Wound and Travel – Sophocles’s 193 Philoctetes and Homer’s Odyssey in Inflammation du verbe vivre (Inflammation of the Verb To Live) by Wajdi Mouawad

In her article, the author analyses an example of a text and its staging brought about by the sudden death of a member of the playwright’s creative team. In his solo performance Inflammation du verbe vivre (Inflammation of the Verb To Live), created at the Paris Théâtre National de la Colline in 2015, Canadian-Lebanese playwright, director and actor Wajdi Mouawad interwove the ancient Greek literary and mythological heritage with a personal confession about the loss of his friend and professional colleague Robert Davreu, upgrading it with a socially critical depiction of the situation in today’s Greece. The performance was made as the penultimate part of a staging cycle of Sophocles’s seven preserved tragedies under the common title Le dernièr jour de sa vie (The Last Day of his Life). Mouawad had intended to direct the cycle in new translations by Davreu. Mouawad thus connected the process of mourning the death, which stopped the project, with the documentation of the writing process of the text that he later also directed and performed in the form of a peculiar theatre elegy. He fused the character of Philoctetes with the character of Odysseus; not the Odysseus from Sophocles’s tragedy who plots to steal Philoctetes’s bow, but the one from Homer who seeks his way home to Ithaca for ten years after the conquer of Troy and visits Tiresias’s shade in the underworld.

On the synthesis of cognitive and neurotechnologies (concept and tools)

В статье рассматриваются вопросы, связанные с разработкой концепции и инструментария, синтезирующих когнитивные и нейротехнологии в учебной техносоциальной среде, как правило, включающей в себя сетевое цифровое учебное пространство в виде учебных ситуационных центров; обосновывается гипотеза возникновения единого креативного поля команды как следствие синтеза когнитивных и нейротехнологий на основе социоэмпатии в команде. Предлагаемые методики синтеза позволят повысить качество решений, разрабатываемых в процессе дополнительного профессионального обучения. В заключении статьи сформулированы вопросы, которые следует учитывать при исследовании проблем нейрокогнитивного синтеза. The article deals with issues related to the development of concepts and tools synthesizing cognitive and neurotechnologies in a technosocial educational environment, which usually includes a network digital learning space in the form of educational situational centres; the hypothesis of the emergence of a single creative team field as a consequence of the synthesis of cognitive and neurotechnologies based on socioempathy in the team is substantiated. The proposed synthesis methods will improve the quality of solutions developed in the process of additional professional training. In the article’s conclusion, the questions that should be taken into account when studying the problems of neurocognitive synthesis are formulated.

Cruel Optimism, Ironic Pessimism, Poetic Terrorism

Meyoucycle (2016) was the eagerly awaited result of a collaboration between choreographer Eleanor Bauer and composer Chris Peck. The characters of this dance and song–cycle have developed tactics to withstand the exploitative demands of neoliberal semiocapitalism; the creative team deployed performative and dramaturgical tactics for the same purpose.

Gents and Working Girls

Tommy Tune’s earliest work as a director-choreographer engaged with issues of gender, sexuality, culture, and politics. The Club was an evening of songs and jokes set in an exclusive Victorian-era men’s club that featured all roles played by women. Tune led the cast in creating a stylized body language that approximated male behavior but, as performed by women, blurred gender lines in ways both challenging and exhilarating. The cross-gender performance of this material laid bare its misogyny without overstatement, and The Club was a long-running off-Broadway hit. Tune next joined the creative team of The Best Little Whorehouse in Texas, based on a true story about the closing of a bordello prompted by a crusading television personality. As choreographer and co-director, with Peter Masterson, Tune injected a burst of musical comedy brightness into the homey musical. His creativity was boundless, and numbers featuring macho, clog-dancing football players and a female drill team made up of both live dancers and life-size sex dolls were crowd pleasers that also contributed to the show’s sly skewing of culture and politics.

Meningkatkan hasil belajar matematika pada pokok bahasan operasi hitung bilangan pecahan melalui model pembelajaran kooperatif tipe team assisted individualization (TAI) pada siswa kelas VII-C SMP Negeri 9 Malang

ujuan penelitian ini adalah untuk meningkatkan hasil belajar matematika siswa kelas VII-C SMP Negeri 9 Malang pada pokok bahasan operasi hitung bilangan pecahan dengan menggunakan model pembelajaran kooperatif tipe Team Assisted Individualization (TAI). Penelitian ini merupakan penelitian tindakan kelas dan pendekatan penelitian yang digunakan adalah pendekatan kualitatif. Hasil penelitian ini menunjukkan bahwa pembelajaran kooperatif tipe TAI dapat meningkatkan hasil belajar. Peningkatan ini ditunjukkan dengan rata-rata nilai kuis sebelum tindakan adalah 65.21 menjadi 70.11 pada siklus I dan 78.52 pada siklus II. Sehingga dari hasil tersebut disimpulkan bahwa penerapan pembelajaran kooperatif tipe TAI dapat meningkatkan hasil belajar siswa kelas VII-C SMP Negeri 9 Malang yang dilaksanakan melalui 8 komponen, yaitu teams, placement test, teaching group, student creative, team study, whole class unit, facts test, dan team scores and team recognition.

STRAIGHT TO THE NORTH: ARCTIC EXPLORATION IN ARTISTS’ WORKS.

The article provides an overview on the history of the Kola Arctic region and the Arctic artistic exploration based on the “Straight to the North” temporary exhibition in Murmansk Regional Art Museum, 2019. Pieces of icon painting, decorative and applied arts, books, household items, painting and graphic arts and collection of the Kola Peninsula minerals were exhibited there. Some art works are described in details: paintings of Russian artists of the late 19th and early 20th centuries and Soviet artists, including painters from Murmansk and members of “The Arctic” creative team in 1978–1985. The authors analysed, how social and economic development of the Kola Arctic region influenced new art styles and directions: from plein air painting under the Extreme North conditions to industrial landscapes and creation of an art community. The authors dedicate the article to the memory of Honored Artist of the Russian Federation, the leader of “The Arctic” creative team Arvi Ivanovich Huttunen (31.08.1922–27.08.2020).

A favorable moral and psychological climate of children’s creative team as a condition for determining students’ social identity

The paper characterizes the contribution of domestic and Western scientists to the study of social identity problem (A.V. Averchenko, I.V. Baryshnikova, L.V. Kalinina, A.V. Nechaev, D.P. Sidorenko, H. Arendt, J. Ranciere, H. Tajfel). The role of childrens creative team and favorable moral and psychological climate of childrens creative team in determining students social identity are outlined. The paper contains the results of the study of psychological climate of childrens creative team of the Russian folk instruments orchestra. The author also characterizes relations in the collective and students perception of themselves in the collective as members of the Russian folk instruments orchestra. The author also presents a process of formation of moral and psychological climate of childrens creative team in the context of value-meaningful and contextual approaches realization to create conditions for students social identity search and definition. The author has proposed types of lessons (informational, problem-based, discussion, double lecture, reflective, exploratory) and methods of educational and extracurricular creative activities that contribute to students social identity search and definition.

Vocal ensemble: organization and functioning in the musical and educational environment

The article deals with the problem of the organization and functioning of a vocal ensemble as a means of developing the performing skills of students of higher educational institutions of a musical and pedagogical profile. The criteria for the quality of training a future specialist for the effective implementation of his practical activities as a leader of a children's and youth vocal group are indicated. The purpose of the article is a theoretical substantiation of the content of work on the organization and functioning of the vocal ensemble of students as a way of developing their performing skills. Organization of a vocal ensemble is leadership and work on the functioning of a vocal ensemble as a creative team, the realization of its needs. Being an organized social group, the ensemble has a number of features, which include: creative self-development and the desire for creative interaction; increased self-organization and focus.

“It is natural, really deaf signing” – script development for fictional programmes involving sign languages

Historically, fictional productions which use sign language have often begun with scripts that use the written version of a spoken language. This can be a challenge for deaf actors as they must translate the written word to a performed sign language text. Here, we explore script development in Small World, a television comedy which attempted to avoid this challenge by using improvisation to create their script. The creators framed this process as a response to what they saw as “inauthentic” sign language use on television, foregrounding the need to present “natural signing” on the screen. According to them, “natural signing” is not influenced by an English script but is varied language use that reflect a character’s background, their settings, and the characters that they interact with. We describe how this authentic language use is derived primarily from improvisation and is in competition with other demands, which are textual (e.g., the need to ensure comedic value), studio-based (e.g., operating within the practical confines of the studio), or related to audience design (e.g., the need to ensure comprehensibility). We discuss how the creative team negotiated the tension between the quest for authentic language use and characteristics of the genre, medium, and audience.

Hamilton—An American Musical

Many of the musicals Miranda and the Hamilton creative team suggest influenced the development of their musical (including Jesus Christ Superstar, Evita, and Les Misérables) stem from the United Kingdom and British (or European) creative teams. As a hybrid of European theatrical traditions that was first staged (or at least popularized) in Britain, the megamusical—along with Shakespeare’s plays—is one of Britain’s most recognizable theatrical exports. How American is Miranda’s musical, therefore, if it so frequently returns to megamusicals for structural and stylistic guidance? There is much about Hamilton that is American, yet its referencing of British musicals complicates the labeling of this show as an exclusively American musical. This chapter argues that Hamilton occupies a liminal space in that it is a hybrid of transatlantic traditions. Despite the referencing of British musicals seeming to complicate the show’s Americanness, Hamilton asserts its national identity through an amalgam of transatlantic influences and intertextual associations.