The purpose of this study was to evaluate the healing of an experimental left-sided colonic anastomosis in rats protected by an end diverting proimal colostomy. The anastomoses were studied by ...radiological and biochemical examination and breaking strength was estimated. The results were compared with a non-operated group and with a group of rats having a non-defunctional anastomosis constructed in the same manner. In animals with an end diverting colostomy, anastomotic protein levels and enzymic activity were lower than in those with a colostomy, and the development of anastomotic strength was delayed compared with those not defunctioned.
The aim of our study was the evaluation of atherogenesis in postmenopausal women and after HRT in correlation with BMI, IGF-I and lipid profile. We have found unfavourable changes in lipid profile in ...positive correlation with BMI, after three months treatment we have found decrease in concentration of total cholesterol and LDL cholesterol between women with proper BMI.
Towards the Poor Theatre Grotowski, Jerzy; Wiewiorowski, T. K.; Morris, Kelly
Tulane drama review,
04/1967, Letnik:
11, Številka:
3
Journal Article
I am a bit impatient when asked, “What is the origin of your experimental theatre productions?” The assumption seems to be that “experimental” work is tangential (toying with some “new” technique ...each time) and tributary. The result is supposed to be a contribution to modern staging—scenography using current sculptural or electronic ideas, contemporary music, actors independently projecting clownish or cabaret stereotypes. I know that scene: I used to be part of it. Our Theatre Lab productions are going in another direction. In the first place, we are trying to avoid eclecticism, trying to resist thinking of theatre as a composite of disciplines. We are seeking to define what is distinctively theatre, what separates this activity from other categories of performance and spectacle. Secondly, our productions are detailed investigations of the actor-audience relationship. That is,
we consider the spiritual and scenic technique of the actor as the core of theatre art.
