Sinds de veranderde wet- en regelgeving in 2015 moeten sociale professionals leren om samen te werken in wijkteams. In dit hoofdstuk wordt besproken hoe participatief theater kan helpen bij het ontwikkelen van nieuwe handvatten of methodieken voor sociaal werk. Aan de hand van een casus wordt in detail uiteengezet hoe een wijkteam kan werken met forumtheater. Het blijkt dat forumtheater de ruimte geeft om op een verbale en non-verbale manier te leren. Ook biedt forumtheater de mogelijkheid om met zijn allen te komen tot een plan van aanpak. De paragraaf over de vier kwaliteitscriteria voor Arts-Based Research behandelt de voordelen van cocreatie, de mogelijkheid tot generalisatie van de bevindingen en de sterke evocatieve kracht van participatietheater.Ten slotte komt de vraag aan bod of het beter zou zijn als cliënten meedoen met het theater.
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This article examines how the human perception of knowledge is structured in the empirical world. It is often argued by scientists that facts in this empirical world can be perceived, which makes us believe that this world is an objective world. However, the human way of making sense of the world is individual and embodied, which causes the creation of an individual world for every human: a body-world. The empirical world is in this case a shared space for multiple bodies that agree on the causality of certain events and objects in that space. Every body-world therefore has its own partial perspective on the knowledge in this shared space, which is formed by the physiology of the body, the cultural background, and the identity of the person. The theater has the power, through the techniques of re-enactment and disruption, to give its audience insight in other situated knowledges from different partial perspectives. It can therefore connect different situated knowledges and create ecological knowledge: the awareness of the connected network of knowledges that is produced in various body-worlds on what is happening in the shared space. Only then can we emancipate knowledge and embrace the various partial perspectives that this shared space of body-worlds has to offer.
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A local operating theater ventilation device to specifically ventilate the wound area has been developed and investigated. The ventilation device is combined with a blanket which lies over the patient during the operation. Two configurations were studied: Configuration 1 where HEPA-filtered air was supplied around and parallel to the wound area and Configuration 2 where HEPA-filtered air was supplied from the top surface of the blanket, perpendicular to the wound area. A similar approach is investigated in parallel for an instrument table. The objective of the study was to verify the effectiveness of the local device. Prototype solutions developed were studied experimentally (laboratory) and numerically (CFD) in a simplified setup, followed by experimental assessment in a full scale mock-up. Isothermal as well as non-isothermal conditions were analyzed. Particle concentrations obtained in proposed solutions were compared to the concentration without local ventilation. The analysis procedure followed current national guidelines for the assessment of operating theater ventilation systems, which focus on small particles (<10 mm). The results show that the local system can provide better air quality conditions near the wound area compared to a theoretical mixing situation (proof-of-principle). It cannot yet replace the standard unidirectional downflow systems as found for ultraclean operating theater conditions. It does, however, show potential for application in temporary and emergency operating theaters
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In diesem Vortrag möchte ich einen Blick auf die möglichen Synergien zwischen den neuen Medien und dem Theater werfen, doch vielleicht anders als dies üblicherweise getan wird. Statt den Gebrauch von Videoprojektoren auf der Bühne zu untersuchen oder Schauspieler und Tänzer mit Geräten zur Verfolgung von Bewegungsabläufen auszustatten, möchte ich vorschlagen, dass das Theater einige der kritischen Ideen integriert, die wir in den letzten Jahren in unseren Untersuchungen der sozialen Medien und des Web 2.0 entwickelt haben.
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BackgroundThe importance of learning to create an expressive performance is a consistently discussed topic in music education. However, how musicians develop “expressiveness” is still understudied. Recent investigations have shown that musicians’ motor behavior is a significant source of perceptual information during performances (Davidson, 2007), as it helps audiences differentiate musicians’ expressive intentions and it often serves as aperformance quality indicator (Waddell & Williamon, 2017). Nevertheless, most current teaching approaches in Higher Music Education focus mainly on acoustic characteristics of performance, and they lack clear goals and systematic teaching patterns (Karlsson & Juslin, 2008; Meissner, 2021).For centuries, some of the most influential theater methods have used physical exploration (motion) to stimulate imagination and create affective states (emotions) in actors. These approaches are rooted in embodied cognition theories, which claim that physical experience shapes conceptual thought, and this is contingent upon the body’s interactions with its environments (Kemp, 2012). Drawing inspiration from theater practices, the method “Frommotion to emotion” for enhancing expressiveness was developed by this author, using improvisational theater as a basis.AimsThis workshop is designed to acquaint participants with the method. We will share insights and reflections from previous participants to demonstrate its effects and will foster discussion around teaching approaches. Short outline of the activities to be undertaken by the presenters/audienceAfter an oral introduction to improvisational theater, participants will engage in practical exercises to experience it firsthand, exploring how to acquire a “physical vocabulary” applicable to music performance. Participants will be encouraged to share their experiences during debrief moments. This workshop is accessible to individuals with no previous theater experience. The total duration would be 90 minutes.Implications for practiceThis contribution emphasizes the importance of integrating visual characteristics of performance in teaching approaches, increasing musicians’ body awareness, and strengthening body-mind connection. These efforts can positively impact individuals’ development, enabling them to create convincing performances while boosting self-confidence.Specific value of the workshop for the conferenceThis method merges embodied cognition theories with theater techniques to innovate educational approaches to expressiveness, making it relevant for musicians wanting to enhance this skill, music educators aiming to teach it, and experts from the field of psychology interested in how it develops.
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Stichting Theater Veder maakt al jaren school met een benadering die belevingsgerichte zorgmethoden in het contact met mensen met dementie combineert met theatrale elementen. De nieuwste vorm hiervan, de Veder Contact Methode, is nu onderzocht op effectiviteit en op de duurzaamheid van invoering in zorginstellingen.
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In dit opiniestuk komt de ‘indirecte’ politieke verantwoordelijkheid van de kunstenaar aan de orde. Deze verantwoordelijkheid krijgt bijvoorbeeld gestalte door voortdurend te blijven zoeken naar nieuwe manieren om theater- en danskunst te beoefenen. Zo kan de danskunst de lichamelijke verbondenheid voor het voetlicht brengen.
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Waarom voelen we afgrijzen voor de daden van Macbeth? Hebben we medelijden met Desdemona? Waarom reageren we emotioneel op situaties die we beschouwen als fictioneel, als niet-echt? Door een analyse van het receptieproces van toeschouwers bij theatrale producten (theater, film, televisie) wordt in dit boek een antwoord op deze vragen geformuleerd. Hiertoe worden begrippen als 'fictionaliteit', 'mogelijke werelden', 'beleving', 'identificatie' en 'empathie' vanuit een psychologische optiek geanalyseerd.In het bijzonder wordt stelling genomen tegen het idee dat het receptieproces hoofdzakelijk door bepaalde conventies wordt gestuurd. De analyse resulteert ineen psychologisch model dat een aantal cognitieve processen nauwkeurig beschrijft. Tevens wordt uitvoerig ingegaan op de emotionele relatie van de toeschouwer met het theatrale product. Empirisch onderzoek bevestigt het merendeel van de aan het model onttrokken hypothesen.
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