MI PARTICIPACIÓN EN EL CONGRESO MUNDIAL DEL TAOS. CANCÚN, MÉXICO, ABRIL DE 2010.
COLLABORATIVE THEATER AND THERAPY: INTEGRATING VOICE AND ECHOES.
Salvador Lemis (Cuba-Mexico)
Bachelor of Performing Arts.
Specialty Theater and Dramaturgy.
Collaborative MA in Psychotherapy.
PROFESSOR: ISA, CCI, UNAM, UV, UDLA UADY, ESAY , KANANKIL.
"You are what your deepest desire is. How is your desire, it is your intention. As it is your intention, your will. As is your will, your actions are."
Upanishads
INTRODUCTION OR HOW TO ENTER THE SNAIL CONCENTRIC CIRCLES:
The New Theatre and collective creation are closer collaborative therapy, social-constructionist than might be supposed.
QUESTIONING OF THE POSITION COLLABORATOR.
"How can we create the kind of conversations and relationships that invite all members of the educational community to mutual recognition and the use of the strengths, resources and creativity to develop opportunities where it seemed not to exist?"
According to Harlene Anderson and Sylvia London.
MY WORK / MY POSTURE
Regarding the role of the actor I show that I have several ways to approach the concrete-sensory forms of art:
* As a playwright and author of texts.
* As a stage director.
* As a designer of theatrical self-image.
* As the author of screenplays media.
* As teratology
* As a professor of higher education.
* As a puppeteer.
*As a professor of masks.
As for my role as a therapist who wants to approach the teacher again, studying his words, going to more distant sources and more recent dialogues with their ideas and aspirations, confidence in their need to accompany you complete the missing pieces always puzzles build all to re-start arming later. As one friend painter named Leandro Soto: "Every quarter of an hour everything is passionately different."
I learned to dialogue with voices of theater itself, including my own voice and the same time, circumscribe learning that, as an opera aperta "multiply its postulates flexible to find other and new codes of behavior of my person, my social being immersed in the webs of the postmodern condition, in a world observed by an indestructible Panopticon, in a culture that was not born (Cuba to Mexico), but which I now insert (Yucatan Peninsula, Mexico: Maya universe mestizo and Southeast) and where I exercise my practical and professional life, my love life and my life dissimilar and human relations in the Third Millennium.
From this table I want a priori designed to highlight some common levels (and different) that may exist in the theatrical creative meeting and working with the actor (internally and with their actions, images and language proposed, plus the locally generated codes ) and in the therapeutic session and work collaboratively with the client. And where, in both experiences, the converse situation, new discourses are told, is trying to capture dilemmas, it gives voice to contradictions, establishing relations of meanings and intentions.
All patients or clients I've had since the first day of monitoring in these two years and I've worked on dancing through sustained dialogue, I have learned to talk differently, to be more collaborative, to build from the consciousness of society. And I have held parallel talks with actors and other artists also during this period of time as other teaching-learning process. The road is long, complex and suggestive. /
VISIONS / VIEW OF LEMIS.
WORLD OF THERAPY WORLD OF THEATER
Therapeutic process Artistic process
Status / Action. Status / Action.
Identity. Identity.
Contextualized. Contextualized.
Teams reflective. Teams reflective.
Flat space and time. Flat space and time.
Interest, surprise. Interest, surprise.
"As if .. " As if .."or" if ..magical "
Internal dialogue. Train of thought.
Roles. Roles.
Identity. Identity.
Attempt. Attempt.
In process ... In Process ...
The "here and now. " The "here and now."
Creativity. Creativity.
Dancing with the client. Dancing with the interpreter.
Local language. Local language.
Pre-understandings. Pre-understandings.
Metaphor. Metaphor.
Analogy. Analogy.
• Awareness of non-expertise, exist.
• Escort / involve / invite /
• Dancing with the client in therapy.
• dialogic process as a generator of possibilities.
• Convenience, trust and therapy space.
• Attention to language and its loopholes.
• The hierarchy not in the coaching process.
• reflective equipment for the customer.
• To incorporate or include voices.
• The importance acquired by the voice of the customer.
• Find a comfortable and profitable to engage with the Other.
• The positivistic mentality and new paradigms.
• The socio-constructionist paradigm.
• Find other ways of life and readiness for therapeutic work.
• Postmodernism as a constructive critique of modernity.
• The different roles of individuals and the I dynamited.
• Nothing says story begins where it begins. (White et al.)
• The story is always "scored": choose from which is useful and revealing of the intention with which account. (LONDON)
• If language were perfect not serve to affect change. (Anderson)
• Dissolve dilemmas in communion. (CHAVESTE)
• The language comes from many places and many different sites is directed: it brings its burdens. (Derrida)
• I understand I can, not what I want. (Maturana)
• Words of consensus, we understand or try to understand: the words are then walking.
• Any experience can be told. (WHITE.)
• Any story can be told in many and infinite ways.
• Kenneth Gergen and social construction. The multifrenia. (GERGEN)
• Space imperfect, and fireworks. (VADILLO)
• The range of parameters. (AYORA)
• "Now I see a person." (SWIM AND ALUMNI)
• Kanankil = Kaleidoscope = snail.
Salvador Lemis (Cuba-Mexico)
Bachelor of Performing Arts.
Specialty Theater and Dramaturgy.
Collaborative MA in Psychotherapy.
PROFESSOR: ISA, CCI, UNAM, UV, UDLA UADY, ESAY , KANANKIL.
"You are what your deepest desire is. How is your desire, it is your intention. As it is your intention, your will. As is your will, your actions are."
Upanishads
INTRODUCTION OR HOW TO ENTER THE SNAIL CONCENTRIC CIRCLES:
The New Theatre and collective creation are closer collaborative therapy, social-constructionist than might be supposed.
QUESTIONING OF THE POSITION COLLABORATOR.
"How can we create the kind of conversations and relationships that invite all members of the educational community to mutual recognition and the use of the strengths, resources and creativity to develop opportunities where it seemed not to exist?"
According to Harlene Anderson and Sylvia London.
MY WORK / MY POSTURE
Regarding the role of the actor I show that I have several ways to approach the concrete-sensory forms of art:
* As a playwright and author of texts.
* As a stage director.
* As a designer of theatrical self-image.
* As the author of screenplays media.
* As teratology
* As a professor of higher education.
* As a puppeteer.
*As a professor of masks.
As for my role as a therapist who wants to approach the teacher again, studying his words, going to more distant sources and more recent dialogues with their ideas and aspirations, confidence in their need to accompany you complete the missing pieces always puzzles build all to re-start arming later. As one friend painter named Leandro Soto: "Every quarter of an hour everything is passionately different."
I learned to dialogue with voices of theater itself, including my own voice and the same time, circumscribe learning that, as an opera aperta "multiply its postulates flexible to find other and new codes of behavior of my person, my social being immersed in the webs of the postmodern condition, in a world observed by an indestructible Panopticon, in a culture that was not born (Cuba to Mexico), but which I now insert (Yucatan Peninsula, Mexico: Maya universe mestizo and Southeast) and where I exercise my practical and professional life, my love life and my life dissimilar and human relations in the Third Millennium.
From this table I want a priori designed to highlight some common levels (and different) that may exist in the theatrical creative meeting and working with the actor (internally and with their actions, images and language proposed, plus the locally generated codes ) and in the therapeutic session and work collaboratively with the client. And where, in both experiences, the converse situation, new discourses are told, is trying to capture dilemmas, it gives voice to contradictions, establishing relations of meanings and intentions.
All patients or clients I've had since the first day of monitoring in these two years and I've worked on dancing through sustained dialogue, I have learned to talk differently, to be more collaborative, to build from the consciousness of society. And I have held parallel talks with actors and other artists also during this period of time as other teaching-learning process. The road is long, complex and suggestive. /
VISIONS / VIEW OF LEMIS.
WORLD OF THERAPY WORLD OF THEATER
Therapeutic process Artistic process
Status / Action. Status / Action.
Identity. Identity.
Contextualized. Contextualized.
Teams reflective. Teams reflective.
Flat space and time. Flat space and time.
Interest, surprise. Interest, surprise.
"As if .. " As if .."or" if ..magical "
Internal dialogue. Train of thought.
Roles. Roles.
Identity. Identity.
Attempt. Attempt.
In process ... In Process ...
The "here and now. " The "here and now."
Creativity. Creativity.
Dancing with the client. Dancing with the interpreter.
Local language. Local language.
Pre-understandings. Pre-understandings.
Metaphor. Metaphor.
Analogy. Analogy.
• Awareness of non-expertise, exist.
• Escort / involve / invite /
• Dancing with the client in therapy.
• dialogic process as a generator of possibilities.
• Convenience, trust and therapy space.
• Attention to language and its loopholes.
• The hierarchy not in the coaching process.
• reflective equipment for the customer.
• To incorporate or include voices.
• The importance acquired by the voice of the customer.
• Find a comfortable and profitable to engage with the Other.
• The positivistic mentality and new paradigms.
• The socio-constructionist paradigm.
• Find other ways of life and readiness for therapeutic work.
• Postmodernism as a constructive critique of modernity.
• The different roles of individuals and the I dynamited.
• Nothing says story begins where it begins. (White et al.)
• The story is always "scored": choose from which is useful and revealing of the intention with which account. (LONDON)
• If language were perfect not serve to affect change. (Anderson)
• Dissolve dilemmas in communion. (CHAVESTE)
• The language comes from many places and many different sites is directed: it brings its burdens. (Derrida)
• I understand I can, not what I want. (Maturana)
• Words of consensus, we understand or try to understand: the words are then walking.
• Any experience can be told. (WHITE.)
• Any story can be told in many and infinite ways.
• Kenneth Gergen and social construction. The multifrenia. (GERGEN)
• Space imperfect, and fireworks. (VADILLO)
• The range of parameters. (AYORA)
• "Now I see a person." (SWIM AND ALUMNI)
• Kanankil = Kaleidoscope = snail.
MY DEDICATION:
I want to do with you what spring does with the cherry trees.
Voglio fare con te ciò che fa i spring Ciliegi.
Je veux faire avec toi ce printemps fait avec you Cerisiers them.
我 要 令 你 像 春天 的 樱桃 树 一样 灿烂
Pablo Neruda
salvadorlemis@Gmail.com
www.kanankil.blogspot.com
www.rey.de / lemis
www.salvadorlemis.blogspot.com
I want to do with you what spring does with the cherry trees.
Voglio fare con te ciò che fa i spring Ciliegi.
Je veux faire avec toi ce printemps fait avec you Cerisiers them.
我 要 令 你 像 春天 的 樱桃 树 一样 灿烂
Pablo Neruda
salvadorlemis@Gmail.com
www.kanankil.blogspot.com
www.rey.de / lemis
www.salvadorlemis.blogspot.com
Comentarios