Identidad, escritura, performance: Marco Paolini, actor y autor

Marco Paolini es uno de los más representativos actores y autores del llamado "teatro di narrazione". El presente artículo pretende acercarse a algunos aspectos centrales de su poética en tanto actor y escritor, tales como los complejos y articulados procesos a través de los cuales llega a un (más o menos) definitivo texto escrito; la fuerte relación que establece entre él y su público, a quien Paolini siempre se dirige consciente y explícitamente con gags y "bromas" en ocasiones tomados de la tradición del teatro popular italiano; o el "lenguaje del cuerpo" que Paolini pone en práctica en el escenario y en las páginas de sus libros publicados, en el que (de un modo personal) mezcla el italiano, dialectos venecianos y ecos de poetas y escritores de la tradición literaria italiana

La storia impossibile, ovvero dell’impossibilità della Storia. Il teatro di Daniele Timpano

Gli spettacoli di Daniele Timpano raccontano o mettono in scena storie frammentarie e discontinue che si disgregano in intrecci senza fabula e che talora non approdano nemmeno a uno scioglimento finale. La disorganicità programmatica delle pièce dell’autore-attore riflette una concezione post-moderna della Storia, per cui al teatro è negata la possibilità di conoscere e comprendere un divenire storico che appare caotico e privo di certezze assolute. In questo consiste la principale differenza tra Timpano ed i vari narratori (Marco Paolini, Ascanio Celestini, ecc.) che negli ultimi trent’anni hanno utilizzato la scena come spazio/tempo deputato ad investigare e spiegare le aporie del presente o del passato prossimo.Daniele Timpano’s shows tell or stage fragmentary and discontinuous stories that break up into plot sequences without a fabula and that sometimes do not even reach a final denouement. The intentional incoherence of the actor-author’s plays reflects a postmodern conception of History, so that the theatre is denied the possibility of knowing and understanding a historical process which is seemingly chaotic and without absolute certainties. This is the main difference between Timpano and the so called “narratori” (Marco Paolini, Ascanio Celestini, ecc.) who in the last thirty years have used the stage as a place and time to investigate and explain the contradictions of the present or of the recent past

The primary headaches: genetics, epigenetics and a behavioural genetic model

The primary headaches, migraine with (MA) and without aura (MO) and cluster headache, all carry a substantial genetic liability. Familial hemiplegic migraine (FHM), an autosomal dominant mendelian disorder classified as a subtype of MA, is due to mutations in genes encoding neural channel subunits. MA/MO are considered multifactorial genetic disorders, and FHM has been proposed as a model for migraine aetiology. However, a review of the genetic studies suggests that the FHM genes are not involved in the typical migraines and that FHM should be considered as a syndromic migraine rather than a subtype of MA. Adopting the concept of syndromic migraine could be useful in understanding migraine pathogenesis. We hypothesise that epigenetic mechanisms play an important role in headache pathogenesis. A behavioural model is proposed, whereby the primary headaches are construed as behaviours, not symptoms, evolutionarily conserved for their adaptive value and engendered out of a genetic repertoire by a network of pattern generators present in the brain and signalling homeostatic imbalance. This behavioural model could be incorporated into migraine genetic research

La lingua del corpo. Il teatro di Davide Enia

Davide Enia is one of the most significant authors and actors of the so-called “teatro di narrazione” (narrative theatre): this essay traces his career and production, from the beginnings in the early 2000s to the more recent L’abisso (2018), which is an adaptation of one of his own novels entitled Appunti per un naufragio. Finally, the essay also analyses the “language of the body” that the author-actor elaborates for his monological storytelling. The expression is purposefully ambivalent since it refers to both the mix of dialect and Italian which Enia uses on stage (as well as in his written work), and his particular “talking with the hands” – the hyper-realistic, hyperbolic, and cartoonish gestures that accompany his oral presentations.Davide Enia è uno degli autori-attori più significativi del cosiddetto “teatro di narrazione”: il presente articolo ne ripercorre la carriera e la produzione, a cominciare dagli esordi nei primi Duemila fino al recente L’abisso (2018), derivato da una riduzione del romanzo dello stesso Enia intitolato Appunti per un naufragio. Infine, si analizza la “lingua del corpo” che l’autore-attore elabora per le sue affabulazioni monologiche: si tratta di un’espressione ambivalente, dal momento che si riferisce a quell’impasto di dialetto e lingua nazionale di cui Enia si serve sulla scena (ma anche nella pagina a stampa), ma al contempo indica il peculiare “parlare con le mani” dello stesso performer, che accompagna l’esposizione orale del testo con una gestualità iperrealistica, iperbolica, fumettistica

Identidad, escritura, performance: Marco Paolini, actor y autor

Marco Paolini es uno de los más representativos actores y autores del llamado "teatro di narrazione". El presente artículo pretende acercarse a algunos aspectos centrales de su poética en tanto actor y escritor, tales como los complejos y articulados procesos a través de los cuales llega a un (más o menos) definitivo texto escrito; la fuerte relación que establece entre él y su público, a quien Paolini siempre se dirige consciente y explícitamente con gags y "bromas" en ocasiones tomados de la tradición del teatro popular italiano; o el "lenguaje del cuerpo" que Paolini pone en práctica en el escenario y en las páginas de sus libros publicados, en el que (de un modo personal) mezcla el italiano, dialectos venecianos y ecos de poetas y escritores de la tradición literaria italiana

Engagement, comunicazione e consolazione nel teatro dei narratori

In the context of the Italian theatre of the second half of the twentieth century, mostly characterized by a propensity towards the aesthetic and the formalistic, the productions of the narratori (storytellers) are often charged with an ethical and civil value, following in the footsteps of Dario Fo in whose giullarate it is possible to identify the archetype of a storytelling theatre based on a strong political engagement. The narratori, indeed, investigated the most significant tragedies of Italian public history and the contradictions of contemporaneity. However, many narrative shows – despite their antagonistic and counter-informative intent – risk becoming somehow consolatory. Since their spectators usually share the same political and ideological values as the narratori themselves, they tend to listen to their words for confirmation of the goodness and equity of their own ideas. Another point to consider is that the success of the narratori has led a large number of actors and even amateur actors (journalists, scientists, and writers) to stage narrative shows, with an unavoidable and progressive attrition of the model taken as an exampleNel contesto del teatro italiano del secondo Novecento, perlopiù dominato da orientamenti estetizzanti e formalistici, le produzioni dei narratori – secondo la lezione di Dario Fo, nelle cui “giullarate” è possibile individuare l’archetipo di un teatro affabulativo, dominato da un forte impegno politico – si sono spesso caricate di una valenza etica e civile, dal momento che i narratori hanno investigato soprattutto le grandi tragedie della Storia pubblica italiana e le aporie della contemporaneità. Tuttavia, il rischio di molti spettacoli di narrazione è che l’intento antagonista o contro-informativo sfumi in una dimensione “consolatoria”, dal momento che spesso il pubblico dei narratori è preventivamente allineato sulle posizioni politico-ideologiche trasmesse dal palco, per cui finisce per cercare nelle parole del narratore la conferma della bontà e della giustizia delle proprie idee. Senza dimenticare che il successo dei narratori ha indotto una grande quantità di teatranti e addirittura di personalità non professioniste della scena (giornalisti, scienziati, scrittori, ecc.) ad allestire spettacoli di affabulazione con un’inevitabile logoramento del modello preso ad esempio

GRAd-COV2, a gorilla adenovirus-based candidate vaccine against COVID-19, is safe and immunogenic in younger and older adults

International audienceSafe and effective vaccines against coronavirus disease 2019 (COVID-19) are essential for ending the ongoing pandemic. Although impressive progress has been made with several COVID-19 vaccines already approved, it is clear that those developed so far cannot meet the global vaccine demand alone. We describe a COVID-19 vaccine based on a replication-defective gorilla adenovirus expressing the stabilized prefusion severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) spike protein named GRAd-COV2. We assessed the safety and immunogenicity of a single-dose regimen of this vaccine in healthy younger and older adults to select the appropriate dose for each age group. For this purpose, a phase 1, dose-escalation, open-labeled trial was conducted including 90 healthy participants (45 aged 18 to 55 years old and 45 aged 65 to 85 years old) who received a single intramuscular administration of GRAd-COV2 at three escalating doses. Local and systemic adverse reactions were mostly mild or moderate and of short duration, and no serious adverse events were reported. Four weeks after vaccination, seroconversion to spike protein and receptor binding domain was achieved in 43 of 44 young volunteers and in 45 of 45 older participants. Consistently, neutralizing antibodies were detected in 42 of 44 younger-age and 45 of 45 older-age volunteers. In addition, GRAd-COV2 induced a robust and T helper 1 cell (T H 1)-skewed T cell response against the spike protein in 89 of 90 participants from both age groups. Overall, the safety and immunogenicity data from the phase 1 trial support the further development of this vaccine