"A continuous awaking movement". Note sul choreocinema di Maya Deren

Maya Deren ha prodotto tra gli anni quaranta e la metà degli anni cinquanta del secolo scorso un cinema visionario in cui la danza e i danzatori diventano i protagonisti della trasfigurazione del reale in arte, del viaggio dal mondo visibile a quello invisibile delle forme sottili dell’inconscio e della mente. Il saggio si incentra sul ciclo di film di Maya Deren che John Martin, critico di danza del New York Times e teorico di punta della modern dance, definì come choreocinema: <>, soffermandosi principalmente su A Study in Choreography for Camera del 1945 che Deren creò collaborando con il danzatore afro-americano Talley Beatty

Merce Cunningham e la scena dei mutamenti

Scriveva Deborah Jowitt in Time and the Dancing Imagine !1989): " Il tempo del danzatore di Cunningham non è quello che noi associamo al teatro e alla musica tradizionali. Gli eventi non si sviluppano attraverso una serie di passaggi e non ci conducono in maniera inesorabile verso dei climax e delle diminuzioni di intensità. La causalità della fisica di Newton è stata abbandonata per una realtà più discontinua”. Tempo discontinuo, spazio privo di un focus centrale, nessun riferimento narrativo e emozionale, assenza di relazione tra musica e danza, e tra danza e scenografia: l’ arrivo delle coreografie di Cunningham sui palcoscenici prima americani e poi europei ebbe quella stessa forza d’urto che il New Dada e la Pop Art ebbero sulle arti visive e che l’opera di Cage e Beckett ebbe sulla musica e sul teatro del secondo dopoguerra. Scriveva Cunningham nel 1952: " Quando coreografo uno spettacolo lanciando le monetine – secondo il caso quindi – io trovo in questo gioco delle risorse che non sono il prodotto della mia volontà ma un'energia e una legge a cui devo ubbidire. Alcuni credono che sia non umano e meccanico lanciare le monetine per creare una danza [...] ma la sensazione che ho quando compongo in questa maniera è che sono in contatto con una risorsa naturale che è di gran lunga più grande di quanto potrebbe mai essere la mia creatività personale, una risorsa che è molto più universalmente umana delle mie abitudini particolari e che sale organicamente da una sorgente comune di impulsi motori". Il saggio di Vito Di Bernardi si interroga sull'influenza dello Zen sull'opera del coreografo americano.Deborah Jowitt wrote in Time and the Dancing Image (1989): “Time for the Cunningham dancer is not the the time we associate with thtrasditional theater and music. Events do not develop over its passage, leads inexorably toward climaxes and die away. The causality of Newtonian physics hss been abandoned for a more discontinous reality”. Interrupted time, space lacking a central focus, no narrative and emotional reference, absence of relationship between music and dance or dance and scenery: the arrival of Cunningham’s choreography on the American and later European stages had the same impact as New Dada and Pop Art had on the visual arts and Cage’s and Beckett’s works had on music and theatre after the Second World War. In 1952 Cunningham wrote: “When I choreograph a piece by tossing pennies – by chance, that is – I am finding my resources in that play, which is not the product of my will, but which is an energy and a law which I too obey. Some peolple seem to think that it is inhuman and mechanistic to toss pennies in creating dance… but the feeling I have when I compose in this way is that I am in touch with a natural resource far greater than my own personal inventiveness could ever be , much more universally human than the particular habits of my own practice, and organically rising out of common pools of motor impulses” (The Impermanent Art, 1952). This essay goes into the influence of Zen on Cunnigham’s work

Corpi e visioni nell'era digitale

L'articolo mette in relazione gli studi sulla corporeità nella danza nei suoi aspetti somatici, psico.fisiologici, culturali, con le tecnologie digitali utilizzate come memoria dello spettacolo e come strumento di creazione coreografica

La documentation filmique comme contribution à la constrution d'une memoire en danse: aspects et problemes méthodologique à partir du cas du Kutiyattam indien

Nel 1979, un gruppo di ricerca dell’università di Roma diretta da Ferruccio Marotti a girato in Kerala una serie di film di grande valore documentario che hanno come protagonista Ammannur Mâdhava Chakyar, uno dei più grandi interpreti di Kutiyattam del XX secolo, la sola forma vivente di teatro danza classico in sanscrito. Trent’anni più tardi, nel 2011, sono ritornato in Kerala per lavorare sul progetto di restauro e di montaggio di questi documenti in collaborazione con Gopal (Ji) Venu, uno dei discendenti più riconosciuti di Ammannur M. Chakyar (deceduto nel 2008, a 91 anni). Vedere questi vecchi films risveglia la memoria degli spettacoli del maestro, di cui Venu è stato testimone per molti anni. Il lavoro dell’analisi delle video, commentate da Venu, diventa a sua volta l’oggetto meta-testuale di una video, girata da me, sulla memoria del Kutiyattam e sullo «stato dell’arte» di quest’antica forma di teatro danza.In 1979 a team of the University of Rome directed by Ferruccio Marotti shot in Kerala a series of important films on Ammannur Madhava Chakyar, one of the greatest performers of Kutiyattam, the only surviving living form of old Sanskrit dance theatre. Thirty years later, in 2011, I went to Kerala to work on a project of restoration and re-editing of these filmed documents. The artist and scholar I collaborated with, was Gopal (Ji) Venu, one of the most recognized heirs of guru Ammannur Madhava Chakyar (he died in 2008 at the age of 91). Watching the old movies awakened Gopal’s memory and his analytical work on the films became the subject of a metatextual film, shot by myself, focusing on the «state of art» of this ancient form of dance theatre

Introduzione

Si tratta un'introduzione metodologica al tema della Memoria della danza in relazione alle ricerche effettuate in Italia in ambito dottorale

La documentation filmique comme contribution à la construction d’une mémoire en danse : aspects et problèmes méthodologiques à partir du cas du Kutiyattam indien

En 1979, une équipe de l’université de Rome dirigée par Ferruccio Marotti a tourné au Kerala une série de films d’une grande valeur documentaire, et qui a pour protagoniste Ammannur Mâdhava Chakyar, l’un des plus grands interprètes de Kutiyattam au XXe siècle, la seule forme vivante de théâtre dansée classique en langue sanskrite. Une trentaine d’années plus tard, en 2011, je suis retourné au Kerala pour travailler sur le projet de restauration et de montage de ces documents, en collaboration avec Gopal (Ji) Venu, un des héritiers les plus reconnus de Ammannur M. Chakyar (décédé en 2008 à l’âge de 91 ans). Le visionnage des vieux films réveille la mémoire des spectacles du maître, dont Venu a été témoin de nombreuses années auparavant. Le travail d’analyse des vidéos, commenté par Venu, devient à son tour l’objet méta-textuel d’une vidéo, tournée par moi-même, sur la mémoire du Kutiyattam et sur « l’état de l’art » de cette ancienne forme de théâtre dansé.In 1979 a team of the University of Rome directed by Ferruccio Marotti shot in Kerala a series of important films on Ammannur Madhava Chakyar, one of the greatest performers of Kutiyattam, the only surviving living form of old Sanskrit dance theatre. Thirty years later, in 2011, I went to Kerala to work on a project of restoration and re-editing of these filmed documents. The artist and scholar I collaborated with, was Gopal (Ji) Venu, one of the most recognized heirs of guru Ammannur Madhava Chakyar (he died in 2008 at the age of 91). Watching the old movies awakened Gopal’s memory and his analytical work on the films became the subject of a metatextual film, shot by myself, focusing on the «state of art» of this ancient form of dance theatre.Nel 1979, un gruppo di ricerca dell’università di Roma diretta da Ferruccio Marotti a girato in Kerala una serie di film di grande valore documentario che hanno come protagonista Ammannur Mâdhava Chakyar, uno dei più grandi interpreti di Kutiyattam del XX secolo, la sola forma vivente di teatro danza classico in sanscrito. Trent’anni più tardi, nel 2011, sono ritornato in Kerala per lavorare sul progetto di restauro e di montaggio di questi documenti in collaborazione con Gopal (Ji) Venu, uno dei discendenti più riconosciuti di Ammannur M. Chakyar (deceduto nel 2008, a 91 anni). Vedere questi vecchi films risveglia la memoria degli spettacoli del maestro, di cui Venu è stato testimone per molti anni. Il lavoro dell’analisi delle video, commentate da Venu, diventa a sua volta l’oggetto meta-testuale di una video, girata da me, sulla memoria del Kutiyattam e sullo «stato dell’arte» di quest’antica forma di teatro danza

I.S.Mu.L.T. Achilles Tendon Ruptures Guidelines

This work provides easily accessible guidelines for the diagnosis, treatment and rehabilitation of Achilles tendon ruptures. These guidelines could be considered as recommendations for good clinical practice developed through a process of systematic review of the literature and expert opinion, to improve the quality of care for the individual patient and rationalize the use of resources. This work is divided into two sessions: 1) questions about hot topics; 2) answers to the questions following Evidence Based Medicine principles. Despite the frequency of the pathology andthe high level of satisfaction achieved in treatment of Achilles tendon ruptures, a global consensus is lacking. In fact, there is not a uniform treatment and rehabilitation protocol used for Achilles tendon ruptures

Association of kidney disease measures with risk of renal function worsening in patients with type 1 diabetes

Background: Albuminuria has been classically considered a marker of kidney damage progression in diabetic patients and it is routinely assessed to monitor kidney function. However, the role of a mild GFR reduction on the development of stage 653 CKD has been less explored in type 1 diabetes mellitus (T1DM) patients. Aim of the present study was to evaluate the prognostic role of kidney disease measures, namely albuminuria and reduced GFR, on the development of stage 653 CKD in a large cohort of patients affected by T1DM. Methods: A total of 4284 patients affected by T1DM followed-up at 76 diabetes centers participating to the Italian Association of Clinical Diabetologists (Associazione Medici Diabetologi, AMD) initiative constitutes the study population. Urinary albumin excretion (ACR) and estimated GFR (eGFR) were retrieved and analyzed. The incidence of stage 653 CKD (eGFR < 60 mL/min/1.73 m2) or eGFR reduction > 30% from baseline was evaluated. Results: The mean estimated GFR was 98 \ub1 17 mL/min/1.73m2 and the proportion of patients with albuminuria was 15.3% (n = 654) at baseline. About 8% (n = 337) of patients developed one of the two renal endpoints during the 4-year follow-up period. Age, albuminuria (micro or macro) and baseline eGFR < 90 ml/min/m2 were independent risk factors for stage 653 CKD and renal function worsening. When compared to patients with eGFR > 90 ml/min/1.73m2 and normoalbuminuria, those with albuminuria at baseline had a 1.69 greater risk of reaching stage 3 CKD, while patients with mild eGFR reduction (i.e. eGFR between 90 and 60 mL/min/1.73 m2) show a 3.81 greater risk that rose to 8.24 for those patients with albuminuria and mild eGFR reduction at baseline. Conclusions: Albuminuria and eGFR reduction represent independent risk factors for incident stage 653 CKD in T1DM patients. The simultaneous occurrence of reduced eGFR and albuminuria have a synergistic effect on renal function worsening

Mitochondrial physiology

As the knowledge base and importance of mitochondrial physiology to evolution, health and disease expands, the necessity for harmonizing the terminology concerning mitochondrial respiratory states and rates has become increasingly apparent. The chemiosmotic theory establishes the mechanism of energy transformation and coupling in oxidative phosphorylation. The unifying concept of the protonmotive force provides the framework for developing a consistent theoretical foundation of mitochondrial physiology and bioenergetics. We follow the latest SI guidelines and those of the International Union of Pure and Applied Chemistry (IUPAC) on terminology in physical chemistry, extended by considerations of open systems and thermodynamics of irreversible processes. The concept-driven constructive terminology incorporates the meaning of each quantity and aligns concepts and symbols with the nomenclature of classical bioenergetics. We endeavour to provide a balanced view of mitochondrial respiratory control and a critical discussion on reporting data of mitochondrial respiration in terms of metabolic flows and fluxes. Uniform standards for evaluation of respiratory states and rates will ultimately contribute to reproducibility between laboratories and thus support the development of data repositories of mitochondrial respiratory function in species, tissues, and cells. Clarity of concept and consistency of nomenclature facilitate effective transdisciplinary communication, education, and ultimately further discovery