Consevatório Drámatico e Musical de São Paulo: a primeira escola de teatro do Brasil

This article studies the Drama and Music Conservatory of São Paulo as an acting school since its foundation in 1906. Although the institution is currently dedicated exclusively to music education, we need to remember that it was the first drama school in South America and represented an important aspect of the growth and modernization of theater in Sao Paulo in the early 1900s. It is on this latter aspect that this study focuses on as it provides background information and examines the role of the institution in the context of São Paulo and Brazilian theater of that period. The essay attempts to understand the artistic orientation of the acting program (until the 1940s when the course was eliminated) and to evaluate its merits and shortcomings throughout the years

Sistema em Leibniz e Descartes

Descartes concebe que a verdadeira ordem científica é a ordem das razões, na qual se parte das verdades mais fáceis e evidentes em direção às mais difíceis e complexas. Assim, estabelece-se uma ordem única, progressiva e irreversível, onde cada membro da cadeia depende daqueles que o antecederam, de modo que cada tese possui um lugar não-intercambiável dentro da doutrina. Leibniz, ao contrário, defende que "[...] uma mesma verdade pode ter vários lugares, conforme as diferentes relações que pode possuir" (Novos Ensaios, IV, XXI, § 4). A fim de evitar as repetições, reunindo-se o máximo de verdades no mínimo de volumes, o autor propõe que a melhor ordem científica é a disposição sistemática das matérias, que consiste em uma organização do saber na qual cada lugar reenvia a outros, tornando clara a conexão entre os conhecimentos. Em contraposição ao modelo de sistema cartesiano, no modelo leibniziano, as teses se fundamentam mutuamente e a ordem das verdades estabelecidas é reversível. Ora, é devido a essas diferenças na concepção de sistema que Leibniz, ao contrário de Descartes, pode pretender tomar o que há de melhor nos sistemas legados pela tradição para constituir o seu próprio sistema, já que para ele há uma certa maleabilidade na constituição do sistema filosófico.

A música em cena na Belle Époque paulistana

No período entre os últimos anos do século XIX até as duas primeiras décadas do século XX, tiveram lugar na cena musical paulistana gêneros teatrais cujo objetivo central era divertir o grande público acima de qualquer outra pretensão. Apesar de cada um deles ter suas próprias convenções e dinâmica de funcionamento, todos tinham na música elemento essencial ao espetáculo. A designação "teatro de revista" tornou-se referência e serviu para nomear um conjunto bem maior de modalidades, que inclui operetas, burletas, mágicas, vaudeviles, zarzuelas, fantasias, entre outras. Elemento importante na produção e divulgação da música no espaço urbano antes do aparecimento e consolidação dos meios de comunicação eletrônicos, o estudo do teatro musicado nos seus diversos e complexos aspectos pode ser fundamental para a compreensão do panorama da música e da cultura popular na cidade de São Paulo.

A teatralização da política: a propaganda abolicionista

Este artigo argumenta que, ao buscar modelos no repertório abolicionista estrangeiro para construir sua propaganda, os abolicionistas brasileiros viram suas possibilidades de escolha restritas pelas oportunidades políticas locais e pela tradição local católica. Contingências que impediram a simples transposição do modelo de ativismo estrangeiro e conduziram a uma atividade criativa de apropriação, em diálogo com o contexto e a tradição brasileiros. Processo que resultou numa reinvenção, uma vez que as artes, sobretudo o teatro, ganharam na propaganda abolicionista brasileira a proeminência que a religião teve na anglo-americana.

Early malnutrition decreases contrast sensitivity to circular concentric gratings

Early malnutrition refers to inadequate nutrition during the critical period of nervous system development followed by nutritional recovery, resulting in a short stature according to age but normal weight according to short stature. We measured the effects of early malnutrition on contrast sensitivity (CS) to concentric circular gratings in 18 children of both sexes, aged 8 to 11 years (mean = 9.2 years, standard deviation = .99 years). Nine of the children were eutrophic (E group), and nine experienced early malnutrition (EM group) based on state healthcare records and Waterlow's anthropometric parameters. Contrast sensitivity to four spatial frequencies (.25, 1.0, 2.0, and 8.0 cycles per degree [cpd]) was measured using a temporal two-alternative forced-choice psychophysical method with mean luminance of 40.1 cd/m². Statistical analyses showed significant differences between groups and a group × frequency interaction. EM group was significantly less sensitive than the E group to the 8.0 cpd frequency and needed 1.49-times more contrast to detect the gratings. These results suggest that early malnutrition impairs CS to high-spatial-frequency concentric circular gratings in children. Therefore, early malnutrition, which is known to affect primary visual cortical areas, may also affect higher visual cortical areas such as V4 and the inferotemporal cortex.

Nationen och hans hustru : Feminism och nationalism i Israel med fokus på Miriam Kainys dramatik

The aim of this thesis is to elucidate the tension between feminism and nationalism in Israel and to investigate the ways by which such discursive currents mark the identities of Israeli women. The specific field of investigation is Israeli theatre, and the identities examined are dramatic characters created by the Israeli playwright Miriam Kainy. Also examined is the character of the playwright herself. Theatre is being observed as a specific field of society in which the position of women can be clarified. What kind of women characters the Israeli theatre produces is therefore a leading question for this study. Feminist theories, focusing on gender aspects of power relations, together with the postcolonial perspective, which considers power relations by focusing on ethnicity and geopolitical aspects, provide the theoretical tools. The social constructionist viewpoint is used since it provides an appropriate understanding of important notions for the thesis, such as nation and identity, considering them as constructions created by discourse. The discourses focused upon are the national v. the feminist discourse and theatre is viewed as a discourse mediator, which is why the dramatic text is the object of the analysis. The specific method of analysis is inspired by Norman Fairclough’s critical discourse analysis. The main part of the thesis consists of a discursive analysis of five women characters, constructed within a period of about five decades, namely between the 1950s and 1990s. Each one of these characters consists of an articulation which is considered representative of a specific time-relevant discursive struggle between the two discourses in question. One of the central assumptions of the thesis is that the Israeli national identity is thoroughly masculine. The identity problems it has been causing Israeli women since the time of the pioneers until today are clearly illuminated throughout the analysis. The conclusion emphasises that the subjectpositions being introduced by Israeli national discourse, namely the ways of being a New Jew, an Israeli, collide with those introduced by feminist discourse, i.e. ways of being an independent woman subject. Nevertheless, each and every character demonstrates creative ways of transforming the discourses by aiming at a hybrid formation.

Path planning for image based visual servoing

This thesis deals with Visual Servoing and its strictly connected disciplines like projective geometry, image processing, robotics and non-linear control. More specifically the work addresses the problem to control a robotic manipulator through one of the largely used Visual Servoing techniques: the Image Based Visual Servoing (IBVS). In Image Based Visual Servoing the robot is driven by on-line performing a feedback control loop that is closed directly in the 2D space of the camera sensor. The work considers the case of a monocular system with the only camera mounted on the robot end effector (eye in hand configuration). Through IBVS the system can be positioned with respect to a 3D fixed target by minimizing the differences between its initial view and its goal view, corresponding respectively to the initial and the goal system configurations: the robot Cartesian Motion is thus generated only by means of visual informations. However, the execution of a positioning control task by IBVS is not straightforward because singularity problems may occur and local minima may be reached where the reached image is very close to the target one but the 3D positioning task is far from being fulfilled: this happens in particular for large camera displacements, when the the initial and the goal target views are noticeably different. To overcame singularity and local minima drawbacks, maintaining the good properties of IBVS robustness with respect to modeling and camera calibration errors, an opportune image path planning can be exploited. This work deals with the problem of generating opportune image plane trajectories for tracked points of the servoing control scheme (a trajectory is made of a path plus a time law). The generated image plane paths must be feasible i.e. they must be compliant with rigid body motion of the camera with respect to the object so as to avoid image jacobian singularities and local minima problems. In addition, the image planned trajectories must generate camera velocity screws which are smooth and within the allowed bounds of the robot. We will show that a scaled 3D motion planning algorithm can be devised in order to generate feasible image plane trajectories. Since the paths in the image are off-line generated it is also possible to tune the planning parameters so as to maintain the target inside the camera field of view even if, in some unfortunate cases, the feature target points would leave the camera images due to 3D robot motions. To test the validity of the proposed approach some both experiments and simulations results have been reported taking also into account the influence of noise in the path planning strategy. The experiments have been realized with a 6DOF anthropomorphic manipulator with a fire-wire camera installed on its end effector: the results demonstrate the good performances and the feasibility of the proposed approach.

Chortheater. Genesi di un modello Tipologie corali nel Novecento

In the Nineties year in the German Studies’ area appears a new reflection around the theatrical chorus thank to the activity of theatrical personalities as Heiner Müller, Einar Schleef, Elfriede Jelinek or Christoph Marthaler. So Hans Thies Lehmann, in his compendium about the Postdramatic Theater (Hans-Thies Lehmann, Postdramatisches Theater, Verlag der Autoren, Frankfurt am Main 1999) advances the new category of the Chortheater (Chor Theatre) to explain e new form of drama and performative event; again in 1999 appear the important essay of Detlev Baur (Detlev Baur, Der Chor im Theater des 20. Jahrhunderts. Typologie des theatralen Mittels Chor, Niemeyer, Tübingen 1999), that gives an important device about this instrument but without giving the reasons of the its modifications in such different historical times. Then in 2004, Erika Fischer-Lichte, (Theatre, Sacrifice, Ritual. Exploring Forms of Political Theatre, Routledge, London-New York 2005), reflects about the connection between ritual and theatre in the 20th Century. Thank to this studies the search aim was to give a new story of the chorus as theatrical and performative tool, in his liminal essence in creating immersive or alienating theatrical relation with the audience and to give specific features to distinguish it from general categories such as choral theatre o ensemble theatre.

Kraus e/o Shakespeare. Intertestualità in prospettiva: tradurre, citare, inscrivere

The thesis focuses on Karl Kraus’s rewritings of some Shakespeare plays and copes with the concepts of “translation” and “quotation” as commensurable forms of intertextuality. Building his Shakespeare’s Bearbeitungen as a montage of quotations of previous German translations, Karl Kraus creates a new kind of hybrid intertextuality that goes beyond the boundaries between quotation and translation. In my opinion, Karl Kraus understands quotation and translation as spatial concepts: in his rewritings he puts Shakespeare’s text into his geometrical and critical “perspective”. The thesis focuses also on the evolution of quotation and translation in Karl Kraus’s work: even maintaining their satirical and destruens function, they develop an “affirmative” role and are used in order to redefine the literary canon. The thesis investigates this form of intertextuality from a comparative point of view, referring to the translation studies (Hermans, Bassnett, Lefevere, Apel, Berman, Meschonnic), theories of intertextuality (Genette, Barthes, Worton, Orr), studies on quotation and montage (Compagnon; Möbius, Hage), and studies on Karl Kraus (Kraft, Ribeiro, Scheichl, Fischer, Timms, Canetti and the famous essay of Walter Benjamin). It also contains a survey of Theater der Dichtung’s historical framework and several comparisons between Karl Kraus’s and other early 20th translations of Shakespeare’s plays.

Il concetto di sezione nel metodo compositivo di Aldo Rossi.

Purpose of this research is to deepen the study on the section in architecture. The survey aims as important elements in the project Teatro Domestico by Aldo Rossi built for the XVII Triennale di Milano in 1986 and, through the implementation on several topics of architecture, verify the timeliness and fertility in the new compositional exercises. Through the study of certain areas of the Rossi’s theory we tried to find a common thread for the reading of the theater project. The theater is the place of the ephemeral and the artificial, which is why his destiny is the end and the fatal loss. The design and construction of theater setting has always had a double meaning between the value of civil architecture and testing of new technologies available. Rossi's experience in this area are clear examples of the inseparable relationship between the representation of architecture as art and design of architecture as a model of reality. In the Teatro Domestico, the distinction between representation and the real world is constantly canceled and returned through the reversal of the meaning and through the skip of scale. At present, studies conducted on the work of Rossi concern the report that the architectural composition is the theory of form, focusing compositional development of a manufacturing process between the typological analysis and form invention. The research, through the analysis of some projects few designs, will try to analyze this issue through the rules of composition both graphical and concrete construction, hoping to decipher the mechanism underlying the invention. The almost total lack of published material on the project Teatro Domestico and the opportunity to visit the archives that preserve the drawings, has allowed the author of this study to deepen the internal issues in the project, thus placing this search as a first step toward possible further analysis on the works of Rossi linked to performance world. The final aim is therefore to produce material that can best describe the work of Rossi. Through the reading of the material published by the same author and the vision of unpublished material preserved in the archives, it was possible to develop new material and increasing knowledge about the work, otherwise difficult to analyze. The research is divided into two groups. The first, taking into account the close relationship most frequently mentioned by Rossi himself between archeology and architectural composition, stresses the importance of tipo such as urban composition reading system as well as open tool of invention. Resuming Ezio Bonfanti’s essay on the work of the architect we wanted to investigate how the paratactic method is applied to the early work conceived and, subsequently as the process reaches a complexity accentuated, while keeping stable the basic terms. Following a brief introduction related to the concept of the section and the different interpretations that over time the term had, we tried to identify with this facility a methodology for reading Rossi’s projects. The result is a constant typological interpretation of the term, not only related to the composition in plant but also through the elevation plans. The section is therefore intended as the overturning of such elevation is marked on the same plane of the terms used, there is a different approach, but a similarity of characters. The identification of architectural phonemes allows comparison with other arts. The research goes in the direction of language trying to identify the relationship between representation and construction, between the ephemeral and the real world. In this sense it will highlight the similarities between the graphic material produced by Ross and some important examples of contemporary author. The comparison between the composition system with the surrealist world of painting and literature will facilitate the understanding and identification of possible rules applied by Rossi. The second part of the research is characterized by a focus on the intent of the project chosen. Teatro Domestico embodies a number of elements that seem to conclude (assuming an end point but also to start) a curriculum author. With it, the experiments carried out on the theater started with the project for the Teatrino Scientifico (1978) through the project for the Teatro del Mondo (1979), into a Laic Tabernacle representative collective and private memory of the city. Starting from a reading of the draft, through the collection of published material, we’ve made an analysis on the explicit themes of the work, finding the conceptual references. Following the taking view of the original materials not published kept at Aldo Rossi's Archive Collection of the Canadian Center for Architecture in Montréal, will be implemented through the existing techniques for digital representation, a virtual reconstruction of the project, adding little to the material, a new element for future studies. The reconstruction is part of a larger research studies where the current technologies of composition and representation in architecture stand side by side with research on the method of composition of this architect. The results achieved are in addition to experiences in the past dealt with the reconstruction of some of the lost works of Aldo Rossi. A partial objective is to reactivate a discourse around this work is considered non-principal, among others born in the prolific activities. Reassessment of development projects which would bring the level of ephemeral works most frequented by giving them the value earned. In conclusion, the research aims to open a new field of interest on the part not only as a technical instrument of representation of an idea but as an actual mechanism through which composition is formed and the idea is developed.

Analyse der temporären Neuroblastenbildung und der segmentalen Spezifizierung des Neuroblasten 6-4 im embryonalen zentralen Nervensystem von Drosophila melanogaster

Die vorliegende Arbeit gewährte neue Einblicke in zwei fundamentale Vorgänge der frühen Neurogenese von Drosophila melanogaster. Der erste Teil untersuchte die zeitliche Spezifizierung der Neuroblastenidentitäten. Durch die Expression verschiedener Gene entlang der Dorsoventral- und der Anterioposteriorachse wird ein kartesisches Koordinatensystem aufgebaut, indem ein Neuroblast (NB), der in einem bestimmten Quadranten entsteht, eine spezifische Identität erhält. Die Delamination der NBs erfolgt in fünf Segregationswellen, wobei in jeder Welle die gleiche Population NBs gebildet wird. In dieser Arbeit konnte nun gezeigt werden, dass es nicht nur einen räumlichen, sondern auch einen zeitlichen Aspekt bei der Entstehung der NBs gibt: So zeigten Transplantationsexperimente, dass sowohl im frühen als auch im späten Neuroektoderm extrinsische induktive Signale an der Spezifizierung der Neuroblastenidentität beteiligt sind. Die Natur dieser Signale bleibt noch unklar. Allerdings stellen die Segmentpolaritätsgene aufgrund ihrer dynamischen Expression eine potenzielle Kandidatengruppe dar. Der zweite Teil beschäftigte sich mit der segmentalen Spezifizierung der Neuroblasten. Für diesen Prozess zeigten frühere Genexpressionsstudien, dass NBs, die zwar an korrespondierenden Positionen innerhalb des kartesischen Systems, aber in unterschiedlichen Segmenten gebildet werden, die gleichen Genexpressionsmuster aufweisen und fast identische Zellstammbäume hervorbringen. Einige dieser seriell homologen NBs generieren jedoch segmentspezifische Zellstammbäume – ein solches Beispiel ist der NB6-4, der als Modellsystem benutzt wurde. Für die thorakale Variante dieses NBs konnte ich zeigen, dass die Homöotischen Gene zur Spezifizierung nicht notwendig sind – thorakales Schicksal ist eine Grundidentität. Diese wird in abdominalen Segmenten jedoch durch die Funktion der Homöotischen Gene abdominal-A (abd-A) und Abdominal-B (Abd-B) in abdominales Schicksal transformiert. Dieser segmentale Unterschied wird durch die Regulation des Zellzyklusgens CycE bewerkstelligen. Genauer: CycE ist notwendig, um neurogliales Schicksal in thorakalen Segmenten zu generieren und ausreichend, dieses Schicksal ebenfalls in abdominalen Segmenten zu erzeugen. Eine direkte Inhibierung der Expression von CycE durch Abd-A in abdominalen Segmenten führt dagegen zu einer differenziellen Expression von CycE im neuronalen thorakalen Anteil des Zellstammbaums. Weiterhin konnten in einem Enhancerelement, das für die Expression von CycE im Nervensystem verantwortlich ist, mehrere Bindestellen für Abd-A und Abd-B gefunden werden. Die gewonnen Daten legen – in Verbindung mit bereits bekannten Ergebnissen – den Schluss nahe, dass diese neuronspezifizierende Funktion von CycE unabhängig von seiner Rolle im Zellzyklus ist.

Metamorfosi temporali e spaziali: dal “Revisore” di Nikolaj Gogol’ alla “Morte accidentale di un anarchico” di Dario Fo.

La tesi si propone di tracciare un confronto tra due autori molto distanti tra loro sia nel tempo che nello spazio: Nikolaj Gogol’ e Dario Fo; in particolare si analizzano le commedie Il Revisore di Gogol’ (1836) e Morte accidentale di un anarchico di Fo (1970). Il nesso tra le due opere è stato individuato dalla critica italiana (Franco Quadri, Ferdinando Taviani, Paolo Puppa). Tuttavia gli spunti interpretativi e comparativi non sono mai stati sviluppati appieno della critica. Nonostante le grandi distanze temporali e spaziali, l’analisi si propone dunque di evidenziare i numerosi motivi di consonanza tra le due opere e i due autori, che peraltro testimoniano anche della grande fortuna arrisa all’estero all’autore ucraino, attraverso la mediazione del teatro russo-sovietico del XX secolo. L’approccio metodologico adottato si fonda sui testi dei formalisti russi, di Lotman, sulla Stilkritik di Aurbach, sugli studi di Frye sulla Bibbia intesa come “grande canone” della letteratura occidentale, e soprattutto sull’analisi della cultura carnevalesca e popolare condotta da Bachtin. Lo studio è indirizzato su alcuni elementi precisi: la trama, lo scambio della personalità, l’impostura, la paura e il riso. Per ciascun di questi elementi è stata svolta l’analisi comparativa delle due opere, situandole in un contesto letterario e culturale che va all’antichità e al Medio Evo, dal quale entrambi gli autori mutuano molte suggestioni.

Interactive simulation of flexible parts

Computer simulations play an ever growing role for the development of automotive products. Assembly simulation, as well as many other processes, are used systematically even before the first physical prototype of a vehicle is built in order to check whether particular components can be assembled easily or whether another part is in the way. Usually, this kind of simulation is limited to rigid bodies. However, a vehicle contains a multitude of flexible parts of various types: cables, hoses, carpets, seat surfaces, insulations, weatherstrips... Since most of the problems using these simulations concern one-dimensional components and since an intuitive tool for cable routing is still needed, we have chosen to concentrate on this category, which includes cables, hoses and wiring harnesses. In this thesis, we present a system for simulating one dimensional flexible parts such as cables or hoses. The modeling of bending and torsion follows the Cosserat model. For this purpose we use a generalized spring-mass system and describe its configuration by a carefully chosen set of coordinates. Gravity and contact forces as well as the forces responsible for length conservation are expressed in Cartesian coordinates. But bending and torsion effects can be dealt with more effectively by using quaternions to represent the orientation of the segments joining two neighboring mass points. This augmented system allows an easy formulation of all interactions with the best appropriate coordinate type and yields a strongly banded Hessian matrix. An energy minimizing process accounts for a solution exempt from the oscillations that are typical of spring-mass systems. The use of integral forces, similar to an integral controller, allows to enforce exactly the constraints. The whole system is numerically stable and can be solved at interactive frame rates. It is integrated in the DaimlerChrysler in-house Virtual Reality Software veo for use in applications such as cable routing and assembly simulation and has been well received by users. Parts of this work have been published at the ACM Solid and Physical Modeling Conference 2006 and have been selected for the special issue of the Computer-Aided-Design Journal to the conference.

Dal teatro alla performance e ritorno. La svolta performativa nel teatro contemporaneo e la svolta teatrale nella performance art

Il fulcro tematico e concettuale della tesi consiste nel rapporto complesso, paradossale e spesso anche controverso esistente fra il teatro e la performance (art) – e cioè il rapporto fra i concetti di “teatralità” e di “performatività”. L’attenzione è posta su quelle correnti nelle arti performative contemporanee che tendono allo scioglimento delle nozioni di genere, disciplina, tecnica e autorialità e che mettono in questione lo status stesso dell’opera performativa (lo spettacolo) in quanto prodotto esclusivamente estetico, cioè spettacolare. Vengono esaminate – prelevando rispettivamente dal campo del teatro, della danza e della performance art – le pratiche di Jerzy Grotowski e Thomas Richards, Jérôme Bel e Marina Abramović. Quello che accomuna queste pratiche ben diverse tra loro non è soltanto la problematica del rapporto fra teatralità e performatività ma soprattutto l’aspetto particolarmente radicale e assiduo (e anche paradossale) del loro doppio sforzo, che consiste nello spingere la propria disciplina oltre ogni confine prestabilito e nello stesso tempo nel cercare di ri-definire i suoi codici fondanti e lo statuto ontologico che la distinguerebbero dalle altre discipline performative. Sono esaminate anche diverse teorizzazioni della performance con particolare attenzione a quei contributi che mettono in luce (e in questione) il delicato rapporto fra il teatro e la performance (art) attraverso una (ri)concettualizzazione e comparazione dei termini di teatralità e di performatività. La tesi esamina l’evoluzione della comprensione di quel rapporto all’interno del campo teorico-storico e artistico che inizialmente riflette la tendenza a percepire il rapporto in termini di opposizione e addirittura esclusione per approdare col tempo a una visione più riconciliante e complementare. Le radicali pratiche contemporanee fra il teatro e la performance rappresentano forse una nuova forma-processo performativa specifica e autonoma – che potrebbe essere definita tout court “performance” – e con cui viene definitivamente superato il progetto teatrale modernista?

Il critico teatrale come operatore di scrittura scenica. La critica teatrale italiana tra pratica organizzativa e utilizzo dei nuovi media nel Nuovo Teatro e in alcune esperienze dal 2003 ad oggi

La crisi del “teatro come servizio pubblico” degli Stabili, Piccolo Teatro in testa, si manifesta allo stadio di insoddisfazione interna già alla fine degli anni Cinquanta. Se dal punto di vista della pratica scenica, la prima faglia di rottura è pressoché unanimemente ricondotta alla comparsa delle primissime messe in scena –discusse, irritanti e provocatorie- di Carmelo Bene e Quartucci (1959-60) più difficile è individuare il corrispettivo di un critico-intellettuale apportatore di una altrettanto deflagrante rottura. I nomi di Arbasino e di Flaiano sono, in questo caso, i primi che vengono alla mente, ma, seppure portatori di una critica sensibile al “teatro ufficiale”, così come viene ribattezzato dopo il Convegno di Ivrea (1967) il modello attuato dagli Stabili, essi non possono, a ben vedere, essere considerati i veri promotori di una modalità differente di fare critica che, a partire da quel Convegno, si accompagnerà stabilmente alla ricerca scenica del Nuovo Teatro. Ma in cosa consiste, allora, questa nuova “operatività” critica? Si tratta principalmente di una modalità capace di operare alle soglie della scrittura, abbracciando una progressiva, ma costante fuoriuscita dalla redazione di cronache teatrali, per ripensare radicalmente la propria attività in nuovi spazi operativi quali le riviste e l’editoria di settore, un rapporto sempre più stretto con i mass-media quali radio e televisione e la pratica organizzativa di momenti spettacolari e teorici al contempo -festival, convegni, rassegne e premi- per una forma di partecipazione poi identificata come “sporcarsi le mani”. La seconda parte della tesi è una raccolta documentaria sull’oggi. A partire dal Manifesto dei Critici Impuri redatto nel 2003 a Prato da un gruppo di critici dell'ultima generazione, la tesi utilizza quella dichiarazione come punto di partenza per creare un piccolo archivio sull’oggi raccogliendo le elaborazioni di alcune delle esperienze più significative di questi dieci anni. Ricca appendice di materiali.