Appunti sull’imprenditoria relativa al teatro lirico dell’Est adriatico nel periodo dell’Impero austro-ungarico

Analiza kazališnih fondova sačuvanih u državnim arhivima i knjižnicama te muzejima na istarskoj i dalmatinskoj obali omogućuje nam upoznavanje identiteta i aktivnosti opernih impresarija koji su djelovali na tom području u kasnom austrougarskom razdoblju. Riječ je uglavnom bila o talijanskim impresarijima koji su nastojali osigurati pristup brojnim kazalištima, kao i određen broj predstava. Uzimajući u obzir ekonomske rizike kojima su impresariji išli ususret, kao i značajne troškove koje je organiziranje operne sezone iziskivalo, zasigurno bi se isplatio oslonac na dobro utemeljen sustav, poput onoga koji je Pietro Ciscutti 1884. predlagao. Ciscutti je nastojao povezati kazalište Politeama u Puli, koje je i osnovao, s onima u Rijeci i Zadru, pa i s kazalištima u Šibeniku i Dubrovniku. Ova se umreženost ipak nije dogodila, između ostaloga, i zbog Ciscuttijeve smrti nekoliko godina kasnije. Proučavanje suradnje među impresarijima dopušta započinjanje sveopćega diskursa o najčešćim zahtjevima upućenima kazališnim direkcijama, kao i o umjetničkim prijedlozima te o ponuđenome umjetničkom kadru. Impresariji su, kao i većina umjetnika, dolazili iz Italije parobrodima. Scenska oprema, kostimi i partiture također su bili prenošeni tim putem. Ponekad se kasnilo s polascima, primjerice, kada bi puhala bura, što bi ugrožavalo održavanje proba i/ili same predstave. Plaćanje vanjskih umjetničkih suradnika predstavljalo je dodatne troškove za impresarije. Na teritoriju su često nedostajali članovi orkestra, zbora i baleta te su se oni morali angažirati izvana kako bi se ispoštovao broj, prema natječajima kazališta, nužnoga osoblja. Tijekom godina su potrebe za umjetnicima rasle. Poznavanje ekonomskih mehanizama koji reguliraju proizvodni sustav, zatim analiza prihoda i rashoda te razumijevanje odnosa među impresarijima, kazališnim direkcijama i izdavačima, omogućuju nam da ostvarimo dublju perspektivu koju nudi pronađena dokumentacija.The analysis of theatre fonds preserved in state archives, libraries and museums on the Istrian and Dalmatian coasts enables us to get familiar with the identity and activities of opera impresarios active in this area in the late Austro-Hungarian period. These were mostly Italian impresarios that sought to provide access to numerous theatres but also a certain number of performances. Taking into consideration the economic risks faced by the impresarios, as well as the significant costs incurred by organizing an opera season, being supported by a well-founded system, such as the one suggested by Pietro Ciscutti in 1884, would certainly have paid off. Namely, Ciscutti sought to connect the Politeama Theatre in Pula, which he founded, with those in Rijeka and Zadar, even with the theatres in Šibenik and Dubrovnik. This networking did not happen, among other things, because of Ciscutti’s death a few years later. The study of the co-operation among the impresarios allows the commencement of a universal discourse on the most common requirements addressed to theatre directorates, as well as on the offered artistic proposals and artistic staff. Impresarios, along with most of the artists, came from Italy by steamships. Stage equipment, costumes and musical scores were also transported in the same way. Sometimes departures were delayed, for example due to strong gusts of bora wind, which would hinder rehearsals and/or shows. Paying for external artists was an additional cost to impresarios. Members of the orchestra, choir and ballet often could not be found locally and had to be hired from the outside in order to comply with the number of the necessary staff required by theatre competitions. Over the years, the need for artists grew. The knowledge of the economic mechanisms regulating the production system, the analysis of revenue and expenditure and the understanding of the relationships between impresarios, theatre directorates and publishers, allow us to achieve the deeper perspective provided by the documentation found.L’analisi dei fondi teatrali conservati negli archivi e biblioteche nazionali nonché nei musei sulla costa dell’Istria e della Dalmazia ci aiuta a conoscere l’identità e le attività degli impresari d’opera lirica che operavano nel territorio nel periodo del tardo impero austro-ungarico. Si tratta perlopiù di impresari italiani che cercavano di rendere possibile l’accesso ai numerosi teatri e un determinato numero di rappresentazioni. Prendendo in considerazione i rischi economici a cui gli impresari andavano incontro, nonché le notevoli spese che dovevano sostenere per organizzare una stagione d’opera, di sicuro sarebbe convenuto il sostegno di un sistema ben fondato, come quello proposto da Pietro Ciscutti nel 1884. Ciscutti ha cercato di collegare il teatro Politeama di Pola, che lui stesso fondò, con quelli di Fiume e Zara, poi con i teatri di Sebenico e Ragusa. Non si è giunto poi a questo collegamento, tra l’altro anche per via della morte di Ciscutti avvenuta alcuni anni dopo. Lo studio della collaborazione tra gli impresari permette l’inizio di un discorso generale sulle richieste più frequenti indirizzate alle direzioni teatrali nonché sulle proposte artistiche e sullo staff artistico offerto. Gli impresari, come tra l’altro la maggior parte degli artisti, venivano dall’Italia con le navi a vapore. L’attrezzatura da palcoscenico, costumi e spartiti, arrivavano nello stesso modo. Qualche volta le partenze erano rinviate, per esempio, quando soffiava la bora, e questo poneva in pericolo le prove e/oppure le rappresentazioni. Il pagamento dei collaboratori artistici esterni rappresentava spese aggiuntive agli impresari. Nel territorio spesso mancavano membri d’orchestra, del coro e ballerini e per questo motivo era necessario avvalersi di collaboratori esterni per rispettare il numero dell’organico necessario, in base ai concorsi del teatro. Negli anni successivi aumentava il bisogno degli artisti. La conoscenza dei meccanismi economici che regolano il sistema di produzione, poi, l’analisi dei ricavi e dei costi e la conoscenza dei rapporti tra impresari, direzioni teatrali ed editori, ci rendono possibile di creare una prospettiva più profonda offerta dalla documentazione ricavata

Familial breast cancer: characteristics and outcome of BRCA 1–2 positive and negative cases

BACKGROUND: The clinical and pathological characteristics and the clinical course of patients with breast cancer and BRCA 1–2 mutation are poorly known. METHODS: From 1997, patients with breast cancer and a family history of breast or ovarian cancer were offered BRCA testing. The clinical and pathological features of patients with known BRCA status were retrospectively assessed and comparisons were made between cancers arising in BRCA positive and BRCA wild type (WT) patients respectively. Type of treatment, pattern of relapse, event (local relapse, contralateral breast cancer, metastases) free and overall survival were also compared in the two groups. Out of the 210 patients tested, 125 had been treated and followed-up at our Institution and were evaluated in this study. RESULTS: BRCA positive patients tended to be more often premenopausal (79% vs 65%) and to have positive lymphnodes (63% vs 49%), poorly differentiated tumours (76% vs 40% – p = 0.002 at univariate analysis, not significant at multivariate analysis) and negative estrogen receptors (43% vs 29%). Treatment was not different in the two groups. In the 86 BRCA-WT patients, the first event was a local relapse in 3 (3%), metachronous contralateral breast cancer in 7 (8%) and distant metastases in 16 (19%). In the 39 BRCA positive patients, the corresponding figures were 3 (8%), 8 (21%) and 3 (8%). There was no difference in event free survival, with a median of 180 months in both groups of patients. At 20 years, projected survival was 85% for BRCA positive patients and 55% for BRCA-WT, but this difference was not statistically significant. CONCLUSION: Although BRCA positive patients have more frequently negative prognostic factors, their prognosis appears to be equal to or better than in patients with BRCA-WT

The Management of Opera in Istria and Dalmatia (1861-1918): A Preliminary Survey

This paper aims to shed light on the issues surrounding the management of opera in Istria and Dalmatia from 1861 to 1918. The public and private subsidies received by eastern Adriatic theatres are discussed as well as the proposals of opera seasons and the negotiations by impresari as described in their letters. The tracking of the routes taken by artists and the shipping of sceneries, stage costumes and scores are also mentioned

Breathing Silence. An interview with John Palmer

The interview focuses on some aspects of the composer&rsquo;s work with electronics. Palmer, described by the critics as &laquo;undoubtedly the most visionary composer of his generation&raquo; speaks about the composers and musical works that have had a major impact on him. He also mentions the friendship with John Cage, his numerous travels &ndash; with particular emphasis on Japan &ndash; and the influence of Eastern culture on his musical mind. The composer discusses the notion of causality explored in <em>Renge-Kyo</em>, the meditative nature of Transient and Inwards, and spirituality as the central theme of both acousmatic works In the Temple and I Am. The electronic medium is also por- trayed as a mirror of an intense and vivid preoccupation for intimacy and perpetual search for timbral qualities that by now characterize most of his music. Another important aspect of Palmer&rsquo;s work mentioned in the interview is the collaboration with some established performers and its importance for the realization of a musical work

Vloga gledališkega agenta v opernih krogih na prelomu v 20. stoletje: primer vzhodne jadranske obale

The article examines the role of the theatrical agent in the operatic circuits of the late nineteenth and early twentieth centuries on the eastern Adriatic coast in the light of his relations with theatre management, impresarios and fellow agents. There were many different types of theatrical agent involved in managing operatic seasons, and they had different working practices.V članku je obravnavana vloga gledališkega agenta v opernih krogih na vzhodni jadranski obali konec 19. in na začetku 20. stoletja z vidika njegovih odnosov z gledališko upravo, gledališkim impresarijem in drugimi agenti. Pri organizaciji opernih sezon so sodelovali najrazličnejši gledališki agenti, katerih način delovanja se je razlikoval

The innervated anterolateral thigh flap: Anatomical study and clinical implications

During the past 20 years, the neural anatomy of many flaps has been investigated, although no extensive studies have been reported yet on the anterolateral thigh flap. The goal of this study was to describe the sensory territories of the nerves supplying the anterolateral thigh flap with dissections on fresh cadavers and with local anesthetic injections in living subjects. The sensate anterolateral thigh flap is typically described as innervated by the lateral cutaneous femoral nerve. Two other well-known nerves, the superior perforator nerve and the median perforator nerve, which enter the flap at its medial border, might have a role in anterolateral thigh flap innervation. Twenty-nine anterolateral thigh flaps were elevated in 15 cadavers, and the lateral cutaneous femoral nerve, the superior perforator nerve, and median perforator nerve were dissected. In the injection study, the lateral cutaneous femoral nerve, superior perforator nerve, and median perforator nerve in 16 thighs of eight subjects were sequentially blocked. The resulting sensory deficit from each injection was mapped on the skin and superimposed on the marked anterolateral thigh flap territory. The study shows that the sensate anterolateral thigh flap is basically innervated by all three nerves. The lateral cutaneous femoral nerve was present in 29 of 29 thighs, whereas the superior perforator nerve was present in 25 of 29 and the median perforator nerve in 24 of 29 thighs. Furthermore, in the proximal half of the flap, the lateral cutaneous femoral nerve lies deep,, whereas the superior perforator nerve and median perforator nerve lie more superficially. Whereas the lateral cutaneous femoral nerve innervates the entire flap, the superior perforator nerve innervates 25 percent of the flap and the median perforator nerve innervates 60 percent of the flap. Clinically, a small anterolateral thigh flap (7 X 5 cm) can be raised sparing the lateral cutaneous femoral nerve and using only the selective areas innervated by the superior perforator and median perforator nerves. Alternatively, a large anterolateral thigh flap can be raised with this multiple innervation. This can be helpful if one wants to harvest the flap under local anesthesia. Sensate bilobed flaps can be harvested when dual innervated flaps are required

The innervated anterolateral thigh flap: Anatomical study and clinical implications

During the past 20 years, the neural anatomy of many flaps has been investigated, although no extensive studies have been reported yet on the anterolateral thigh flap. The goal of this study was to describe the sensory territories of the nerves supplying the anterolateral thigh flap with dissections on fresh cadavers and with local anesthetic injections in living subjects. The sensate anterolateral thigh flap is typically described as innervated by the lateral cutaneous femoral nerve. Two other well-known nerves, the superior perforator nerve and the median perforator nerve, which enter the flap at its medial border, might have a role in anterolateral thigh flap innervation. Twenty-nine anterolateral thigh flaps were elevated in 15 cadavers, and the lateral cutaneous femoral nerve, the superior perforator nerve, and median perforator nerve were dissected. In the injection study, the lateral cutaneous femoral nerve, superior perforator nerve, and median perforator nerve in 16 thighs of eight subjects were sequentially blocked. The resulting sensory deficit from each injection was mapped on the skin and superimposed on the marked anterolateral thigh flap territory. The study shows that the sensate anterolateral thigh flap is basically innervated by all three nerves. The lateral cutaneous femoral nerve was present in 29 of 29 thighs, whereas the superior perforator nerve was present in 25 of 29 and the median perforator nerve in 24 of 29 thighs. Furthermore, in the proximal half of the flap, the lateral cutaneous femoral nerve lies deep,, whereas the superior perforator nerve and median perforator nerve lie more superficially. Whereas the lateral cutaneous femoral nerve innervates the entire flap, the superior perforator nerve innervates 25 percent of the flap and the median perforator nerve innervates 60 percent of the flap. Clinically, a small anterolateral thigh flap (7 X 5 cm) can be raised sparing the lateral cutaneous femoral nerve and using only the selective areas innervated by the superior perforator and median perforator nerves. Alternatively, a large anterolateral thigh flap can be raised with this multiple innervation. This can be helpful if one wants to harvest the flap under local anesthesia. Sensate bilobed flaps can be harvested when dual innervated flaps are required