Staging

Optic nerve sheath meningiomas (ONSMs) represent the most challenging lesions involving the optic pathways: Microsurgery is not indicated and classical single-stage radiosurgery appears to be too risky due to the expected destruction of the common blood supply with consequent loss of vision. Staged radiosurgery might be one treatment option because it exploits the ability of normal tissues to repair sub-lethal radiation-induced damage, offering a chance to control tumor growth while sparing function. Staged robotic radiosurgery was offered to 5 patients harboring ONSMs with the aim of sparing vision while achieving local growth control. Five patients with ONSM presenting with visual field deficits and loss of visual acuity were treated with staged CyberKnife radiosurgery, receiving 20 Gy in 4 stages (5 Gy per stage). Treatment planning was based on contrast-enhanced thin-slice CT (1.25 mm thickness for the first three cases, 0.5 mm for the last two) and volumetric MR imaging (1.5 T ...

Es existieren verschiedene Verwendungsweisen des Begriffs Mise en Scène, die in diesem Beitrag zunächst unterschieden und erläutert werden. Anschließend geht der Autor anhand eines engeren Begriffsverständnisses auf den Beitrag der Mise en Scène zur Bildkomposition und zur Narration, sowie auf autothematische Konstruktionen und auf das Verhältnis zum Nachbarkonzept der Découpage ein. Verstanden wird Mise en Scène dabei als Organisation jener Parameter, die die profilmische Situation visuell strukturieren: Dekor, Lichtsetzung, Kostümierun-gen und Choreografie der Darsteller. Die Mise en Scène entfaltet ihre Wirkung allerdings erst im weiteren Zusammenhang mit anderen Gestaltungsebenen (Dé-coupage, Montage, Sounddesign etc.). Das Konzept der Mise en Scène ist so im emphatischen Sinn ein analytisches: Im Sinne der Analyse der Gesamtwirkung eines Films oder eines andersartigen audiovisuellen Werkes werden einzelne Aspekte isoliert, um sie genauer zu erfassen und sie in ihrer Wechselwirkung miteinander und ihrem Zusammenspiel mit anderen Ebenen untersuchen zu können – also die reale Synthese der Elemente konzeptuell zu entfalten.

[English below]
Dans cet article, je souhaite revenir sur le concept d''individuation intermédiale', développé dans mon ouvrage "L'Acteur et l'intermédialité" (2011).  Il me permet de révéler des nuances dans l'interaction " acteur/technologie " dans les spectacles utilisant des dispositifs technologiques, en confirmant l'impact indiscutable des écrans sur ce type de créations. Je me concentrerai sur le travail des acteurs avec la caméra et sur les interdépendances qui se produisent lors de l'utilisation du monologue intérieur. J'illustrerai ma réflexion par des exemples tirés de la performance "Salle d'attente", mise en scène par Krystian Lupa. Dans ce cas, la présence de la caméra et de l'écran fait partie de l'esthétique de la création, mais elle devient également indissociable du processus de création. Le 'monologue intérieur' est le fondement du travail de Lupa, et se mêle, depuis 2009, à la captation de la caméra que le metteur en scène a baptisée " screen test ", en s'inspirant de la démarche d'Andy Warhol.  Cet exercice, dans sa dimension traditionnelle, apparaît ici sous un jour nouveau, en présence de l'œil de la caméra qui enregistre et gagne des spécificités intermédiales, en se situant à l'intersection du théâtre et de l'art vidéo.

In  this  article,  I  would  like  to  return  to  the  concept  of  'intermedial  individuation',  developed  in  my  book  'L’Acteur  et  l’intermédialité'  (2011).  It  allows  me  to  reveal  nuances  in  the  interaction  “actor/technology”  in  shows  using  technology  components,  by  confirming  the  indisputable impact of  screens on that type of  creations. I will focus on the work of  actors with the camera and on the interdependencies, that occur during the use of  inner monologue. I will illustrate my consideration with examples from the performance 'Salle d’attente', staged by Krystian Lupa. In this case, the presence of  camera and of  screen is  part  of  the  creation’s  aesthetic,  but  also  inseparably  part of  the creation process. The inner monologue is the foundation  of  Lupa’s  work,  and  is  intertwined,  since  2009,  with  the  camera’s  capture  that  the  director  named  “screen  test”,  inspired  by  Andy  Warhol’s  approach.  This  exercise, in its traditional dimension, appears here under a new light, in the presence of  the capturing eye, and gains intermedial specificities, by being set on the intersection of  theatre and video art.

Plautus’ theatre still occupies a remarkable place within contemporary culture, mostly for its scenic verve. for this reason, it seems always more necessary to reflect on how we can use the cultural heritage that his comedies form. An ecdotic research led on his texts brought new results that can and must be linked with the performative experience of those professionals of theatre that are able to bring nowadays Plautus’ palliatae on stage. this is
why we chose to put together a theorical reflection – suspended between ancient and contemporary – with the analysis of recent collaborations between the philologist and the metteur
en scène. these experiences of cooperation mostly regard the Asinaria and the Miles Gloriosus, works that made it possible to acquire a new consciousness of contemporary arrangements
of Plautus, but also – and probably most of all – of the status in which direct, indirect, and critical tradition delivered his texts to us.

Introduction: Space launch vehicles and military missiles- function, types, role, mission, mission profile, thrust profile, propulsion system, payload, staging, control and guidance requirements, performance measures, design, construction, operation- similarities and differences.  Materials used for launch vehicles & missiles and their selection criteria.

Afetos, Relações e Encontros com Filmes Brasileiros Contemporâneos, by Denilson Lopes, seeks to fill a gap in the bibliography of studies on Brazilian cinema during the past ten years, after the so-called “Cinema da Retomada” (“New Brazilian Cinema”), which was concerned with reconciling quality and commercial reach in the search for a public that was in decline at the end of the 1980s and all but lost in the period of Fernando Collor’s presidency. In the new moment, from the mid-2000s and onwards, a large part of the most daring production turned to a format that was independent from the large producers and their models.

Seeking to understand this change, the focus of the book, in its 10 essays, is the work of young directors who arrived between 2009 and 2016 at their first feature films, such as Eryk Rocha, Julia Murat, Clarissa Campolina, Leonardo Mouramateus, André Antonio, Uirá dos Reis, Guto Parente, Luiz and Ricardo Pretti, Pedro Diógenes, Marcelo Caetano, Petra Costa, and Gustavo Vinagre, among others. Their emergence coincides with the proliferation of the digital, of collaborative and collective processes, as well as the consolidation of the Tiradentes Film Festival as the main showcase for this generation. The book proposes a critical reading that is at the same time a wager and a reflection on what it means to be a young artist these days, pressured by the cultural industry and by the increase in the cost of living, who seeks through art other forms of creating and living together. For this purpose, the films are read through the lens of contemporary studies on affects, which constitute a theoretically diverse area that is well developed in the English-speaking world but little explored in Brazil, especially here, with respect to suggestions coming from Deleuze & Guattari, from queer studies, and from performance studies, among others. The present selection of essays was written in a way that could interest not only students, professors, and researchers of cinema, but also a wider audience interested in the debates on aesthetics, art, and culture.

Dans les principales réflexions sur le statut du textuel au théâtre, on utilise le terme de « texte » pour désigner un ensemble d’objets qui n’en sont qu’au sens métaphorique. On parle ainsi volontiers de « représentation comme texte », de « texte scénique » ou encore de « texte vu ». Or cet usage métaphorique du terme et la consécutive absence de distinction claire entre le texte et le non-texte génèrent sans cesse de la confusion, surtout dans les études théâtrales où il y a souvent trop de « textes » pour que l’on sache toujours de quoi on parle. Pour nous aider à y voir plus clair : l’analogie dysfonctionnelle entre ce qu’on pourrait appeler le paradoxe de la mise en scène des classiques et le paradoxe mis en œuvre par Jorge Luis Borges dans « Pierre Ménard, auteur du Quichotte » (où l’on a peut-être affaire à un même texte, le Quichotte, mais à deux œuvres : celle de Ménard et celle de Cervantes) — analogie dysfonctionnelle qui nous invite à distinguer entre le texte dramatique, l'oeuvre dramatique, l'oeuvre scénique et enfin l'oeuvre théâtrale. C'est à ce prix qu'on évitera les innombrables méprises au sujet de ce qu'on nomme confusément le « texte de théâtre ».

The combination of body and facial animation achieves significant results. While the main actions focuses on body movement and silhouette, the facial animation explores intention and emotion, though there are also emotions related to specific body gestures. If this combination is correctly explored, face and body gestures allows the viewer to exactly understand what’s happening and why. The human being is exceptionally good at reading body language of other people (or characters) and even better reading facial expressions. The main reason is that, since its birth, the human being observes others’ faces and bodies to understand what is happening around them and trying to determine someone’s thought. In this context, animators have been studying different techniques and styles to create much more expressive movements and emotion acting. This article delves into analyzes of facial and body animation, correlating emotion, human and character behavior.

The paper reconstructs the history of creation and performance of the opera "Pirro" by Zingarelli / De Gamerra, and considers the role of castrato Luigi Marchesi in the compositional process, the performances and the long lasting success of the score. Original embellishments by Marchesi on two rondos are discussed within the musical environment the opera was produced (Milan) and for the revivals in Bergamo and Venice.

Der vorliegende Beitrag widmet sich der Rolle und den Funktionen des Körpers in einschlägigen Reality-TV-Formaten mit Blick auf den prinzipiellen Anspruch solcher Sendungen, Wirklichkeit zu zeigen. Die zentrale Frage ist, wie der Körper und dessen Ausdruck als Material und Inszenierungsressource eingesetzt werden (können), um Wirklichkeitseindrücke zu erzeugen, indem physische Grenzen der Inszenierbarkeit provoziert und kalkuliert und damit letztlich wiederum inszeniert werden. Auf der Grundlage von Goffmans Konzept der ‚Verankerung‘, das nach der Verwurzelung von Inszenierungen in Umwelten und nach Nebeneffekten und Grenzen von Inszenierungen fragt, erarbeitet der Beitrag anhand von Beispielformaten eine Typologie der Inszenierungsresistenz des Körpers. Diese umfasst Ausdrucksinformationen, körperliche Reaktionen und Zustände, körperliche Absonderungen, direkten Körperkontakt, physische Eingriffe in den Körper, Grenzen des hellwachen Daseins sowie Geburt und Tod.

---

The article discusses the role and the functions of the body in well-known reality television formats concerning their general claim to represent reality. The main question is, how the body and its means of expression can be used as physical resource for producing impressions of reality by provoking and planning limits of staging reality which in turn can be staged. Based on Goffmans concept of ‘anchoring’ and questions of side effects and limits of staging, the article provides a typology of the bodily restrictions of staging illustrated by examples of relevant reality television formats. Therefore the following types can be identified: bodily expressions (i.e. ‘signs given off’), bodily states and reactions, bodily secretions, direct body contact, physical interventions in the body, limits of consciousness as well as birth and death.

Developmental biology research has used various avian species as model organisms for studying morphogenesis, with the chick embryo being used by the majority of groups. The focus on the chick embryo led Hamburger and Hamilton to develop their definitive staging series nearly 60 years ago and this series is still the mainstay of all laboratories working with avian embryos. The focus on the chick embryo has somewhat overshadowed the importance of another avian embryo that has proved to be equally powerful, the Japanese quail. Since the late 1960s, chimeras have been produced using chick and quail embryos and this technique has revolutionized the approach taken to the investigation of the cellular and molecular interactions that occur during development. Reviews of the literature demonstrate that many research groups are using the quail embryo in a number of established and new ways, and this species has become a primary animal model in developmental biology. Some staging of quail has been performed but this has been incomplete and variations in descriptions, stages and incubation timings mean that comparisons with the chick are not always easily made. There appears to be general agreement that, at the early stages of embryogenesis, there is little developmental difference between chick and quail embryos, although the basis for this has not been established experimentally. The accelerated ontogeny of quail embryos at mid to late stages of development means that registration with the chick is lost. We have therefore developed a definitive developmental stage series for Japanese quail so that differences are fully characterized, misconceptions or assumptions are avoided, and the results of comparative studies are not distorted.

In NINO HARATISCHWILIS Roman Das achte Leben (Für Brilka) versucht die Erzählerin Niza vergeblich, die sowjetische Geschichte Georgiens und die individuelle Geschichte ihrer Familie zwischen 1900 und 2006 aufeinander bezogen darzustellen. Der Aufsatz argumentiert, dass in den Defiziten des Erzählprogramms Nizas Widersprüche einer für den Generationenroman typischen Erzählpoetik produktiv gemacht werden, der es nicht gelingt, individuelle, familiäre und politische Geschichte zu einem sinnstiftenden Narrativ zu verbinden. Am Ende des Romans steht deshalb ein Medienwechsel von der literarischen Geschichtsdarstellung zu ihrer performativen Verkörperung im Tanz, in dem die theatrale Adaption des Romans, wie sie JETTE STECKEL 2017 am Thalia Theater Hamburg inszenierte, bereits angelegt ist.

In the 1950s when many facts like the disappearance of traditional culture was realised, identifying Turkish Folk Dances repertory, the psychological and sociological gains offolk dances, and the need for folk dances to be brought together under an institutional roof became important issues. The Association for Promoting and Protecting Turkish Folk Dances appears to be one of the most serious attempts in the period when scientists dealing with folk culture and music discovered 'the realm oftraditional dance'. This essay focuses on the folk dance festival activities organised by the Yapr ve Kredi Bank's Association for the Promotion and Protection of Turkish Folk Dances. The reasons for the major change seen in the folk dance activities that spread rapidly from the cities to everywhere in Anatolia are identified using historical and comparative methods through the support of written and visual documents.

El presente trabajo estudia la presencia de comida y bebida en las dos églogas carnavalescas del salmantino Juan del Encina (1468-1529), la Égloga representada en la noche postrera de Carnal y la Égloga representada la mesma noche de Antruejo o Carnestollendas. El objetivo es establecer una suerte de catálogo provisional de los diversos usos escenográficos de la alimentación, así como su variada simbología, dejando entrever las diferencias sociales de las dramatis personae, sus cualidades morales y su visión del mundo, referidos mediante didascalias implícitas icónicas en el texto espectacular. Este trabajo aspira a reconstruir una posible puesta en escena en el Renacimiento español a partir de los estudios semióticos y de la teoría de la dualidad del texto dramático. El sustento puede aparecer como objeto escénico con apoyo visual, es decir, con presencia física en escena o sin apoyo visual sobre las tablas, esto es, mencionado mediante la palabra.

The earliest indirect evidence about silence on the Aeschylean stage is in Aristophanes, Frogs 911-913, where Euripides mentions an Achilles who is silent and fixed for a large part of a drama. The difficulty in interpreting these verses is due to the fragmentary trilogy of Achilles: in fact, only Mirmidones, thanks to P. Oxy. 2163, show some information about the use of silence in performance. In particular, fr. 11 of the papyrus attests a characterization of the veiled, seated, and twisted main character, just testified in the scholia vetera of Frogs. Thanks to this, it is possible to underline the silence typology, body language and performative elements of Achilles' character. Aeschylus creates an innovative theatre in which the absence of sound expresses feelings better than speeches do.

ObjectiveUterine papillary serous carcinoma (UPSC) is a clinically and pathologically distinct subtype of endometrial cancer. Although less common than its endometrioid carcinoma (EEC) counterpart, UPSC accounts for a disproportionate number of endometrial cancer related deaths. To date, limited prospective trials exist from which evidence-based management can be developed. This review summarizes the available literature concerning UPSC in an effort to