Multi- and Transdisciplinarity as a Challenge for Environmental Psychology (Symposium)

Since 2008 the German Federal Ministry of Education and Research (BMBF) has been funding ten transdisciplinary research projects within the thematic focus ‘From Knowledge to Action - New Paths towards Sustainable Consumption’. A particular challenge which is faced with the programm is the task to build a bridge between individual activities and ecological and social framework conditions. Environmental psychologists are involved in half of the ten transdisciplinary projects. The symposium gives an insight into the new thematic focus and the variety of psychological contributions. The presentations will focus on the specific competence of psychology within the broader research focus of the transdisciplinary projects. An invited discussant will reflect on the role of psychology within the field of sustainable consumption and about challenges of transdisciplinary research in general.

Identifying the semantics of eligibility criteria of clinical trials based on relevant medical ontologies

An important objective of the INTEGRATE project1 is to build tools that support the efficient execution of post-genomic multi-centric clinical trials in breast cancer, which includes the automatic assessment of the eligibility of patients for available trials. The population suited to be enrolled in a trial is described by a set of free-text eligibility criteria that are both syntactically and semantically complex. At the same time, the assessment of the eligibility of a patient for a trial requires the (machineprocessable) understanding of the semantics of the eligibility criteria in order to further evaluate if the patient data available for example in the hospital EHR satisfies these criteria. This paper presents an analysis of the semantics of the clinical trial eligibility criteria based on relevant medical ontologies in the clinical research domain: SNOMED-CT, LOINC, MedDRA. We detect subsets of these widely-adopted ontologies that characterize the semantics of the eligibility criteria of trials in various clinical domains and compare these sets. Next, we evaluate the occurrence frequency of the concepts in the concrete case of breast cancer (which is our first application domain) in order to provide meaningful priorities for the task of binding/mapping these ontology concepts to the actual patient data. We further assess the effort required to extend our approach to new domains in terms of additional semantic mappings that need to be developed.

Supporting patient screening to identify suitable clinical trials.

To support the efficient execution of post-genomic multi-centric clinical trials in breast cancer we propose a solution that streamlines the assessment of the eligibility of patients for available trials. The assessment of the eligibility of a patient for a trial requires evaluating whether each eligibility criterion is satisfied and is often a time consuming and manual task. The main focus in the literature has been on proposing different methods for modelling and formalizing the eligibility criteria. However the current adoption of these approaches in clinical care is limited. Less effort has been dedicated to the automatic matching of criteria to the patient data managed in clinical care. We address both aspects and propose a scalable, efficient and pragmatic patient screening solution enabling automatic evaluation of eligibility of patients for a relevant set of trials. This covers the flexible formalization of criteria and of other relevant trial metadata and the efficient management of these representations.

Exploring three approaches to offer distance learning courses through a social network of health researchers in three African countries

The Institute of Tropical Medicine in Antwerp hereby presents the results of two pilot distance learning training programmes, developed under the umbrella of the AFRICA BUILD project (FP7). The two courses focused on evidence-based medicine (EBM): with the aim of enhancing research and education, via novel approaches and to identify research needs emanating from the field. These pilot experiences, which were run both in English-speaking (Ghana), and French-speaking (Mali and Cameroon) partner institutions, produced targeted courses for the strengthening of research methodology and policy. The courses and related study materials are in the public domain and available through the AFRICA BUILD Portal (http://www.africabuild.eu/taxonomy/term/37); the training modules were delivered live via Dudal webcasts. This paper assesses the success and difficulties of transferring EBM skills with these two specific training programmes, offered through three different approaches: fully online facultative courses, fully online tutor supported courses or through a blended approach with both online and face-to-face sessions. Key factors affecting the selection of participants, the accessibility of the courses, how the learning resources are offered, and how interactive online communities are formed, are evaluated and discussed.

Capacity Building through education, research and collaboration: AFRICA BUILD, an eHealth Case Study

AFRICA BUILD (AB) is a Coordination Action project under the 7th European Framework Programme having the aim of improving the capacities for health research and education in Africa through Information and Communication Technologies (ICT). This project, started in 2012, has promoted health research, education and evidence-based practice in Africa through the creation of centers of excellence, by using ICT,?know-how?, eLearning and knowledge sharing, through Web-enabled virtual communities.

Espacios de la representación frente a espacios de la presencia: variaciones político-arquitectónicas en la ciudad contemporánea

Esta investigación tiene como objetivo estudiar la influencia de la arquitectura, tanto en su dimensión material como en su potencial organizador de comportamientos y prácticas, en el escenario político que configura la ciudad contemporánea. Para ello nos centraremos en el estudio de los espacios de la representación política, su disposición y funcionamiento, y los espacios de la presencia, con especial atención a su emergencia y potencial de transformación urbana. Partiendo del estudio de la arquitectura del Congreso de los Diputados en Madrid, su contexto urbano e histórico, analizaremos los factores espaciales en juego en las estrategias de representación empleadas por los gobiernos occidentales contemporáneos para generar un marco ficticio de consenso político que limita las posibilidades de diversidad en el espacio público de nuestras ciudades, convirtiendo a los usuarios en meros espectadores de la vida urbana. Para revertir esta situación se analizarán las técnicas empleadas por Brecht en su teatro épico y se trasladarán al caso que nos ocupa, buscando así la recuperación de la capacidad política de los espectadores desde su participación en el mundo de lo sensible y su relación con una democracia de lo cotidiano.

AS INOVAÇÕES TECNOLÓGICAS E OS INTERMEDIÁRIOS DA PRODUÇÃO E DO ACESSO À INFORMAÇÃO JORNALÍSTICA

O jornalismo é um dos principais meios de oferta de temas para a discussão e formação da opinião pública, porém depende de um sistema técnico para ser transmitido. Durante mais de cem anos as informações produzidas pela imprensa foram emitidas, armazenadas, transmitidas e recebidas pelos chamados veículos de comunicação de massa que utilizam a rede centralizada cujas características estão na escassez material, produção em série e massificação. Esse sistema separa no tempo e no espaço emissores e receptores criando uma relação desigual de força em que as grandes empresas controlaram o fluxo informativo, definindo quais fatos seriam veiculados como notícia. Em 1995, a internet cuja informação circula sob a tecnologia da rede distribuída, foi apropriada pela sociedade, alterando a forma de produção, armazenamento e transmissão de informação. A tecnologia despertou a esperança de que esta ferramenta poderia proporcionar uma comunicação mais dialógica e democrática. Mas aos poucos pode-se perceber novas empresas se apropriando da tecnologia da rede distribuída sob a qual circula a internet, gerando um novo controle do fluxo informativo. Realizou-se nessa pesquisa um levantamento bibliográfico para estabelecer uma reflexão crítica dos diferentes intermediários entre fato e a notícia tanto da rede centralizada como na rede distribuída, objetivando despertar uma discussão que possa oferecer novas ideias para políticas, bem como alternativas para uma comunicação mais democrática e mais libertária.

Apolipoprotein E fragments present in Alzheimer's disease brains induce neurofibrillary tangle-like intracellular inclusions in neurons

Human apolipoprotein (apo) E4, a major risk factor for Alzheimer's disease (AD), occurs in amyloid plaques and neurofibrillary tangles (NFTs) in AD brains; however, its role in the pathogenesis of these lesions is unclear. Here we demonstrate that carboxyl-terminal-truncated forms of apoE, which occur in AD brains and cultured neurons, induce intracellular NFT-like inclusions in neurons. These cytosolic inclusions were composed of phosphorylated tau, phosphorylated neurofilaments of high molecular weight, and truncated apoE. Truncated apoE4, especially apoE4(Δ272–299), induced inclusions in up to 75% of transfected neuronal cells, but not in transfected nonneuronal cells. ApoE4 was more susceptible to truncation than apoE3 and resulted in much greater intracellular inclusion formation. These results suggest that apoE4 preferentially undergoes intracellular processing, creating a bioactive fragment that interacts with cytoskeletal components and induces NFT-like inclusions containing phosphorylated tau and phosphorylated neurofilaments of high molecular weight in neurons.

Clementis Josephi Brechtii ... Didymographia, seu Diatribe de vita gemellarum a thorace umbilicotenus coalitarum : qua difficillimae circa mentem et corpus affectiones naturales ex novissimo sapientiae scrinio enodantur

Mode of access: Internet.

1997 Women's Rowing Team, U-M Rowing

Front Row: Marita Esteva, Kristie Aiuto, Scarlet McCarthy, Rossalyn Quaye, Jackie Pilette, Marcie Klein, Elizabeth Windram, Alison Massagli, Jeanine Seeger

Row 2: Jennifer Kinon, Jen Mayman, Lauren Maxwell, Erin Fitzgerald, Amy Ravit, Laurel LaCour, Maya Key, Amy Teunis, Nell Hurley, Erica Semeyn, Sarah Kepner

Row 3: Dawn Emick, Katie Roek, Tina Marzo, Courtney Jackson, Kendra Miller, Nora Obringer, Jaime Stilson, Danielle Starring, Anne Reader, Kate MacKenzie, Vita Scaglione

Row 4: Belinda Koo, Michelle Wolbert, Katherine Stone, Stephanie Norwell, Lisa Labadie, Jeanette Stawski, Nazema Siddiqui, Claudia Lopez, Katie Weed

Row 5: Emily Green, Tina Stutzman, Carrie Brecht, Kelly Raczak, Vanessa Giancamilli, Allison Torres, Heather Uhring, Ashley Andersen, Alyson Moskwa

Top Row: assistant coach Emily Ford, assistant coach Pam Carroll, head coach Mark Rothstein, special assistant Brady Bustany, student trainer Jennifer Nauman, student trainer Jennifer Jackson, student trainer Robin Reiter

FATORES ANTECEDENTES NA ATITUDE DE ALUNOS DE GRADUAÇÃO FRENTE AO PLÁGIO

A crescente preocupação com a desonestidade acadêmica e seus possíveis impactos para as organizações e sociedade tem requerido especial atenção. Diversos estudos indicam que a tecnologia e, em especial, a Internet, pode ocasionar o aumento da desonestidade acadêmica e, em especial, da prática de plágio. Tipos de desonestidade acadêmica são listados pela literatura como sendo a fraude, o plágio, o auxílio externo e a fraude eletrônica. Dentre estes tipos, o plágio está se tornando a maior preocupação entre as instituições de ensino superior em comparação com os demais (LOVETT-HOOPER et al., 2007). A existência da intencionalidade do indivíduo é uma característica central nos estudos sobre plágio, caracterizado como sendo a consequência de uma decisão individual. Do ponto de vista da Theory of Planned Behavior - TPB (Teoria do Comportamento Planejado), de Ajzen (1991), a ação do indivíduo é orientada por crenças (comportamentais, normativas e de controle) que influenciam sua atitude em relação a algo, que por sua vez leva à racionalização da intenção que influenciará o comportamento do indivíduo. Esta pesquisa tem como objetivo identificar os fatores antecedentes que influenciam a atitude em relação ao plágio dentre estudantes brasileiros do ensino superior, modalidade à distância. Um sistemático mapeamento da literatura sobre o tema identificou mais de 300 artigos e convergiu para um número de 74 artigos considerados fundamentais. Destes, foi gerado um modelo de análise que define como preditores da Atitude Positiva em relação ao Plágio (a partir de determinadas influências recebidas, o indivíduo considerará a prática do plágio), os seguintes construtos: Posicionamento Moral, Normas sociais e Aspectos situacionais. Para análise do modelo, utilizou-se uma pesquisa do tipo survey quando, nesta fase foram encaminhados, 1800 questionários, a alunos de diferentes períodos do curso de Administração, de uma Universidade particular. A taxa de retorno dos questionários foi de 28,95%, totalizando 353 questionários válidos. Para a análise dos dados utilizou-se a modelagem por equações estruturais com algoritmo Partial Least Squares (PLS), técnica adequada para um número reduzido de observações e quando não se pode assumir parâmetros para a distribuição. Os principais resultados encontrados nesta pesquisa foram: 41,8% da variablidade da Atitude explicada do modelo de Atitude Positiva frente ao plágio; e a identificação de seis construtos significantes associados ao modelo, sendo: Entendimento (-0,102, p<0,05), Expectativa de Valor (0,243, p<0,001), Facilidade (0,108, p<0,05), Situação de Pressão (0,126, p<0,01), Relativismo (0,272, p<0,001) e Severidade e Possibilidade de Punição (-0,255, p<0,001).

Making political films politically?:the film-making practice of Jean-Luc Godard

This thesis attempts to re-examine the work of Jean-Luc Godard and in particular the claims which have been made for it as the starting-point for a revolutionary cinema.This re-examination involves, firstly, a critical summary of the development of Structuralist thinking, from its origins in linguistics, with Saussure, through to its influence on Marxism, with Althusser. It is this `Structural Marxism' which prepared the ground for a view of Godard as a revolutionary film-maker so its influences on film theory in the decade after 1968 is traced in journals such as Cahiers du Cinéma and Screen and in the work of their editors and contributors. Godard's relationship with such theories was a complex one and some of the cross-breeding is revealed in a brief account of his own ideas about his film-making. More important, however is his practice as a committed `political' film-maker between 1968 and 1972 which is analysed in terms of the responses it makes to the cultural opportunities offered in the period after the revolutionary situation of May 1968. The severe problems revealed by that analysis may be partially resolved in Godard's greatest `political' achievement Tout va bien, but a comparative analysis proves that in earlier `a-political' films such as Vivre sa vie, he was creating more meaningful and perhaps even more revolutionary art, whose formal experimentation is more organically linked to its subject and whose ability to communicate ideas far oustrips the later work. In conclusion some indications are suggested of a more fruitful basis for Marxist theories of art than Structural variants, seeking a non-formalist approach in the work of Marx, of Trotsky, of Brecht and Lukacs.

Une étude générique du metteur en scène au théâtre:son émergence et son rôle moderne et contemporain

The theatre director (metteur en scene in French) is a relatively new figure in theatre practice. It was not until the I820s that the term 'mise en scene' gained currency. The term 'director' was not in general use until the I880s. The emergence and the role of the director has been considered from a variety of perspectives, either through the history of theatre (Allevy, Jomaron, Sarrazac, Viala, Biet and Triau); the history of directing (Chinoy and Cole, Boll, Veinstein, Roubine); semiotic approaches to directing (Whitmore, Miller, Pavis); the semiotics of performance (De Marinis); generic approaches to the mise en scene (Thomasseau, Banu); post-dramatic approaches to theatre (Lehmann); approaches to performance process and the specifics of rehearsal methodology (Bradby and Williams, Giannachi and Luckhurst, Picon-Vallin, Styan). What the scholarly literature has not done so far is to map the parameters necessarily involved in the directing process, and to incorporate an analysis of the emergence of the theatre director during the modem period and consider its impact on contemporary performance practice. Directing relates primarily to the making of the performance guided by a director, a single figure charged with the authority to make binding artistic decisions. Each director may have her/his own personal approaches to the process of preparation prior to a show. This is exemplified, for example, by the variety of terms now used to describe the role and function of directing, from producer, to facilitator or outside eye. However, it is essential at the outset to make two observations, each of which contributes to a justification for a generic analysis (as opposed to a genetic approach). Firstly, a director does not work alone, and cooperation with others is involved at all stages of the process. Secondly, beyond individual variation, the role of the director remains twofold. The first is to guide the actors (meneur de jeu, directeur d'acteurs, coach); the second is to make a visual representation in the performance space (set designer, stage designer, costume designer, lighting designer, scenographe). The increasing place of scenography has brought contemporary theatre directors such as Wilson, Castellucci, Fabre to produce performances where the performance space becomes a semiotic dimension that displaces the primacy of the text. The play is not, therefore, the sole artistic vehicle for directing. This definition of directing obviously calls for a definition of what the making of the performance might be. The thesis defines the making of the performance as the activity of bringing a social event, by at least one performer, providing visual and/or textual meaning in a performance space. This definition enables us to evaluate four consistent parameters throughout theatre history: first, the social aspect associated to the performance event; second, the devising process which may be based on visual and/or textual elements; third, the presence of at least one performer in the show; fourth, the performance space (which is not simply related to the theatre stage). Although the thesis focuses primarily on theatre practice, such definition blurs the boundaries between theatre and other collaborative artistic disciplines (cinema, opera, music and dance). These parameters illustrate the possibility to undertake a generic analysis of directing, and resonate with the historical, political and artistic dimensions considered. Such a generic perspective on the role of the director addresses three significant questions: an historical question: how/why has the director emerged?; a sociopolitical question: how/why was the director a catalyst for the politicisation of theatre, and subsequently contributed to the rise of State-funded theatre policy?; and an artistic one: how/why the director has changed theatre practice and theory in the twentieth-century? Directing for the theatre as an artistic activity is a historically situated phenomenon. It would seem only natural from a contemporary perspective to associate the activity of directing to the function of the director. This is relativised, however, by the question of how the performance was produced before the modern period. The thesis demonstrates that the rise of the director is a progressive and historical phenomenon (Dort) rather than a mere invention (Viala, Sarrazac). A chronological analysis of the making of the performance throughout theatre history is the most useful way to open the study. In order to understand the emergence of the director, the research methodology assesses the interconnection of the four parameters above throughout four main periods of theatre history: the beginning of the Renaissance (meneur de jeu), the classical age (actor-manager and stage designer-manager), the modern period (director) and the contemporary period (director-facilitator, performer). This allows us properly to appraise the progressive emergence of the director, as well as to make an analysis of her/his modern and contemporary role. The first chapter argues that the physical separation between the performance space and its audience, which appeared in the early fifteenth-century, has been a crucial feature in the scenographic, aesthetic, political and social organisation of the performance. At the end of the Middle Ages, French farces which raised socio-political issues (see Bakhtin) made a clear division on a single outdoor stage (treteau) between the actors and the spectators, while religious plays (drame fiturgique, mystere) were mostly performed on various outdoor and opened multispaces. As long as the performance was liturgical or religious, and therefore confined within an acceptable framework, it was allowed. At the time, the French ecclesiastical and civil authorities tried, on several occasions, to prohibit staged performances. As a result, practitioners developed non-official indoor spaces, the Theatre de fa Trinite (1398) being the first French indoor theatre recognized by scholars. This self-exclusion from the open public space involved breaking the accepted rules by practitioners (e.g. Les Confreres de fa Passion), in terms of themes but also through individual input into a secular performance rather than the repetition of commonly known religious canvases. These developments heralded the authorised theatres that began to emerge from the mid-sixteenth century, which in some cases were subsidised in their construction. The construction of authorised indoor theatres associated with the development of printing led to a considerable increase in the production of dramatic texts for the stage. Profoundly affecting the reception of the dramatic text by the audience, the distance between the stage and the auditorium accompanied the changing relationship between practitioners and spectators. This distance gave rise to a major development of the role of the actor and of the stage designer. The second chapter looks at the significance of both the actor and set designer in the devising process of the performance from the sixteenth-century to the end of the nineteenth-century. The actor underwent an important shift in function in this period from the delivery of an unwritten text that is learned in the medieval oral tradition to a structured improvisation produced by the commedia dell 'arte. In this new form of theatre, a chef de troupe or an experienced actor shaped the story, but the text existed only through the improvisation of the actors. The preparation of those performances was, moreover, centred on acting technique and the individual skills of the actor. From this point, there is clear evidence that acting began to be the subject of a number of studies in the mid-sixteenth-century, and more significantly in the seventeenth-century, in Italy and France. This is revealed through the implementation of a system of notes written by the playwright to the actors (stage directions) in a range of plays (Gerard de Vivier, Comedie de la Fidelite Nuptiale, 1577). The thesis also focuses on Leoni de' Sommi (Quatro dialoghi, 1556 or 1565) who wrote about actors' techniques and introduced the meneur de jeu in Italy. The actor-manager (meneur de jeu), a professional actor, who scholars have compared to the director (see Strihan), trained the actors. Nothing, however, indicates that the actor-manager was directing the visual representation of the text in the performance space. From the end of the sixteenth-century, the dramatic text began to dominate the process of the performance and led to an expansion of acting techniques, such as the declamation. Stage designers carne from outside the theatre tradition and played a decisive role in the staging of religious celebrations (e.g. Actes des Apotres, 1536). In the sixteenth-century, both the proscenium arch and the borders, incorporated in the architecture of the new indoor theatres (theatre a l'italienne), contributed to create all kinds of illusions on the stage, principally the revival of perspective. This chapter shows ongoing audience demands for more elaborate visual effects on the stage. This led, throughout the classical age, and even more so during the eighteenth-century, to grant the stage design practitioner a major role in the making of the performance (see Ciceri). The second chapter demonstrates that the guidance of the actors and the scenographic conception, which are the artistic components of the role of the director, appear to have developed independently from one another until the nineteenth-century. The third chapter investigates the emergence of the director per se. The causes for this have been considered by a number of scholars, who have mainly identified two: the influence of Naturalism (illustrated by the Meiningen Company, Antoine, and Stanislavski) and the invention of electric lighting. The influence of the Naturalist movement on the emergence of the modem director in the late nineteenth-century is often considered as a radical factor in the history of theatre practice. Naturalism undoubtedly contributed to changes in staging, costume and lighting design, and to a more rigorous commitment to the harmonisation and visualisation of the overall production of the play. Although the art of theatre was dependent on the dramatic text, scholars (Osborne) demonstrate that the Naturalist directors did not strictly follow the playwright's indications written in the play in the late nineteenth-century. On the other hand, the main characteristic of directing in Naturalism at that time depended on a comprehensive understanding of the scenography, which had to respond to the requirements of verisimilitude. Electric lighting contributed to this by allowing for the construction of a visual narrative on stage. However, it was a master technician, rather than an emergent director, who was responsible for key operational decisions over how to use this emerging technology in venues such as the new Bayreuth theatre in 1876. Electric lighting reflects a normal technological evolution and cannot be considered as one of the main causes of the emergence of the director. Two further causes of the emergence of the director, not considered in previous studies, are the invention of cinema and the Symbolist movement (Lugne-Poe, Meyerhold). Cinema had an important technological influence on the practitioners of the Naturalist movement. In order to achieve a photographic truth on the stage (tableau, image), Naturalist directors strove to decorate the stage with the detailed elements that would be expected to be found if the situation were happening in reality. Film production had an influence on the work of actors (Walter). The filmmaker took over a primary role in the making of the film, as the source of the script, the filming process and the editing of the film. This role influenced the conception that theatre directors had of their own work. It is this concept of the director which influenced the development of the theatre director. As for the Symbolist movement, the director's approach was to dematerialise the text of the playwright, trying to expose the spirit, movement, colour and rhythm of the text. Therefore, the Symbolists disengaged themselves from the material aspect of the production, and contributed to give greater artistic autonomy to the role of the director. Although the emergence of the director finds its roots amongst the Naturalist practitioners (through a rigorous attempt to provide a strict visual interpretation of the text on stage), the Symbolist director heralded the modem perspective of the making of performance. The emergence of the director significantly changed theatre practice and theory. For instance, the rehearsal period became a clear work in progress, a platform for both developing practitioners' techniques and staging the show. This chapter explores and contrasts several practitioners' methods based on the two aspects proposed for the definition of the director (guidance of the actors and materialisation of a visual space). The fourth chapter argues that the role of the director became stronger, more prominent, and more hierarchical, through a more political and didactic approach to theatre as exemplified by the cases of France and Germany at the end of the nineteenth-century and through the First World War. This didactic perspective to theatre defines the notion of political theatre. Political theatre is often approached by the literature (Esslin, Willett) through a Marxist interpretation of the great German directors' productions (Reinhardt, Piscator, Brecht). These directors certainly had a great influence on many directors after the Second World War, such as Jean Vilar, Judith Molina, Jean-Louis Barrault, Roger Planchon, Augusto Boal, and others. This chapter demonstrates, moreover, that the director was confirmed through both ontological and educational approaches to the process of making the performance, and consequently became a central and paternal figure in the organisational and structural processes practiced within her/his theatre company. In this way, the stance taken by the director influenced the State authorities in establishing theatrical policy. This is an entirely novel scholarly contribution to the study of the director. The German and French States were not indifferent to the development of political theatre. A network of public theatres was thus developed in the inter-war period, and more significantly after the Second World War. The fifth chapter shows how State theatre policies establish its sources in the development of political theatre, and more specifically in the German theatre trade union movement (Volksbiihne) and the great directors at the end of the nineteenth-century. French political theatre was more influenced by playwrights and actors (Romain Rolland, Louise Michel, Louis Lumet, Emile Berny). French theatre policy was based primarily on theatre directors who decentralised their activities in France during both the inter-war period and the German occupation. After the Second World War, the government established, through directors, a strong network of public theatres. Directors became both the artistic director and the executive director of those institutionalised theatres. The institution was, however, seriously shaken by the social and political upheaval of 1968. It is the link between the State and the institution in which established directors were entangled that was challenged by the young emerging directors who rejected institutionalised responsibility in favour of the autonomy of the artist in the 1960s. This process is elucidated in chapter five. The final chapter defines the contemporary role of the director in contrasting thework of a number of significant young theatre practitioners in the 1960s such as Peter Brook, Ariane Mnouchkine, The Living Theater, Jerzy Grotowski, Augusto Boal, Eugenio Barba, all of whom decided early on to detach their companies from any form of public funding. This chapter also demonstrates how they promoted new forms of performance such as the performance of the self. First, these practitioners explored new performance spaces outside the traditional theatre building. Producing performances in a non-dedicated theatre place (warehouse, street, etc.) was a more frequent practice in the 1960s than before. However, the recent development of cybertheatre questions both the separation of the audience and the practitioners and the place of the director's role since the 1990s. Secondly, the role of the director has been multifaceted since the 1960s. On the one hand, those directors, despite all their different working methods, explored western and non-western acting techniques based on both personal input and collective creation. They challenged theatrical conventions of both the character and the process of making the performance. On the other hand, recent observations and studies distinguish the two main functions of the director, the acting coach and the scenographe, both having found new developments in cinema, television, and in various others events. Thirdly, the contemporary director challenges the performance of the text. In this sense, Antonin Artaud was a visionary. His theatre illustrates the need for the consideration of the totality of the text, as well as that of theatrical production. By contrasting the theories of Artaud, based on a non-dramatic form of theatre, with one of his plays (Le Jet de Sang), this chapter demonstrates how Artaud examined the process of making the performance as a performance. Live art and autobiographical performance, both taken as directing the se(f, reinforce this suggestion. Finally, since the 1990s, autobiographical performance or the performance of the self is a growing practical and theoretical perspective in both performance studies and psychology-related studies. This relates to the premise that each individual is making a representation (through memory, interpretation, etc.) of her/his own life (performativity). This last section explores the links between the place of the director in contemporary theatre and performers in autobiographical practices. The role of the traditional actor is challenged through non-identification of the character in the play, while performers (such as Chris Burden, Ron Athey, Orlan, Franko B, Sterlac) have, likewise, explored their own story/life as a performance. The thesis demonstrates the validity of the four parameters (performer, performance space, devising process, social event) defining a generic approach to the director. A generic perspective on the role of the director would encompass: a historical dimension relative to the reasons for and stages of the 'emergence' of the director; a socio-political analysis concerning the relationship between the director, her/his institutionalisation, and the political realm; and the relationship between performance theory, practice and the contemporary role of the director. Such a generic approach is a new departure in theatre research and might resonate in the study of other collaborative artistic practices.