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In 2018, various publications have identified the subdermal plane of the posterior superior temple as a potential target for soft tissue filler volumization procedures. 1,2 Based on the biomechanical characteristics of the superior and inferior superficial temporal fat compartments, it was postulated that the subdermal plane of the temple can be utilized for facial lifting when injecting hyaluronic acid (HA)-based soft tissue fillers. The rationale behind this assumption was an anatomic study by Schenck et al. 2 which utilized contrastagent-enhanced computed tomographic scanning of filler injected cadaveric specimen, which revealed that increasing amounts of filler material does not result in tissue descent when positioning the cephalic specimen in a fixed upright position. Applying this anatomic knowledge, it was hypothesized that increasing amounts of soft tissue filler can lift more inferiorly located facial regions, like the lateral

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Resumo1: O artigo analisa os espetáculos Play Me, de Rodrigo Campos, estreado em Belo Horizonte, Distancia, de Matías Umpierrez, e Las Ideas, de Federico León, estreados em Buenos Aires. Eles têm em comum o uso de elementos das mídias digitais que atuam, em alguns momentos, em substituição à presença do corpo do ator. Identificamos que as micropoéticas desses espetáculos representam uma cena de exceção no contexto teatral dessas cidades, que primam pelo convívio entre os corpos viventes no acontecimento teatral. Como exceção, no entanto, revelam uma idiossincrasia do teatro de ambas as cidades em relação à cena neotecnológica: a valorização do convívio e da copresença através da ausência provocada pelo jogo com as novas tecnologias.

A improvisação como espetáculo é um estilo teatral no qual atores criam cenas no instante, junto ao público e no calor da ação. Este livro apresenta uma proposta metodológica de ensino-aprendizagem da improvisação, contextualizada nas principais experiências artísticas e técnicas da improvisação como espetáculo a partir da segunda metade do século XX. É resultado de dez anos de pesquisas praticas e teóricas sobre o tema e pretende contribuir para o desenvolvimento técnico e artístico da improvisação tanto como espetáculo quanto nos processos de formação em teatro com adultos e crianças.

Background: Hutchinson-Gilford Progeria Syndrome (HGPS) is an extremely rare genetic disorder characterized by accelerated aging and high incidence of cardiovascular complications and metabolic alterations. However, the underlying mechanisms of this syndrome are not fully understood. Methods and Results: This study modelled HGPS using cardiomyocytes generated from induced pluripotent stem cells (iPSc) derived from a patient affected by the syndrome, characterizing the molecular and biophysical alterations found in cardiomyocytes obtained from three distinct differentiation protocols run in parallel with a control iPSc. Electrophysiology recordings were performed with intracellular microelectrodes and the Progeria cardiomyocytes fired action potentials similar to those from control iPSc-derived cardiomyocytes. High resolution respirometry performed on Oroboros system in isolated cardiomyocytes showed that Progeria cardiomyocytes have a tendency to decrease the oxygen consumption under basal condition and after FCCP, when compared to control cardiomyocytes (P=0.06). Furthermore, HGPS cardiomyocytes produced less ROS under basal and after 100uM Hydrogen peroxide treatment. However, mitotracker analysis shows no difference on mitochondrial content. Electron tomography and 3D reconstruction analysis suggest structural abnormalities in the mitochondria of Progeria cardiomyocytes. Proteomics analysis, performed with Liquid Chromatography tandem mass spectrometry (LC-MS/MS) in a high-resolution system (Q-Exactive Plus, Thermo Fischer), shows differential protein expression between Progeria (183 unique proteins) and Control (225 unique proteins) IPSc - derived cardiomyocytes. Conclusions: Our work demonstrate that iPSc- derived cardiomyocytes from Progeria patients have significant alterations in cellular respiration and protein expression.

O artigo apresenta aproximações entre os procedimentos utilizados por Pina Bausch na dança-teatro e os utilizados por Bertolt Brecht no teatro didático, além de relacionar o trabalho realizado pela diretora alemã com as propostas do que Hans-Thies Lehmann denomina de teatro pós-dramático.

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