CC BY
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УДК 378 Sadykhova L.G,
Moscow State Technology University named after N.E. Bauman (MSTU), Moscow, Russia
EPISTEMOLOGICAL AND EDUCATIONAL FUNCTIONS OF CONTEMPORARY BRITISH THEATRE
The contemporary British theatre's appeal to science and epistemology is being considered. The inclusive paradigm and scientific discourse are analysed as rendered in the form and subject-matter of some of the 2000s' London stage productions. Functions of such productions including educational one are discussed. Stage language, verbal and non-verbal, is shown as capable of representing some epistemological aspects and problems of contemporary science as well as providing theatrical works to be used to motivate learning Key words:
20th-21st centuries' British theatre, science on the stage, scientific discourse, inclusive outlook in theatre productions, educational function
A long-standing epistemological dispute about so-called "two cultures", started nearly two centuries ago by M. Arnold, which implied a rather strict opposition between natural sciences and the humanities has had many forms and interpretations ever since. By the end of the 20th century an inclusive outlook began to establish itself, different discourses being considered as complementary rather than contradictory to one another.
Indicatively, it is not only in epistemology and methodology as such that this outlook has been expressed: arts and literature have increasingly used science as a motif of their works and/ or scientific discourse as their language. Thus such conceptual British troupes as the National Theatre, Complicity Theatre, On Theatre, have produced, in the mid-2000s', some works in which either science is a subject-matter or a scientific discourse originates a stage language, including visualized metaphors to be interpreted on different levels.
The aim of this paper is to determine the ways of the British theatre's appeal to science in some of its productions across the last decades. The object under study includes Copenhagen, After Darwin, On Ego, On Emotion.
It is known that, first, culture can be explored and better understood through its theatre's paradigms [1]. Second, some of the 19th century European countries' cultural elite [24] began to develop a programmed project of a National theatre to unite people by such productions which would be historically meaningful and culturally significant for them as citizens. Such were, for instance, repertories of the Irish Literary Theatre (the would-be Abbey Theatre) and the Théâtre National Populaire (TNP) in France. Although British theatre has been mainly developing as individual commercial enterprises each with its repertory, venue(s) and target audience [5], in the 20th century there also appeared the National Theatre in London, the underlying idea being to create a unifying cultural space for educated public including young students to get acquainted with most various issues and problems ranging from somewhat turning points in the world's history to ethical aspects of market economy. Several similar players' companies, e.g. Complicity Theatre and On Theatre have also aimed at such type of programmed repertory; moreover, they sometimes specially produced what they called ^performance lecture' for students (see below).
This had certain historical-cultural antecedents in the recent past as well. In the course of the 20th century British theatre manifested unequivocal interest to scientists' position in society, particularly in terms of moral issues and implications of their work. Thus, for instance, even as early as at the beginning of the century G. Bernard Shaw demonstrated this in his play The Doctor's Dilemma (1916). Another famous English writer, W. Golding put forward scientist
as a socially controversial, if not potentially dangerous personage in The Brass Butterfly (1958), which was similar to what his compatriot Ch. Morgan devoted The Burning Glass (1953) to. Understandably in the Cold war context, such a view was elaborated well into the mid-1980s when an overreacher type of scientist, e.g., in H. Brenton's The Genius (1982), was shown as eventually frightened by his own discoveries. The contemporary British playwrights T. Stoppard and M. Frayn devoted the now widely-known Arcadia (1993) and Copenhagen (1998), respectively, to scientific theories and their proponents.
One of the recurrent motifs of the 2000s' British theatre is the history in general, the history of ideas in particular. This can be represented as a chain of events, e.g. a crucial discovery and a crisis in social thought which ensued from this, or as a discourse by which one constructs one's version of reality. Sometimes, as in Copenhagen, theatrical personages directly engage in remembering and thus reconstructing their past: thus, for instance, many years after a legendary meeting of N. Bohr and W. Heisenberg, during the WW-II, each of them would give his vision of the discussion which actually took place on that day. What seems to be of particular interest, in this case, is that their versions of the same event are shown as complementary rather than mutually excluding. Apart from the text implying this, the stage setting (concentric orbits which personages Bohr and Heisenberg followed while speaking) provided a visualized metaphor of the object under the characters' study: electron to be described in terms of both and rather than either or (wave, particle) properties.
Another interesting example of such kind is that of characters who represent different epis-temological paradigms which collide, on the stage, in the shape of somewhat controversial relations between their proponents. Such is the case of T. Wertenbaker's play After Darwin (1998) in which the author of evolutionary concept of species is shown through his turbulent interactions with a famous, even if later eclipsed by Darwin's fame, sailor and climate researcher R. Fitzroy who commanded the circumnavigating ship to become legendary because of Darwin's expedition. The ways Wertenbaker's characters speak (or are quoted) seem to foil the famous concept of natural selection and struggle for existence by what can be interpreted as a contemporary notion of cultural, as well as historiographical, selection. Moreover, the image of Fitzroy, creationist as he was, appears to be more vigorous and consistent (in his views), paradoxically more like "a true scientist" [6, P. 127] than Darwin. The latter's and his followers' works on evolution are being listed in the course of the play and presented alongside with Fitzroy's views; besides, it is to Fitzroy that ^the author' (who has written a ^play-within-the-play' about him) turns at the
end of the last scene, which clearly suggests an inclusive outlook.
It is indicative that some of the British theatre productions provide their public with even more explicit representation of science, its discoveries and controversies such as, e.g., The Ethics of Progress (2 008) and Mission to Mars (2009) in The Unlimited Theatre directed by J. Spooner. The former is even called ^performance lecture', to emphasize its didactic aims, and devoted to quantum physics, its possible applications and ethical problems involved. As for Mission to Mars, its declared objective was to inspire young people with interest to science as a vocation, the target audience being high-school and college students. Interestingly, such an approach to the aims of dramatic art makes The Unlimited's policy close to what some state-supported cultural and theatrical movements in the mid-20th century France aimed at, viz. making a cultural space to educate through entertainment [7].
One more approach to staging the science can be seen in some works of On Theatre, directed by M. Gordon who had worked in the National Theatre as well and followed his former teacher, famous theatre director P. Brook some of whose productions were inspired by well-known scientists, such as a Russian neurophysiologist A. Louria
[8]. The On Theatre, in turn, aims at creation of what Gordon calls "theatre essays... in both senses of the word, reflections and attempts"
[9]. Such are his theatre's On Love, On Ego, On Emotion based on neural, cognitive and behavioral psychology.
In both On Ego and On Emotion the concept of self as a ^bundle of perceptions', and the functions of emotions, respectively, are at first expounded in a ^lecture' part of each of the performances and then personified in a personage who suffers from a neuropsychological trouble. In both productions, however, it is not those personages but the researchers who seem to embody some controversial implications of the object under their study. Thus, e.g., a character
in On Emotion, a cognitive-behavioral therapist, is preparing a paper on individual's control over one's emotions, at the same time experiencing what he describes himself as a cognitive dissonance of his ^conflicting thoughts' caused precisely by uncontrollable emotions. Scenic means used in On Ego and On Emotion visualize what is being discussed: the former which concerns self as ^bundle of perceptions' presents different pieces of information on the same object conducted through parallel channels, such as actor's live voice, his recorded speech, and videos on brain surgery projected on a screen. As for On Emotion, devoted to functions of affective experience, it shows, in turn, puppets manipulated by its main characters. However, even in this case certain aspects of their manipulation (such as several, rather than one, personages controlling a same puppet, or the latter's unexpected fall when it seemed to visualize a true scientist fully absorbed by his research, etc.) suggest controversies instead of straight-forward interpretations of the ways of the science, its data, methods, and approaches.
Similarly to the plurality of cognitive paradigms in After Darwin, the On Theatre's productions do not give any one unifying theory, which is what Gordon himself stresses as their aim: not to come to any one inference whatever [10].
To sum up, those 2000s' British theatre's productions on science discussed above can demonstrate
the contemporary stage's capacity of representing some crucial problems in data obtaining and understanding;
an inclusive epistemological outlook, i.e. coexistence of alternative concepts and/ or views alongside with one another;
scientific discourse as a possible theatrical language represented by verbal and non-verbal means.
Therefore it is due to all these one can speak of truly educative as well as epistemological functions of such stage representations.
REFERENS
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8. Campos L. Op. Cit.
9. Taylor P. Mick Gordon: The Ego Has Landed // The Independent, 01.12.2005.
10. Ibid.
УДК 542.913
Северцев1 Н.А., Леонов2 А.Г,
вычислительный центр при федеральном исследовательском центре информатики и управления РАН, Москва, Россия
2ОАО «ВПК НПО Машиностроение», Москва, Россия
КОМПЛЕКСНЫЙ ПОХОД ПОДБОРА ПРОФЕССИОНАЛЬНЫХ КАДРОВ ДЛЯ ВЫПОЛНЕНИЯ НИР ОБОРОННОЙ НАПРАВЛЕННОСТИ В УСЛОВИЯХ
НЕОПРЕДЕЛЕННОСТИ
Представлен комплексный подход к решению проблемы подбора групп исполнителей для выполнения этапов проекта и модель оптимального управления, а также оценки выполнения этапов проекта. Разработана обобщенная стратегия сетевого планирования и управления проектом в условиях неопределенности. Дано их математическое обоснование Ключевые слова:
комплексный подход, модель оптимального управления, подбор и расстановка кадров с учетом профессиональных навыков, условие неопределенности, стратегия управления
