{"id":4951,"date":"2012-07-05T20:28:00","date_gmt":"2012-07-05T18:28:00","guid":{"rendered":""},"modified":"2020-09-07T13:03:14","modified_gmt":"2020-09-07T11:03:14","slug":"emocions-i-titelles-jornada","status":"publish","type":"post","link":"https:\/\/www.teiamoner.net\/en\/emocions-i-titelles-jornada\/","title":{"rendered":"Emotions and puppets, International Conference in Barcelona"},"content":{"rendered":"

\n
\n<\/a>An article about the day in the digital magazine: www.putxinelli.cat<\/a>Emotions and Puppets, International Conference in Barcelona<\/a><\/h1>\n
\nJuly 5th, 2012 <\/div>\n
\n
\n
\nIt was held on Thursday, June 28, 2012 the III International Conference on Education and Puppets<\/a> which organizesthe Institute of Education Sciences (IEC)<\/a> of
\n the University of Barcelona, under the command of the puppeteer i
\ncultural activist Teia Monner, true soul of these days that
\nthey have been celebrated for six years. The idea of the meeting is to come together
\nin a single day a whole series of experiences presented by specialists,
\npresentations that take place during the morning, while in the afternoon there are some
\npractical sessions with workshops given by some of the speakers and one
\npuppet show, this time by the veteran group Puppets
\n Babi.<\/div>\n
\n\"Richard<\/a><\/p>\n
\nIntervention by Richard Bouchard. Photo by Teia Monner.<\/div>\n<\/div>\n
\nIt has
\n to say that talking in Barcelona about Education and Puppets, a topic that
\nin other latitudes it is also often associated with Puppets and Therapy, it is
\nsomething new, despite the long experience that local teachers
\nhave in the use of puppets. New especially because the Day
\naims to reflect and put on the table the most advanced practices 
\nof this use of the puppets, looking for a systematization and a rigor
\nwhich can only come from experience when this is contrasted by
\nyears and by the accumulated knowledge of international exchanges on the
\nsubject matter. There is, in particular, the association \u201cPuppet and Therapy<\/a>\u201d
\n which has been in operation since 1978 and has not stopped working since
\n in this field, developing a whole language and a theoretical corpus 
\nabsolutely exceptional.<\/div>\n
\nThe
\n Professional puppeteers have always seen this specialty as one
\nlateral appendix of the profession. But when you get closer to their reality
\n and you go into the exhibitions and debates that are generated there, one realizes
\nof how his practices move through the most intimate spaces of the Theater
\nof Marionettes, that is to say, where it is spoken of the thematic ones of the Double,
\nof the Dualities and of the mechanisms of projection that are always any
\n animation of an object or a puppet. Themes that are also
\nare posed and experienced from the deepest psychological nuclei of
\nthe person. That is, in intimate contact with perceptual essentiality
\nof the human psyche, far from aesthetic and purely theorizing
\nacademic. Practice and experience are the stones of this
\nactivity that is also aimed at future practitioners, such as the
\nteachers or psychologists. I must confess that I was impressed
\nby the stories of most of the speakers, amazed at how they were playing
\nthe essences of our profession, transferring phenomena
\nprojectives and splits, basic of puppet theater, in practice
\n teaching and therapeutic.<\/div>\n
\nVa
\n open the Day a parliament of the puppeteer and specialist in all
\nthese issues, the soul of the Meeting, Teia Moner, who was in charge of
\npresent the general theme of the meeting, Emotions and Puppets, as well
\nsuch as the various presentations to be made in the morning and the activities
\nscheduled in the afternoon.<\/div>\n
\nElijah
\n L\u00f3pez-Cass\u00e0, teacher, psychoeducational and doctor in Education Sciences and
\n member of the Psychopedagogical Guidance Research Group (GROP), of the
\nUniversity of Barcelona (UB), was in charge of locating the
\nthematic Puppets and Emotions from a theoretical perspective and at the same time
\npractice. After defining what an emotion is, it was shelling out
\nits different types to be able to place us in this complexity
\ninterior so rich in nuances and contrasts. Educators and pedagogues
\nthey seek above all a balanced management of emotions, given the great
\ndifficulty in managing them, especially the most negative ones and
\nthose that tend to hide or simply project themselves onto others, a resource that
\nit accounts for ninety-nine percent of social and coexistence conflicts
\n between people. In this sense, the effectiveness of puppets lies
\nin their capacity to be objects of projection of ours
\nemotions more difficult to express, those that we usually project from a
\nunconsciously in others, making them our enemies or
\n in true devils. The puppets accept these projections
\nunconscious and in this way they end up coming out into consciousness. They are,
\nsomehow, some mirrors that we put inside us and that reflect the
\ndarker and hidden corners of the psyche. As you can see, one
\nindisputable utility.<\/div>\n
\nRichard Bouchard, Director General of ENAM (National Puppet Learning School<\/a>),
\n of Canada, a leading and unique institution dedicated to
\npeople psychologically unfit for work and therefore excluded from the
\nsociety. The uniqueness of the school is that it focuses its practice on
\nthe Puppet Theater, with a rigor and seriousness in its use
\nreally exceptional. Richard Brouchard told the story of the
\ninstitution, as they began with totally precarious means in 1990
\nto become the internationally recognized center it is now. How
\nthe speaker told us, ENAM uses the puppet to break
\nthe isolation of people suffering from serious mental health problems
\n and thus help them channel the flow of emotions they experience on a daily basis.
\nBasically a team work that is accompanied by follow-up
\nindividualized and has already achieved extraordinary results.<\/div>\n
\n\"Gilbert<\/a><\/p>\n
\nIntervention by Gilbert Meyer. Photo by Teia Monner.<\/div>\n<\/div>\n
\nTo us
\n the speaker explained that an economic study of the results achieved
\n it translates into savings by the institutions of about ninety
\nthousand euros per patient per year, an amount that, if multiplied by
\nnumber of patients, exceeds the cost of maintaining the ENAM in its
\ntogether, Attendees were able to watch some videos of performances
\n made by patients, where you could see how the costume and the puppet them
\n it served to externalize some emotions that were otherwise left
\nrepressed.<\/div>\n
\nAlso very interesting was the presentation by Gilbert Meyer, a veteran puppeteer from Strasbourg, France, of thecompany Tohu Bohu Th\u00e9\u00e2tre<\/a>,
\n which for years has alternated its activities in the world of
\nthe show with a work of social and psychological assistance through
\nof the puppets (it should be noted that Gilbert, before being
\npuppeteer, was a nurse of the mentally ill). Specifically, we go
\ntell his experiences in Africa, when he worked a year ago
\nwith a group of children affected by the AIDS virus in Chad. Les
\nexplanations of their exercises and the various practices carried out
\n impressed those present, while showing us the huge ones
\npossibilities that puppets have to integrate children with
\nmajor health and social exclusion issues.<\/div>\n
\nSeconds
\n Gilbert Meyer, working with puppets allows to structure the chaos of
\nemotions and at the same time expand the perceptual palette of them, \u201ceverything
\n declining their fundamental colors \u201dor, in other words,
\nrediscover the five senses. He explained the widespread custom in the Congo
\nof the use that is made of the small masks, that serve to embody
\npeople's problems. So when a child or adult has a problem
\nserious, the community comes together and builds a mask tailored to the
\nproblem posed. In this way, the affected person is freed from the problem,
\n which the mask takes care of from that moment on. A naivete
\n very operational, as Gilbert Meyer has been able to see blankets.
\nHe also talked about how the puppet is a kind of mirror that allows us
\n get inside us, see what\u2019s going on inside us, and
\nobserve the affections (feelings and emotions). In fact, all processes
\ntherapists who use the puppet look for nothing but the patient
\nget in touch with himself. Likewise, the fact of building one
\npuppet forces the performer to unfold in what he is doing,
\nputting a certain emotion into it. A phenomenon, therefore, embodied that
\nit frees us from the abstract schematism in which our society
\nhe seems to want to drive us. This explains why even Death can
\ndepicting himself with a puppet, and that Punch ends up stomaching him.<\/div>\n
\n\"Taller<\/a><\/p>\n
\nMoment of the workshop taught by Gilbert Meyer. Photo by Teia Monner.<\/div>\n<\/div>\n
\nGilbert
\n Meyer spoke to us at the end of his speech about some projects
\nstories told through visual objects, inspired by art
\nJapanese, and consisting of tablets drawn in the manner
\npopular in some African regions.<\/div>\n
\nVa
\n take the floor Teresa Forcada, a teacher who worked from the
\n2005 to 2009 with a host group on the subject of Migratory Mourning, a
\na school in El Prat del Llobregat. Titled the workspace \u201cClassroom i
\nLife \u201d, Teresa Forcada enchanted us all by telling us one
\nextreme conciseness and a story as transparent as honest, his
\nexperience with a group of young people who came from different countries and who
\n they lived the \u201cmourning\u201d of having left family, friends and a social environment
\ncomplex and affective. The work focused on puppets, for
\nwhich they had the help of a professional puppeteer
\ncoming from Colombia. An experience of a deep humanity that goes
\nreveal the uniqueness, rigor and effectiveness of a work done from the
\n head and from emotions.<\/div>\n
\n\"Taller<\/a><\/p>\n
\nMoment of the workshop taught by Richard Bouchard. Photo by Teia Monner.<\/div>\n<\/div>\n
\nA
\n then Jonathan Sanchez presented us with a theatrical and entertaining
\npaper on fear, which he titled: \u201cEveryone is afraid. And what?".
\nProfessor of the Palau de Palau de Plegamans school, Jonathan S\u00e1nchez va
\nshell out all the elements of fear, explaining how it works and
\nends up provoking three types of response: the Escape, the Confrontation and the
\nParalysis. He told us about his experience with the students of the school, and
\nas puppets allow fears to be embodied and thus help to be able to
\nto objectify and, therefore, to relativize them.<\/div>\n
\nMontserrat
\n Capdevila and Teia Monner told us about their experience in the
\nworkshops with puppets that they carry out in the school where they work, with
\nimages and some videos that were very rev elative and enlightening.It was
\n very interesting to see how thanks to the puppets, a group of children
\ndifficult and without any empathy between them, he modified his
\nbehavior to end up staging a final staging altogether
\nendearing and with a spirit of remarkable coexistence.<\/div>\n
\nI,
\n to finish, and almost in a hurry, due to having passed us by
\nthe scheduled time, Ruth Revaliente and Marta Torrico exposed the
\nhis particular experience in his puppet workshops, also of a
\ngreat interest, with pictures and photographs of the practices with theirs
\nstudents.<\/div>\n
\n\"Titelles<\/a><\/p>\n
\nPerformance by the group Babi Puppets. Photo by Teia Monner.<\/div>\n<\/div>\n
\nIs
\n you can tell that the results of the intense day were extraordinary.
\n The large attendance - perhaps about fifty people - was able
\nenjoy a series of presentations, practices and experiences made in
\ncontexts all of them very different from each other: a theoretical morning that goes
\ncomplete with the practice of the workshops (by Gilbert Meyer and
\nRichard Bouchard), and the show in the afternoon (by the group Puppets
\n Babi). An exciting day, really greedy and fruitful in ideas and
\nknowledges. We look forward to the next appointment in two years.<\/div>\n
\nAll the papers of the Conference can be found shortly on the blog of Teia Monner:
\nhttp:\/\/titellesieducacio.blogspot.com.es\/<\/a><\/div>\n
\nAdjuntem
\n some photographs sent to us by Gl\u00f2ria Roig i Gim\u00e9nez about the
\nWorking day. The puppets that appear at the end and that have been used for
\nthe rotating image of the cover, are of the psychologist Alba Juanola:<\/div>\n
\n\"Fotos<\/div>\n
\n\"Fotos<\/div>\n
\n\"Fotos<\/div>\n
\n\"Fotos<\/div>\n
\n\"Fotos<\/div>\n
\n\"Fotos<\/div>\n
\n\"Fotos<\/div>\n
\n\"Fotos<\/div>\n
\n
\n
\n<\/a>
\n <\/a><\/a>
\n<\/a><\/p>\n

<\/p>\n

\n
\n <\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\n\"avatar\"<\/p>\n

\nBy<\/span> Toni Rumbau<\/a><\/h3>\n
\nToni
\n Rumbau is a puppeteer and writer, founder of the historic company La
\n Fanfarra of Barcelona (1976), of the Malic Theater (1984-2002) and of the
\nPocket Opera Festival and New Creations (1993).<\/div>\n
\n
\n
\nBesuche Toni Rumbaus Webseite<\/a><\/div>\n<\/div>\n
\n
\nFolge Toni Rumbau on Twitter<\/a><\/div>\n
\n<\/div>\n<\/div>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

An article about the day in the digital magazine: www.putxinelli.catEmotions\u2026 <\/p>\n

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