Dramaturgia do aqui e agora: presença, recepção e sentido no corpo do ator

The actor is an actor during all the phases of creation and development of his character. (S) He goes beyond the moment of interpreting. In this sense, in her (his) daily life, the actor may use her (his) potential to extract from reality the necessary elements for the work of creation. This is a theoretical research which focus on the concept of presence in the actor s work, stretching the concept beyond the scene, encompassing different components such as the body, the word, the silence, the technique and the acting as the actor s stance in regards to his own reality. The objective of such stance is to integrate him (her) self in the environment, balancing his (hers) inner life with the outside life flow. To reach this objective, the research drew theoretical resources from the concept of presence in the actor s work according to BROOK, BARBA, GROTOWSKI and MNOUCHKINE and the studies on reception theory in ISER, 1996; GUMBRECHT, 2010. Thus, the dialogue between reader and actor high lights both as receivers in this work. A practical description of a street theater Kamchàtka show, featured by the Kamchàtka Company is used as an example of the research on the presence. The elements localized in this show are: play, listening, word, silence, meaning, relationship with here and now and the effects of the said presence

Dramaturgia do aqui e agora: presença, recepção e sentido no corpo do ator

The actor is an actor during all the phases of creation and development of his character. (S) He goes beyond the moment of interpreting. In this sense, in her (his) daily life, the actor may use her (his) potential to extract from reality the necessary elements for the work of creation. This is a theoretical research which focus on the concept of presence in the actor s work, stretching the concept beyond the scene, encompassing different components such as the body, the word, the silence, the technique and the acting as the actor s stance in regards to his own reality. The objective of such stance is to integrate him (her) self in the environment, balancing his (hers) inner life with the outside life flow. To reach this objective, the research drew theoretical resources from the concept of presence in the actor s work according to BROOK, BARBA, GROTOWSKI and MNOUCHKINE and the studies on reception theory in ISER, 1996; GUMBRECHT, 2010. Thus, the dialogue between reader and actor high lights both as receivers in this work. A practical description of a street theater Kamchàtka show, featured by the Kamchàtka Company is used as an example of the research on the presence. The elements localized in this show are: play, listening, word, silence, meaning, relationship with here and now and the effects of the said presence

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...

A dimensão simbólica e midiática da política e a história da dona de casa que virou guerreira : a construção da imagem pública de Wilma de Faria em 2002 e 2006

This paper examines two aspects. First, the symbolic dimension of politics and some of the elements that make up this universe, as the scenario, the representation, the myth, the spectacle, the media and the political and electoral marketing. We assume that the policy brings together a set of traits related to both reason and the human subjectivity, and can not be summed up in just a few calculations based on rationality. In the case of elections, in a process (ritual, according Irlys Barrier) of choice, there is a meeting of two systems of representations: to that transmitted by a political actor, in a scene from a particular context, based on a life trajectory unique, and the other from the public, crossed by social relations, situations own wishes, desires, expectations and unique perspectives. Between them there are the means of mass media (especially television), and with them the advent of language media and advertising applied to politics, changing the layout of public visibility and inaugurating what Rejane Accioly Carvalho will call the "aesthetics of mostrabilidade". This does not necessarily mean a preponderance of media on politics as a whole but only its adaptation to that with regard to contact with the public, the ad extra portion of the policy, according to Wilson Gomes. In a second aspect, try to apply these elements to a specific study to verify them in building an effective public image, in this case, the current governor of Rio Grande do Norte, Wilma de Faria. The concept of public image is from the book of Wilson Gomes The transformation was visible in the mass media, and relates to a conceptual image to fix "personality traits" through political history, personal conduct, action of image makers and the public reception. For this we will review some videos aired on Free Time for political propaganda in the years 2002 and 2006.

Protagonismo silencioso: a presença da OPAS na formação de recursos humanos em saúde no Brasil

The aim of this study is to assess the contribution of the Pan American Health Organization (PAHO) to the field of human resources for health in Brazil. The assumption is that this organization not only influenced the development of this field, but but that it was also influenced by Brazilian institutions and by national political movements, through the interaction of its consultants with these movements. Four projects were selected, through which the contribution of PAHO was evaluated: the Program for the Strategic Preparation of Health Personnel (PPREPS), the Project for the Large Scale Formation of Middle and Low Level Personnel (Large Scale Project), the Project for Qualification in the Development of Human Resources in Health (CADRHU) and the Project for the Managerial Development of Basic Units of the National Health System (GERUS). To operacionalize the study, we used three basic complementary procedures: a bibliographic research, documental research and an interview. The time frame considered was from 1975, the year an agreement was signed between PAHO, the Ministry of Health and the Ministry of Education and Culture, establishing PPREPS. It was through this program that the first PAHO team of national human resource consultants was contracted. The period between 1975 and 1999 was marked by political and social movements that changed the course of health in the country; among these was the Movement of Sanitary Reform in Brazil, which culminated in the implementation of the National Health System (SUS). This paper shows the connections of the PAHO consultants with this movement and the implications that this had for the Program of Cooperation in the Development of Human Resources of PAHO/Brazil. It also demonstrates that as the program became contaminated by national movements of health system reorganization and of democratization of Brazilian society, it proposed, in cooperation with national institutions, an organization of determinate areas of operation of these same institutions. The manuscript further reveals that, with the Large Scale Project, the human resources program determined the pedagogical and methodological option that would be the model for various other educational projects undertaken by a number of Brazilian institutions with the technical cooperation of PAHO. And finally, the repercussions and contributions of these projects, which strengthened the the field of human resources in the public health services of the country, are identified. Data analysis was based mainly on the theories of Bourdieu, Gramsci and Freire

Cinge a musa o oráculo da tradição: revelações perenes da narrativa em contos de Perrault

Le présent ouvrage comprend des versions comparatives de neuf contes de Perrault, parmi les plus célèbres, publiés dans des éditions intégrales, au Brésil, entre 1934 et 2005. L analyse comparative donne la priorité à l identification des éléments relatifs à l oralité, comme ceux qui appartiennent, selon Ong (1998) et Havelock (1996), à des contextes de cultures antérieures à l épanouissement de l écriture et qui donc élaboraient ses propres structures de pensée et d expression pour interagir dans la vie pratique comme dans la création, dans la transmission et la manutention des coutumes et traditions. Issus des premiers récits, les contes de Perrault, traduits ou adaptés au Brésil, gardent en eux l esprit du langage narratif auquel l auteur français a consagré une attention spéciale, pour transposer dans l écrit quelques récits de la grande expérience humaine née dans le milieu populaire et qui désormais intègrent l espace de l écriture à chaque nouvelle version produite. Les bagages formulaires, comme les épithètes, les interventions du narrateur et la propre relation des signifations de l intrigue avec les structures de l imaginaire toujours présentes dans l humanité, démontrent le rapprochement entre l oralité et écriture. En suivant les discussions théoriques de Zumthor (1993, 1997, 2000) et par l interation du lecteur avec le texte, on constate que ces éléments relatifs à l oralité rendent possibl existence d une performance dans l écrit a partir des impressions cinesthésiques qui chaque lecture provoque chez le lecteur et récepteur d un texte narratif qui revendique, automatiquement, la construction d une ouvrage seulement possible à chaque instant de l interation, par le processus esthétique de la réception. Même au niveau d écrit, ou l intensité de sa présence est diminuée en raison de l absence d un corps physique qui transmet, qui développe, qui opere littéralement le texte par la voix et qui réunit l écoute et la vision de l auditeur, la performance produite s interpose entre le corps du lecteur qui agit sur le texte et en même temps reçoit les sensations lui permettant l expérience esthétique. Ainsi, dans l expérience de la lecture de Contes de Perrault est possible percevoir les éléments qui renvoient à la forme du conte de tradition populaire. Même déjà influencée par l écrit, le lecteur peut identifier, dans cette oeuvre, les possibilités determinantes de la dynamique perpétuel dans la transmission de ses textes: le plaisir de la pratique de l écoute des histoires contées oralement et le plaisir de la pratique de lectures silencieuses et solitaires. Dans ce chemin le lecteur devoit chercher les sens perdus, ici, rencontrés avec l aide des discours littéraires, linguistique, folklorique, anthropologique et psycanalytique sur la surface du texte narratif merveilleux. Outre cela, ces discours collaborent avec le lecteur qui retrouvent les voix emprisonnées par l écrit dans la virtualité et dans émergence d une performance

Eu não vi, eles me contaram. Uma experiência de transmissão e recepção oral no cotidiano dos sem-terra

Conselho Nacional de Desenvolvimento Científico e Tecnológico

Cinema itinerante no Rio Grande do Norte: aspectos da recepção

In itinerant film projects made in Brazil, the unique experience of watching movies on the big screen is held in open spaces, through the establishment of a contemporary ritual, under which the presence of spectators is primordial. Considering this dynamic of the performance of itinerant cinema, the main objective of this research is to analyze the process of reception of the spectators of the sessions of Cine Sesi Cultural, conducted by the Social Service Industry - Sesi, in Rio Grande do Norte state. The body of research was composed by the audience of the movie sessions of the edition developed in 2010. Analyses were made from the look on the specific audience of open sessions of this cinema project throughout a case study. Theoretical authors of Latin American as Jesus Martin-Barbero, Guillermo Orozco, Eliseo Veron and Nestor Garcia Canclini, which have important theoretical basis for the analysis of research on the cinematographic reception of the spectators, were taken as a basis. In this discussion are associated with contributions from Brazilian authors as Roseli Paulino, Fernando Mascarello, Mauro Wilton Souza, Nilda Jacks and Carolina Escostesguy. Besides the reception study, the research focuses on aspects that relate to and explain the circumstances in which itinerant cinema emerges as an alternative exhibition, for example, the context of the exhibition of films in the country, lack of public policies in the audiovisual sector, and mainly the closing of movie theaters in the inner cities of the country and the consequent migration of these rooms to the malls. Seeking to reduce the existing gap in the studies of the reception of spectators to the cinema in the country, this research presents a deeper analysis of the reception of the public of the itinerant cinema as a contribution to an important database for the diagnosis of projects such as the Cine Sesi Cultural

Estudo da imunoexpressão de RANKL e OPG, do índice angiogênico (CD34) e da presença de miofibroblastos (α-SMA) em ceratocistos odontogênicos isolados e associados à síndrome de Gorlin

The odontogenic keratocysts are distinguished from other odontogenic cystic lesions by their potentially aggressive clinical behavior and association, in some cases, with Gorlin syndrome. Studies have suggested that syndrome keratocysts, in comparison with sporadic lesions, have higher growth and infiltration capacity and higher recurrence tendency. The aim of this study was to analyze, by means of immunohistochemistry, the expressions of receptor activator of nuclear factor κB ligand (RANKL) and osteoprotegerin (OPG), the angiogenic index (CD34) and the presence of myofibroblasts (α-SMA) in primary and recurrent sporadic keratocysts and in keratocysts associated with Gorlin syndrome. The sample was composed by 30 sporadic keratocysts (22 primary and 8 recurrent) and 22 syndrome keratocysts. In the epithelium and in the fibrous capsule of the lesions, the immunoexpression of RANKL and OPG was evaluated by determination of the percentage of positive cells, according to the following scores: 0 (less than 10% of positive cells), 1 (11% - 50% of positive cells), 2 (51% - 75% of positive cells) and 3 (more than 76% of positive cells). In addition, cases were classified according to the RANKL score/ OPG score ratio, as follows: RANKL > OPG, RANKL < OPG, and RANKL = OPG. The angiogenic index was analyzed by counting the microvessels immunoreactive to anti-CD34 antibody in 5 fields (200). The analysis of myofibroblasts was performed by counting the cells immunoreactive to anti-α-SMA antibody in 10 fields (400). The analysis of the expressions of RANKL and OPG in the epithelial lining and in the fibrous capsule did not reveal significant differences between groups (p > 0.05). Regarding the RANKL/ OPG ratio in the epithelial lining, most sporadic primary (54.5%) and syndrome lesions (59.1%) showed RANKL < OPG ratio and RANKL = OPG ratio, respectively (p > 0.05). With respect to the RANKL/ OPG ratio in the fibrous capsule, the majority of sporadic primary (81.8%) and sporadic recurrent lesions (75.0%) and most syndrome lesions (45.5%) showed RANKL = OPG ratio (p > 0.05). The mean number of microvessels was 69.2 in sporadic primary lesions, 67.6 in recurrent lesions, and 71.6 in syndrome lesions, with no significant differences between groups (p > 0.05). The mean number of myofibroblasts was 34.4 in sporadic primary lesions, 29.3 in recurrent lesions, and 33.7 in syndrome lesions, with no significant differences between groups (p > 0.05). In conclusion, the results of the present study suggest that the differences in the biological behavior between sporadic keratocysts and keratocysts associated with Gorlin syndrome may not be related to the expressions of RANKL and OPG, the RANKL/ OPG ratio, the angiogenic index or the number of myofibroblasts in these lesions

A representação social de educação tecnológica de docentes da Rede Federal de Educação Profissional e Tecnológica: CEFETs do Rio Grande do Norte

The aim of this study was to investigate the social representation of technological education teachers at the Federal Technological Education Network. The survey was conducted from 2007 to 2010, and the respondents were 275 teachers, 135 of the Federal Center for Technological Education (CEFET in portuguese) in the state of Amazonas, in Manaus unit headquarters; 140 of the CEFET in the state of Rio Grande do Norte, a unit based in Natal. We adopt the concept of technological education as the top level of professional education, that is to say, the undergraduate programs of short duration called technological courses. The Federal Technological Education Network gathers hundreds of related institutions, coordinated and supervised by the Office of Vocational and Technological Education of the Ministry of Education. Although many of these institutions offer courses in technology education, no research addressing this subject from the perspective of Social Representations Theory (SRT) was found in the literature. We seek to unravel the social representation of technological education of the teachers by adopting the procedural approach of SRT. This is a qualitative approach, focusing on significant aspects of the representative activity and the formation mechanisms of the representation. Therefore, we search the socio-genesis of the representation in the articulations between discourses, social institutions and practices. We initiated the research through applying critical reading and an analytical perspective on the historical and regulatory documents of technological education in Brazil, from the early twentieth century to the present day. We adopt the Procedure for Multiple Classifications (PMC) from the Free Words Association Technique (FWAT) to access the elements of representational content. For the analysis of the data obtained with FWAT and selection of major words / phrases pertinent to the semantic field of education technology, we used Hamlet II software. For the data analysis of PMC and Free Classification (FC) we used the SPSS ® (Statistical Package for the Social Sciences) version 17.0 and used the method of multidimensional scaling - Multidimensional scaling - (MDS). The output from the central MDS takes the form of a set of scatterplots - "perceptual maps" - of which the points are the elements of the representational content. For the FC data analysis we used the Scalogram Multidimensional Analysis (SMA) - which makes use of the original data in its raw form and allows categorical data to be interpreted in the map as measures of (di)similarity. In order to help with the understanding of the settings of the perceptual maps of FC, we used the Content Analysis of the discourse fragments of the teachers interviewed. The results confirm our initial hypothesis regarding the presence of a single plot among the socio-cognitive study subjects, which is the basis for a social representation of technological education in line with the historic assumption of the dichotomy between mental and manual labor. In spite of the three merging representational elements of the representational content, the perceptual maps compiled from the MSA statistics corroborates the dichotomy, with the exception of the map relating to the subgroup of teachers belonging to the humanities

Um retrato do marginal brasileiro mediante o trabalho do ator com as personagens de Plínio Marcos em “Navalha na carne"

This thesis presented is to research the actor's work in the construction of physical actions, according to the methodology developed by Constantin Stanislavski in his analysis of dramatic action, called "method of physical action", applied to questions of scenic representation of the Brazilian marginal, according to the look "cruel" and realistic / naturalistic Plinio Marcos playwright. Based on the circumstances given by Pliniano universe, the intention is to contribute to the reflection on the actor's work on the scene with the marginal characters in "Razor in the Flesh", highlighting some important aspects, to assist in the construction of this fictional world. You want to create conditions for the formation of an actor that leverages the scene the contradictions and conflicts of this work. The research aims from the theoretical and practical study as a methodological hypothesis, producing critical reflection from the creative process of the agent with the realization of a scenic experiment focused on psychophysical technique of this Russian pedagogue. Thus, we intend to have a look at the method of physical actions focusing on his last great contribution to the work, especially the procedure of active analysis by doing a reading from "Razor in the Flesh" through this creative scenic exercise, extending the studies concerning the actor's art. This research is a general explanation about the trajectory of Stanislavski to his encounter with the physical action, while, highlights the inconsistencies of understanding of his work around the world. Stanislavski initially developed the "method" having as a backdrop, the realist aesthetic - a dialogue relationship between reality and the scene - through a style which creates a theatrical reality, and consequently, artistic, not literally naturalistic way through an integral mimicry. That is, the representation of work in realistic theater aesthetics should be developed in order to create a theatrical reality. Stanislavski believes that theater is convention, since the actor's work on himself should encourage this second nature, scenic.

Estrutura crustal e mantélica da província Borborema através de funções do receptor e dispersão de ondas superficiais

The Borborema Province, located in northeastern Brazil, has a basement of Precambrian age and a tectonic framework structured at the Neoproterozoic (740-560 Ma). After separation between South America and Africa during the Mesozoic, a rift system was formed, giving rise to a number of marginal and inland basins in the Province. After continental breakup, episodes of volcanism and uplift characterized the evolution of the Province. Plateau uplift was initially related to magmatic underplating of mafic material at the base of the crust, perhaps related to the generation of young continental plugs (45-7 Ma) along the Macau-Queimadas Alignment (MQA), due to a small-scale convection at the continental edge. The goal of this study is to investigate the causes of intra-plate uplift and its relationship to MQA volcanism, by using broadband seismology and integrating our results with independent geophysical and geological studies in the Borborema Province. The investigation of the deep structure of the Province with broadband seismic data includes receiver functions and surface-wave dispersion tomography. Both the receiver functions and surface-wave dispersion tomography are methods that use teleseismic events and allow to develop estimates of crustal parameters such as crustal thickness, Vp/Vs ratio, and S-velocity structure. The seismograms used for the receiver function work were obtained from 52 stations in Northeast Brazil: 16 broadband stations from the RSISNE network (Rede Sismográfica do Nordeste do Brasil), and 21 short-period and 6 broadband stations from the INCT-ET network (Instituto Nacional de Ciência e Tecnologia – Estudos Tectônicos). These results add signifi- cantly to previous datasets collected at individual stations in the Province, which include station RCBR (GSN - Global Seismic Network), stations CAUB and AGBL (Brazilian Lithosphere Seismic Project IAG/USP), and 6 other broadband stations that were part of the Projeto Milênio - Estudos geofísicos e tectônicos na Província Borborema/CNPq. For the surface-wave vii tomography, seismograms recorde at 22 broadband stations were utilized: 16 broadband stations from the RSISNE network and 6 broadband stations from the Milênio project. The new constraints developed in this work include: (i) estimates of crustal thickness and bulk Vp/Vs ratio for each station using receiver functions; (ii) new measurements of surfassewave group velocity, which were integrated to existing measurementes from a continental-scale tomography for South America, and (iii) S-wave velocity models (1D) at various locations in the Borborema Province, developed through the simultaneous inversion of receiver functions and surface-wave dispersion velocities. The results display S-wave velocity structure down to the base of the crust that are consistent with the presence of a 5-7.5 km thick mafic layer. The mafic layer was observed only in the southern portion of the Plateau and absent in its northern portion. Another important observation is that our models divide the plateau into a region of thin crust (northern Plateau) and a region of thick crust (southern Plateau), confirming results from independent refraction surveys and receiver function analyses. Existing models of plateau uplift, nonetheless, cannot explain all the new observations. It is proposed that during the Brazilian orogeny a layer of preexisting mafic material was delaminated, as a whole or in part, from the original Brasiliano crust. Partial delamination would have happened in the southern portion of the plateau, where independent studies found evidence of a more resistant rheology. During Mesozoic rifting, thinning of the crust around the southern Plateau would have formed the marginal basins and the Sertaneja depression, which would have included the northern part of the Plateau. In the Cenozoic, uplift of the northern Plateau would have occurred, resulting in a northern Plateau without mafic material at the base of the crust and a southern Plateau with partially delaminated mafic layer.

Expressão imuno-histoquímica do ativador de plasminogênio do tipo uroquinase e seu receptor em carcinoma epidermoide de língua oral e sua relação com parâmetros clínico-patológicos

Squamous cell carcinoma (SCC ) is the most common malignancy of the oral cavity (OSCC), with a high mortality rate. Due to this, the discovery of biomarkers that facilitate the understanding of the biological behavior of the tumor and improve treatment is necessary. Urokinase type plasminogen activator (uPA) and its receptor, uPAR, are responsible for the proteolysis of structures of the basement membrana and extracellular matrix, facilitating tumor invasion. This study aims to assess the immuno expression of these proteins in 46 cases of squamous cell carcinoma of the oral tongue (OTSCC). These results were related to the presence of metastasis, clinical TNM staging, locoregional recurrence, outcome of the lesion and histological grading. Immunostaining of each case was evaluated semiquantitatively, in the front of invasion and center of the tumor, in which scores were assigned: 0 (0% of positive cells), 1 (1-10% of positive cells), 2 (11 -50% positive cells) and 3 (more than 50% positive cells). The expression of uPA was observed in 93.5% (n=43) of the cases in the front of invasion, with predominance of score 2 (n=16; 34.8%) and in 67.9% (n=31) of the cases in the center of the tumor, with predominance of score 1 (n=15; 32.6%). Overall, the immunoexpression of uPA was not associated with clinical parameters. Regarding the malignant histological grading, a higher expression of uPA was observed in cases of high-grade malignancy comp ared to low-grade malignancy (p=0.05). Regarding the morphological parameters, increased expression of uPA was observed in the worst mode of invasion (p=0.03 ). The expression of uPAR was observed in 73.9% of cases in the front of invasion, with a predominance of score 1 (n=21; 45.6 %), and in 47.5% (n=21) of the cases in the center of the tumor, with a predominance of score 0 (n=25; 54.4%). Although no statistical differences were observed in relation to lymph node metastasis, clinical TNM staging, outcome, and histological grading, there was a higher expression of uPAR in cases with locoregional recurrence (p=0.04). Regarding the tumor intra -localization, it was observed an increased expression of uPA and uPAR at the front of invasion in relation to the center of the tumor (p<0.001). Regarding the correlation between uPA and uPAR, there was no statistical sign ificance. Based on these results, it is suggested that uPA and uPAR are involved in the progression of CELO, mainly in the deeper region of the tumor.

Expressão imuno-histoquímica do ativador de plasminogênio do tipo uroquinase e seu receptor em carcinoma epidermoide de língua oral e sua relação com parâmetros clínico-patológicos

Squamous cell carcinoma (SCC ) is the most common malignancy of the oral cavity (OSCC), with a high mortality rate. Due to this, the discovery of biomarkers that facilitate the understanding of the biological behavior of the tumor and improve treatment is necessary. Urokinase type plasminogen activator (uPA) and its receptor, uPAR, are responsible for the proteolysis of structures of the basement membrana and extracellular matrix, facilitating tumor invasion. This study aims to assess the immuno expression of these proteins in 46 cases of squamous cell carcinoma of the oral tongue (OTSCC). These results were related to the presence of metastasis, clinical TNM staging, locoregional recurrence, outcome of the lesion and histological grading. Immunostaining of each case was evaluated semiquantitatively, in the front of invasion and center of the tumor, in which scores were assigned: 0 (0% of positive cells), 1 (1-10% of positive cells), 2 (11 -50% positive cells) and 3 (more than 50% positive cells). The expression of uPA was observed in 93.5% (n=43) of the cases in the front of invasion, with predominance of score 2 (n=16; 34.8%) and in 67.9% (n=31) of the cases in the center of the tumor, with predominance of score 1 (n=15; 32.6%). Overall, the immunoexpression of uPA was not associated with clinical parameters. Regarding the malignant histological grading, a higher expression of uPA was observed in cases of high-grade malignancy comp ared to low-grade malignancy (p=0.05). Regarding the morphological parameters, increased expression of uPA was observed in the worst mode of invasion (p=0.03 ). The expression of uPAR was observed in 73.9% of cases in the front of invasion, with a predominance of score 1 (n=21; 45.6 %), and in 47.5% (n=21) of the cases in the center of the tumor, with a predominance of score 0 (n=25; 54.4%). Although no statistical differences were observed in relation to lymph node metastasis, clinical TNM staging, outcome, and histological grading, there was a higher expression of uPAR in cases with locoregional recurrence (p=0.04). Regarding the tumor intra -localization, it was observed an increased expression of uPA and uPAR at the front of invasion in relation to the center of the tumor (p<0.001). Regarding the correlation between uPA and uPAR, there was no statistical sign ificance. Based on these results, it is suggested that uPA and uPAR are involved in the progression of CELO, mainly in the deeper region of the tumor.

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...