shakespeare lived while he wrote. From the early 1600s, the writer lodged with a refugee Huguenot family in Silver Street, Cripplegate - now part of the Barbican. It is possible that while there he wrote King Lear and Macbeth. Legal documents mean we know more about his time in Silver Street than at any other London address. But Silver Street, like the theatres of Shoreditch, has effectively disappeared. The closest we get is the massive underground car park which lurks beneath London Wall on the same spot. Not inappropriately, hidden at its far end, is a chunk of London wall which may have stood close to where Shakespeare lodged. "It's not much," admits Sillitoe. "But outside of Stratford-upon-Avon it's the closest we get to anywhere Shakespeare slept and ate. It's frustrating." In 1599 Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and headed south of the river to establish the Globe theatre. The site is just down river of where Southwark Bridge now stands. It is not to be confused with the reconstructed Shakespeare's Globe a few minutes away. Those who run the new theatre, opened in 1997, have always made clear it's not on the exact site of the original Globe, though many visitors assume otherwise. The location of the original Globe, off Park Street, was identified only in the late 1980s. Today it is indicated by a large plaque in the cobbles. Peter Sillitoe laments that the site, almost inevitably, is now a car park. "At least this one isn't underground," he says. Almost opposite stand the far more extensive remains of The Rose, opened before the Globe in 1587. In 1989 the foundations were deliberately flooded to keep them from crumbling in the air. "Maybe it's inevitable," Sillitoe continues, "but Sam Wanamaker made such a success of Shakespeare's Globe that The Rose has sometimes been a bit forgotten. "The Rose is a fascinating place and more intact than the sites north of the Thames. It's worth visiting and gives you a sense of what it must have been like in Shakespeare's time." It is thought The Rose played host to Titus Andronicus, one of Shakespeare's earliest plays. But Peter Sillitoe gives a warning: "Academics debate endlessly where individual plays were acted, but the truth is the companies played wherever was available. "Hamlet or King Lear didn't settle down for a nice six-month run somewhere. Actors were more like wandering minstrels." Any theatre fan would love to be able to walk into The Theatre or The Curtain or The Rose. "But they were all destroyed, says Sillitoe. "Partly by Puritan distaste for theatre in the 1640s, and then by the Great Fire of 1666. Later came World War II bombing and, I'm afraid, an indifference to the buildings' fate generally." To finish the tour, Peter Sillitoe takes me to Shakespeare's Globe. It is filled with visitors. "No one really predicted it, but the success of a well-researched reconstruction like this has been a massive help to something like the ShaLT project," he says. "A whole new public interest arose which simply hadn't been there. "Compare today to where we were 30 years ago. We know a lot more about The Theatre and The Curtain and excavation has at least begun there. What survives of The Rose is open to view, and the public has taken Shakespeare's Globe to its heart in a way no one expected. "The negative is that we don't have a Shakespearean theatre functioning on its exact original site. Probably we never will. "But William Shakespeare would be amazed at what we can learn about his world all these centuries later, just by walking around London for three or four hours and taking careful note."

Here is a summary requirement:
Summarize the information about the old London theatres in a timeline as mentioned in this article.

Please summarize the above article based on the given requirement:

# Output (a):
The first purpose-built theatre in Britain since Roman times, The Theatre, was built in Shoreditch in 1576. The Curtain was built about 100 yards south of The Theatre three years later. In 1599, Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and established the Globe theatre south of the river. The Rose, which opened before the Globe in 1587, is located opposite the Globe. All of these theatres were destroyed, partly due to Puritan distaste for theatre in the 1640s, the Great Fire of 1666, World War II bombing, and general indifference to the buildings' fate. Today, the sites of The Theatre, The Curtain, and The Rose have been excavated and are open to view, but there is no functioning Shakespearean theatre on its exact original site.

# Output (b):
- 1576: The Theatre, the first purpose-built home for drama in Britain since Roman times, is built in Shoreditch, London.
- 1577: The Curtain theatre is built about 100 yards south of The Theatre.
- 1587: The Rose theatre opens, predating the Globe.
- 1599: Shakespeare's theatre group, the Chamberlain's Men, establish the Globe theatre south of the river.
- Late 1980s: The location of the original Globe is identified off Park Street.
- 1989: The Rose's foundations are flooded to prevent them from crumbling in the air.
- 2008: The Theatre's foundations are uncovered on New Inn Broadway.
- 2010s: Excavation work locates part of the Curtain's foundations; Hackney Council approves a major redevelopment including a permanent display of the Curtain's foundations.

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (b)

Instruction:
Here is an article:
It is 450 years since William Shakespeare was born and there are events planned around the world to mark the anniversary. Yet one pleasure denied even the biggest Shakespeare fanatic will be to watch his work in a theatre which he wrote for or acted in. In London, no purpose-built theatres survive from his day. Where did they all go? By Vincent DowdBBC World Service Peter Sillitoe strides into New Inn Broadway, London EC2, aware that for a theatre-lover disappointment is about to follow. Nonetheless, he's used to explaining why this unloved little street in Shoreditch is vital to the history of drama. He's the perfect person to tour London's Shakespeare sites with. For two years Sillitoe worked on the ShaLT (Shakespearean London Theatres) project. It pulled together existing research about the playhouses of London during Shakespeare's career as a writer (roughly 1588 to 1612). From 1576 the street in Shoreditch was home to The Theatre, the first purpose-built home for drama in Britain since Roman times. As a hungry young actor, Shakespeare made his home there after moving from Warwickshire to London. "Until that point performances were mainly in grand private homes or in taverns," says Sillitoe. "There was just no concept of a theatre being a building in its own right. "From the 1570s that started to change - possibly because London was growing, and there were more people demanding intelligent entertainment." Even the word theatre, as opposed to playhouse, may have evoked comparison with Greek and Roman culture. Sillitoe taps the shabby grey hoardings on New Inn Broadway which mask The Theatre's foundations, uncovered in 2008. "Some scholars believe this may have been where Romeo and Juliet was first performed. "It's not an easy connection to make these days, but I encourage people to use their mind's eye and conceive of how this area was when Shakespeare was a young man." Today, a new 235-seat theatre is proposed as part of the site's redevelopment. A year after The Theatre opened came The Curtain, built about 100 yards to the south. Three years ago, part of the Curtain's foundations were located during excavation work. Now a major redevelopment has been approved by Hackney Council that will include a permanent display of the Curtain's foundations. Sillitoe says there is increasing pressure to rebuild this part of London. "The area went untouched for decades, but now we're discovering more about what lies beneath. "Though I'm not sure much of what's going up will evoke the England of the 16th and early 17th Centuries." So he suggests a side trip to investigate where Shakespeare lived while he wrote. From the early 1600s, the writer lodged with a refugee Huguenot family in Silver Street, Cripplegate - now part of the Barbican. It is possible that while there he wrote King Lear and Macbeth. Legal documents mean we know more about his time in Silver Street than at any other London address. But Silver Street, like the theatres of Shoreditch, has effectively disappeared. The closest we get is the massive underground car park which lurks beneath London Wall on the same spot. Not inappropriately, hidden at its far end, is a chunk of London wall which may have stood close to where Shakespeare lodged. "It's not much," admits Sillitoe. "But outside of Stratford-upon-Avon it's the closest we get to anywhere Shakespeare slept and ate. It's frustrating." In 1599 Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and headed south of the river to establish the Globe theatre. The site is just down river of where Southwark Bridge now stands. It is not to be confused with the reconstructed Shakespeare's Globe a few minutes away. Those who run the new theatre, opened in 1997, have always made clear it's not on the exact site of the original Globe, though many visitors assume otherwise. The location of the original Globe, off Park Street, was identified only in the late 1980s. Today it is indicated by a large plaque in the cobbles. Peter Sillitoe laments that the site, almost inevitably, is now a car park. "At least this one isn't underground," he says. Almost opposite stand the far more extensive remains of The Rose, opened before the Globe in 1587. In 1989 the foundations were deliberately flooded to keep them from crumbling in the air. "Maybe it's inevitable," Sillitoe continues, "but Sam Wanamaker made such a success of Shakespeare's Globe that The Rose has sometimes been a bit forgotten. "The Rose is a fascinating place and more intact than the sites north of the Thames. It's worth visiting and gives you a sense of what it must have been like in Shakespeare's time." It is thought The Rose played host to Titus Andronicus, one of Shakespeare's earliest plays. But Peter Sillitoe gives a warning: "Academics debate endlessly where individual plays were acted, but the truth is the companies played wherever was available. "Hamlet or King Lear didn't settle down for a nice six-month run somewhere. Actors were more like wandering minstrels." Any theatre fan would love to be able to walk into The Theatre or The Curtain or The Rose. "But they were all destroyed, says Sillitoe. "Partly by Puritan distaste for theatre in the 1640s, and then by the Great Fire of 1666. Later came World War II bombing and, I'm afraid, an indifference to the buildings' fate generally." To finish the tour, Peter Sillitoe takes me to Shakespeare's Globe. It is filled with visitors. "No one really predicted it, but the success of a well-researched reconstruction like this has been a massive help to something like the ShaLT project," he says. "A whole new public interest arose which simply hadn't been there. "Compare today to where we were 30 years ago. We know a lot more about The Theatre and The Curtain and excavation has at least begun there. What survives of The Rose is open to view, and the public has taken Shakespeare's Globe to its heart in a way no one expected. "The negative is that we don't have a Shakespearean theatre functioning on its exact original site. Probably we never will. "But William Shakespeare would be amazed at what we can learn about his world all these centuries later, just by walking around London for three or four hours and taking careful note."

Here is a summary requirement:
Summarize the information about the old London theatres in a timeline as mentioned in this article.

Please summarize the above article based on the given requirement:

The first purpose-built theatre in Britain since Roman times, The Theatre, was built in Shoreditch in 1576. The Curtain was built about 100 yards south of The Theatre three years later. In 1599, Shakespeare's theatre group, the Chamberlain's Men, abandoned Shoreditch and established the Globe theatre south of the river. The Rose, which opened before the Globe in 1587, is located opposite the Globe. All of these theatres were destroyed, partly due to Puritan distaste for theatre in the 1640s, the Great Fire of 1666, World War II bombing, and general indifference to the buildings' fate. Today, the sites of The Theatre, The Curtain, and The Rose have been excavated and are open to view, but there is no functioning Shakespearean theatre on its exact original site.

- 1576: The Theatre, the first purpose-built home for drama in Britain since Roman times, is built in Shoreditch, London.
- 1577: The Curtain theatre is built about 100 yards south of The Theatre.
- 1587: The Rose theatre opens, predating the Globe.
- 1599: Shakespeare's theatre group, the Chamberlain's Men, establish the Globe theatre south of the river.
- Late 1980s: The location of the original Globe is identified off Park Street.
- 1989: The Rose's foundations are flooded to prevent them from crumbling in the air.
- 2008: The Theatre's foundations are uncovered on New Inn Broadway.
- 2010s: Excavation work locates part of the Curtain's foundations; Hackney Council approves a major redevelopment including a permanent display of the Curtain's foundations.


You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
It is a book with 277 authors but with one shared experience - becoming a new mother in 2020. The mothers speak about their isolation, uncertainty and the pressure placed on their mental health by the pandemic, but some say they were also able to find "silver linings" and positives that have come out of an extraordinary joint experience. By Emma HallettBBC News Born in Lockdown is the result of a writing project set up by Bristol novelist Emylia Hall, the founder of creative writing course Mothership Writers. "The coronavirus pandemic has intensified what is already a challenging time, making the need for self-expression ever more vital," Mrs Hall said. "The idea was to encourage writing for pleasure and purpose... and, together, to tell the story of what it was like to become a new mum in 2020." The mums were asked to write in fragments, each comprising of no more than a handful of sentences or 50 words, that could be scribbled during a night-feed or recorded as a voice note. 'Tears streamed' Mrs Hall said: "They captured moments and emotions that were so raw, affecting, and inspiring, my tears streamed as I saved each one." She initially thought she would need around 20 mums to contribute, but as word spread, she ended up with 277 authors from across the UK. "One of my favourite lines in our book is 'the very thing keeping you apart right now will one day bond you together'. "Born in Lockdown was made in exactly that spirit," she said. Roxy Afzal, from Manchester, said the project gave her the chance to "be really honest, but without moaning". The 37-year-old had every reason to think 2020 would be one of the happiest years of her life with her first baby due in May. But the neonatal nurse found her pregnancy, birth and maternity leave all heavily impacted by the pandemic, with her baby shower cancelled, shops closed, and then in October, losing her father to Covid. "We were really looking forward to being parents. I was looking forward to maternity leave, we were ready for it," she said. "It really feels like I have been robbed. 'No support' "There was always going to be the sleepless nights and hiccups with feeding, but you sign up for that...you don't sign up for not having any support and not having your family and friends around." Aged just seven weeks, Miss Afzal's son was readmitted to hospital for surgery, an experience she had to go through without her partner. Two months later, her father - who had not yet met his grandson - died. She said that "tipped her over" and she is now receiving treatment for postnatal depression. Born in Lockdown has given her an outlet to think about the best and worst moments of the last year, she added. For Lisa Bywater, writing is her way of "capturing" her life and having something to leave behind. Like many in 2020 she was forced to confront her own mortality, but for Lisa, this came a few months before the pandemic when she was diagnosed with breast cancer, while six months pregnant. She gave birth to her daughter Connie six weeks prematurely in January. The 37 year-old, from Forest Hill in London, was then faced with leaving her tiny baby in intensive care so she could start her cancer treatment. "I was only about three or four days postpartum so you've got all those emotions going through you and I was sat in the waiting room with all these seriously ill people and I was suddenly confronted with this thought that this is really serious," she said. 'Humbling' Mrs Bywater stated chemotherapy a month before the March lockdown. As the year went on, she found herself attending chemotherapy alone as restrictions tightened. She said: "There was that feeling of very much being alone. Just having no-one to turn to at all." The former bookseller was alerted to Born in Lockdown via an online expectant mothers group. "I felt like I had things I wanted to say, but no idea how to find the time between nappy changes and hospital appointments to start saying them, but this project seemed really manageable," she said. "I still have a lot to process from a year, and counting, of parenting and being a cancer patient during a pandemic, but being part of this amazing project has been cathartic, inspirational and humbling." Tessa Wills describes herself as "an older, single, queer, parent by choice". She said she enjoyed feeling part of a collective voice in this time of isolation. "It just creates these really precious memories and this is a phenomenal thing to be living through," she said. "There is definitely going to be a lot of reflection on it afterwards, culturally, so it is really important to be trying to write right now and capturing it." 'Unflinchingly honest' The 43-year-old lives in Mark, Somerset, and gave birth to her second baby, Juniper Star, in October. Over the past year she has had to move in with her elderly parents and pay for a live-in-nanny, for support. "It was really hard for me to come to terms with how vulnerable I have made myself, us, through being a single parent," she said. "I have properly been brought to my knees through this, with the realisation I actually can't do this by myself. I am very dependent on other people." 'Love and hope' Reflecting on the collection, Mrs Hall said it was "a remarkable record of new motherhood at this time; an unflinchingly honest and moving account, where, despite the pain and hardship, resilience and love and hope shine through". She added: "My heartfelt thanks go to all of the 277 new mothers who were willing to trust me with their stories, and to unite - across distance, through lockdown - to make something so special. "And to remind us, ultimately, that we're all in this together." Born in Lockdown is available to download for free from the Mothership Writers website from 23 February, with funds from voluntary donations going to the stillbirth and neonatal death charity Sands. Related Internet Links Mothership Writers SANDS

Here is a summary requirement:
Summarize how moms are feeling about lockdown.

Please summarize the above article based on the given requirement:

# Output (a):
Born in Lockdown is a book written by 277 new mothers in the UK about their experiences of becoming a mother during the pandemic. The mothers share their feelings of isolation, uncertainty, and pressure on their mental health, but also highlight the silver linings and positives that have come out of this joint experience. The project was set up by Bristol novelist Emylia Hall to encourage writing for pleasure and purpose. The book is an unflinchingly honest and moving account of new motherhood during the pandemic, where resilience, love, and hope shine through. The book is available for free download from the Mothership Writers website, with voluntary donations going to the stillbirth and neonatal death charity Sands.

# Output (b):
Mothers in 2020 have experienced a unique set of challenges due to the pandemic, including isolation, uncertainty, and pressure on their mental health. Despite the hardships, many have found silver linings and positives that have come out of the shared experience. Through the writing project Born in Lockdown, 277 mothers from across the UK have shared their stories, expressing a range of emotions including resilience, love, and hope.

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (b)

Instruction:
Here is an article:
It is a book with 277 authors but with one shared experience - becoming a new mother in 2020. The mothers speak about their isolation, uncertainty and the pressure placed on their mental health by the pandemic, but some say they were also able to find "silver linings" and positives that have come out of an extraordinary joint experience. By Emma HallettBBC News Born in Lockdown is the result of a writing project set up by Bristol novelist Emylia Hall, the founder of creative writing course Mothership Writers. "The coronavirus pandemic has intensified what is already a challenging time, making the need for self-expression ever more vital," Mrs Hall said. "The idea was to encourage writing for pleasure and purpose... and, together, to tell the story of what it was like to become a new mum in 2020." The mums were asked to write in fragments, each comprising of no more than a handful of sentences or 50 words, that could be scribbled during a night-feed or recorded as a voice note. 'Tears streamed' Mrs Hall said: "They captured moments and emotions that were so raw, affecting, and inspiring, my tears streamed as I saved each one." She initially thought she would need around 20 mums to contribute, but as word spread, she ended up with 277 authors from across the UK. "One of my favourite lines in our book is 'the very thing keeping you apart right now will one day bond you together'. "Born in Lockdown was made in exactly that spirit," she said. Roxy Afzal, from Manchester, said the project gave her the chance to "be really honest, but without moaning". The 37-year-old had every reason to think 2020 would be one of the happiest years of her life with her first baby due in May. But the neonatal nurse found her pregnancy, birth and maternity leave all heavily impacted by the pandemic, with her baby shower cancelled, shops closed, and then in October, losing her father to Covid. "We were really looking forward to being parents. I was looking forward to maternity leave, we were ready for it," she said. "It really feels like I have been robbed. 'No support' "There was always going to be the sleepless nights and hiccups with feeding, but you sign up for that...you don't sign up for not having any support and not having your family and friends around." Aged just seven weeks, Miss Afzal's son was readmitted to hospital for surgery, an experience she had to go through without her partner. Two months later, her father - who had not yet met his grandson - died. She said that "tipped her over" and she is now receiving treatment for postnatal depression. Born in Lockdown has given her an outlet to think about the best and worst moments of the last year, she added. For Lisa Bywater, writing is her way of "capturing" her life and having something to leave behind. Like many in 2020 she was forced to confront her own mortality, but for Lisa, this came a few months before the pandemic when she was diagnosed with breast cancer, while six months pregnant. She gave birth to her daughter Connie six weeks prematurely in January. The 37 year-old, from Forest Hill in London, was then faced with leaving her tiny baby in intensive care so she could start her cancer treatment. "I was only about three or four days postpartum so you've got all those emotions going through you and I was sat in the waiting room with all these seriously ill people and I was suddenly confronted with this thought that this is really serious," she said. 'Humbling' Mrs Bywater stated chemotherapy a month before the March lockdown. As the year went on, she found herself attending chemotherapy alone as restrictions tightened. She said: "There was that feeling of very much being alone. Just having no-one to turn to at all." The former bookseller was alerted to Born in Lockdown via an online expectant mothers group. "I felt like I had things I wanted to say, but no idea how to find the time between nappy changes and hospital appointments to start saying them, but this project seemed really manageable," she said. "I still have a lot to process from a year, and counting, of parenting and being a cancer patient during a pandemic, but being part of this amazing project has been cathartic, inspirational and humbling." Tessa Wills describes herself as "an older, single, queer, parent by choice". She said she enjoyed feeling part of a collective voice in this time of isolation. "It just creates these really precious memories and this is a phenomenal thing to be living through," she said. "There is definitely going to be a lot of reflection on it afterwards, culturally, so it is really important to be trying to write right now and capturing it." 'Unflinchingly honest' The 43-year-old lives in Mark, Somerset, and gave birth to her second baby, Juniper Star, in October. Over the past year she has had to move in with her elderly parents and pay for a live-in-nanny, for support. "It was really hard for me to come to terms with how vulnerable I have made myself, us, through being a single parent," she said. "I have properly been brought to my knees through this, with the realisation I actually can't do this by myself. I am very dependent on other people." 'Love and hope' Reflecting on the collection, Mrs Hall said it was "a remarkable record of new motherhood at this time; an unflinchingly honest and moving account, where, despite the pain and hardship, resilience and love and hope shine through". She added: "My heartfelt thanks go to all of the 277 new mothers who were willing to trust me with their stories, and to unite - across distance, through lockdown - to make something so special. "And to remind us, ultimately, that we're all in this together." Born in Lockdown is available to download for free from the Mothership Writers website from 23 February, with funds from voluntary donations going to the stillbirth and neonatal death charity Sands. Related Internet Links Mothership Writers SANDS

Here is a summary requirement:
Summarize how moms are feeling about lockdown.

Please summarize the above article based on the given requirement:

Born in Lockdown is a book written by 277 new mothers in the UK about their experiences of becoming a mother during the pandemic. The mothers share their feelings of isolation, uncertainty, and pressure on their mental health, but also highlight the silver linings and positives that have come out of this joint experience. The project was set up by Bristol novelist Emylia Hall to encourage writing for pleasure and purpose. The book is an unflinchingly honest and moving account of new motherhood during the pandemic, where resilience, love, and hope shine through. The book is available for free download from the Mothership Writers website, with voluntary donations going to the stillbirth and neonatal death charity Sands.

Mothers in 2020 have experienced a unique set of challenges due to the pandemic, including isolation, uncertainty, and pressure on their mental health. Despite the hardships, many have found silver linings and positives that have come out of the shared experience. Through the writing project Born in Lockdown, 277 mothers from across the UK have shared their stories, expressing a range of emotions including resilience, love, and hope.