Il existe une grande controverse autour du metteur en scène polono-mexicain Ludwik Margules (1933-2006), auteur d’une quarantaine de spectacles au Mexique depuis les années cinquante. Célèbre pour sa rigueur et son exigence pendant les processus de préparation, Ludwik Margules se distinguait par ses provocations et ses intimidations envers les comédiens. Sa méthode basée sur la transgression des limites de ces derniers a été mise en doute à de multiples reprises. Cette recherche a pour but de comprendre comment Margules a réussi à créer un théâtre épuré et sans concessions qui l’a poussé à la rencontre de l’essentiel et à la création d’un langage caractérisé par son minimalisme. Nous croyons que c’est grâce à la recherche de l’essence de l’être à travers une méthode de travail basée sur la transgression. En plus d’être metteur en scène de théâtre, Margules a été professeur et directeur dans différentes institutions à Mexico où il a renouvelé et enrichi la pédagogie théâtrale. Son école de petit format, le Foro Teatro Contemporáneo (Forum Théâtre Contemporain) était reconnue pour sa qualité en dépit de sa précarité. Sa vaste connaissance du langage théâtral et son énorme travail pédagogique ont enrichi le théâtre mexicain. Son art de la mise en scène visant un public intellectuel, s’est caractérisé par un langage poétique. Margules a combattu, à travers un syncrétisme entre sa culture polonaise et la mexicaine, le vieux théâtre espagnol pétrifié, qui envahissait les scènes mexicaines. Tout au long de son travail comme directeur du Centre Universitaire de Théâtre de l’Université Autonome du Mexique, il a créé des formations en Direction Scénique et en Scénographie qui ont servi à former plusieurs artistes même si elles n’ont duré que cinq ans. / There is a huge controversy around polish-mexican director Ludwik Margules (1933-2006) responsible for more than forty shows in Mexico since the 1950´s. Famous for his exigency and rigor during the rehearsals, Ludwik Margules was distinguished by its provocations towards the performers. His method based on transgreding the limits has been called into question multiple times. The objective of this research is to understand how did Margules managed to create a purified and unyielding theater that incited him to find the essential and took him to elaborate a language caracterized by its minimalism. Our hypothesis is becuase it´s method is based on transgression which is achieved by looking for the essence of being. Besides being a stage director, Margules was a professor and Dean on different institutions where he renewed and enriched theater pedagogy in Mexico. His independent school the Foro Teatro Contemporáneo (Contemporary Theater Forum) was recognized for its quality in spite of its precariousness. His vast knowledge of theater language and his enormous pedagogical work enriched mexican theater. His art while staging a play for an intelectual audience was characterized for his poetic language. Margules fought, through the syncretism of his polish/mexican culture, the old petrified spanish theater that invaded the Mexican theater scene. Throughout his work as Dean of the Centro Universitario de Teatro at Mexican Autonomous University, he created the stage directing and stage designing school who formed several artists, sadly this schools lasted for only five years.

Total pressure measurements at 303.15 K are reported for the binary systems of 2-ethoxyethanol with carbon tetrachloride, chloroform, 1,2-dichloroethane and dichloromethane. Total pressure measurements for the system of hexane and 2-ethoxyethanol were also made to check the validity of the experimental apparatus and procedure. These measurements were taken according to the static method proposed by Van Ness (1975). Data reduction was accomplished using Barker's Method. The modified Margules equation was used as a model for the excess Gibbs free energy (GE) and parameter values were obtained by regression of the experimental data. The obtained data were used to test the association model developed by Kretschmer and Wiebe (1967). In its original form, the Kretschmer-Wiebe model assumes self-association between molecules of 2-ethoxyethanol. An extended form of the Kretschmer-Wiebe model, in which cross-association of 2-ethoxyethanol with the halogenated hydrocarbon is postulated, was examined as well. The regular solution model, which results from the above theories when all association is neglected, was also examined. It was found that the Kretschmer-Wiebe model was far superior to the regular solution model. However, the extended form of the Kretschmer-Wiebe model showed less improvement over the original form.