{"id":705,"date":"2019-08-05T08:48:59","date_gmt":"2019-08-05T05:48:59","guid":{"rendered":"https:\/\/lab.wrkshp.fi\/samihaapala\/?page_id=705"},"modified":"2019-08-05T08:55:10","modified_gmt":"2019-08-05T05:55:10","slug":"score","status":"publish","type":"page","link":"https:\/\/nivel.teak.fi\/resonant-impulses\/score\/","title":{"rendered":"Score for the \u2018Scene with the Doctor\u2019"},"content":{"rendered":"\n

Note:<\/strong> In the workshop of The Real Health Center, <\/em>this score was used only until and including phase 4.<\/p>\n\n\n\n

0 Reception<\/h2>\n\n\n\n

Task for the performer: to swim into the perception of the participant<\/h4>\n\n\n\n

Approaches (\u2018tools\u2019) for the performer:\u00a0
What is the distance from the articipant?
What is their quality of movement?
What is their rhythm?<\/p>\n\n\n\n

Take an eye contact, but see if it\u2019s too much. Then decide on how to use that from that point onwards.<\/p>\n\n\n\n

If the articipant talks, answer, but in the beginning don\u2019t encourage talk if it seems to take the scene into an \u2018ordinary\u2019 level of talking.<\/p>\n\n\n\n

As a general rule, keep silence before the first question. However, as mentioned, if the person talks \u2013 or you sense that the articipant is uncomfortable because of the silence \u2013 let it go into talk.<\/p>\n\n\n\n

Establish physical contact if that doesn\u2019t seem wrong for some reason. Shaking the hand of the patient when meeting a doctor is a \u2018normal\u2019 thing to do and creates a sense of security and connection.<\/p>\n\n\n\n

1 Examining<\/h2>\n\n\n\n

Task for the performer: find a physical starting point for the meaning<\/h4>\n\n\n\n

Approaches (\u2018tools\u2019) for the performer: The main thing: where is the focus of the articipant; which of those foci is the most meaningful one.<\/p>\n\n\n\n

The ideal would be that the you wouldn\u2019t define the starting point for the meaning, but that it would arise from the articipant. <\/p>\n\n\n\n

2 Finding meaning<\/h2>\n\n\n\n

One thing is picked as the thing to be examined more closed, \u2018treated\u2019. This can be opened up also verbally so that it\u2019s recognized, understood consciously.<\/p>\n\n\n\n

Task for the performer: find meaning; link physical starting point with meaning<\/h4>\n\n\n\n

When the meaning is found, go on to the next level: new task. <\/p>\n\n\n\n

In addition to these internal dramaturgies or dramaturgies that happen on a level of principles, there is also one question that you can use as a tool. This tool can be used to f.e. take the discussion into a more relevant direction, to create a change in the way the scene is progressing or if you are completely lost and can\u2019t sense what the articipant needs. <\/p>\n\n\n\n

The question doesn\u2019t necessarily have to happen at this point in the dramaturgy, it can happen anywhere during the beginning of the scene. It often works as a jolt: The scene had been moving along for some time, may be without words, then the meaning have been found and both have a sense that we are now holding something and then comes the first question:<\/p>\n\n\n\n

Why did you come to see the doctor today?<\/p>\n\n\n\n

3 Action<\/h2>\n\n\n\n

Task for the performer: turn the found meaning into shared action<\/h4>\n\n\n\n

Take into consideration the previous mentions about the relevance of action. It doesn\u2019t mean the action has to be big, but more often than not to get to a greater sense of meaning the articipant needs to activate themselves in some ways. If the activation stays on just one level (f.e. looking) it\u2019s doubtful it will find its way into a strong shared meaning.<\/p>\n\n\n\n

If you can\u2019t find any other way, you can say f.e. \u2018I\u2019d now like to perform one test to confirm that this is really the thing we need to examine’. <\/p>\n\n\n\n

4 Deepening the meaning<\/h2>\n\n\n\n

Task for the performer: deepen the meaning <\/h4>\n\n\n\n

This is where the rehearsal period (of the performance of The Real Health Center) <\/em>ended. Approaches for this phase in the score were especially touch and affect. On some occasions the deepening of the meaning also came about through discussion and a more intellectual process, but as a whole it seems the feeling or a sense of deeper meaning needed a physical component.<\/p>\n\n\n\n

5 Prescription<\/h2>\n\n\n\n

Task for the performer: create a whole of the whole experience; <\/h4>\n\n\n\n

continue and take to another level the experience into an experience that the articipant can then do by themselves.<\/p>\n\n\n\n

The prescription was formalized through the process and created a form for it that was at this point in the structure given to the articipant along with a map to help them find their way later in the woods.<\/p>\n\n\n\n

Prescription followed the logic of a real prescription that we discussed with the performer Olli who is also a general physician by other profession.<\/p>\n\n\n\n

Main sections of it were: treatment \/ referral \/ dosage \/ diagnosis which correlated with our internal structure of what we have found out as meaning \/ whether they are going to the clinic (another location and scene in the performance) \/ how many times to do the prescription \/ what is the actual prescription. <\/p>\n\n\n\n

6 Time for articipant\u2019s own reflection<\/h2>\n\n\n\n

When the physical action was done, the performer let the articipant usually in some kind of resting position (this was possible to change if the scene went in some other direction). When the articipant was resting, the performer wrote a prescription. The performer then gave the articipant some final instructions and then left the articipant to be by themselves for a few minutes. Then the performer left so that the articipant would wake up, find the prescription by their side and leave before performer receives the next patient.<\/p>\n","protected":false},"excerpt":{"rendered":"

Note: In the workshop of The Real Health Center, this score was used only until and including phase 4. 0 Reception Task for the performer: to swim into the perception of the participant Approaches (\u2018tools\u2019) for the performer:\u00a0What is the distance from the articipant?What is their quality of movement?What is their rhythm? Take an eye […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-705","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/nivel.teak.fi\/resonant-impulses\/wp-json\/wp\/v2\/pages\/705","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nivel.teak.fi\/resonant-impulses\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/nivel.teak.fi\/resonant-impulses\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/nivel.teak.fi\/resonant-impulses\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/nivel.teak.fi\/resonant-impulses\/wp-json\/wp\/v2\/comments?post=705"}],"version-history":[{"count":4,"href":"https:\/\/nivel.teak.fi\/resonant-impulses\/wp-json\/wp\/v2\/pages\/705\/revisions"}],"predecessor-version":[{"id":709,"href":"https:\/\/nivel.teak.fi\/resonant-impulses\/wp-json\/wp\/v2\/pages\/705\/revisions\/709"}],"wp:attachment":[{"href":"https:\/\/nivel.teak.fi\/resonant-impulses\/wp-json\/wp\/v2\/media?parent=705"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}