Theatre Actors Research Articles

MOLIÈRE’S COMÉDIE-BALLET “LES FÂCHEUX” AS THE BEGINNING OF A NEW MUSICAL AND THEATRICAL GENRE

Against the background of contemporary artists’ interest in the cultural heritage of past ages, today we can observe an experimental combination of works by Lully, Rameau, baroque music of Henry Purcell, who was Molière’s contemporary, with elements of modern choreography (P. Bausch, T. Brown, M. Morris, L. Scozzi, D. Hervieu, B. Massin and others). Such productions by leading choreographers of the XX–XXI centuries actualize a certain reassessment of the artistic consequences of the “Sun King” era. Present scientific research purpose is to refute the theory of “temporality” of the existence of the comédie-ballet genre as well as the lack of prospects for using the principles of this genre outside the cultural boundaries of the Louis XIV age. After all, even such a well-known modern expert of this historical epoch as Philippe Beaussant is skeptical about the possibility of further successful development of this genre. Probably because apart from Moliere, none of the modern authors at the court of Louis XIV had either a certain flair or relevant experience (Beaussant, 2002: 148). Present scientific paper relevance lies in the fact that in Ukrainianlanguage scientific literature the issue of the significance of comédiesballets in the evolution of the world dramatic and choreographic arts is considered from the modern point of view for the first time. Along with the methods of analysis, comparison, generalization and systematization of information presented in the world scientific literature on Moliere’s work, historical and biographical approaches were used in the research process. The results of the research confirm the thesis of the leading theater critics of the Soviet era, O. Gvozdev (2008: 180), that the opera and dance elements of ‘ballet de cour’ are noticeably transformed in Molière’s comédies-ballets, and, what’s most important, they are dramatized under the influence of comedy story-line. It is summarized that “Les Fâcheux” continues the line of development of French ‘ballet de cour’, but the combination of its components in the artistic integrity on the basis of comedic plot has become a new original phenomenon. The desire to add logic to the ballet action led to the fact that in the circumstances of comedic action, the dance developed in the plot direction, often turning into a pantomime, involving an element of acting. In turn, under the influence of buffoonery and dance element, the tempo of the play becomes more revived, there is a rhythm and a certain “musicalization” of theatrical action, paving the way for the reform of French ballet, which was later carried out by Noverr under the direct influence of Beaumarchais and Gluck.

The mode of theatricality in the work of representatives of “Bu-Ba-Bu” group

The article deals with the phenomenon of theatricalization of the artistic picture of the world in the works of authors-representatives of the group “Bu-Ba-Bu”, (Yuriy Andrukhovych, Viktor Neborak, Oleksandr Irvanets) who carry out a large-scale renewal of Ukrainian literature by dramatizing reality. That is why the mode of theatricality best shows the basic artistic principles of the group (burlesque-balagan-buffoonery). The relevance of the study is due to the need to analyze the work of representatives of Bu-Ba-Bu in the mode of theatricality. The subject of research is the poetic features, the system of characters and the principles of characterization of the group. The purpose of this article is to identify the ideological identity of the literary work of the group “Bu-Ba-Bu” in terms of revealing the theatrical discourse, which provides the research novelty. Research methods: comparative, comparative-historical and descriptive were used. Results of the research. Yu. Andrukhovych’s great prose and O. Irvanets’ drama are considered in the context of the postmodern concept of “theater society”, which treats various forms of social and cultural life as a kind of performance, as well as in connection with the concept of camp, which is characterized by ironic reflection on mass culture and aestheticization of everyday life. Dimensions of theatricality are realized by groups primarily in the form of carnival, which is a means of overcoming postcolonial trauma and a special space of existence (active involvement of the public in theatrical action, blurring the line between “theater” and real life). Addressing the main tenets of Bakhtin’s theory of carnival revealed the peculiarities of the aesthetics of “crisis periods” in prose and drama of modern authors (opposition to official discourses, total freedom and familiarity, accentuation of the bodily “bottom”). Particular attention is paid to corporeality, which reveals carnival features (grotesqueness, fluidity, dynamism) and at the same time becomes a means of rehabilitating human freedom and vitalistic energy, correlating with postcolonial social context. It is proved that the national originality of artists’ creativity is manifested primarily in the constructive nature of the carnival, which, formally correlated with the rhizome, implicitly affirms the value vertical.

PECULIARITIES OF ARTISTIC COGNITION IN THE SPACE OF BERTOLT BRECHT'S CREATIVE WORLD

The article analyses the main principles of artistic cognition within the creative world of Bertolt Brecht, considering it the subject, first of all, of the author's reflection. From the point of view of the artist, expressed in his critical articles and theoretical works of different years, the knowledge and depiction of life's truth should be recognized as the main artistic guidance corresponding to the challenges of the time. This concerns the truth of public life,the discovery of which meets as obstacles to artistic research the criminality of society, the unwillingness of an individual to see the actual situation of their existence, analyse their own mistakes, and work to correct them.
 According to Brecht, the truth about other people and society can be revealed only if a person can realize and express the truth about themselves, no matter how unpleasant it may be. The analysis of Brecht's short story The Wounded Socrates not only allows us to outline the importance of life-saving utmost honesty in the process of self-understanding but also to reveal the connection of the writer's creative activity with the traditions of Europeanphilosophical literature rooted in the era of antiquity and genetically connected with Socratic dialogue.
 The epic theatre was created by Brecht in order to direct the spiritual and intellectual work of the creators and recipients of the theatrical action intounderstanding the most painful and dangerous problems of the present, tomake this collective work a prerequisite for fundamental social changes. Such a qualitative change in the social coexistence of people in the historical space of the twentieth century should not have been a victory in war, but avictory over war, i.e. exposing its true essence, hidden motives, and its suicidal for the human and humanity nature. The artistic synthesis that becomes a prerequisite for Brecht's dramaturgical innovation contributed to it, based on a combination of realistic and modernist artistic principles, the possibilities of epic, lyrics, and drama.

Analyzing stochastic reward nets by model checking and parallel simulation

This paper deals with Stochastic Reward Nets (SRN), which are a powerful extension of Generalized Stochastic Petri Nets (GSPN). SRN have proved their usefulness in modelling and analysis of performance, availability and reliability of complex timed systems. SRN are supported by special-case tools like the Stochastic Petri Net Package (SPNP) which enables both analytic (based on Markov Reward Models) and simulative studies. The work described in this paper argues that there is still a gap in SRN analysis concerning functional correctness and non-deterministic property checking. Toward this a novel approach is proposed, which is based on two developed tools. First a formal reduction of SRN onto the Timed Automata (TA) of the popular Uppaal toolbox was defined and implemented. The Uppaal reduction enables a more complete investigation of SRN models, not allowed by existing SRN tools. However, the practical use of Uppaal forbids to study the performance of large models. Then, an SRN kernel, inspired by the carried formal Uppaal modelling and reasoning, was achieved in Java using the Theatre actor system. The realization supports the parallel simulation of scalable models. The paper applies the developed tools to a realistic grid-computing model and reports some experimental results, together with good execution performance (speedup) when using a scalable version of the grid model on a shared memory multi-core machine.

The Effect of Street Theater on the Kurdish Theater Movement

The research entitled (The effect of street theater on the Kurdish theater movement) deals with an analytical study, which shades light on street theater, and is considered one of the direction of the theater published in all world countries, on the basis of intellectual, artistic and aesthetic. The research consists of three chapters. The first chapter (the methodological framework) deals with several points such as: the problem of the study, the importance of the study, the aim of the study and limits of the study. As for the second chapter (theoretical framework), it dealt with the subjects such as: the beginning and emergence of street theater and open space, experiences of street theater in countries around the world, the role of director and actor in street theater, stages of street theater preparation. As for the third chapter, it dealt with three theater models in street theater, and the research in the fourth chapter reached a number of results, the most important of which are: In street theater, the actor and the receiver participate directly in the formation of the theater performance. Improvisation plays an influential role in the installation of street theater show.

THE PHENOMENON OF PLAY IN THE CONTEXT OF THEATRICAL AND STAGE ART: TO THE PROBLEM OF UNDERSTANDING

The article analyzes the main approaches to the study of the phenomenon of play, highlighting the key research positions on the way to identify the essence of this phenomenon. In most studies, the phenomenon of play is considered as a cultural universal and the main source of human cultural activity. In this regard, the main aim of this article is to consider the phenomenon of play as a necessary component of musical art, highlighting the importance of play logic in musical and stage genres. Consequently, the triad of the concepts of play – composition – motor ability, forms a single conceptual field, which contributes to the identification of the features of the ways of formation of music. Moreover, in this triad, it is the third component – motor ability – that appears as the first manifestation of the play purpose of the artistic form, which in turn is a manifestation of the inner drama and psychological subtext of the composition, which correlates it with stage and theatrical action, the phenomenon of theatricality, which acquires special relevance in musical art in general, and opera forms in particular.

Specificity of the actor's skill in the context of post-dramatic theater productions

The purpose of the article is to identify the features and determine a promising theoretical and practical approach to acting in the context of the specifics of post-dramatic theater. Methodology. An analytical method was applied to identify domestic and foreign scientific works on the theory of post-dramatic theater; the method of systems analysis and synthesis, thanks to which the approaches and methods of actor's mastery developed by K. Stanislavsky are considered in the context of dramatic and post-dramatic theater, with their inherent originality; the method of historical and cultural analysis and the comparative method, on the basis of which the differences in acting in the performances of dramatic and post-dramatic theater are revealed. Scientific novelty. The skill of the actor of the post-dramatic theater was investigated; the features of acting perception and practice of playing in performative practice are revealed; a promising theoretical and practical approach to acting, corresponding to the specifics of post-dramatic theater, is proposed; the expediency of using certain principles of the Stanislavsky system in search of new methods of acting by an actor in post-dramatic theater has been proved. Conclusions. A wide range of types of theatrical practices at the present stage of the development of the performing arts has led to the transformation of acting perception and acting. The post-dramatic theater offers the viewer not only the image of the hero but also the special existence of the actor, which is defined as “presence” and is the result of work on the material, the theme of the performance. In the context of the specifics of post-dramatic theater, in our opinion, a proactive approach is appropriate, providing for the rejection of prejudices and adherence to a single system, discourse or practice and cultivates a critical awareness of acting as a multiple and variable. This approach will contribute to the implementation of a certain set of actions - historically and procedurally considered and comprehended by the actor "absolute" while being part of the plurality. For example, the study showed that for the development of the actor's skill in certain types of post-dramatic theater, it is extremely useful to use certain aspects of the Stanislavsky system, in particular, the development of an actor's inner creative state of body and mind becomes extremely important.

Art history dynamics of theater scenography

The purpose of the article is to study the peculiarities of the dynamics of the development of theatrical scenography by the solution of plot compositions, art forms, metaphorical images, specific features of mizantsen, national color. The methodology is based on the study of art history literature, conference materials, monographs, thematic literature, which corresponds to the disclosure of this work. The method of cultural and historical analysis helps to explore the tendencies of the development of Ukrainian scenography of the XX-XXI centuries. The comparative method, based on the consideration of the Ukrainian scenography in the context of world scenography. The scientific novelty of work is determined by a holistic analysis of the investigated processes and artistic features. The patterns of development of theatrical and decorative art are analyzed. Generalized preliminary studies in the art of scenography. Conclusions. Analyzing materials of research, a special phenomenon in scenographic art is the use of fundamental laws of science, fine arts, architecture and architectural styles, painting, sculptures, art design, bulky three-dimensional projections, colorful properties, national color. The evolution of the modern theatrical performance reflects the rains and the fall of this type of art, which specifically expresses the contradictions of man and society that are constantly updated. The world and national scenography are built on the global basis of the artistic design of stage space. The development of scenography is undoubtedly a continuous dynamic process, where the main component of the theater and its purpose is to build an artistic space of organization of action and its design, in other words, scenography. Undoubtedly important are personal indicators of the historical development of scenography art, using the experience of predecessors, adapting various architectural styles, artistic, applying harmonization and aesthetics in the stage space of theatrical action.

NEGOTIATING PROFESSIONAL BELONGINGS: FINNISH ACTORS’ AFFECTIVE ENGAGEMENTS ON SOCIAL MEDIA PLATFORMS

This study addresses how creative workers’ social media presence affects their understandings of professional agency. Focusing on Finnish professional actors, we ask how social media practices inform and shape actors’ occupational self-conceptions and professional belongings. In the theoretical framework, we employ Baym’s notion of relational labour and read it through Berlant’s (1998) conceptualisation of intimacy as mobile attachments. The data is collected from 15 Finnish actors, eight freelancers and seven theatre employees, from June 2020 to March 2021 by using the diary-interview method. The analysis is based on a close reading of the interview material and diary entries in which participants describe their experiences and feelings concerning their presence, work-related connections, and promotion on Facebook and Instagram. The study indicates that for both theatre actors and freelancers their social media activities are entwined in their sense of professionalism and belongings to occupational communities of peers. They negotiate and speculate about their social media presence in relation to peer assessments in a way that involves continuous movements between visibility and invisibility and between independence and interdependence. Our study suggests that to understand the ambivalences involved in creative workers’ presence on social media platforms, it is important to broaden the investigation from strategic self-promotion and audience engagement to questions of professional identities and communities.

Art in everyday life in the Habsburg monarchy. Count Charles-Joseph de Clary-Aldringen (1777-1831)

The article explores the relation between aristocratic status and art in daily life of Charles-Joseph de Clary-Aldringen, the landlord of Teplice in Bohemia. The aristocrat acquired great skills in all arts, but was not a professional. He was an amateur who used art to express his membership of the grand monde by taking part in performances, by staging himself, and by knowing how to decipher all the social codes. We discuss his role as a diarist, as artist drawing pictures, as theatre actor and as collector of art. We show how the competition between aristocratic families motivated him to develop the spa of Teplice. We explore the role of drawing and letter-writing in his self-expression. If the professional lives by his art, amateurs like the Comte de Clary live by the arts. The requirements are different. The aristocrat seeks to construct and stage an identity where the nobleman becomes the artist of his own life by combining the imperative of social distinction with aesthetic pleasure.

Exploring the Experience of Contemporary Dance Practices in the Context of Global Art Choreography in the Museum Space

The purpose of the article is to examine modern projects in the field of choreography, interconnected with art museums that open doors for choreographers and together embody creative ideas. It is this creative, largely subjective, controversial dialogue between the museum and dance, accompanied by comments of art historians, choreographers, and artists, that gets its meaning in the presented material. The novelty of the study lies in assessing the main directions of choreographic activity, which can be mutually transformed so that the museum and dance function successfully in modern conditions and build a new communicative space with the audience. Through a creative analysis of the modern experience of dance practices, it is possible to discover the principles and trends that are destined to breathe new life into the museum space. The considered examples of organising a museum space with theatrical and plastic direction interacting with it clearly demonstrate that modern visual strategies, associated primarily with its interactive substance, affect the communicative and exhibition space of the museum in different ways. A choreographic performance was analysed as part of a diverse event taking place on the territory of the cultural and historical museum complex; inclusion of dance in the dynamics of the halls of the interior spaces of the museum; entry of a choreographic performance, theatrical actions into the exhibition space of expositions; the museum itself inviting artists, choreographic schools and studios to conduct regular classes and masterclasses within the walls of the museum to popularise its collections, and other examples of forms of interaction between the art of dance and the art museum.

How the Silent Receivers Influence the Acting of Theater Performers

The theater has a long, mirror-like tradition in which the artistic form resonates with audience’s own experience. Our intention is to reverse the mirror by analyzing how an actor receives signals from a silent receiver, and what he or she does with them. This question is important because the digital society of the early 21st century too often obscures the reciprocal action that individuals exert on each other. This has been particularly acute during lockdowns, but the general tendency is to resort to digital tools at the expense of physical interactions. Through the social mirror, symbolic interactionism makes it possible to clarify the role played by the audience in theatre actors’ performance. The comprehensive and microsociological approach taken by Interactionists means that their perspective is inductive. A qualitative methodology is appropriate, involving spending time with actors and collecting their testimonials. Initial data confirm that the audience plays a triple role in theatrical creation. First of all, through its presence, it brings shows to life. Second, a real exchange of signals takes place between the stage and the house, a process both of interaction, adjustment and social exchange with counter-gifts for the artists exposed to the public. The nature of an unintentional gift, which is interpreted and integrated into the acting response of the actor, can enrich social exchange theory. Finally, the audience plays a sanctioning role because it is its presence alone that makes it possible to validate whether the theatrical form successfully comes across as a creation. Symbolic Interactionism theory, rarely used in management science research, can help to better understand the sounding board of silent audiences whose reflective action influences performers. This better understanding of social interactions has implications for teacher-student exchanges, social interactions within organizations, and ultimately society as a whole.

New technologies for military aerospace vehicles and plasma weapons: applications of photon-photon recombination in thermonuclear plasma

The warfare environment tends to become multidimensional and the modern war becomes more and more atypical, unfolding concurrently in material and non-material environments of a very different nature. Among these environments where the modern conflict unfolds, there is the outer space. And not just the cosmic space, but also the upper atmosphere of the Earth, at the boundary between the atmosphere and the space. In this rarefied and hard-to-reach environment, the actors of the conflict theater can send automated or piloted devices capable of the most diverse military missions, such as spying, strategic bombing, infiltration, remote reconnaissance, and so on. But making such an aerospace vehicle can no longer be done by applying classical technologies.

Life as Script: Benjamin’s study of Brecht in Svendborg

The principle of the ‘gesture’, which according to Walter Benjamin is crucial for Bertolt Brecht’s early conception of the ‘epic theatre’, can as well be understood as the structural principal of Benjamin’s descriptions of the later Brecht in his exile in Svendborg in the 1930s. According to Benjamin the actor in epic theatre should be able to treat gestures in the same way as a typesetter treats the writing of words with spaced letters. Gestures thus are produced where the flow of action is interrupted. In Benjamin’s writings about Brecht this principle of the latter’s theatre becomes crucial for the philosopher’s style. Gestures as interruptions turn Benjamin’s biographical descriptions of Brecht into an epic theatre. Its stages are in the first place the pages of Benjamin’s writing, but not only. Rather Brecht himself becomes an ‘empty stage on which the contradictions of our society are acted out’, that is to say not an individual but rather a ‘dividuum harbouring and hiding many possibilities’, comparable to the characters of Brecht’s most radical plays, written in the years between 1926 and 1933, as, for example, A Man is a Man, Fatzer or The Decision. Benjamin thus holds on to what can be called a ‘theatre of potentiality’ in a moment when Brecht, deprived of his theatre, his friends, his way of living and producing, temporarily gives up his earlier conceptions in order to return to a more conventional theatre. According to Ludwig Jäger a script is produced retrospectively by the act of a transcription as that which must have preceded this transcription, but has not become visible up to the very moment of this transcription. In this respect Brecht’s life in exile is turned into a script in Benjamin’s notes.

Acting: From Imagination to Transformation

The purpose of the research is to analyze the actor’s work on himself before going on stage or set and reveal the main ways to prepare the actor for a stage role or movie role in the imagination. Working on a role in the imagination is one of the most important points in preparing for playing on stage or the set. The research methodology is based on the theoretical and analytical method of defining the main creative methods of preparing an actor for the playing and their application while playing to get used to the role. The scientific novelty consists in a holistic study of the work of a theatre and film actor in the imagination and at the preparatory rehearsal stage of creating a role. Conclusions. Based on the work analysis of the actor of theatre and cinema, the features of working on the role in the imagination, at rehearsals and the use of this creative method during the performance or on the set of the film have been determined. It has been revealed that one of the important ways to prepare an actor for the playing is role improvisation. It has been found that the creative atmosphere on the set has a beneficial effect on the result of the acting. A necessary point in the work of an actor on himself is the study and development of natural instruments, in particular, the mastery of voice, facial expressions, gestures, breathing. An important part is to study the mechanism of arousal of the actor's experience in the role.

THE PHENOMENON OF LIGHT IN SCENOGRAPHIC SOLUTIONS YEVHENA LYSYKA

Scenography is a special kind of fine art and a visual aspect of a theatrical spectacle. Its task is to form the space of the stage with the help of plastic, painting and light-colour effects, which are inextricably linked with each other and theatrical action. In a theatrical performance, it is a way to immerse the spectator in something special - the atmosphere conceived by the director, created by the theatrical artist, director of light and actors. The purpose of the publication is to try to reveal the role of light and colour in the stage decisions of Yevhen Lysyk, to establish how these means formed a unique painting style of the artist, which turned his scenography into an independent component of opera and ballet performances. For the scenography of Y. Lysyk, a characteristic method is the use of optical illusions. He uses architectural and light-coloured optical illusions as a means of enhancing the perception of forms and space of scenography. Such optical illusions include the law of light irradiation, illusions of magnification of vertically arranged elements in comparison with horizontal ones, colour contrasts, subjective perception of colours (chromatic stereoscopy), etc. His stage solutions differ in their colour scheme. In most performances, the artist's scenography dominates the structure of theatrical action. The play of colour contrasts and bright spots on the huge monumental canvases causes the audience a reflexive desire to open their eyes, thereby sharpening the hearing and "turns on" the imagination. The subjective tendency to colour testifies to the inner world of the artist and at the same time to the way of his thinking, the peculiarities of his creative manner. The following research methods were used: visual, comparative, philosophical, artistic, stylistic and iconographic. Analysis of individual stage solutions Y. Lysyk allowed us to draw a theoretical conclusion: light and colour play an important role in shaping the creative concept of an outstanding theatrical artist, and contribute to the formation of his unique style and manner of performing artistic and monumental stage solutions. The theoretical assumption is made that their integral performance, in the context of composition, perspective system, proportions, ways of using light and colour approaches the basic principles of construction in iconographic images of the Christian tradition.

BRECHT’S THEATER: GENRE DIVERSITY AND BASIC CONCEPTS

The article is devoted to the drama of Bertolt Brecht (1898–1956), the peculiarities of its genre palette and analysis of the main factors of the playwright's artistic method. To achieve this goal, the following research methods were used: descriptive; matching method; literary analysis and synthesis. The Brecht Theater is represented by genre varieties of theatrical forms: expressionist drama, musical, opera, operetta, Lehrstück, epic and dialectic theater. The article proves that dialectics is the ideological soil and the conceptual core of the Brecht Theater. The dialectic poetics of a playwright should be understood as the method of analysis and argumentation presented by the Hegelian triad: thesis – antithesis – synthesis. In accordance with the dialectical concept, the Brecht theater puts in the center primarily the principle of contradiction, aimed at a multifaceted understanding of phenomena, overcoming a frozen, ossified way of thinking. The study defines the key concepts and principles of creating the drama of Bertolt Brecht, namely the «alienation effect» (Verfremdungseffekt) and assemblage (composition). The principle of the «alienation effect» is that a familiar phenomenon appears in the theater from an unexpected perspective, and therefore requires awareness of the viewer’s novelty. The means of this is the constant violation of theatrical illusion, the reality of what is happening on stage. The assemblage stipulates that the theatrical action is not a homogeneous system, but is a «made», «constructed» plane of various heterogeneous «materials»: dialogical discourse is interrupted by lyro-epic components (songs); in the musical plan, which is designed in the same style, jazz elements are suddenly «mounted», actors exchange roles during the performance, elements of the cinema «penetrate» the event plane, the causal course of the events depicted is interrupted by the demonstration of banners or posters with provocative appeals. The prospects for further research are the literary analysis of post-Brecht theater, that is, drama, which appeared as an imitation or negation of the dramatic principles of Brecht's theater.

Issues of musical and vocal education of theater students

The author considers the problem of training specialists in the field of Acting and shows that the need of theaters for actors of a "synthetic" kind (with universal voice capabilities, with a high degree of musicality) is dictated by the increasing role of musical elements in a modern performance and is also determined by the search in modern directing. Theatrical practice demonstrates that the musicality of an actor is a crucial quality of acting. Today, in general, as always, the issues of organizing and implementing vocal education for future actors are among the most complex and energy-intensive. First-year students who come to the theater program track at the higher educational institution either do not have any preliminary vocal training at all, or are trained at the elementary level. Nevertheless, it should be noted that some of them were trained to play musical instruments and have musicality. The article deals with the specifics of working with students, aimed mainly at the formation of basic singing skills, which are associated with the acoustic properties of sound, high singing position, vocal diction, breathing, voice science, i.e. all the things that make up the technology of singing professionalism. Meanwhile, the author shows that this work is not with students of the vocal department, but with future actors of the drama theater. And our task is to educate an artistic and creative person, a participant in the dramatic process, which is all theatrical activity.

Admission Control in Home Energy Management Systems Using Theatre and Hybrid Actors

The goal of a Home Energy Management System (HEMS) is that of purposely shaping the cumulative energy consumption curves of domestic appliances by imposing suitable monitoring and control policies. The development of HEMS, like the development of general Cyber-Physical Systems (CPSs), is challenging, as it requires the exploitation of suitable methodological approaches which are able to deal jointly with the continuous and discrete behaviours of a CPS. In this paper, a methodological approach for HEMS is advocated which relies on the use of the Theatre actor system with hybrid actors. As a key feature, Theatre enables the same actor model to be used during the analysis, design, prototyping and implementation phases of the system. For property assessment, a Theatre model is reduced to Uppaal hybrid timed automata for analysis by statistical model checking. As a significant modelling example, a HEMS is proposed which implements an admission control strategy able to maintain the in-home energy consumption under a given threshold. Instead of reacting to an overload condition, the strategy is able to prevent an overload upfront by predicting the effect that the admission of a new load will have on the consumption curve of the whole system.

«Детский альбом» в театре «Зазеркалье» - художественный эксперимент режиссёра А. В. Петрова (1989 год)

The paper analyses innovative experience of children’s musical theatre “Zazerkalie” (“Through the Looking-Glass”) by the example of the performance “Children’s Album”. Scientific originality of the study lies in the fact that creative activity of A. V. Petrov’s authorial theatre is for the first time examined from the viewpoint of theatre criticism. As a result of the research, it is found out that “Zazerkalie” theatre inherited traditions of conditional theatre of the early XX century. Continuing this tradition, the stage director A. V. Petrov developed a precise model of correlation of music and theatrical action.