{"id":4974,"date":"2012-07-02T20:03:00","date_gmt":"2012-07-02T18:03:00","guid":{"rendered":""},"modified":"2020-09-06T18:59:14","modified_gmt":"2020-09-06T16:59:14","slug":"conferencia-gilbert-meyer","status":"publish","type":"post","link":"https:\/\/www.teiamoner.net\/en\/conferencia-gilbert-meyer\/","title":{"rendered":"Lecture by Gilbert Meyer"},"content":{"rendered":"
\nIII International Conference on Education and Puppets<\/div>\n
\nLecture by Gilbert Meyer. France<\/span><\/p>\n

Puppets to facilitate expression and to manage the contradictory emotions of children with AIDS.<\/span><\/p>\n

1. A changing world full of contradictions<\/span><\/span><\/b><\/p>\n

\n
\nToday
\n day, as Michel Lacroix points out in his essays on \u201cThe cult
\nof emotion \u201d(published by Flammarion), emotion has become a
\nsubject to marketing like any other commodity.<\/span><\/div>\n<\/div>\n
\n
\nThe
\n owners of our leisure carefully calculating the impact of their tools
\nalternating horror, surprise, sadness, anger, relief, compassion,
\njoy, in a game of contrasts that keeps us in suspense. Everything is going well
\nand the renewal of emotional life through the channels of
\ncirculation incorporate films, video games, which project us towards the
\nstrong tones of the world experience.<\/span><\/span><\/div>\n<\/div>\n
\n
\nThese
\n emotions proposed on the one hand and sought on the other are one
\nexplosive typology. All these emotions-shock of strong sensations,
\nthey invade us all day long. They are often overly attached
\nin the definition of the word emotion which means \u201cWho gets into
\ngo \u201d<\/span><\/div>\n<\/div>\n
\n
\nThis one
\n Hyper emotion that appears often hides a lack of search for
\nthe hope that is the one that gives opportunity to our problems and
\nfears. We face an excess of emotions that, unfortunately, often
\nhides the sensitivity of anesthesia.<\/span><\/div>\n<\/div>\n
\n
\nWe are
\n caught in a game of contradiction between the explosion of emotions and
\nfeelings. This emotional poverty unbalances our lives
\naffective and shows us that emotion can be both an advantage and can be
\n a danger.<\/span><\/div>\n<\/div>\n
\nWhen
\n for one reason or another, there has been an alteration of ours
\nsensitivity, we must give materials to re-learn to live from
\nsimple and natural things. That is why we are obliged to move on
\nthrough third parties in our relationships, the mediators who can us
\nhelp us face what escapes us.<\/span>  <\/span>The
\n puppets, with their peculiar way of touching emotions are
\nauxiliaries that allow a structuring action in the chaos of emotions
\n and they can become allies of the reason that allows to give a character
\nmore durable to feelings.<\/span><\/div>\n
\n
\n
\n<\/span><\/span><\/div>\n<\/div>\n
\n
\n
\n<\/span><\/span><\/div>\n<\/div>\n
\n<\/span><\/div>\n
\n
\n
\n<\/span><\/span><\/div>\n<\/div>\n
\n
\n
\n<\/span><\/div>\n<\/div>\n
\n
\n2. Between white and black we reinvent the colors of the rainbow.<\/span><\/span><\/div>\n<\/div>\n
\n
\n
\n<\/span><\/div>\n<\/div>\n
\n
\nIn a dark black and white world, the trembling of emotion gives color to everyone and evokes an emotional echo.<\/span><\/span><\/div>\n<\/div>\n
\n
\nHem
\n to learn again to have contact with the primary colors and give
\nattractive to the sensations, create the return for the pleasure of saying ours
\nface-to-face emotions in an insipid world. <\/span><\/span><\/div>\n<\/div>\n
\n
\nWe need a simple way to find the way emotion becomes a rite<\/span><\/span><\/div>\n<\/div>\n
\n
\nto use the five senses: see, touch, feel, smell, taste.<\/span><\/span><\/div>\n<\/div>\n
\n
\nGiving color to emotions we are trying to say the ineffable. We can say to be afraid of blue, to be red with rage\u2026<\/span><\/span><\/div>\n<\/div>\n
\n
\nEveryone
\n we are affected by various problems and all the orders we are given
\npresent, go from the inside out and also from the outside to
\nwithin oneself. For example, bad news is ours
\nthoughts or good news make us burst with joy.<\/span><\/span><\/div>\n<\/div>\n
\n
\nTherefore, it requires a reorientation of the expression, of something that runs in circles or is wrong.<\/span><\/span><\/div>\n<\/div>\n
\nThe emotion
\n it can be a way to escape from oneself, but it is also involved in healing
\n of oneself to structure our individuality in a world that
\nit constantly escapes us.<\/span><\/div>\n
\nBut how to deal with all this?<\/span><\/span><\/div>\n
\n
\nPer
\n example in the Congo, in some tribes, there is a ritual in which
\na "legacy" mask is offered to a child with a problem. This one
\nsmall mask will carry all the problems. The boy holds the mask
\n and the mask deals with the problem.<\/span><\/span><\/div>\n<\/div>\n
\n
\nThus, the child is released and often things improve on their own.<\/span><\/span><\/div>\n<\/div>\n
\n
\nWell,
\n I guess you know the South American dolls in which the kids
\ntrust their worries before bed\u2026 Examples like these
\n there are many in the world.<\/span><\/span><\/span><\/div>\n<\/div>\n
\nThese examples show us that puppets, puppets in their innocence can give us some answers.<\/span><\/span><\/div>\n
\n
\nEmotion participates in the life of the soul and the body, it is at the interface of the two components of human nature.<\/span><\/span><\/span><\/div>\n<\/div>\n
\nThe emotion
\n it is part of the body, it is transmitted by chills, sweating, knot in the throat\u2026
\n thus turning sensitive areas of the body into a third object\u2026<\/span><\/span><\/div>\n
\n
\n
\nHe
\n puppet with his presence is a mirror of ourselves,
\nit allows us to look back at what is happening in our lives
\ninside, seek out affections, feelings, and express them.<\/span><\/span><\/span><\/div>\n<\/div>\n
\n
\nIn
\n the process, therapists and trainers, often emphasize the
\nneed to reconnect with the inner self through the
\nfeeling, to discover the true identity.<\/span><\/span><\/span><\/div>\n<\/div>\n
\n
\nWith
\n the construction of a puppet goes through a doubling of emotion,
\nby a revelation and by the self-observation of self-consciousness
\nmolded out.<\/span><\/span><\/span><\/div>\n<\/div>\n
\n
\nFent
\n the movements through a puppet play allows to pass
\nof the emotion experienced in reliving it in a transposed context.<\/span><\/span><\/span><\/div>\n<\/div>\n
\n
\nFor the construction of the puppets we embody the specters that concern us that are in the domain of inhumanity.<\/span><\/span><\/span><\/div>\n<\/div>\n
\n
\nWe thus create figures that with our impulse revive a new invented life.<\/span><\/span><\/span><\/div>\n<\/div>\n<\/div>\n
\nIn
\n a recent visit to Chad, I worked on a treatment team
\npsychological to encourage the expression of children affected by HIV AIDS. Jo
\nI even looked at all aspects of program management for myself
\nunderstand something.<\/span><\/span><\/div>\n
\n
\n
\n
\nHow can a child be like this and understand what is happening to him?<\/span><\/span><\/div>\n<\/div>\n
\n
\nHe can't do anything alone. It is not enough to say and explain. We have to put it in a situation where we can experience things.<\/span><\/span><\/div>\n<\/div>\n
\n
\nIs
\n only through the complicity of the little stem puppets of
\ndifferent colors you can set a series of games and during the stage of
\ncreation children let themselves be carried away and dare to express some
\nwhat.<\/span><\/span><\/div>\n<\/div>\n
\n
\n
\n<\/span><\/span><\/div>\n<\/div>\n
\n<\/span><\/div>\n
\n
\n
\n<\/span><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
\nLes
\n slogans of the game involved work on space, on the body,
\non children's interaction, on the introduction of imaginary spaces:
\n for example, a bus trip, or an imitation of the everyday world (the
\nphone game).<\/span><\/div>\n
\n
\n
\n
\n<\/span><\/div>\n
\n<\/span><\/div>\n
\n
\n
\n<\/span><\/span><\/div>\n<\/div>\n
\n
\nHe
\n child dares to tell through the puppet, the puppet observes and
\nhe says what he understands and what he does not understand. The puppet is in contact
\ndirect with the confusing situation that makes him manipulate the manipulator and him
\nit allows the child to express the torrent of emotions and questions that overwhelm him
\n controlling the development of events. The slogan to
\nprinciple was simply to work on the breath that is linked
\nto emotional changes.<\/span><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
\nA
\n then we did a series of group games with a piece of clothing
\ncut in the shape of a circle around which eight can be placed
\npeople, each of whom can manipulate a colored puppet by
\nbelow and interact with the rest of the puppets.<\/span><\/div>\n
\n
\n
\n<\/span><\/div>\n<\/div>\n
\n
\n<\/div>\n
\n
\n<\/span><\/div>\n<\/div>\n
\n
\n<\/div>\n
\n
\n
\n
\n<\/span><\/div>\n
\n
\nThis space develops a playful framework, but above all a picture full of meaning.<\/span><\/span><\/div>\n<\/div>\n
\n
\nDirigim
\n step by step staging at the same present moment watching the
\nemotional potential of each and the puppet is an instrumental component
\n which allows you to cultivate your emotions.<\/span><\/span><\/div>\n<\/div>\n
\n
\nThe
\n problems associated with repression lead to a break with one
\nsame, the splitting of personality, even a form of autism
\noften circumstantial linked to a milestone, here for example related
\nwith AIDS disease: the subject refuses to admit that he feels
\nemotions, there is a renunciation of misunderstanding.<\/span><\/span><\/div>\n<\/div>\n
\n
\nThis one
\n self-denial involves an inner unfolding, at the same time with the puppets
\nyou can externalize and have twice as much in front of yourself.<\/span><\/span><\/div>\n<\/div>\n
\n
\nTo create
\n with puppet situations-mirror to identify one's emotions
\n with those of others, allows you to go through the emotions experienced in
\nthemselves or by themselves.<\/span><\/span><\/div>\n<\/div>\n
\n
\nIs
\n it tries to unravel what overwhelms the individual and what it looks like
\nuncontrollable as it degrades its image in its environment.<\/span><\/span><\/div>\n<\/div>\n
\n
\nThe puppet does not need to be protected, it is not our ego, it can be like the doll that the girl has and that punishes her uncompromisingly.<\/span><\/span><\/div>\n<\/div>\n
\n
\n
\nI will give an example with pictures of the stories that have been made from pumpkins to deal with the stigma problem.<\/span><\/span><\/div>\n<\/div>\n
\n
\nWith
\n small pyrographed pumpkins, we represented with a young woman the
\nfears and emotions experienced by a woman with AIDS, such as her and
\nher children are rejected by the co-wives, but also like her
\nhe bravely takes his destiny and does not let himself be overwhelmed by his drama.<\/span><\/span><\/div>\n
\n
\n<\/span><\/span>
\n<\/span><\/span><\/div>\n
\n<\/div>\n
\n
\n<\/span><\/span>
\n<\/span><\/span><\/div>\n<\/div>\n
\n
\nIn
\n this example, the emotions of the spectators have been very direct and
\n honest in regard to tears, to the hesitation of the woman, and
\nespecially by supporting the defenseless victim. People were
\nable to identify emotions expressed in public without being
\nbecome a psychodrama, and the audience applauded the situation that
\nhe usually lives in a hidden way.<\/span><\/span><\/div>\n<\/div>\n
\nThis
\n is an example of how we can fight against social repression
\nemotions, and how to free oneself from social limitations, such as
\nthe puppet can be an instrument of insurrection against order
\nmultisecular. In the two examples I will cite we are in the midst of drama about
\nstigmatization and how to denounce the habits and customs they create
\nproblems.<\/span><\/div>\n<\/div>\n
\n
\n
\nEach family, each social group is nourished by its own emotional micro-cultures.<\/span><\/span><\/div>\n<\/div>\n
\nOne
\n another example in the Comoros, in the context of a cholera epidemic, is
\nthey used the puppets to denounce the outdated law, the false ones
\nrumors, and the customs that were causing the spread.<\/span><\/div>\n
\n
\n<\/span><\/div>\n
\n<\/div>\n
\n
\n<\/span>On
\n I had a nice experience was when two girls wanted to
\nre-enacting a forbidden work a few months earlier, on the right
\nof girls choosing their romantic partner. Needless to say, most
\n of girls aged 12 to 14 are forced to marry men a lot
\ngreater against their will.<\/span>The work
\n theater was banned, but when it was done with the puppets, the
\nsame performance was applauded by an audience moved to the
\n tears.<\/span><\/div>\n<\/div>\n
\n
\nWhat happened?<\/span><\/div>\n<\/div>\n
\n
\nThe
\n puppets take away from the big, hidden dramas in a world in
\nminiature, but above all they give a symbolic space and a frame that avoids
\nfall into psychodrama.<\/span><\/div>\n<\/div>\n
\n
\nThe
\n creation of a microcosm helped to communicate the message and the
\nemotions without frontally attacking existing society. The bodies of
\ncardboard questioning social codes can make these
\nclaims, while the bodies of young actresses can not
\nbecause they are rooted in the real world and everyday life. It is accepted
\nbecause it\u2019s not real-world, because it\u2019s a manageable, good little frame
\nidentifiable. Therefore, it seems less dangerous and subversive.<\/span><\/div>\n
\n
\n
\n<\/span><\/div>\n<\/div>\n
\n3-The puppet is a word that is (Claudel)<\/b><\/span><\/div>\n
\n
\n
\n<\/span><\/div>\n<\/div>\n
\nDo
\n puppet therapy and especially in my case to intervene in
\nthe fields of psychosocial therapy is to choose, is to place mine
\nknowledge between two different families of psychotherapeutic methods:
\nthose who work in the verbal field and those who do in the field do not
\nverbal. <\/span><\/span>Of one
\n on the one hand there is the verbal box that structures and on the other the one that includes
\nmovements, screams, gesture, vocal exercises, tears,
\nbreathing, the tactile creation of matter\u2026<\/span><\/div>\n<\/div>\n
\n
\nWith
\n the puppet we direct a release of emotions in several layers,
\nthrough physical and energetic processes, and on the structuring side
\nof the play and theatrical slogans. <\/span><\/span><\/div>\n<\/div>\n
\n
\nThe staging of the puppet play takes on the importance of the role of tragedy.<\/span><\/div>\n
\nAristotle
\n in his poetry, he spoke of tragedy as a spectacle that
\n\u201cIt awakens pity and fear, and purges the emotions of dramas
\nof life \u201d<\/span><\/div>\n<\/div>\n
\n
\nThe
\n puppets show us that emotion is not considered an abscess that
\nit must be emptied, or as a condition to be cured. Emotion is one
\nend in itself, desirable, as it reflects our true self
\nidentity.<\/span><\/div>\n
\n
\nWe can
\n to place the puppet in a new concept of catharsis: the goal is not
\nto free oneself from emotion, but to release emotion from acting on one
\notherwise.<\/span><\/span><\/div>\n<\/div>\n
\n
\nReleasing emotions with puppet support is also about creating a space and time to share those emotions.<\/span><\/span><\/div>\n<\/div>\n
\n
\nLike this,
\n we can pass a shocking magma of the emotions-shock that we
\ndisturbing, a bit like dolls with their paroxysmal beaks, and that we
\nlead to an exit from emotions-feelings, which on the contrary
\nthey want to settle inside us like alluvium.<\/span><\/span><\/div>\n<\/div>\n
\n
\nA
\n through the repetition of the game and the actions done by the puppets we can
\nslowly open the front doors to the depths of oneself.<\/span><\/span><\/div>\n<\/div>\n
\n
\nIt enriches the inner life. And there is a new conversation with oneself that is settling in.<\/span><\/span><\/div>\n<\/div>\n
\n
\nAs Rousseau would say, "feeling enters the heart."<\/span><\/span><\/div>\n<\/div>\n
\n
\nThe emotion
\n and feeling become the promise of an attentive life that we
\nunifies, while emotion-shock agitates us and leads us to a life
\ndistracted that disperses us ..<\/span><\/span><\/div>\n<\/div>\n
\n
\nThe stories that the puppets tell us lead us to pay attention to things in life.<\/span><\/span><\/div>\n<\/div>\n
\n
\nHi
\n it is a matter of time: to change your emotional life, we must
\ngive us time, slow down the pace of your existence, the
\nslowness lengthens the short space between past and future. The puppet
\ngives depth to the present.<\/span><\/span><\/div>\n<\/div>\n
\n
\nHe
\n construction time, make and unmake to improve the puppets, passes
\nfor the positive repetition in the theatrical play, this is what gives time
\nto feel differently.<\/span><\/span><\/div>\n<\/div>\n
\n
\nOn the one hand to let go of being and on the other hand to change our point of view to attract our emotional life again.<\/span><\/span><\/div>\n<\/div>\n
\n
\nThus the puppets invite us to welcome otherness within us and around us.<\/span><\/span><\/div>\n<\/div>\n
\n
\nWe can again admire other possible ones and even give a structuring role in the admiration that unites us.<\/span><\/span><\/div>\n<\/div>\n
\n
\nLike this
\n the shared admiration in \u201clet\u2019s play together\u201d for others who are us
\nlook and live the emotions with us, as spectators, makes us
\nestablish a social bond. A kind of communion that creates the
\nmeaning.<\/span><\/span><\/div>\n<\/div>\n
\n
\n<\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\n<\/div>","protected":false},"excerpt":{"rendered":"

III International Conference Education and puppets Gilbert Meyer Conference. France \u2026 <\/p>\n

Keep readingLecture by Gilbert Meyer<\/span><\/a><\/p>","protected":false},"author":3,"featured_media":4975,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[118,123,141,166,111],"_links":{"self":[{"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/posts\/4974"}],"collection":[{"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/comments?post=4974"}],"version-history":[{"count":1,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/posts\/4974\/revisions"}],"predecessor-version":[{"id":4981,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/posts\/4974\/revisions\/4981"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/media\/4975"}],"wp:attachment":[{"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/media?parent=4974"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/categories?post=4974"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/tags?post=4974"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}