Dissertations / Theses on the topic 'Creativity of actors'

How can a playwright share authorial control with a group of actors when creating a new play script? How does the individual playwright address matters of genre, form, style and structure to create a unifying theme, while remaining true to the dramatic intention and aesthetics of the group? What impact will the collaborators have on a playwright's work? Will they help or hinder the writing process? This exegesis closely follows the creation of a new play, The Woods, in a process where the playwright intended to facilitate a collaborative process with the actors rather than act as sole author. Issues arising in this mode of working include the real meaning of sole authorship, aesthetic integrity and creative power balance. The analysis of these issues will have relevance for theatre practitioners working in collaborative contexts.

How can a playwright share authorial control with a group of actors when creating a new play script? How does the individual playwright address matters of genre, form, style and structure to create a unifying theme, while remaining true to the dramatic intention and aesthetics of the group? What impact will the collaborators have on a playwright's work? Will they help or hinder the writing process? This exegesis closely follows the creation of a new play, The Woods, in a process where the playwright intended to facilitate a collaborative process with the actors rather than act as sole author. Issues arising in this mode of working include the real meaning of sole authorship, aesthetic integrity and creative power balance. The analysis of these issues will have relevance for theatre practitioners working in collaborative contexts.

L’objectif de cette recherche est d’apporter une contribution à la compréhension de la méta-gouvernance de la coopération internationale en matière de recherche et d’innovation, entre des partenaires africains et européens. La coopération, étudiée ici, vise à promouvoir la sécurité alimentaire, à limiter des impacts environnementaux et à assurer une soutenabilité économique pour des acteurs dont les revenus proviennent de l'agriculture et cela en s'appuyant sur des innovations technologiques d'observation et d'adaptation aux évolutions climatiques. La méta-gouvernance liée à la gouvernance durable comporte des dimensions économiques, sociales et environnementales (Meuleman, 2019), cette recherche propose d’éclairer la théorie de la méta-gouvernance (Sørensen et Torfing, 2007 ; Torfing et Sørensen, 2014) à travers les concepts d’autoréflexivité, de réflexivité et d’objectifs futurs issue de la théorie de la créativité d’action (Joas, 1996 ; Joas & Beckert, 2001 ; Wiek, 2012). L’enjeu est de mieux comprendre la position et le rôle des acteurs impliqués dans la coopération scientifique mondiale. Cette recherche abductive s’appuie sur l’analyse de deux cas de coopération scientifique Afrique-Europe. La collecte de données par entretiens auprès des acteurs de la coopération porte sur leurs attentes, motivations et actions (Joas, 1996 ; Joas et Beckert, 2001) en matière de gouvernance. Les conclusions soulignent l'importance du rôle des acteurs dans la gestion commune des connaissances, le suivi de l'évaluation et de l'apprentissage, le co-investissement, ainsi que la définition et la compréhension continues du contexte. Les acteurs n’étaient pas aussi familiers avec les méthodes d’engagement qu’ils jugeaient nécessaires, soulignant ainsi l'importance de la compréhension du contexte et des domaines et thèmes d'intérêt de chacun
This research seeks to contribute to the understanding of metagovernance in international environment and food security research and innovation cooperation, through the case studies of two projects between African and European institutional partners. This cooperation is needed to attain nutrition security, environmental sustainability via climate-smart technologies, and the economic enhancement of actors that depend on agricultural income, in global dynamic relations. Since metagovernance is related to sustainability governance with economic, social and environmental components (Meuleman, 2019), this research proposes that metagovernance theory (Sørensen & Torfing, 2007; Torfing & Sørensen, 2014) be informed by the theory of creativity of action’s self-reflexivity, reflexivity and goals-in-view concepts (Joas, 1996; Joas & Beckert, 2001; Wiek, 2012) to find the position and role of the actor in the cooperation. This research objective considers the context’s research governance challenges including a lack of consistency in competition and collaborative objectives of countries in global science cooperation (Flink & Schreiterer, 2010; Román & Schunz, 2017; Ruffini, 2020). The research design employed reiterative in-depth studies (Dumez, 2009, 2012; Easton, 2010; Saldaña, 2011; Zackariasson, 2015). Private, public sector and civil society actor expectations, motivations, and actual action (Joas, 1996; Joas & Beckert, 2001) in governance were examined from qualitative and quantitative data collected. Analysis (Rhodes, 2007; Voronov & Vince, 2012) was carried out according to governance mode instruments and creativity of action concepts. Findings reiterated the role and position of the actor engaging in common knowledge management, monitoring evaluation and learning, co-investment, and continuous context definition and understanding. The actors were found not to be as familiar with the same methods of engagement as they thought necessary hence the concluded role of actor understanding of their context and themes of focus

Philosophy
Ph.D.
In this dissertation I argue that creativity should be understood as a situated and distributed process. As I develop my approach to understanding creativity over the course of this dissertation, three core claims emerge: 1) that the creative powers of particular agents are constituted within the concrete circumstances (both social and material) in which they are situated, 2) that the creative process itself unfolds across networks of associating actors, and 3) that these networks of associating actors include nonhumans of diverse sorts as active participants in the creative process. Understanding the creative process in this way distinguishes my approach from the ways in which creativity has traditionally been understood, which I argue are marked by a deep Cartesianism. This Cartesianism manifests itself in the way that creativity is predominantly studied and conceived of as a cognitive process that occurs within the minds of individuals. Because creativity is seen to occur within the minds of individuals, and because these minds are seen to function autonomously of their context, there is a resulting lack of attention to how the creative process is shaped by and extended out into the material and social environment. Furthermore, because creativity is understood to be solely a manifestation of human agency and human intentions, the active role of nonhumans in the creative process has not been taking into account. Drawing upon literature within feminist epistemology, cognitive science, science and technology studies, disability theory, and situated action theory, I argue that to better understand creativity, we must consider the creative process as it occurs within particular social and material environments, as it is distributed across diverse networks of actors, and as it is shaped in essential ways by nonhuman actors. It is only by considering creativity in its context, out in the world and in the interactions between things, that we can get an adequate understanding of the creative process.
Temple University--Theses

This study developed new mapping techniques and methodologies for understanding creativity in terms of connectivity and interaction between human and non-human actors in a design classroom. The researcher applied qualitative methods of data collection combining both observation of classroom activities and focus group interviews in order to map a creativity network. The findings indicate that creativity is a complex weather-like system (or what I call "creative climate") composed of many sub-networks and diffused networks. Four interactions emerged from the study: (a) the creative climate is composed of the circulation of bodies and objects forming networks and sub-networks, (b) centers and corners/edges are a measure of connectivity and interaction in classroom space design, (c) roundness is a measure of classroom style and the space of connectivity usage, and (d) plugs-in creativity is a measure of technology consolidation. This study attempted to fill the gap in the literature on creativity and classroom design by explaining the role of non-human actors in shaping the creative climate in the classroom, especially the role of the classroom space itself as an actor. The implication of this study in art education opens a new opportunity for research in designing innovative classrooms. Also, it will allow future investigation of the phenomenon of creativity as a climate system based on the interaction between human and non-human actors.

The Foundation Phase in education provides the primary building blocks for young learners’ fundamental intellectual, social, physical and emotional basis of development. Holistic development is critical during the early years of the emergent learner’s life. Research has shown that it is imperative for young learners to make choices of their own accord, as room for independent decision making affords them the right to a “voice” and the opportunity to raise their own opinions which can contribute incrementally to their educational development. Exercising personal choices demands self-confidence and resolution. Indecisiveness implies a lack of taking a stance at all, as passive learners who constantly vacillate cannot succeed in accomplishing the task at hand. Various internal and external factors contribute to young learners’ indecisive behaviour and this, in turn, leads to a lack of self-confidence and fear. One of the main external factors identified is the child-rearing style of caregivers and parents. When learners experience fear and a lack of self-confidence, their educational experiences are also negatively impacted and therefore holistic development cannot take place. Research has indicated that visual art activities benefit young learners tremendously as they endow the learners with a more relaxed approach during activities due to the enjoyable character thereof. The focus in this study is consequently on rectifying young learners’ indecisiveness during visual art activities. All young learners dispose of the inherent potential to be creative and to express themselves through engaging with artwork, but when they lack self-confidence, they will be overcome with fear, hesitance and indecision. Social interaction as teaching strategy, as proposed by Lev Vygotsky (1896-1934) supports learners who have not yet reached their full potential, therefore group work can be introduced where a decisive learner can support indecisive peers to gain self-confidence, giving rise to a more enterprising and venturesome approach. (Van der Veer, 2007: 114–115; Newman & Holzman, 1993: 67).
Dissertation (MEd)--University of Pretoria, 2014.
tm2015
Early Childhood Education
MEd
Unrestricted

The evaluation of creative participatory community projects remains a controversial issue in politics, policy and the arts, its focus sharpened by the reality or rhetoric of austerity. Despite the recent plethora of policy documents and reviews there is little consensus about how projects should be evaluated or what constitutes good evidence about the impact on individual and collective wellbeing of ‘being creative’. This research set out to develop and trial feasible and effective evaluations for small to medium sized projects in the West Midlands of the UK based on field research into how impact is produced. Through mainly qualitative research in diverse contexts it was able to identify a range of conditions in projects reflecting the interrelationship of creativity and participation in which positive impact could be maximised. The research sought to theorise the impact of these conditions using elements of Actor Network Theory and Freire’s concept of praxis, concluding that impact is likely to be incremental, partial and non-linear. Central to this theorisation was the synthesis of evidence about the impact of creativity and embodied making on thinking, affect and a sense of agency, with ideas about how people change, producing a new evidence-based theory of change. In a practice-led approach, new creative methods were trialled in which data produced by participants had aesthetic as well as communicative value and the evaluation process itself contributed to positive impact. While it was possible to evaluate aspects of this impact through episodic interventions, field trials showed that it was more effective to develop a systemic evaluation strategy. Such a strategy needed to be participatory and integrated into project planning, in order to respond to the stochastic systems creativity inevitably provokes. This proved to offer two advantages: the potential to engage many stakeholders, not just as respondents but also as agents actively defining and measuring evaluation outcomes; and the potential for reflection about impact as process rather than outcome. These findings were then implemented in a number of projects, including trials of the Arts Council UK’s developmental Children and Young People’s Quality Principles. The method has been identified as ‘improving the conversation’ amongst partners, stakeholders and artists who can re-position themselves as active agents of evaluation rather than mere respondents, using the tropes, practices and materials of their own professional practices.

En 2010, 1 500 chefs d'entreprise ont identifié la créativité des managers comme le facteur le plus important pour les réussites futures des organisations. Cependant, l'engagement des managers dans des actions créatives est en constante concurrence avec des comportements de routine qui impliquent moins de prise de risque, d'incertitude et de possibilité d'échec. La thèse présente trois axes de recherche pour étudier et comprendre la décision des managers de s'engager dans des actions créatives. Le premier se concentre sur la façon dont les managers conçoivent la créativité et l'innovation lorsqu'elles s'appliquent à leur activité. Elle étudie aussi la façon dont les conceptions des managers peuvent influencer leurs propres comportements créatifs et leur évaluation de pratiques managériales et de managers créatifs. Le second axe montre que les actions créatives résultent d'un processus décisionnel qui évalue la pertinence de la créativité dans des situations spécifiques et prend en compte les prédispositions individuelles comme les caractéristiques favorables de l'organisation. Le troisième axe établit comment la complémentarité ou l'inadéquation entre les caractéristiques des managers et de leurs organisations peuvent déclencher des comportements créatifs. Les conclusions de cette recherche réaffirment l'intérêt des approches multivariées et interactionnistes de la créativité dans les organisations. Elle souligne également l'importance de considérer l'évaluation par les managers de la pertinence et de l'efficacité d'actions créatives dans des situations de travail spécifiques. Enfin, la plupart des recherches tendent à concevoir que la créativité émerge de circonstances positives et encourageantes. Au contraire, la présente recherche atteste que les managers sont le plus souvent amené à adopter des comportements créatifs dans des situations de travail qui ne sont pas optimales et satisfaisantes
In 2010, 1,500 Chief Executive Officers identified managers' creativity as the most crucial factor for future organizational success. However, managers' engagement in creative actions is constantly competing with routine behaviors that imply less risk taking, uncertainty and possibility of failure. This dissertation explores three potential avenues to understand managers' decisions to engage in creative actions. The first one focuses on managers' conceptions of creativity and innovation as antecedents of their own creative behaviors and their evaluation of creative managers and managerial practices. The second avenue examines how creative actions result from a decision-making process that evaluates the relevance of creativity in specific situations and takes into account individual predispositions and organizational characteristics. The third avenue investigates the extent to which a fit or misfit between managers and their organizations can trigger creative behaviors. This research reaffirms the relevance of the multivariate and interactionnist approaches to organizational creativity. It highlights also the importance of considering managers' evaluation of the appropriateness and effectiveness of specific creative actions in specific situations. Finally, most research tends to conceive that managerial creativity emerges from positive and encouraging circumstances. In contrast, the present research highlights that managerial creativity can emerge as a response to situations of misfit and dissatisfaction

Orientador: Matteo Bonfitto Junior
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa visa questionar, observar e analisar o contexto da dramaturgia do ator vivenciado no teatro brasileiro contemporâneo. Possui, portanto, o intuito de esmiuçar processos de criação de uma dramaturgia coletiva, ou seja, de uma dramaturgia em que o ator participa ativamente do processo criativo e, muitas vezes, obtém a voz de um autor, criador ou compositor, cujo processo de composição de partituras e subpartituras é vivenciado e experimentado pelo corpo desse ator-performer. Além disso, procura-se refletir sobre a questão da autonomia do ator sobre o processo criador, escolhendo como foco três bases: a escolha dos materiais, o processo criador e registro dramatúrgico e a dramaturgia do ator. Cabe ressaltar que as três bases possuem, nesta pesquisa, caráter inacabado e em constante processo de atualização. Para início da pesquisa foram selecionados quatro materiais fundamentais para o trabalho de criação dramatúrgica: o corpo, o texto teatral, o ritmo e o espaço. Todos os materiais foram analisados como suporte e estímulo para a materialização da cena. Em relação ao levantamento prático sobre a dramaturgia do ator, foram detalhados aqui dois processos de criação observados pela pesquisadora e um processo vivenciado como atriz-pesquisadora. Ao final deste trabalho, propõe-se um estudo sobre o conceito e a prática da dramaturgia do ator, utilizando como base reflexiva teóricos contemporâneos, pensando-se a formação deste ator-criador. Conclui-se que todo o aporte teórico-prático deste trabalho serviu para a análise e apontamentos sobre o foco principal: a dramaturgia do ator
Abstract: This research aims to question, observe and analyse the actor¿s dramaturgy experienced in Brazilian contemporary drama. Therefore, it has the objective to describe in details the creation process regarding the collective dramaturgy, that is, a dramaturgy in which the actor participates in the creative process actively and many times has the voice of an author, creator or composer, whose scores and subscores are lived and experimented through the actor-performer¿s body. Besides, reflections on the actor¿s autonomy in the creation process are made, being chosen three bases as a focus: material choices, the creation process itself and the constant upgrading process. It is relevant to emphasize that all three bases, in this study, have an unfinished aspect as well as constant upgrading. In order to start this research, four materials were selected for the dramaturgy creation work: the body, the play, the rhythm and the space. All of the materials were analyzed as support and stimulus for the scene materialization. In terms of the applied survey about the actor¿s dramaturgy, two processes of creation were detailed here which were observed by the researcher and one process was experienced as an actress-researcher. At the end of this dissertation, a study is proposed about the concept and practice of the actor¿s dramaturgy, using contemporary theorists as a reflective basis, thinking of the construction of the actor-creator. In conclusion, all the theoretical and practical support of this study was used to analyze and observe its main focus: the actor¿s dramaturgy
Mestrado
Artes Cenicas
Mestra em Artes

Social learning has given us insight into how children learn actions from others across different domains (e.g., actions on objects, pretend play, and tool use). However, little research exists to confirm whether young children can generate their own novel actions. Three different settings were chosen to offer a varied investigation of children’s ability to generate novel actions: generating multiple actions with novel objects; generating iconic gestures in order to communicate; and generating pretend actions using object substitution. Generating multiple actions with novel objects: The Unusual Box test was developed to investigate children’s ability to generate multiple actions with novel objects (Chapter 2). The Unusual Box test involves children playing with a wooden box that contains many different features (e.g., rings, stairs, strings), and five novel objects. The number of different actions performed on the box and with the objects (i.e., fluency) was used as a measure of their individual learning. Positive correlations between the fluency scores of 24 3- and 4-year-olds on the Unusual Box test and two existing measures of divergent thinking were found. Divergent thinking relates to the ability to think of multiple answers based on one premise. Furthermore, a large range of fluency scores indicated individual differences in children’s ability to generate multiple actions with novel objects. In addition, 16 2-year-olds were assessed on the Unusual Box test, twice two weeks apart, to investigate test-retest reliability and the possibility that the Unusual Box test could be used with children younger than 3 years. A strong positive correlation between the scores on the two assessments showed high test-retest reliability, while individual differences in fluency scores and the absence of a floor effect indicated that the Unusual Box test was usable in children from 2 years of age. Generating iconic gestures in order to communicate: Children’s ability to generate iconic gestures in order to communicate was assessed using a game to request stickers from an experimenter (N = 20, Chapter 3). In order to get a sticker children had to communicate to the experimenter which out of two objects they wanted (only one object had a sticker attached to it). Children’s use of speech or pointing was ineffective; therefore only generating an iconic gesture was sufficient to retrieve the sticker. Children generated a correct iconic gesture on 71% of the trials. These findings indicate that children generate their own iconic gestures in order to communicate; and that they understand the representational nature of iconic gestures, and use this in their own generation of iconic gestures. Generating pretend actions using object substitution: In order to determine whether children are able to generate their own object substitution actions and understand the representational nature of these actions, 45 3- and 4-year-olds were familiarized with the goal of a task through modelling actions. Children distinguished between the intentions of an experimenter to pretend, or try and perform a correct action. Children mainly imitated the pretend actions, while correcting the trying actions. Next, children were presented with objects for which they had to generate their own object substitution actions without being shown a model. When children had previously been shown pretend actions, children generated their own object substitution actions. This indicates that children generate their own object substitution actions, and that they understand the representational nature of these actions. An additional study with 34 3-year-olds, revealed no significant correlations between divergent thinking, inhibitory control, or children’s object substitution in a free play setting, and children’s ability to generate object substitution actions in the experimental setting.

Cette thèse se penche sur la gouvernance des politiques régionales de la science en France dans le contexte de l'Espace Européen de la Science. Nous proposons donc une typologie des régions européennes qui vise à offrir un regard différent sur ces espaces de collaborations, en considérant les connectivités locales-globales dans la théorie des Systèmes Régionaux d'Innovation. Puis au travers d'un modèle gravitaire nous mobilisons plusieurs formes de proximités pour expliquer ces collaborations, en introduisant des proximités culturelles à l'échelle régionale. Cette thèse questionne à la fois la place des autorités régionales dans les politiques scientifiques en régions ou des régions, mais aussi la vision de la science de ces régions (à travers de l'analyse des CPER et de comptes Twitter). Nos travaux préconisent une meilleure compréhension des acteurs dans le cadre cognitif où les liens entre Science et Innovation sont trop souvent supposés. Cette dernière approche est également l'occasion de mettre en avant l'insuffisante prise en compte des logiques des différents acteurs de l'innovation (au sens large) et la nécessaire coordination des politiques des différents niveaux impliqués. L'analyse du mode de gouvernance des politiques de soutien aux activités créatives dans l'espace transfrontalier du Rhin Supérieur, permettra d'illustrer ce cadre cognitif nouveau.

Vivim en un món dominat per la cultura visual. Les imatges formen part de la nostra existència i de les nostres experiències vitals. El llenguatge visual conforma la nostra realitat i l’hem de saber interpretar si volem conèixer, dominar i activar el nostre context de mercat. Ens submergim en l’àmbit de les imatges des d’una vessant estètica però hi afegim una valoració estratègica i tàctica amb la ferma voluntat de mesurar l’impacte que aquestes tenen a nivell comunicacional. Aprenem a llegir correctament les imatges i les etiquetem a partir de certs trets que les caracteritzen i les signifiquen: els atributs. Els atributs esdevenen una eina fonamental pels creatius i per a les marques ja que els permet alinear-se i satisfer, de manera adequada, els gustos, els hàbits, els desitjos i les preferències dels consumidors de la societat contemporània. L’activació correcta de cadascun dels set atributs analitzats, en determinades casuístiques concretes, permet impulsar i estimular les dinàmiques del mercat, atorgant rellevància i diferenciació a les propostes ofertades i millorant els seus resultats en termes de posicionament i d’amplificació.
Vivimos en un mundo dominado por la cultura visual. Las imágenes forman parte de nuestra existencia y de nuestras experiencias vitales. El lenguaje visual conforma nuestra realidad y debemos saber interpretarlo si queremos conocer, dominar y activar nuestro contexto de mercado. Nos sumergimos en el ámbito de las imágenes desde una vertiente estética pero, a la vez, damos prioridad a una valoración estratégica y táctica con la firme voluntad de medir el impacto que éstas tienen a nivel comunicacional. Aprendemos a leer correctamente las imágenes y las etiquetamos a partir de ciertos rasgos que las caracterizan y las significan: los atributos. Los atributos se convierten en una herramienta fundamental para los creativos y para las marcas ya que les permite alinearse y satisfacer, de manera adecuada, los gustos, los hábitos, los deseos y las preferencias de los consumidores de la sociedad contemporánea. La activación correcta de cada uno de los siete atributos analizados, en determinadas casuísticas concretas, permite impulsar y estimular las dinámicas del mercado, otorgando relevancia y diferenciación a las propuestas ofertadas y mejorando sus resultados en términos de posicionamiento y amplificación.
We live in a world dominated by visual culture. Images are part of our existence and our life experiences. Visual language shapes our reality and we must be able to interpret it if we want to make sense, control and engage with our market environment. We will delve in the world of images from an aesthetic perspective and, at the same time, we give priority to a strategic and tactical evaluation with a firm will to measure the impact they have on a communication level. We learn to correctly read images and we tag them based on certain aspects that characterise and explain then: attributes. Attributes turn into a fundamental tool for creatives and brand allowing them to align and satisfy, in an adequate manner, tastes, habits, wishes and preferences of today’s consumers. Activating each of the seven analysed attributes correctly, in certain designated cases, impulses and stimulates market’s dynamics, giving relevance and differentiation to proposals and improving its results in terms of positioning and amplification.

Adoptant la langue des flux et des fluides, la théorie sociologique caractérisent aujourd’hui les acteurs sociaux comme des êtres composites, prédisposés à changer et capables d’agencements feuilletés. Alors que l’importance de la mobilité pour penser et analyser le social contemporain est généralement reconnue, rare sont les travaux qui se consacre à en développer les modalités fondamentales. L’objectif de cette thèse est de développer une approche plus différenciée et gradualiste des mobilités que celle proposée par les principales options théoriques en vigueur, sans pour autant abandonner la dimension fluctuante, non linéaire et imprévisible du mouvement sur laquelle elles attirent l’attention. Qu’est-ce qu’être mobile ?Une théorie de l’expérience, en l’occurrence celle proposée par la phénoménologie, offrirait-elle des ressources critiques susceptibles d’ouvrir à l’approfondissement des mobilités comme elles sont vécues ?À titre d’hypothèse, cette thèse pose qu’un ensemble de phénomènes demeurent énigmatiques à l’intérieur de la conception généralement admise du social contemporain et qu’une articulation plus explicite du thème de la mobilité à celui de l’action humaine permet d’approfondir les processus du déplacement dans l’espace des sociétés, du passage du temps impliqué par le déplacement et du changement social. Comment émerge du nouveau dans le cours d’actions ?Qu’est-ce que pouvoir agir ?Quelle est la source du changement ?À partir d’une enquête inédite sur des voyageurs se rendant quotidiennement à Bruxelles et des personnages de romans de route étatsuniens, l’auteur explore des questions de fond portant sur l’expérience du transport, autour de l’éloignement des choses et des personnes aimées, du vide du temps d’attente, des aléas aussi insignifiants qu’irritants, de l’étrangeté des rencontres, de la décision de prendre la route et de choisir une orientation nouvelle. Ces moments de vacillation sont importants, soutient l’auteur, car ils nous ramènent aux motivations fondamentales et aux buts ultimes de nos déplacements les plus quotidiens. À une époque marquée par un idéal de mouvement fluide et sans accrocs, cette thèse éclaire ce qui se passe dans l’expérience des mobilités. Elle incite à une réflexion sur ce que nous éprouvons sur la route et aux possibles que cette expérience fait émerger.
Doctorat en Sciences politiques et sociales
info:eu-repo/semantics/nonPublished

Although there have been calls for secondary mathematics education in the U.S. to incorporate problem-solving and creativity, the lion’s share of instruction is designed to train students to accurately use procedures or understand concepts made by mathematicians in the past (National Research Council, 1999; Watson, 2008). This disconnect highlights a need to know more about student mathematical creativity. The goal of the study was to examine the nature of student mathematical creativity and identify how it can be influenced by social and aesthetic factors. Therefore, I performed a qualitative analysis of video and audio recordings of student and teacher interactions from eight high school mathematics lessons taught in the Northeast in the United States. To demonstrate the range of creativity of which students are capable, I identified and categorized potentially creative actions. I also developed episodes of creative action, explaining how some created new mathematical possibilities, and others were blocked in doing so. From these episodes, I identified a set of key moments in their development: taking the action, the reception by others, advocacy for the action, and an additional creative action by other members of the student group or class. Finally, from comparing multiple episodes, I found that experiencing mystery or mathematical discomfort motivated students to take actions with creative potential, and that positive relationships and strong group participation contributed to interactive discussions between group members that enabled the actions’ creative potential to be realized. Findings from this process could support educators in giving more students the opportunity to create new ways of doing mathematics.

The PhD project is composed of two parts: a creative project (thirty-five per cent of the total research project); and an exegesis (sixty-five per cent). The creative project employs a pair of chat-bots, natural language processing artificial intelligence agents, to act as comedian and straight-man in a comedy performance based on a topic supplied by the user in a web-based interface. This is an interdisciplinary project that draws on the domains of humour theory, creativity theory, creative writing, and human-computer interaction theory to illuminate the practice of comedy scriptwriting process in a new-media environment.

Щетнік М. В. Формування творчого потенціалу майбутніх акторів у процесі професійної підготовки : кваліфікаційна робота магістра спеціальності 011 «Освітні, педагогічні науки» / наук. керівник Г. В. Локарєва. Запоріжжя : ЗНУ, 2020. 94 с.
UA : Робота викладена на 94 сторінках друкованого тексту, містить 1 таблиця, 2 рисунка. Перелік посилань включає 67 джерел. Об’єкт дослідження: професійна підготовка майбутніх акторів у навчальному закладі вищої освіти. Проблема формування творчого потенціалу майбутніх педагогів поки залишається висвітленою частково, існуючі роботи в даній галузі розкривають лише деякі шляхи вдосконалення підготовки студентів вищих навчальних закладів, однак бракує системних досліджень в наукових працях з проблеми підготовки майбутнього педагога як творчого спеціаліста, в яких би вивчалися специфічні прояви творчої активності в умовах музично-сценічної діяльності. В роботі проаналізовано теоретичні основи формування творчого потенціалу майбутніх акторів, розглянуто особливості професійної підготовки майбутніх акторів у закладі вищої освіти, проведено експериментальну перевірку методики формування творчого потенціалу майбутніх акторів. Наукова новизна полягає в уточненні змісту поняття «творчий потенціал актора», що поглиблює розуміння процесу виховання студентів закладу вищої освіти.
EN : The work is presented on 94 pages of printed text, contains 1 table, 2 figures. The list of references includes 67 sources. The object of the study: vocational training of future actors in higher education. The problem of creativity of future teachers remains to be covered in part, the existing works in this field reveal only some ways to improve the training of students of higher education, but there is a lack of systematic research in the scientific work on the problem of preparing a future teacher as a creative specialist, who would be a creative specialist activity in the conditions of musical and scenic activity. The theoretical bases of formation of creative potential of future actors are analyzed in the work, features of professional training of future actors in higher education institution are considered, experimental verification of the method of formation of creative potential of future actors is carried out. The scientific novelty is to clarify the content of the concept of "creative potential of the actor", which deepens the understanding of the process of education of students of higher education institutions.