Delighted to share Careful with its first audiences in the Darwin ward at Kingston University. Such engaged, enthusiastic and thoughtful responses from our five different audiences. Showing the piece to drama students; nursing staff and students; leading experts in theatre and in theatre and health; and to friends and family gave us a range of perspectives. Huge thanks to everyone who came and who gave us feedback.
We’re migrant this week – but still manage to attack the show from different angles.
Bex (our doctor/dramaturgy), Phil (our former nurse/performer) and I put our heads together for a dramaturgy meeting in Hampstead Theatre, discussing some of the articles we’ve been reading (many from the journal of nursing philosophy) and crunching big questions about what the show is about.
Adam joins us for rehearsal at Royal Central School of Speech and Drama (thanks Gareth White for use of space). Here’s a little snippet of the choreography he created: a short sequence based on nursing routines (unwrapping a swab pack, washing hands). The performers are Archana Balal, Helena Rice and Thalia-Marie Papadopoulos. Shoddy camerawork by me (apologies)
And I kick-start work on some of the interactive stuff in the dance spaces at Kingston University.
Today is the last of three sets of ‘simulations’ that I have been observing as part of our research and development – these are training sessions run by the Nursing department for their student nurses, an opportunity to put their clinical skills to the test in safe but ‘real world’ settings. Today’s ‘sim’ for second year students, recreates the front rooms of three people with obvious medical needs (wound care, diabetes testing, instructions of how to use a nebuliser) – but the student nurses are expected to also pick up clues about their patient’s mental state, not only reading between the lines in their conversations with the patient-actor, but also from the environment. An empty box of Krispy Kreme Doughnuts hints at an almost suicidal depression for our bereaved diabetic patient. A crumpled rug represents a trip hazard for an elderly patient on crutches. The simulation set up for Mental Health nurses is dramatic in comparison as we are plunged into a large ‘ward’ of volatile clients. Some of the role-play actors have been embodying their ‘characters’ for many years and they have deep and complex ‘back stories’. The student nurses are presented with complicated and unpredictable behaviours.
The close affinity between medicine and theatre is obvious here. Not just in the actors playing patients, but in the nurses’ performance on their role, in their reading of the staged settings and suspension of disbelief.
Milton (our sound designer) comes to today’s rehearsal in the afternoon. We ask him to take his place in the bed and perform for him some snippets we’ve been developing in the morning. We’ve continued to play with the idea of the ‘composite’ nurse – two bodies representing one person. Dominique & Phil approach his bed side, peering around his hospital chart. Archana and Thalia slide through assorted roles and tasks, ending up trapped by a blood pressure cuff. As a former patient himself, Milton is quite affected by his confrontation with what he calls these ‘hyperbolic nurses… ‘four legs, four arms, two faces’. They capture something of the multiple roles that nurse’s play, and the almost mythical quality they can acquire in a dependent patient’s imagination.
As we continue exploring the creative possibilities of today’s pairings, Milton quietly moves around the space with his laptop, turning on taps, swishing curtains, fiddling with scissors. When we gather to cool down and debrief he plays us a little composition, made up entirely of found sounds from the ward we’ve been working in. Comical and eerie at the same time.
Thank you Dominique Vannod, Phil Hambly, Archana Ballal, Thalia-Marie Papadopoulos, Adam Kirkham and Milton Mermikides for your hard work today.
I (Alex) kicked us off with some Lecoq-based exercises exploring a couple of fundamental skills: ‘disponibilite’ (being open, available and ready to respond) and ‘complicite’ (being hyper-sensitive to verbal and non-verbal cues and able to respond cleanly and sensitively to these). These skills align so neatly with Simon Baron-Cohen’s definition of empathy: being able to ‘read’ or imagine what others are feeling, and responding with appropriate emotions and behaviours.
Some of our exercises:
Navigating the space with an ‘autistic’ level of empathy – ie no interest in people, but a ‘single-minded’ concern with pattern and system. I first encountered this exercise in a workshop run by Nicola Shaughnessy (Imagining Autism) – an amazing felt experience that might approximate what it’s like to see the world at the ‘zero-positive’ end of Baron-Cohen’s empathy scale. And it resulted in a very tidy room!
Working in pairs, we took turns to lead a ‘blind’ (eyes closed) partner around the space. An embodied exploration of what Baron-Cohen calls being ‘double-minded’ ie having to think for our partner in a highly empathetic way. Thanks to Suzy Willson (Clod Ensemble/Performing Medicine) for the insight into how this exercise correlates with the experience of medical/healthcare professionals and their relationship with patients.
The afternoon session kicked off with Bex (former doctor, and our dramaturg) guiding us through a neurological exam, a prescribed set of questions and acts/gestures that become a strange sort of choreography between doctor and patient. Discussion centred on the strange intimacy of such exchanges – staring into someone’s eyes, stroking their face are normally gestures of romance but here they are enacted between strangers with an unequal power relationship. And those moments when the patient begins to understand, through a subtle change in the doctor/nurse’s behaviour, when something is wrong.
What happens when we treat people/bodies as objects? This idea (again from Baron-Cohen who equates it with being low on the empathy scale, but also a key concept of the ‘medical gaze’) underpinned explorations led by Adam in which we pushed, pulled, lifted and sculpted our own or each others’ bodies, discovering unexpected power dynamics and expressions of both potential cruelty and exquisite care. In another exercise, the ‘double-minded’ idea was folded into an exploration of a composite person (four of us moving as though with one intention). We ended with a gorgeous discovery: a double-nurse (Viv and Archana) pulled from bed to bed on the demands of her patient. Great potential in this image to explore the ’emotional labour’ of nurses (as explored in Pam Smith’s seminal study)
Big thanks to Adam Kirkham, Rebecca Seymour, Viviana Rocha and Archana Ballal for taking part!