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Michio Tojima, Naoshi Ogata, Yasuo Nakahara and Nobuhiko Haga
Hip and spine coordination, which is known as the lumbopelvic rhythm (LPR), is similar to the scapulohumeral rhythm during shoulder movement. Concurrent movement of the scapula and humerus is an important component of arm function ( Inman et al., 1944 ; McQuade et al., 1995 ). Likewise, concurrent movement of the hip and lumbar spine contributes to the locomotor function of the lower limbs ( Esola et al., 1996 ; McClure et al., 1997 ; Wong and Lee, 2004 ). The LPR can be expressed as the lumbar–hip ratio (LHR), which represents the ratio of
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Joanna Słomko, Mariusz Kozakiewicz, Jacek J. Klawe, Małgorzata Tafil-Klawe, Piotr Siermontowsk and Paweł Zalewski
The aim of this study was to analyse dynamic fluctuations in the circadian rhythm of the core body temperature in healthy adults exposed to conditions in a hyperbaric chamber, using fully objective-telemetric measurement methods. The study group consisted of 13 healthy males (age 32±6.4 years, height 1.85±0.1 m, body weight 84.00±6.3 kg; BMI 24.7±1.2 kg/m2). The core body temperature (CBT) was measured with the Vital Sense telemetry system. The volunteers were placed in a hyperbaric chamber, exposed to compression of 400 kPa, with the exposure plateau of approx. 30 minutes, followed by gradual decompression. The mean core temperature was 36.71°C when registered within 10 minutes before the exposure, 37.20°C during the exposure, 37.27°C one hour after the exposure, 37.36°C 2 hours after the exposure, and 37.42°C three hours after the exposure. The conducted observations show that one-hour stay in a hyperbaric chamber at a depth of 30 m results in an increase in the body temperature, particularly significant after the exposure ends, and maintained for at least 3 hours after the exposure.
The present paper aims to present the role of rhythm and its modelling aspects in the education of acting students, based on practical and theoretical research in the field of theatre and pedagogy. After analyzing the actual situation of performances in which the balance between text and movement has been overthrown, the birth of an essential factor in the formation of the actor is triggered: they must acquire a body of theoretical and especially practical knowledge regarding the rhythmic language that plays an important role in building a character.