Stage combat is a constantly evolving craft, responsive to the growing demands of an ever changing industry and an ever more perceptive audience. Experienced fight director, teacher and examiner Philip d'Orleans shows how to respond to this challenge through innovative techniques. Unarmed Stage Combat explores the fundamental performance principles of violence on stage, before a dedicated series of chapters focus on over forty specific unarmed combat techniques, including non-contact slaps, punches, kicks and chokes as well as controlled contact and the illusion of falling. Each technique is beautifully illustrated with step-by-step photos and detailed practical guidance through the preparation, action and reaction to the movement, as well as the key safety principles, common pitfalls and staging variables. Supported by stunning fight photos from professional productions, this indispensable handbook is equally as valuable for beginners at the start of their career or preparing for their fight performance exam as it will be for seasoned professionals seeking to refresh their knowledge.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Cette uvre (edition relie) fait partie de la serie TREDITION CLASSICS. La maison d'edition tredition, basee a Hambourg, a publie dans la serie TREDITION CLASSICS des ouvrages anciens de plus de deux millenaires. Ils etaient pour la plupart epuises ou uniquement disponible chez les bouquinistes. La serie est destinee a preserver la litterature et a promouvoir la culture. Avec sa serie TREDITION CLASSICS, tredition a comme but de mettre a disposition des milliers de classiques de la litterature mondiale dans differentes langues et de les diffuser dans le monde entier.

Angiotensin converting enzyme inhibitors (ACEI) represent the first class of antihypertensive agents that was designed and developed on the basis of a well-defined physiopathological axis of arterial hypertension, a vascular dis order that is now becoming one of the major causes of morbidity/mortality, not only in developed societies but also in the highly populated developing coun tries [1]. CAPTOPRIL, the prototype of the "PRIL" family, which now comprises more than 40 molecule-species, was quite hazardous and the clinical develop ment almost failed when serious side-effects were reported in an alarmist fash ion in reputable scientific journals, such as the New England Journal of Medicine and Lancet. Squibb & Sons came very close to withdrawing CAPTOPRIL from clinical investigation [2]. However, after re-examination of the data obtained from different categories of patients and appropriate dose-adjustments, the clinical use of CAPTOPRIL turned out to be revolutionary. The prototype, as well as other members of the "PRIL" family became the starting point for numerous basic and clinical research programs, focusing on the interactions of ACEI with the kinin, endothelin, and nitric oxide systems, and the contribution of the receptors for AT I, AT 2, bradykinin Bland B , ETA and ET B to the pharmacological actions 2 of the respective peptides. This research activity led to the development of new pharmacological agents, such as the angiotensin receptor antagonists and, more recently, the neutral endopeptidase inhibitors. In the near future, bradykinin receptor antagonists also will be available to modulate ACEI phar macological actions.

In seventeenth-century France, aristocratic women were valued by their families as commodities to be married off in exchange for money, social advantage, or military alliance. Once married, they became legally subservient to their husbands. The duchesse de Montpensier--a first cousin of Louis XIV--was one of very few exceptions, thanks to the vast wealth she inherited from her mother, who died shortly after Montpensier was born. She was also one of the few politically powerful women in France at the time to have been an accomplished writer.
In the daring letters presented in this bilingual edition, Montpensier condemns the alliance system of marriage, proposing instead to found a republic that she would govern, "a corner of the world in which . . . women are their own mistresses," and where marriage and even courtship would be outlawed. Her pastoral utopia would provide medical care and vocational training for the poor, and all the homes would have libraries and studies, so that each woman would have a "room of her own" in which to write books.
Joan DeJean's lively introduction and accessible translation of Montpensier's letters--four previously unpublished--allow us unprecedented access to the courageous voice of this extraordinary woman.