The leader of the safety

Analysis of achievements of theories about the safety and management studies is pointing at resemblances in appearing paradigms. New paradigm associated with such notions is one of them as: boundless organization, flexibility, networks of the value, subjective thinking, deliberate management in the face of the tolerance of uncertainty. All exchanged variables refer to issues of power and conducting which it face is changing in the era information, orientated to computer latest achievements, easiness of communicating, dynamic space. One should rank the confidence, the openness, the credibility and the responsibility among core values of this era. For her representatives are seeking authority, but every authority is a subject of the criticism from their side. The structure of behaviours is never for straights rescuing the described personality model, but the compilation of characteristics of people and of social situations. In such different reality everyone who wants to lead the field must act. In the area of the safety he has a particular dimension. Own development of the leader of the safety, based on exchanged elements is becoming an obvious duty. Elaborating this problem constitutes the subject of the present text.

Diana, Aurelia and the others: actresses and leaders of the last duke of Mantua

This article introduces the activity of artistic directors Teresa Costantini, Angela Paghetti, and Colomba Coppa in the service of Ferdinando Carlo Gonzaga-Nevers, their generous patron and the last Duke of Mantua. Referencing studies that were initiated 30 years ago in the field of musicology and using recent historical research and archival sources, the essay highlights the artistic, organisational, and management responsibilities of commedia dell’arte directors. It reconstructs their relations with Ferdinando Carlo, ducal agents, and the Gonzaga court, while also focussing on their relations with Venetian Grimani impresarios, with whom the Duke of Mantua had established a lasting and generous collaboration. Performing women, prejudicially equated with prostitutes and beneficiaries of gifts and privileges, were depictions of love and glory for a discredited prince, whose array of artists was, however, amongst the most dense and dynamic in Italy. Actresses progressively moved away from the codes of courtliness and, as professionals registered and paid with money, they came to have strong bargaining power and levels of autonomy. However, they were subjected to rules and obligations, especially in Venice, where theatre owners made spaces available only to companies under the protection of the princes who were politically aligned with the Serenissima. During the years of the so-called Spanish succession war, Diana, Aurelia, and the others moved between Venice, Mantua, and Casale, where Ferdinando Carlo had moved after the blockade of Mantua, accompanied by a colourful procession of women, musicians, and commedia actors. Through theatrical misadventures mingled with military manoeuvres in Mantuan territory, and via changes of destination, programme, or repertoire, we read the story of a duchy that had lost its identity and of a rapidly changing theatrical market.