Abstract

The 2014 European Association of Urology (EAU) guidelines on Penile cancer recommend dynamic sentinel node biopsy (DSNB) as a standard staging method for intermediate and high risk squamous cell carcinoma of the penis (SCCp), (≥ T1G2), c N0. The aim of this work is to evaluate the false negative rate and morbidity of our DSNB series. Since 2005 to 2014, 23 patients with SCCp and a patient with melanoma of the distal urethra, cN0, underwent DSNB in the urology department of Porto Portuguese Oncology Institute ‐ IPOPFG, EPE, Portugal. Bilateral inguinal ultrasound scan and fine needle aspiration cytology (FNAC) of suspicious inguinal nodes were not performed before DSNB. Lymphoscintigraphy starts in the morning of surgery with peri‐tumoral injection of albumin nanocoloid labeled with 99m Tc. Peri‐operatively, patent blue is injected into the dermis in peri‐tumoral location. The sentinel node is identified during surgery with the aid of lymphoscintigraphy images, a portable probe which detects gamma rays and identification of the blue dye in lymph nodes and vessels. The false negative rate was calculated per patient. The complication rate was calculated per groin within 30 days of DSNB. In 23 patients with SCCp, lymphoscintigraphy was bilateral in 7 patients. Biopsy was bilateral in 11 patients, with a mean number of lymph nodes excised per patient of 2, negative for metastasis in 20 patients. After median follow‐up of 45.5 months, we had a false negative. The false negative rate [1 false negative / (3 true positive + 1 false negative)] was 25%. The complication rate of BDGS per groin was 5.8%, with 2 minor linfoceles (Clavien I). Inguinal ultrasound and FNAC of suspicious lymph nodes before DSNB, although operator‐dependent, seems very important to decrease our false negative rate. The referral of patients with SCCp for DSNB can increase the number of patients undergoing this nodal staging method in Portugal. The DSNB morbidity is minimal.

Abstract

The composition of the dramatic texts of the Golden Age aims at their on stage peformance, and so, some of their textual elements direct them towards a particular staging. The play La franchota has, on one hand, characters which, when performed, can be easily identified by the spectators by means of their clothes and typical objects of their job. On the other hand, it has foreigners characters whose manner of speech, besides characterizing them as such, has an important comical and burlesque function. The songs and dances require the musicians’ presence on the show. Another important role is that of the implicit statements and didascalias regarding the represented space and scenic movement, together with the metric changes that mark the different moments and scenes of the dramatic construction.

Abstract

The present article analyses three of Calderon’s mojigangas, establishing the relation between the dramatic text and the staging of these pieces. Each mojiganga corresponds to a different type of comic structure depending on the organization of the thematic content. Las visions de la muerte is nearer of a folkloric or traditional matter. Of a great tone of irony and satire, more similar to the entremés, and along with that more dramatic and literary than spectacular, is El pésame de la viuda; Los guisados is structured by the nature paradigm, the deformation of the characters is more ridiculous than in an entremés and has a sense of a feast, possibly a palace feast.

Abstract

Se traza la historia de más de treinta puestas en escena del auto sacramental La vida es sueño de Calderón de la Barca, desde el estreno de su segunda versión en Madrid en 1673, hasta 2019. El artículo intenta capturar lo que en esencia es un arte efímero y reflexionar sobre el sentido de algunos de estos montajes y los valores de su performance.There is a history of more than thirty mise-en-scènes of Calderón de la Barca’s Eucharistic play La vida es sueño , beginning with the 1673 performance of the second version of the play in Madrid, up until today (early 2019). This article tries to capture what is essentially an ephemeral art, reflecting on the intentionality of some of the stagings and their performative values.