We have compared the haemodynamic effects of fluid preloading performed before lumbar extradural anaesthesia with isotonic saline (NS), 5% hypertonic saline (HS) and Ringer's lactate (RL) solutions in 30 ASA I patients undergoing minor orthopaedic surgery, allocated randomly to the three groups. All patients received an equal amount of sodium (2 mmol kg-1). After fluid preloading, lumber extradural anaesthesia was performed (2% lignocaine 6 mg kg-1) and ephedrine was administered in order to maintain mean arterial pressure (MAP) > 80% of its control value. Both volume and duration of fluid preload were significantly less in group HS (160 (SD 25) ml, 8.8 (SD 2.9) min) than in the two other groups (NS: 903 (144) ml, 17.7 (3.3) min; RL: 932 (166) ml, 212 (6.0) min) (P < 0.05). The number of blocked segments and the total amount of ephedrine administered were similar in the three groups. Heart rate increased significantly in all groups immediately after the fluid preload and remained increased until the end of the study (90 min). MAP was not affected by any fluid preload and its maximal decrease after lumbar extradural anaesthesia was similar in all groups. Infusion of 5% HS 2.3 ml kg-1 was tolerated well and produced a significant (P < 0.05) but moderate hypernatraemia lasting 90 min after the end of fluid preloading. We conclude that HS may be useful when rapid fluid preloading is desired, in situations where excess free water administration is not desired.
Serge Lifar built his career during the 1930s, a decade crucial to understanding his ‘années noires’ – or ‘black years’, as the French historian Henry Rousso called the period of the German occupation of Paris (1940–1944). Lifar's powerful and respected position at the Paris Opéra, the social connections he had built and maintained and the psychological impact of exile: all these elements help clarify Lifar's accommodating attitude towards the German occupants of his adopted city. 1 During the 1930s Lifar came to be accepted in French intellectual society as the ‘heir’ of Serge Diaghilev. Through his publications he made a powerful contribution to the process by which Diaghilev's Ballets Russes assumed its paramount position in the development of modern ballet, a process set in motion by the impresario himself. 2 Lifar played this role chiefly in France. In the English-speaking world, where relatively few of his books appeared in translation, other writers served to canonise the Diaghilev endeavour, albeit for somewhat different ends. 3 A list of Lifar's publications in Russian and other languages (French above all) displays the growing influence of his actions and authority, the power of his connections (inherited primarily from Diaghilev), and his relentless will to overcome the problems of emigration as he secured not only success as a dancer and choreographer but also a public reputation as an intellectual. 4 The recent discovery of new evidence has led to the identification of the respected Pushkin authority Modeste Hofmann 5 as the writer whose unacknowledged work enabled Lifar to establish himself as an historian. This evidence, provided by Hofmann's grandsons André and Vladimir Hofmann, raises serious questions about the authority of Lifar's books. An interplay of subjective relationships is woven into the texture of these narratives in which survival and ambition, a paternal attitude and filial respect, exist in constant tension. Neither the making of these books nor the myth of Russian dance which they espouse can be understood without placing their authors in the milieu they shared in Paris as Russian émigrés.
In this chapter, I will analyse a recent dance-music piece, D'après une histoire vraie (Based on a real story), created in 2013 by the conceptually driven French choreographer Christian Rizzo, who is also responsible for the stage design and the costumes, and two composers/musicians, Didier Ambact and King Q4, who composed the score and perform onstage for the duration of the show (about one hour) along with eight male dancers. 1 This abstract piece is based on a precise choreographic structure framed by minimalistic stage aesthetics. In addition to that, the low-key lighting designed by Caty Olive, the costumes (jeans and grey-blue T-shirts) and the dancers' look (five of them have long hair and half a dozen have beards) all clearly relate to the 1970s. D'après une histoire vraie -now available on Vimeo 2 -was created for the Festival d'Avignon and has received outstanding audience success, considered by critics to be a refined example of Western stage dance and one of Rizzo's masterpieces. This achievement is most probably one of the reasons why Rizzo was appointed director of the Centre Chorégraphique National de Montpellier in 2015. Rizzo, who comes from an Italian-Spanish family of Moroccan origins, started his artistic career as a member of a rock band and designer of a line of clothing and only later studied fine arts in Nice, unexpectedly branching out into dance. 3 While continuing his career as a choreographer, he often creates soundtracks and music for other dance companies.D'après une histoire vraie concerns memory, tradition, authenticity and community. It therefore offers the opportunity to focus on some conceptual and methodological issues that can help in verifying to what extent the artists' limited exposure to folklore, globalisation and postcolonial studies compromise the outcome of a dance piece that ends up reinforcing the obsolete way folk dance and folk music are still perceived by a large portion of the audience. In analysing the creative process and the structure of D'après une histoire vraie, my purpose is to consider the sets of knowledge that have been taken as the starting point of the project and those implied in its reception of the piece. I will also argue that crucial theoretical aspects Remembering folklore, staging contemporary danceConceptual and methodological issues about D'après une histoire vraie (2013) by Christian Rizzo
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