Instead of talking about a book, I want to present here the strength that comes from Lia Jaluff and Maria Eugenia Panizza in genarate language to speak of the work of the hospital clowns, calve ways to build encounters between the world of health and art. Strength that comes from the dedication of the researchers and the sensitivity of the artists on view: both paths that the two authors chose to speak of this office. Not an easy choice to join the art of science and the science of art. In general they dispenses each other to move on with their identity is threatened. But at the moment, what we need most is these paths crossed to understand the complexity of the world and move into our humanities.
It is with pleasure that I introduce you Lia and Maria Eugenia and her experiences with the collective Payasos Medicinales (Uruguay) in the book Payasos Hospital.
By Lía Jaluff (Lic. em Psic./ Actress/ Clown)
A book: Hospital Clowns.
Why write about Hospital Clowns? Why insist on the power of the encounter between art and health? Why support the role of the clown on the transformation? Is it possible to systematize the sensory experience of the encounter with clowns? And, if possible, is it necessary?
In December 2012, along with Maria Eugenia Panizza (Lic. in Psych / Clown), we edited a book in Montevideo. A set of experiments, concepts and thoughts. A clown characterization work in the hospital. An attempt to assert, in a few words, what it means for the group of clowns Hospital, the daily task of raising small giant machines – in the words of Guattari – revolutionary, political, conceptual and aesthetic, serving as a gear for building a world with healthier habits, and happier people.
In the text we insist on the act of breaking the silence. When art emerges in a health center and the effects that it causes. The logic that must reconstruct, on the basis of artistic fact: the logic of the disease, silence, passivity and power.
First, the logic of the disease, the lack of health. When the clown enters a hospital, is directed to the encounter with the other, with the history of the other, with their illness and circumstances, but also with their desires, their joys and their power of life. This book, like the clown, was written to meet the other. To encourage collective reflection. To publicize a particular practice that needs to be reinvented in the collective, in the exchange.
Secondly the logic of silence. The proposed hospital clown laughter and music as valid elements to communicate emotions. Likewise, this book aims to provide an experience, but also report a health system lacking in spaces for healing, to propose other melodies.
Thirdly, the logic of passivity. The clowns are involved from improvisation, inviting the other to be the protagonist of the creative act. This book is an invitation to think together and keep doing.
Finally, the logic of power. The possibility of reversing the order, change the functions. A doctor who may become ill, a clown who can turn into a nurse, an artist who can play at being a doctor. Or two clowns who can write a book because they feel they have something to say, and what needs to be said.
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