The specifics of the creative representation of classical and modern texts in the direction of A. Prikhodko

The purpose of the article is to reveal the peculiarities of the interpretive theater direction of A. Prikhodka in the context of experiments with the representation of classical and modern texts. Methodology. Comparative and structural methods have been applied in order to reveal the versatility of the director's intention; the method of hermeneutic and the semiotic method, which contributed to the opportunity to explore the specifics of the director's representation; the hermeneutic method is dominant in the process of evaluating performances since it contributes to the perception of the production as an artistic whole, provided that the functionality of its individual components is understood; the method of semiotic analysis of postmodern stage works, etc. The scientific novelty of the article lies in the fact that the specificity of the representation of classical and modern texts in the work of theatrical director A. Prikhodka is considered in the context of the trends of this process in the modern theatrical space on the basis of comprehensive art history, theater, and cultural analysis. The theoretical views of A. Prikhodka are analyzed, the factors of influence on the production process and its specifics are revealed; an attempt is made to consider the phenomenon of the representation of literary texts from the perspective of postmodern trends in the development of modern Ukrainian theater. Conclusions. The work of A. Prikhodka is characterized by the reworking of the literary source of the production at the text level, including, among other things, a significant substantive reworking - highlighting plot lines, building plot lines, a successive reworking of prose characters into dramatic ones, the emergence of new, non-fictional characters, etc. - turning into a unique a literary script for the author's embodiment of a stage composition with the help of specific means of director's expressiveness of postmodern, realistic and avant-garde theater. The study revealed that the creative representations of classical and modern tests by A. Prikhodka reveal the hidden potential of the literary source, giving it a new philosophical and worldview understanding. The purpose of the article is to reveal the peculiarities of the interpretive theater direction of A. Prikhodka in the context of experiments with the representation of classical and modern texts. Methodology. Comparative and structural methods have been applied in order to reveal the versatility of the director's intention; the method of hermeneutic and the semiotic method, which contributed to the opportunity to explore the specifics of the director's representation; the hermeneutic method is dominant in the process of evaluating performances since it contributes to the perception of the production as an artistic whole, provided that the functionality of its individual components is understood; the method of semiotic analysis of postmodern stage works, etc. The scientific novelty of the article lies in the fact that the specificity of the representation of classical and modern texts in the work of theatrical director A. Prikhodka is considered in the context of the trends of this process in the modern theatrical space on the basis of comprehensive art history, theater, and cultural analysis. The theoretical views of A. Prikhodka are analyzed, the factors of influence on the production process and its specifics are revealed; an attempt is made to consider the phenomenon of the representation of literary texts from the perspective of postmodern trends in the development of modern Ukrainian theater. Conclusions. The work of A. Prikhodka is characterized by the reworking of the literary source of the production at the text level, including, among other things, a significant substantive reworking - highlighting plot lines, building plot lines, a successive reworking of prose characters into dramatic ones, the emergence of new, non-fictional characters, etc. - turning into a unique a literary script for the author's embodiment of a stage composition with the help of specific means of director's expressiveness of postmodern, realistic and avant-garde theater. The study revealed that the creative representations of classical and modern tests by A. Prikhodka reveal the hidden potential of the literary source, giving it a new philosophical and worldview understanding.

Range extension of Leadbeater's possum (Gymnobelideus leadbeateri)

We report spotlight and camera-trap observations of Leadbeater’s possum (Gymnobelideus leadbeateri) at six locations up to 15km east of its described range. Half of our records occurred in fire-affected, mixed-species forest, with a tree species and seral stage composition that differs markedly from its predominant habitat: late-mature forests dominated by Eucalyptus regnans, E. delegatensis and E. nitens.

The Dilemma of the Composition Role

What could we possibly mean by the expression “composition role”? To this question we will try to find an answer as comprehensive as possible. Are we talking only about those “character roles” mentioned by Stanislavsky? This reference can be considered, since all those character roles require stage composition, the way Stanislavsky described his own acting experiences. But is this the only landmark? Should we label as composition roles only the characters that demand text-triggered stage composition? Indeed, there are characters that assume, within their construction, elements that do not belong to the actor as an individual. But are these the only cases when the term applies? The composition role is therefore not limited to only a few obvious milestones identified in the text. On a closer look, some characters may require a stage composition based on external elements, even if this problem is not apparent. Yet we must not misunderstand things and come to the conclusion that all roles, following a deep psychological analysis, become composition roles. If we agree that the construction of a character involves many elements pertaining to externalization, we must consider the cases where such suggestions originate from the director. Some directors claim scenic effects from the actors, sometimes contradicting the natural line of the character created by the author, maybe even completely modifying its construction. How reprehensible, however, is the acting effect? Has it only arisen from a desire to simulate virtuosity? The term “effect” in composition can be accepted in the sense of the element helping to achieve the contrasts indispensable to the stage creation, about which Michael Chekhov speaks in To the Actor. He confers to it a broader acceptance. Solutions not related to elementary normality can give the actor an unbearable sense of awkwardness, inevitably leading to effort. This effort will not go unnoticed by the spectator. And the spectator, almost always without hesitation, gives a negative verdict to such a performance. And yet, visible manifestations that seem to be chaotic can be lived from the inside, which averts effort in interpretation and artificiality. The actor can avoid some clumsiness in emotions, clumsiness that is spoken about by Dario Fo, among others.

Drivers of diversification in individual life courses

ABSTRACTHeterogeneity in life courses among individuals of a population influences the speed of adaptive evolutionary processes, but it is less clear how biotic and abiotic environmental fluctuations influence such heterogeneity. We investigate principal drivers of variability in sequence of stages during an individual’s life in a stage-structured population. We quantify heterogeneity by measuring population entropy, which computes the rate of diversification of individual life courses of a Markov chain. Using individual data of a primate population, we show that density regulates the stage composition of the population, but its entropy and the generating moments of heterogeneity are independent of density. This lack of influence of density on heterogeneity is neither due to low year-to-year variation in entropy nor due to differences in survival among stages, but due to differences in stage transitions. Our analysis thus shows that well-known classical ecological selective forces, such as density regulation, are not linked to potential selective forces governing heterogeneity through underlying stage dynamics. Despite evolution acting heavily on individual variability in fitness components, our understanding is poor whether observed heterogeneity is adaptive and how it evolves and is maintained. Our analysis illustrates how entropy represents a more integrated measure of diversity compared to the population structural composition, giving us new insights about the underlying drivers of individual heterogeneity within populations and potential evolutionary mechanisms.