Tonsils of the soft palate do not mediate the response of pigs to oral vaccination with heat-inactivated Mycobacterium bovis

Mycobacterium bovis causes animal tuberculosis (TB) in cattle, humans, and other mammalian species, including pigs. The goal of this study was to experimentally assess the responses of pigs with and without a history of tonsillectomy to oral vaccination with heat-inactivated M. bovis and challenge with a virulent M. bovis field strain, to compare pig and wild boar responses using the same vaccination model as previously used in the Eurasian wild boar (Sus scrofa), to evaluate the use of several enzyme-linked immunosorbent assays (ELISAs) and lateral flow tests for in vivo TB diagnosis in pigs, and to verify if these tests are influenced by oral vaccination with inactivated M. bovis. At necropsy, the lesion and culture scores were 20% to 43% higher in the controls than those in the vaccinated pigs. Massive M. bovis growth from thoracic tissue samples was observed in 4 out of 9 controls but in none of the 10 vaccinated pigs. No effect of the presence or absence of tonsils was observed on these scores, suggesting that tonsils are not involved in the protective response to this vaccine in pigs. The serum antibody levels increased significantly only after challenge. At necropsy, the estimated sensitivities of the ELISAs and dual path platform (DPP) assays ranged from 89% to 94%. In the oral mucosa, no differences in gene expression were observed in the control group between the pigs with and without tonsils. In the vaccinated group, the mRNA levels for chemokine (C-C motif) receptor 7 (CCR7), interferon beta (IFN-β), and methylmalonyl coenzyme A mutase (MUT) were higher in pigs with tonsils. Complement component 3 mRNA levels in peripheral blood mononuclear cells (PBMC) increased with vaccination and decreased after M. bovis challenge. This information is relevant for pig production in regions that are endemic for M. bovis and for TB vaccine research.

Oral vaccination with heat inactivated Mycobacterium bovis activates the complement system to protect against tuberculosis

Tuberculosis (TB) remains a pandemic affecting billions of people worldwide, thus stressing the need for new vaccines. Defining the correlates of vaccine protection is essential to achieve this goal. In this study, we used the wild boar model for mycobacterial infection and TB to characterize the protective mechanisms elicited by a new heat inactivated Mycobacterium bovis vaccine (IV). Oral vaccination with the IV resulted in significantly lower culture and lesion scores, particularly in the thorax, suggesting that the IV might provide a novel vaccine for TB control with special impact on the prevention of pulmonary disease, which is one of the limitations of current vaccines. Oral vaccination with the IV induced an adaptive antibody response and activation of the innate immune response including the complement component C3 and inflammasome. Mycobacterial DNA/RNA was not involved in inflammasome activation but increased C3 production by a still unknown mechanism. The results also suggested a protective mechanism mediated by the activation of IFN-γ producing CD8+ T cells by MHC I antigen presenting dendritic cells (DCs) in response to vaccination with the IV, without a clear role for Th1 CD4+ T cells. These results support a role for DCs in triggering the immune response to the IV through a mechanism similar to the phagocyte response to PAMPs with a central role for C3 in protection against mycobacterial infection. Higher C3 levels may allow increased opsonophagocytosis and effective bacterial clearance, while interfering with CR3-mediated opsonic and nonopsonic phagocytosis of mycobacteria, a process that could be enhanced by specific antibodies against mycobacterial proteins induced by vaccination with the IV. These results suggest that the IV acts through novel mechanisms to protect against TB in wild boar.

Oral re-vaccination of Eurasian wild boar with Mycobacterium bovis BCG yields a strong protective response against challenge with a field strain

BACKGROUND Field vaccination trials with Mycobacterium bovis BCG, an attenuated mutant of M. bovis, are ongoing in Spain, where the Eurasian wild boar (Sus scrofa) is regarded as the main driver of animal tuberculosis (TB). The oral baiting strategy consists in deploying vaccine baits twice each summer, in order to gain access to a high proportion of wild boar piglets. The aim of this study was to assess the response of wild boar to re-vaccination with BCG and to subsequent challenge with an M. bovis field strain. RESULTS BCG re-vaccinated wild boar showed reductions of 75.8% in lesion score and 66.9% in culture score, as compared to unvaccinated controls. Only one of nine vaccinated wild boar had a culture-confirmed lung infection, as compared to seven of eight controls. Serum antibody levels were highly variable and did not differ significantly between BCG re-vaccinated wild boar and controls. Gamma IFN levels differed significantly between BCG re-vaccinated wild boar and controls. The mRNA levels for IL-1b, C3 and MUT were significantly higher in vaccinated wild boar when compared to controls after vaccination and decreased after mycobacterial challenge. CONCLUSIONS Oral re-vaccination of wild boar with BCG yields a strong protective response against challenge with a field strain. Moreover, re-vaccination of wild boar with BCG is not counterproductive. These findings are relevant given that re-vaccination is likely to happen under real (field) conditions.

Protection against Tuberculosis in Eurasian Wild Boar Vaccinated with Heat-Inactivated Mycobacterium bovis

Tuberculosis (TB) caused by Mycobacterium bovis and closely related members of the Mycobacterium tuberculosis complex continues to affect humans and animals worldwide and its control requires vaccination of wildlife reservoir species such as Eurasian wild boar (Sus scrofa). Vaccination efforts for TB control in wildlife have been based primarily on oral live BCG formulations. However, this is the first report of the use of oral inactivated vaccines for controlling TB in wildlife. In this study, four groups of 5 wild boar each were vaccinated with inactivated M. bovis by the oral and intramuscular routes, vaccinated with oral BCG or left unvaccinated as controls. All groups were later challenged with a field strain of M. bovis. The results of the IFN-gamma response, serum antibody levels, M. bovis culture, TB lesion scores, and the expression of C3 and MUT genes were compared between these four groups. The results suggested that vaccination with heat-inactivated M. bovis or BCG protect wild boar from TB. These results also encouraged testing combinations of BCG and inactivated M. bovis to vaccinate wild boar against TB. Vaccine formulations using heat-inactivated M. bovis for TB control in wildlife would have the advantage of being environmentally safe and more stable under field conditions when compared to live BCG vaccines. The antibody response and MUT expression levels can help differentiating between vaccinated and infected wild boar and as correlates of protective response in vaccinated animals. These results suggest that vaccine studies in free-living wild boar are now possible to reveal the full potential of protecting against TB using oral M. bovis inactivated and BCG vaccines

William Layton en España

This year 2015 marks the 55th anniversary of the establishment in Spain of the first theatre academy whose methodological principles for actors were based on the Stanislavski system —although transformed by the perspective of the Method, developed in America by the Group Theatre during the 1930s and then implanted in some famous schools such as the Actor’s Studio—. It was in October 1960 when the American actor, teacher and director William Layton (1913-1995) opened the Teatro Estudio de Madrid (TEM). By then, he had already been living in Spain for two years. In that adventure Layton was accompanied by the Spanish Miguel Narros (a stage director) and the American Elizabeth H. Buckley. This private academy began its activity by offering the Method, a discipline that Layton had learned in his country with Sandford Meisner; one member of the Group Theatre along with Lee Strasberg, Stella Adler, Harold Clurmann or Elia Kazan. Thanks to the TEM, concepts till then completely unknown in Spanish academic venues for actors such as organicity, truth, mood, sensory memory, etc., started being implemented in the theatrical interpretation. Firstly, in exercises of improvisation; secondly, in scenes and characters; and finally, after a time of performing, those concepts were tested in the scenarios, by display to the public, which is the biggest challenge for any actor, author or director. That way, a singular model of interpretation, a naturalistic type, which have prevailed in the West over other ways of interpreting, came to Spain. A system (which could be defined as organic interpretation) that had been systematized by the Russian Konstantin Stanislavski in the early twentieth century and rapidly was exported abroad by some of his first students: Richard Boleslavsky, Maria Ouspenskaya, Michael Chekhov, Pietro Scharoff, P. Pauloff... Its popularity in the USA increased mainly due to the Actor’s Studio and also thanks to professor Lee Strasberg, through the famous Method working. While in 1960 Layton founded in Madrid the TEM, together with Narros and Buckley, the Brechtian technique was arriving to Barcelona. In that city, Ricard Salvat —who had trained in Germany— and Maria Aurélia Capmany opened the School of Dramatic Art Adrià Gual (EADAG). From Catalonia and over the years, this center will project the first formulas about “distancing”. That way, after decades of delay, that same year 1960 landed in Spain two key trends that shaped and influenced the development of Western theatrical art in the first half of the twentieth century. SYNTHESIS: The knowledge and deep analysis of William Layton’s work as acting teacher in Spain will allow us to get closer to a major figure in the history of theater education in our country. Our main goal is to demonstrate that he was responsible for breaking the isolation that, from secular times, suffered the training of actors in Spain. Layton not only did achieve that, but did it consistently, without interruption. Also, by analyzing his work as stage manager, we will discover how this methodology was implemented in two aspects regarding the theatrical play: in the actor himself and in the dramatic text...

Del teatro al cine: hacia una teoría de la adaptación. (Tres versiones de Macbeth)

¿De qué se componen los sistemas semióticos propios de cada lenguaje, el dramático y el cinematográfico? ¿Cuáles son los complejos procesos de transformación por los que un texto dramático se convierte en una función teatral o bien en una obra fílmica? ¿Qué diferencia esencialmente la recepción de ambas obras? Y, finalmente, ¿existe la posibilidad de una teoría que estudie sistemáticamente el fenómeno de la adaptación? Estas son las preguntas que voy a tratar de responder en este trabajo, que llevarán a elaborar un esbozo de teoría de la adaptación del modo dramático al cinematográfico. Como cimientos previos a la elaboración de esta investigación, planteo un acercamiento a las teorías dramáticas y cinematográficas. Las fuentes que utilizo son, en primer lugar, los estudios sobre ambos sistemas semióticos. Para el estudio del drama utilizo el método de análisis dramatológico perfectamente sistematizado de José Luis García Barrientos en Cómo se comenta una obra de teatro (2001) y en Análisis de la dramaturgia. Nueve obras y un método (2007), complementándolo con las teorías de José Luis Alonso de Santos, Antonin Artaud, Ian Bernard, Keir Elam, John Gielgud, Roger Manvell, Vsévolod Emílievich Meyerhold, Konstantin Stanislavki y Anne Ubersfeld entre otros. Para el estudio de la teoría cinematográfica me apoyo en los estudios, principalmente, de Rudolph Arnheim, Henri Agel, Andrew Dudley, Daniel Arijon, Jacques Aumont y Michel Marie, Béla Balázs, André Bazin, David Bordwell y Kristin Thompson, Fernando Canet y Josep Prósper, Francesco Casetti, Sergei Eisenstein, Joaquín de Entrambasaguas, Jean Epstein, Susan Hayward, Siegfried Kracauer, Yuri Lotman, Marcel Martin, Christian Metz, Jean Mitry, Vsevolod Pudovkin, Vicente Sánchez Biosca y Robert Stam entre otros, quienes, en conjunto ofrecen un compendio muy amplio y dan una idea bastante completa y sistematizada del arte y lenguaje cinematográfico...