‘Breath, Belief, Focus, Touch’: Applied puppetry in simulated role-play for person-centred nursing education

IF 0.2 0 THEATER

Applied Theatre Research Pub Date : 2020-07-01 DOI:10.1386/atr_00027_1

Karl Tizzard-Kleister, M. Jennings

引用次数: 1

Abstract

As a subject area that sustains itself on the productive tension between human and non-human agency, applied puppetry is a pragmatic and compelling approach to considering the role of objects in an anthropocentric world. In health care, mannequins play the role of simulated patients. Most often, they simply stand in for the body of the patient. However, this misses the potential that the materiality of these objects holds when considered through applied puppetry terms. This article examines examples of puppetry used in simulated role-play (SRP) for training and assessment, including a specific project involving applied puppetry with person-centred nursing (PCN) students at Ulster University (UU). It attempts to theorize how, when used in this way, applied puppetry is a metaphorical and translational act of anthropomorphism ‐ a process by which an object can ‘become’ more than a thing. In this context, we seek to define a practice in which a mannequin fulfils its potential as a puppet-patient in SRP for PCN students.

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“呼吸、信念、专注、触摸”：木偶戏在模拟角色扮演中的应用

作为一个以人类和非人类能动性之间的生产性紧张关系为基础的学科领域，应用木偶戏是一种务实而令人信服的方法，可以考虑物体在以人类为中心的世界中的作用。在医疗保健中，人体模型扮演着模拟病人的角色。大多数情况下，他们只是代表病人的身体。然而，当通过应用木偶戏术语来考虑时，这忽略了这些物体的物质性所具有的潜力。本文考察了模拟角色扮演（SRP）中用于培训和评估的木偶戏实例，包括阿尔斯特大学（UU）一个涉及以人为中心的护理（PCN）学生应用木偶戏的具体项目。它试图从理论上解释，当以这种方式使用时，应用木偶戏是一种拟人化的隐喻和翻译行为——一个物体可以“变得”不仅仅是一件事的过程。在这种情况下，我们试图定义一种实践，在这种实践中，人体模型在PCN学生的SRP中发挥其作为木偶患者的潜力。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Applied Theatre Research THEATER-

CiteScore

0.70

自引率

50.00%

发文量

期刊介绍： Applied Theatre Research is the worldwide journal for theatre and drama in non-traditional contexts. It focuses on drama, theatre and performance with specific audiences or participants in a range of social contexts and locations. Contexts include education, developing countries, business and industry, political debate and social action, with children and young people, and in the past, present or future; locations include theatre which happens in places such as streets, conferences, war zones, refugee camps, prisons, hospitals and village squares as well as on purpose-built stages. The primary audience consists of practitioners and scholars of drama, theatre and allied arts, as well as educationists, teachers, social workers and community leaders with an awareness of the significance of theatre and drama, and an interest in innovative and holistic approaches to theatrical and dramatic production, learning and community development. Contributors include eminent and experienced workers and scholars in the field, but cutting-edge contemporary and experimental work from new or little-known practitioners is also encouraged. This double-blind peer-reviewed journal has a global focus and representation, with an explicit policy of ensuring that the best and most exciting work in all continents and as many countries as possible is represented and featured. Cultural, geographical, gender and socio-economic equity are recognised where possible, including in the Review Board.