Elisabetta Bonaparte is an Italian poet, writer, lawyer and teacher. Her passion for poetry has materialized in a significant literary production, characterized by a profound sensitivity to existential and natural themes and by a refined, intimate and meditative language, rich in symbolism and metaphors. Elisabetta Bonaparte has participated in national and international literary competitions, obtaining First Prizes, Medals, Plaques, Special Prizes, as well as numerous other literary awards. Her compositions, translated into several languages have been selected and included in literary anthologies and published in national and international specialized journals, both in print and online, in many countries.
GRACIELA NOEMI VILLAVERDE is a writer and poet from Concepción del Uruguay (Entre Rios) Argentina, based in Buenos Aires She graduated in letters and is the author of seven books of poetry, awarded several times worldwide. She works as the World Manager of Educational and Social Projects of the Hispanic World Union of Writers and is the UHE World Honorary President of the same institution Activa de la Sade, Argentine Society of Writers. She is the Commissioner of Honor in the executive cabinet IN THE EDUCATIONAL AND SOCIAL RELATIONS DIVISION, of the UNACCC SOUTH AMERICA ARGENTINA CHAPTER.
Caleb Levin, Odin Vega, Lyla Randall in Fun Home; directed by Logan Ellis; photo by Marc J Franklin
Serious Playtime at Huntington Theater’s “Fun Home” November 14 – December 14, 2025
A serious yet playful reimagining of parental memory through surreal childhood dreams conflating with the imposition of adult reality
The winner of five Tony Awards including Best Musical, Fun Home is a beloved, groundbreaking, and soulful story of conceiving your parents by way of adult point of views. Constructed from Alison Bechdel’s best-selling graphic memoir, the musical unearths Alison through childhood, college, and adulthood as she decrypts her coming-out story, and her compounded relationship with an astute, labile, and closeted father. How have the mysteries of her father’s life shaped her own discernment of love and integration of her lesbian identity? With a lofty score by Jeanine Tesori and a terse, emotionally charged book by Lisa Kron, Fun Home is a mesmerizing, must-see theatrical experience, directed by Logan Ellis.
Among the multifarious thematic spirits of the unfeigned theatrical biographical missive ‘Fun Home’ (inspired by the popular comic strip Dykes to Watch Out For), which is a play on words meaning ‘Funeral Home’, is a rip roaring song and dance journey into a childhood past to come out soaring into the greater understanding of present day adulthood. It explores how we perceive our parents from our childhood perspectives and how we come to understand them better through adult introspection. Through the plays’ use of the musical genre, it was able to achieve magical dreamlike moments that may have otherwise proved to be a challenge. The main characters’ understanding of her mysterious complex and brilliant father left me feeling a need to understand his obscure sense of aloofness myself. His perhaps deliberately vague characterization left me with a queer desire to learn more about his enigma, much like the way some of us feel about our own fathers.
Amidst all the adult complexities of parental woes and domestic tensions, growing up, navigating college life while discovering her budding sexuality, the main characters constant presence on stage to explain in a literal sense the multitudinal stages of her life effectively kept the audience in on her private thoughts and youthful perspectives that kept spectators engaged and invested. I, for one, was really rooting for her and symbolically rooting for my own childhood self remembering the mysteries of my own parents and homelife. “Fun Home” alleviated the tense moments of the production with a hot handyman in tight seventies short shorts, awkward first dates and sexual encounters that conceivably made some uncomfortable, albeit in a “fun” sexy way.
This play speaks to the phenomena of children wanting to understand their parents better through childhood dreamlike imaginations, wishful thinking and adult realistic reflections conflating to give us a serious study of childhood understanding of adult relationships but in a “fun” way; thus consequently that’s a five out of five stars for me!
Educational Institution: Tashkent State Dental Institute
Annotatsiya: Ushbu maqolada Herbst apparatidan yuklash yuqori nafas yo’llari funktsional holatiga ko’rsatgan ta’siri ilmiy tibbiy tahlil. Tekshiruv maqsadi ortodontik davolash jarayonida qo’shimcha tekshiruvgan Herbst nafas yo’llarining o’ apparati, havo o’tish dinamikasi hamda bemorlarga yordam bergan funktsional o’zgarishlarga qanday ta’sir ko’rsatishini aniqlashdan iborat. Olinganst yordam ko’rsatish, Herb apparati vositalari jag’ning oldinga surilishi orqali orofaringeal bo’shliqni davolashi, xavo ta’minotini yaxshilash va ayrim obstruktiv nafas yo’llari torayishini yordamga yordam berishi aniqlangan. Xulosalarning, Herbst apparati nafas yo’l funktsional holatini yaxshilashda muhim vosita bo’lishi mumkinligi ko’rsatib berilgan.Kalit so‘zlar: Herbst apparati; ortodontik davolash; yuqori nafas yo‘llari; orofaringeal bo‘shliq; havo oqimi dinamikasi; obstruktiv nafas yo‘llari; sefalometrik tahlil; jag‘ning oldinga surilishi; ventilyatsiya ko‘rsatkichlari; nafas olish funksiyasi.
Abstract: This article presents a medical-scientific analysis of the impact of applying the Herbst appliance on the functional state of the upper airway. The aim of the study is to determine how the Herbst appliance, used as an additional tool in orthodontic treatment, affects airway dimensions, airflow dynamics, and functional changes that benefit patients. The results indicate that the Herbst appliance, through anterior repositioning of the mandible, can improve the condition of the oropharyngeal airway, enhance airflow, and in some cases help reduce obstructive airway narrowing. The conclusions demonstrate that the Herbst appliance may serve as an important tool in improving the functional state of the airway.
Аннотация : В данной статье представлен медико-научный анализ влияния применения аппарата Гербста на функциональное состояние верхних дыхательных путей. Цель исследования — определить, как аппарат Гербста, используемый в качестве дополнительного средства в ортодонтическом лечении, влияет на размеры дыхательных путей, динамику воздушного потока и функциональные изменения, приносящие пользу пациентам.Полученные результаты показывают, что аппарат Гербста за счёт выдвижения нижней челюсти вперёд может улучшить состояние орофарингеального пространства, повысить воздушный поток и в отдельных случаях помочь уменьшить обструктивное сужение дыхательных путей. В заключении отмечается, что аппарат Гербста может являться важным средством для улучшения функционального состояния дыхательных путей.Ключевые слова : Аппарат Гербста; ортодонтическое лечение; верхние дыхательные пути; орофарингеальное пространство; динамика воздушного потока; обструктивное сужение дыхательных путей; цефалометрический анализ; выдвижение нижней челюсти; показатели вентиляции; дыхательная функция.
INTRODUCTION The anatomical and functional condition of the respiratory tract is directly related to a person’s overall health, sleep quality, and daily activity. In particular, the narrowing or obstruction of the upper airway appears as a significant issue in many clinical situations, including sleep apnea, breathing difficulties, and patients with orthodontic abnormalities. In recent years, scientific interest has increased regarding the influence of functional orthodontic appliances not only on the dentoalveolar and skeletal structures but also on the dimensions and patency of the airway. One such appliance is the Herbst appliance, which advances the mandible forward to correct the maxillomandibular relationship and may simultaneously enlarge the oropharyngeal space.
Evaluating the effect of the Herbst appliance on the upper airway is of high scientific and clinical importance, as it can help improve orthodontic treatment outcomes, enhance respiratory function, and reduce obstructive complications. However, the appliance’s impact on the airway—particularly airflow dynamics, ventilation parameters, and subjective breathing comfort—has not been sufficiently studied. Therefore, a thorough analysis of the functional mechanisms of the Herbst appliance remains a relevant research goal.
The primary aim of this study is to determine the effects of Herbst appliance therapy on anatomical and functional parameters of the upper airway, evaluate dynamic changes in airflow, and justify the additional clinical advantages of using this appliance during orthodontic treatment.
LITERATURE REVIEW
Studies investigating the effects of the Herbst appliance on the upper airway combine clinical, anatomical, and functional aspects. The main sources used in this article played a crucial role in shaping the research methodology, analyzing the results, and placing the findings into a broader scientific context. Harvold demonstrated, through clinical and cephalometric analyses, that Herbst and other functional appliances can enlarge the oropharyngeal space by advancing the mandible, thereby improving airflow. Their work served as an essential reference when interpreting the results of our study.
Kiliaridis and Björk evaluated the effects of the Herbst appliance in growing patients, showing that mandibular advancement expands the oropharyngeal space and reduces obstructive conditions. Their findings were used to compare age groups and treatment effects in our study. They developed a detailed method for lateral cephalometric evaluation, providing a reliable tool for analyzing airway anatomy. His methodology formed the basis for assessing oropharyngeal dimensions and mandibular displacement in our research.
Ferguson reviewed upper airway changes associated with orthodontic treatment, including functional appliances. This source supported the scientific rationale for evaluating airway enlargement and sleep-related outcomes in patients using the Herbst appliance. Bakke analyzed respiratory function changes in adolescents treated with functional appliances, specifically examining FVC, FEV1, and PEF parameters. This reference provided methodological guidance for interpreting spirometry results in our study.
These sources helped analyze the findings of our study and contextualize the biomechanical and clinical effects of the Herbst appliance on the upper airway. They also served as a scientific foundation for confirming the positive airway-related benefits of the appliance.
RESEARCH METHODOLOGY
The study was conducted using an observational-analytical design aimed at comprehensively evaluating the effects of the Herbst appliance on the upper airway. The methodology included the following stages:
1. Clinical Observation: Patients’ general somatic condition, craniofacial structure, subjective breathing changes, and adaptation to the Herbst appliance were monitored. An individual clinical chart was prepared for each patient.
2. Lateral Cephalometric Radiographic Analysis: Cephalograms were obtained before and after treatment to measure anatomical airway parameters. The following measurements were recorded: Oropharyngeal space width Anteroposterior and vertical airway of mandibular advancement Functional skeletal changes
3. Spirometry and Ventilation Assessment: Pulmonary function was evaluated with a spirometric device measuring: FVC (Forced Vital Capacity)FEV1 (Forced Expiratory Volume in 1 second)PEF (Peak Expiratory Flow)Airflow resistance index Results were compared before treatment and after 6–10 months of Herbst appliance therapy.
4. Subjective Breathing Comfort Questionnaire: Patients answered a Likert-scale questionnaire regarding breathing comfort, nasal airflow, sensation of shortness of breath, obstruction episodes, and sleep quality.
5. Duration of Herbst Appliance Therapy and Biomechanical Parameters: Each patient used the appliance for 6–10 months. The degree of mandibular advancement, joint loading, and adaptation characteristics were documented.
6. Statistical Analysis: Paired t-test was used to compare pre- and post-treatment values. Correlation coefficients were calculated to assess the relationship between airway enlargement and spirometric outcomes.
RESULTS
The findings of the study were based on clinical observation, cephalometric analysis, spirometry, and patient-reported outcomes.
1. Increase in Oropharyngeal Space: Lateral cephalometric analysis revealed that mandibular advancement with the Herbst appliance significantly expanded the oropharyngeal space. The average increase was 2.3 mm, with the most notable changes seen in the lower airway segment.
2. Airflow and Ventilation Improvements: Spirometry showed enhanced pulmonary function following treatment: FVC increased by an average of 7%FEV1 increased by an average of 6%PEF increased by an average of 5.5%These findings indicate improved airflow dynamics and ventilation efficiency.
3. Subjective Breathing Comfort: 72% of patients reported easier breathing 65% reported improved sleep quality 58% experienced reduced sensations of obstruction or choking
4. Mandibular Advancement: Cephalometric analysis showed an average mandibular advancement of 2–4 mm during treatment, directly contributing to airway enlargement and improved airflow.
5. Statistical Findings: All parameters showed statistically significant differences between pre- and post-treatment measurements (p < 0.05). A positive correlation was found between mandibular advancement, oropharyngeal space enlargement, and FEV1 (r = 0.68, p < 0.01).
CONCLUSION
The results demonstrate that during orthodontic treatment, the Herbst appliance is effective not only in correcting dentoskeletal discrepancies but also in improving upper airway function. Mandibular advancement expands the oropharyngeal space, enhances airflow dynamics, and increases patients’ subjective breathing comfort. The appliance provides notable benefits for individuals at risk of upper airway obstruction, emphasizing its clinical relevance for reducing secondary respiratory issues.
The study concludes that the Herbst appliance contributes to both skeletal correction and improved respiratory function. Future research should include larger sample sizes and long-term assessment of treatment outcomes.
REFERENCES
Bakke, M., Espeland, L., & Krogstad, O. (1995). Functional appliances and respiratory function in adolescents. European Journal of Orthodontics, 17(1), 45–53.
Https://doi.org/10.1093/ejo/17.1.45Ferguson, K. A., Carskadon, M. A., & Millman, R. P. (2006). Upper airway changes with orthodontic treatment: A review. Sleep Medicine Reviews, 10(2), 107–123. Https://doi.org/10.1016/j.smrv.2005.08.003Harvold, E. P., Tomer, B. S., & Vargervik, K. (2000). Functional appliances and airway changes in orthodontics. American Journal of Orthodontics and Dentofacial Orthopedics, 118(2), 152–159. Https://doi.org/10.1016/S0889-5406(00)70391-8Kiliaridis, S., & Björk, A. (1986). The effects of mandibular advancement on airway space in growing children. European Journal of Orthodontics, 8(2), 95–104.
Https://doi.org/10.1093/ejo/8.2.95Mcnamara, J. A., Jr. (1981). A method of cephalometric evaluation. American Journal of Orthodontics, 80(4), 505–522. Https://doi.org/10.1016/0002-9416(81)90238-3Pancherz, H. (1997). The mechanism of Class II correction in Herbst appliance treatment. Seminars in Orthodontics, 3(4), 214–224. Https://doi.org/10.1016/S1073-8746(97)80008-5Valiathan, M., & Bock, N. (2010). Airway effects of mandibular advancement devices: Clinical implications. Journal of Clinical Orthodontics, 44(5), 295–302.
Cal Performances presents The 4th Witch, November 22, 2025 at Zellerbach Hall
(credit: Courtesy of Manual Cinema)
Witching Hour
The 4th Witch
Manual Cinema
Zellerbach Hall
University of California, Berkeley
Reviewed by Christopher Bernard
For (frustratingly) one lonely, tantalizing performance, Cal Performances, in co-commission and as part of its “Illuminations: Exile and Sanctuary” series, brought the bright good witches of Chicago’s Manual Cinema on a recent Saturday evening for a brew of witchery and magic that they, and they alone, are (in this apprentice wizard’s experience, anyway) uniquely qualified to provide.
I say frustratingly because I can’t understand how this company’s brilliant toilers, who spent a year creating a compact music-filled masterpiece of puppetry, handicraft, cinema and wonder, can’t have been given a full weekend among us: the hall was packed, riveted to marvels of stagecraft and story-telling, without a pixel or a bow to “slop” in sight, and few left for the fascinated Q&A that followed. When something this fine, brave, and wondrous blazes across the Bay Area’s sky like a comet blithely visiting from a neighboring universe, one can hardly settle for a single, dazzling show – no!
It’s not as if the company were new here and on probation: they brought us a scintillating Ada/Ava in the millennium before Covid (circa 2017, to be precise). The 4th Witch is even finer, and marks one of the peaks in Bay Area performance since then. For those new to Manual Cinema, a brief description may be in order. The creative heart of the company is given to inventing live performances of puppetry, hand-crafted backgrounds, body prostheses, and props and the techniques of shadow plays projected onto large screens and accompanied by live music.
One of the most intriguing aspects of the performance is that, rather than seeing only the end result onscreen, we also see, in the background onstage, the combined actions of actors, puppets, prop managers, projectors, and musicians as they bring the final result about. It’s a bit like a combination of Bunraku puppeteering and an open kitchen at a small five-star restaurant. Far from undermining the magic, it paradoxically makes the end result seem like pure alchemy, as the mind is cast into the liminal space between the quotidian reality and the magical effect. The result is a profoundly poetic form of animation that has the high-wire thrills of live performance.
The premise of Saturday’s show is as beautiful in its simplicity as it is timely without being brow-beating. As described by one of the members in the Q&A, they took a page from Tom Stoppard’s famous play from the 1960s, Rosencrantz and Guildenstern Are Dead, which retells the story of Hamlet through the eyes of his half-clueless, half-traitorous school fellows, and reimagined another famous play by the Bard – in this case, Macbeth , though, in keeping with sacred theatrical tradition, the tragedy is referred to onstage only as “the Scottish play”– from the point of view of one of the Thane of Cawdor’s victims.
The story is updated to an imaginary, mid-twentieth-century war in a French-speaking country, and the victim is a young girl whose parents run a little restaurant in a town piled up a steep, isolated hill, much like Mont-Saint-Michel on the Normandy coast of France. The girl’s parents are killed in a raid by Macbeth’s air force. The town is left in ruins, and she runs away after a futile attempt to bring down the mocking, glow-eyed, gas-masked, Darth Vader-like Macbeth by striking him with her stuffed bunny rabbit, her sole possession saved from the wreckage of her home.
Lost in the surrounding forest, wandering for days, reduced to hunger and rags, she discovers a mysterious house, where she is met by a sinister old woman who takes her in and sets her to work. The old lady turns out, naturally, to be a witch – indeed, she is one of three, magically embodied in the one, who have a mysterious relation to Macbeth and his powers, a relation that shall not be revealed here, for those seeking spoilers. After the girl, taking a sip of a spell-casting soup, has a sorcerer’s apprentice moment in the witch’s kitchen, the old one decides to teach her witches’ ways – a fourth to add to the three.
And the powers in magic that the girl gains – black as the night, from making magic potions from mushrooms of the forest, to night flying on broomsticks, to commanding daggers to fly to the hearts of their victims – feed the dreams she cultivates of revenge against the murderer of her parents. We’ll leave it at that.
Whoever knows “the Scottish play” can guess much, but not everything: not how famous elements of the play – from floating daggers to the bitter washing of hands, from the assassinations of kings to the executions of assassins – are mixed and blended, with imagination and wit, nor how the amalgam of the imaginary, the remembered, and the hoped for is finally annealed into a satisfying whole – a Gesamtkunstwerk (forgive my German) held light and bright, from acting as rich as a puppet’s to puppetry as nuanced as a great actor’s, to potently low-tech sound design and music from a trio of instrumentalists seconding as vocalists, to world-creating as lyrical and witty as it is suggestive of its own self-contained universe.
Play on, Manual Cinema! And blessed be those Who bring ye back for more than one more show!
Christopher Bernard is an award-winning poet, novelist, playwright, and essayist. His most recent book is The Beauty of Matter: A Pagan’s Verses for a Mystic Idler. 2025 is the twentieth anniversary of the publication of his celebrated debut novel, A Spy in the Ruins.
