5/8/2023 0 Comments Fresh sans![]() She actively collaborates as referee of several international magazines with a high impact index. Previously she coordinated another European project (FP7-PIRSES-GA-2012-318926), and she was the main investigator of several international cooperation projects (AECI, Catalan Cooperation Agency, UB), as well as of numerous technology transfer projects with industry (CENIT, PROFIT and an Industrial Doctorate, among others). Moreover, her future research interests also include the deeper knowledge of the fundamentals and engineering of those technologies and how water management strategies can help to reach an environment free of toxic pollutants.Īt present she is the principal investigator of three competitive projects: one national (CTQ2017-86466-R) one autonomous (2017SGR131) and one European (H2020-RISE-2015-690618), of which she is also the main coordinator of the project. ![]() Her experience and interests in research are focused on the field of Environmental Engineering, mainly in the treatment of domestic and industrial waters by advanced oxidation processes, and in their integration with other processes (biological, adsorption and membrane processes) for the reuse of water. Carmen Sans is currently the director of the research group Advanced Oxidation Processes Engineering (EPOA), accredited as a quality group by the Generalitat of Catalonia (consolidated group since 2005). She is a member of the QISU-Chemistry Teaching Innovation Group at the Secondary School-University interface, since 2006.ĭr. Since 1993 she has been involved in undergraduate teaching (Chemistry, Chemical Engineering, Environmental Sciences, Biotechnology) and Master (Environmental Engineering). She has the national accreditation to University Professor (Catedrática de Universidad), in Engineering and Architecture. She has four six-year research periods (sexenios de investigación) (date of the last six-year period: 2017), one six-year knowledge transfer period (sexenio de transferencia) and five five-year teaching periods (quinquenios), recognized by quality agencies (CNEAI and AQU). She is a CEQAP member (Technology Transfer Network of Catalonia (XIT, CIDEM, Generalitat de Catalunya). She has been Secretary of the Department between 20. She has been an Assistant Professor between 19 and since July 1997 she is Full Associate Professor at the Department of Chemical Engineering and Analytical Chemistry of the University of Barcelona. Carmen Sans has a degree in Chemistry (specialty in Industrial Chemistry, 1989) and a PhD in Chemical Sciences from the University of Barcelona since 1992. That’s the thing about this show: it’s a kind of satiric socialist uber text, the first musical to make the case that criminality and corruption are separated only by the power of the perps and the precursor to much of what would happen in American musical theater over the succeeding 100 years.Dr. “Threepenny” is best known for the song “Mack the Knife,” famously recorded by everyone from Louis Armstrong to Bobby Darin to, in a delicious bit of irony, Frank Sinatra, but there are other gems in its score, including “Pirate Jenny,” which always feels to me like it could have been written by John Kander and Fred Ebb. That was a cleverly conceptual affair with less focus on the nuances of Weill’s musical interpretation.īut Fred Anzevino, the founding artistic director of Theo Ubique, a Weill aficionado of long standing and a refreshing stickler for excellent singing, has put together a fresh and lively take on a tricky, not-for-all-tastes show that, when done well, always reminds you that a whole lot of what theater people now think of as fresh and radical, Brecht was already doing in the 1920s. ![]() I last reviewed “Threepenny Opera” in Chicago all the way back in 2008, in a lively production by a now-defunct theater company known as The Hypocrites, under the direction of Sean Graney, at the now-defunct Steppenwolf Garage. These days, though, you rarely see a decent Chicago “Threepenny,” which is technically quite difficult to sing. ![]() Given that the piece is about, in essence, the London equivalent of the Chicago mob mixed with Chicago machine politics, the show has a long and apt history in this toddlin’ town. This 1928 composition, a collaboration between Brecht and the composer Kurt Weill, really never goes out of style, and as long as corruption, hypocrisy and virtue signaling remain a constituent part of human behavior, it never will. “What is the robbing of a bank compared to the founding of a bank?” had an especially amusing ring to it Sunday night at Evanston’s Theo Ubique Theatre, as Bertolt Brecht’s “The Threepenny Opera” proved its pithiness once again. ![]()
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