{"id":5120,"date":"2010-07-19T18:42:00","date_gmt":"2010-07-19T16:42:00","guid":{"rendered":""},"modified":"2020-09-06T19:00:42","modified_gmt":"2020-09-06T17:00:42","slug":"treball-amb-adults-la-preso-i-amb-nens","status":"publish","type":"post","link":"https:\/\/www.teiamoner.net\/en\/treball-amb-adults-la-preso-i-amb-nens\/","title":{"rendered":"Working with adults in prison and with children in Parma Hospital"},"content":{"rendered":"
\n
\n<\/div>\n
\nII International Conference <\/span>Education and <\/span>Puppets 2010
\n<\/span><\/div>\n

CORRADO VECCI CONFERENCE, Psychomotorist.<\/i> Italy.<\/span><\/span>
\n <\/span><\/span> <\/span><\/span><\/span><\/span><\/span><\/p>\n

Working with puppets: Working with adults in prison and with children in the hospital of Parma<\/span><\/span><\/span><\/b>
\n
\n<\/span><\/span><\/span>
\n<\/span><\/span><\/span>
\n<\/span><\/span><\/span>
\n<\/span><\/span><\/span> Good
\n day. My name is Corrado Vecci, I'm a psychomotorist from the cooperative
\nsocial Le Mani Parlanti of Parma, president of the Puppet Association
\n and Salut Italia and vice-president of FILMS (international federation
\nof puppets and health). First of all I would like to thank the organization and
\n in particular to Teia Moner for the invitation to this agreement. My
\n intervention will consist of the exhibition of two activities, linked
\nabsolutely in the title of the day The puppets, an open window<\/i>.<\/span><\/span><\/span><\/div>\n

\nThe
\n first part of the presentation exposes the work with the puppets in the
\n prison and the second, the work done in the Pediatrics section of
\nthe Hospital of Parma. <\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nI'll start
\n with the presentation of the work done in the Parma prison. Make a
\npuppet workshop with a final performance in a prison has been an idea
\n which I have often thought of. That's because I've always believed in the
\nutility of figure theater as an instrument that promotes stimulus
\nimaginative and creative, with the addition that a prison is a difficult field.
\nThis idea could not be realized until two years ago, either by the
\nfact that there were no channels to make my proposals, or because,
\nworking day in and day out with the kids, I figured the difference would be
\n too large and may not be applicable to adults and
\nimprisoned techniques used with children.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nThe occasion
\n was introduced to me when in 2008 from the Ser.t (dependency program
\n pathological diseases of the prison) of the health section of Parma goes to me
\npropose to collaborate with them from the organization of a workshop
\n of puppets for prisoners. I accepted with enthusiasm and a bit of
\n skepticism about the new job that was being presented to me.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nI will
\n to specifically request that this workshop end with a show
\nend, because I am convinced that the value is extremely important
\nof this work is completed if you go through all the points that
\nthey involve the creation and realization of a show.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nThe goal
\n of this workshop was also to offer participants, with the help of
\nfigure theater instruments, the possibility of finding a dimension
\n creative and stimulate the imagination in an environment where these
\nconditions do not exist.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nOpen that one window<\/i> looking beyond the bars, out of the prison walls with the help of imagination.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nDes
\n from the beginning I had many difficulties. Difficulties related to the
\n rigidity of the rules of prison life. That rigidity was
\n justified by the fact that the Parma prison is a maximum prison
\nsecurity and that is why it has been necessary for me to imagine everything I could
\n serve to perform the show before entering, before knowing
\n the participants.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nOne
\n once I thought about the list of materials, I had to modify it. Per
\nexample, we could only use a pair of scissors with spikes
\nrounded for the whole group of participants; the sandpaper me
\nthey conceded only if it was cut into 5cmx5cm pieces and only three pieces
\n for each; likewise, they also touched only a needle for sewing and
\n two brushes per head. The causes of this were also due to the fact that the
\nprisoners had very long sentences.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nObviously
\n that the way of working in this field is totally different from the
\n way I usually use when working with boys or girls, with
\nwhich, for each occasion I have the opportunity to choose the material
\nwhich best suits the situation.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\ntoo
\n I found it difficult to form the group. For this one
\nworkshop was helped by an operator who works in prison every day. Vam
\n working together and we talked to each other to explain them
\ncontents and purposes of the workshop. So everyone could choose
\ndelivery whether to participate or not.<\/span><\/span><\/span><\/div>\n
\nSome
\n of them decided to participate without being completely sure, because so
\n they had the chance to get out of the cell and relate to someone
\nother.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nOne
\n Once the group was formed, we decided to start the workshop
\nworking on team building, that is, we tried to motivate one
\n group of 8 people who did not know each other and who would contribute theirs
\nvarious personal stories. Generally, it is difficult to create a group that
\n it is based on a purpose that comes from outside. In this case, moreover,
\n these were people who lived in a condition in which the
\nfreedom and dignity towards the simplest actions were denied and,
\nas a result, violent behavior toward others and the
\n society.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nPer
\n to them, life in prison often requires them to face all
\nsituations individually, unrelated. On the contrary, in the group
\nwhich was formed, to achieve the goal of creating a show of
\ntittelles based on the construction of history was indispensable
\n share everyone's suggestions.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nWe dedicated the first sessions of the workshop to doing group therapeutic relaxation, using the brain-storming<\/i>
\n with the theme of participation, expectations and about
\npuppets. All this work to enjoy, for two hours
\nweekly, of a moment that would help them get out of the difficulties
\ndaily imprisonment.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\ncan I
\n say we achieved the goal, the weather within the group is gone
\nreturn calmer and, in addition, some of them managed to give aid to
\n others (in the first group two prisoners had psychiatric pathologies and
\n in the second, three were foreigners). The prisoners who knew how to paint go
\nhelp those who did not know, and the same happened to those who did
\n they knew how to sew. We also worked out the expectations they had towards the
\n workshop. At first, everyone had their own. Some watched the workshop
\npuppets as an out of place proposal regarding their age, the
\nthey looked more suitable for children. One of them was anxious at the same time
\nshow your emotions to others. Others said they were not
\nable to do manual things, not even the puppet with the suit. I
\nanother was so excited and confident that he had to stop
\n so that others have space.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nDo
\n the stories were very important to them. They were able to pull it off
\nmany of their emotions and lived experiences. Here I found
\nmany similarities with the work I often do with children and with them
\n Disabilities. The story, however, reflects some of his
\ndesires such as freedom, friendship, love and work. Some wishes
\nwhich in the end are made symbolically in history, though the
\ntitle they chose returns them to their current condition. Thus, the
\nfirst show was titled The Land of Never Again, <\/i>that was like saying: we dreamed with our eyes open, we imagined our dreams and desires, for we are here, in prison.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nWe can,
\n therefore, evaluate the thesis for which the use of puppet one is attributed
\n important therapeutic value. We were able to stimulate his desire and the
\npleasure to externalize deep emotions, positively and
\nnegatively, in an area in which it would otherwise have been
\nvery difficult to express.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\n
\n<\/span> <\/div>\n
\nI will now send you a comment from a participant:<\/span><\/span><\/span><\/div>\n
\nC: I said things about myself that, in words, I would not have said so easily.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nAfter writing the story we did the stage, which at first was supposed to be one, but then<\/span><\/span><\/span><\/div>\n
\nthe enthusiasm and desire to be able to offer a good product made them decide to make two themselves.<\/span><\/span><\/span><\/div>\n
\nPer
\n security reasons I could not bring material from outside, so to
\n when choosing the music everyone went to propose titles of
\nmusical themes. Then I recorded them in one pen drive<\/i> and, thanks to the kindness of a prison guard, we were able to listen and choose the music for good.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nIn the
\n final we set the date on which we would act for the other prisoners.
\nHere we also had difficulties with the rules of the prison. We don't
\nto be able to rehearse with the puppet theater, neither with music nor the
\nscene moves, and we had to try it all half an hour before that
\nstart the final cake.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nI will
\n appreciate many changes in the character of the participants throughout the
\nworkshop course. If at first the motivations were superficial for the
\nthe fact that they thought the puppet show was something for kids,
\n then, over time, and especially during the construction of the
\npuppet, motivations changed. Each of them invested a lot
\nof their emotions to improve the product. They took care of him
\nthey farted, it never ended up being perfect.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nDes
\n from a personal point of view, this experience has shown me one
\nreality of which he had only heard. Surely he was one
\nknowledge that went beyond the surface and led us to
\nexplore hidden areas inside us.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nAre going
\n come to see our show 150 prisoners and 20 people from outside.
\nThe actors, who from the beginning of the workshop had not demonstrated
\nworries about showing up to the public, produced a tension that goes with me
\n seem functional to carry out the show in a way
\nprofessional.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nThe show
\n it was considered a success by the other prisoners, including the actors
\ngreater criticism was expected. Too bad we couldn't document anything,
\n neither with video nor with photos. We were only able to take pictures of the
\npuppets I put you down here.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nSome comments from the actors after the show:<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nC:
\n I really liked it. I understand that in addition to acts against the law, I can
\n doing normal things accepted outside of here too. I lifted mine
\nlevel of self-esteem.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nD:
\n From the beginning he was convinced that he should only write the
\nstory, make the puppet and paint the stage, without having to recite
\npersonally, because I was embarrassed. The night before the cake I had
\nanxiety because he thought he might have recited. I was excited
\nalso the next day. I thought I had done something that would have ended
\nwith my 20 year criminal reputation. But I saw that
\nI was wrong when I heard comments from my classmates.
\nI really enjoyed the show and it made me realize that I had done something
\n important to myself.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nO: It was a very good experience. Everyone congratulated us on the show. I am satisfied with the work we did.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nS: I was comfortable with the group. I think I played a good role.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nAnd here are some questions I asked a participant in last year's workshop:<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\n1)    <\/span><\/span>What did you think of this activity?<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nO:
\n The initiative seemed like a good thing to me from the beginning, especially
\nfor doing something new and for giving me the chance
\nforcing me to take advantage of the time, and at the same time distracting me from the harsh
\n reality of prison. Also because when I was little my mom me
\n took to see the puppet shows of the Ferraris (company
\nParma). This made me curious.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\n
\n<\/span> <\/div>\n
\n2)    <\/span><\/span>How did you feel during the workshop? <\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nO:
\n Very comfortable, the group, the others, Corrado and Cinzia have been
\ngreat, we set up a good roll little by little. The best example goes
\nbe to build the plot of the show. It was hard to get started though
\nthen we would have continued for days writing the story.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\n3)    <\/span><\/span>Did you use this experience during your life in prison?<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nO:
\n It helped me a lot. It motivated me (in a place where it\u2019s hard
\nfind motivations). Experience has improved the relationship between
\nus and gave us a good personal memory. I was enriched by
\nof.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\n4)    <\/span><\/span>To what extent has it been important for you to build the story, the puppet, and the show?<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nO:
\n I was very excited that once the show was over I was
\nI realized that I could do a job that both the public and I could do
\nthank you. I thank Cinzia and Corrado for the opportunity
\nthey have given us.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nHe
\n September 2009 we started the workshop again with a
\nnew group. It was a group of 5 people in which one was inserted
\napprentice from the University of Education Sciences.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nWith
\n this group, on the one hand, was all the simpler because they were so much
\nmore motivated than those in the previous group; on the other, we had problems
\n because among them were many more foreigners.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nHe
\n on Monday the 21st of June we did the first and also the last performance, or
\nbe the only one in the Parma prison. This year, unlike the year
\nIn the past, they allowed us to take pictures and also shoot a video of
\nthe show. <\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\n
\n<\/span> <\/div>\n
\nSecond part<\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nDit
\n all this and recognized in the puppets a strong descriptive value, I think
\nthat the puppet is the right and appropriate instrument for the children who are
\nfind in the hospital. For children hospitalization is surely one
\nmoment of great tension, anxiety and fear. At the time of being admitted to
\nthe hospital, the child loses daily referrals; everything he did in the
\nnormal life in the hospital stops, the customs of space and time
\nthey change.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nYou know
\n that Japanese is expressed through ideograms, which are a kind of
\nimaginary representation of what they want to represent. I was impressed
\nmuch the fact that the ideogram representing the child is translated
\nliterally as a the river flowing between two banks. <\/i>This one
\nimage explains well the needs of the child. The river itself is one
\nmoving image. An image that flows, an image that goes away as a child
\n growing up, understanding a change, flowing between two shores and needing be channeled.<\/i><\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nYes
\n now we try to extend this concept with our imagination we will see
\n immediately if the river has too wide or too distant banks the
\n the river will be blocked, it will not flow, it will become a swamp. If, on the other hand, the
\nshores are too closed, no space, the river is running too fast,
\n tends to accelerate. If the banks are not equal, the river tends to
\noverflow on the sides where there is no piping.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nEm
\n it seems an image that, beyond many scientific reflections,
\nit is about the fundamental requirement of the child: to be channeled in the mind,
\n to be seriously channeled, also physically between two shores.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nWhat's wrong with the hospital? <\/span><\/span><\/span><\/div>\n
\nA
\n the hospital is performing the rupture, the fracture of this idea of
\npositive continuity of existence. The child cannot understand why
\n its banks do not have the power to channel it inside the hospital. The
\n parents (in most cases) can do nothing to make the
\nyour child that they are always by your side. The child cannot understand by
\n what they do not defend against some kind of aggression, or simply from
\n the feeling of lack, of the breaking of this positive continuation
\n of existence.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nThe hospital
\n it is the place of suffering. Beyond physical suffering (which can be
\nreally strong or not), what you experience is surely a disorder
\nmental. Those who study developmental psychology a bit
\nthey know that the child who is facing suffering, especially if the parents do not
\n they can intervene to defend it, you might think that's all an obvious consequence of misbehavior on his part<\/i>.
\n The child tends to take responsibility and blame for what
\nit happens to him and he justifies himself: a child cannot think that his parents are
\nbad guys, even the kids they hit and the ones who are raped
\nthey tend to justify their parents, and think they are themselves
\nthe bad ones and therefore deserving of the events.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nUnderstand now how important it is for the child to have the opportunity to express, to take away his fear. <\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nAnd what is the best way to use a puppet?<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nSome examples:<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nOne
\n 4-year-old girl with cancer was angry with a doctor
\nthat he often had to undergo very painful therapeutic tests. The girl
\n he explained this matter to me and when I asked him to speak
\nof this with the doctor, the girl replied to me that she could not because
\nI was afraid.<\/span><\/span><\/span><\/div>\n
\nIndeed,
\n if you think about it, the doctors at the hospital have the power to decide if
\n you have to stay or leave, whether they have to puncture or not. They have yours
\n sick life.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nThen
\n I proposed to the girl to build a bee with a very stingray
\nlong using the glove puppet technique. The girl is going
\nbecome acquainted with the bee and when the opportunity arose punctured
\n the doctor's ass with the sting. The first thing the girl said
\n it was: "It wasn't me, it was the bee!" That way he could
\n vent your anger without first-person involvement,
\ndelegating the action to the puppet she herself was moving.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nOne
\n another 7-year-old girl, who after surgery in the
\ncerebellum had momentary paralysis of the left arm, had to
\nmove the fingers of the left hand one hour in the morning and one hour in the afternoon,
\n as a duty <\/i>therapeutic.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nOf course
\n all this was very difficult and the girl had no motivation at all
\nemotional that pushed him to do so. The consequence was that when the
\nphysiotherapist left the room, she stopped doing the exercise, posing
\n excuses like: I'm tired, it hurts, etc.\u2026<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nThen
\n we built a paper puppet following his instructions, where
\n each joint was tied with a thread to his fingers. The puppet
\nit hung on the drip pedestal and five rings protruded from it
\n that the girl could put in her hand, so with her fingers she could
\nmove her, give her life, relate her to others. This way
\n we were able to extend the daily physiotherapy time until it reached
\n do the hours they required.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nPlanet slide sound<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nPuppets are also the protagonists of an activity that is done daily with children who have to have surgery.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nDurant
\n this activity is allowed for all boys and girls between 4 and 9
\nyears of knowing and experiencing all the objects that can be found in
\n inside the operating room.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nThis activity is called: The discovery of the planet SW <\/i>(Operating Room).<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nHow
\n all the trips to unknown places, this one is also scary, but yes
\n we are accompanied by our parents or someone who experiences them first
\nobjects that are less frightening. This is where our two come into play
\npuppets, Giacomino and Lucilla,<\/i> who accompany the boys and girls on the journey and try first of all the things they find.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nThis activity began in 1998 with the aim of reducing the anxiety of children and their parents.     <\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nVarious
\n studies showed that the goal was achieved, both
\n that the activity was made official, many years ago, in the bases
\n hospital surgeons.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nThe same activity was transferred to other Italian hospitals: Sassari, Reggio Emilia, Turin.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nOne
\n another time when the use of the puppet is important is when
\nto explain to the child the injection of the central venous catheter, which is applied to
\n all children with cancer to avoid having to puncture each
\nonce they have to go through antiblastic therapy.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nThe days before the catheter injection, we show the child this puppet (photo,)<\/i>
\n in which we applied a catheter to show where it is placed, how it is
\ndoor, why it is used, etc.\u2026, as it will be part of the child's life
\nfor at least 3 years.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\n
\n<\/span> <\/div>\n
\nCIP AND CIOP<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nNow
\n I'll show you another video. It's a totally puppet show
\nmade by an 8-year-old boy with leukemia from the age of 2 years. Often
\nI propose to the children, if they want, to build the story together and the
\ncharacters, and the subsequent performance. The representation is made in the
\nsame room where they are admitted, as they often cannot leave
\n for lack of immune defenses.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nUs
\n I will briefly tell the story of this child. He became ill at 2 p.m.
\nyears. He went through all the cycles of chemotherapy. At the age of 4 the
\ndisease went into recession, meaning there were no diseased cells
\n in your body. He was in this situation for a year. Then he goes
\nhaving a relapse, the disease returned. He did it all over again
\nchemotherapy process while waiting for a bone marrow donor. The
\ndisease stopped for the second time but at the age of 7 he had the
\nsecond relapse. At this point it was necessary and urgent the
\nbone marrow transplant but no compatible donor was found.
\n The doctors decided that it was not possible to wait any longer and that the donor
\n he had to be one of the parents, though the percentage of the prognosis was not
\n Was good. The boy was perfectly aware of all this, as he had
\n spent most of his life in the hospital.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nOne day he asked me if I could do a puppet show using a story he wrote himself.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nHere is the show, I will stop the video to read the dialogues.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nI am the narrator.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nAs you can see the theater is mounted on the bed, held straight by two serum pedestals and a cloth between them.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nThe adventures of Cip and Ciop<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nNarrator. There was once a dog named Pallino and two birds named Cip and Ciop.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nChip: I will carry the eggs on the tree.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nCiop: I'll be on guard.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nNarrator: Suddenly, a hunter arrives.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nCiop: Chip, alert, the hunter wants to shoot you!<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nNarrator: While the hunter is aiming his rifle, the dog Pallino arrives.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nPallino: Get out of here, you bad hunter!<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nNarrator:
\n The hunter escapes in fright. Once the danger passes, Cip and Ciop
\nthey return to the top of the tree and see that the eggs are beginning to open.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nCiop: Look, Cip, the eggs are starting to open!<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nCip: Well, I'm really happy.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nNarrator: The dog Pallino puts up a sign with an inscription that reads: No hunting,<\/i> he puts it on the ground and bends down.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nPallino: I'm curious if any other hunter is able to bother me and my friends.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nNarrator:
\n Then Cip and Ciop with the other little birds fly over him
\nsign and start singing happily. Pallino wakes up with the singing of the
\n birds, thanking him for his help.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nCip Ciop and the little birds: Thank you, thank you, thank you!<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n
\nHey
\n seen how this comic, simple at first glance, actually is
\n full of meaning and emotions. On the other hand, the child has chosen the
\npuppets as a form of communication to externalize fears and
\nanxiety. And I think that's another confirmation of the importance
\nof figure theater as an important communicative element.<\/span><\/span><\/span><\/div>\n
\n
\n<\/span> <\/div>\n

Thanks.<\/span><\/span><\/span><\/p>","protected":false},"excerpt":{"rendered":"

II International Conference on Education and Puppets 2010 CORRADO VECCI CONFERENCE,\u2026 <\/p>\n

Keep readingWorking with adults in prison and with children in Parma Hospital<\/span><\/a><\/p>","protected":false},"author":3,"featured_media":5121,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[118,141,170,111],"_links":{"self":[{"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/posts\/5120"}],"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=5120"}],"version-history":[{"count":1,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/posts\/5120\/revisions"}],"predecessor-version":[{"id":5122,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/posts\/5120\/revisions\/5122"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/media\/5121"}],"wp:attachment":[{"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/media?parent=5120"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/categories?post=5120"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.teiamoner.net\/en\/wp-json\/wp\/v2\/tags?post=5120"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}