考研阅读精选：研究天体的运动
The study of bodies in motion研究天体的运动
ISTHERE a yawning gap between the arts and the sciences? C.P. Snow, aphysicist and novelist, certainly thought so when he coined the phrase“two cultures” back in 1959, and spoke gloomily of the “gulf of mutualincomprehension” between them. But are they truly incompatible?
“Performing Medicine”, a new series of performances, workshops andlectures, considers the question but does not claim to answer it.Organized by Suzy Willson, a British theatre director (pictured below),the season centers on the theme of anatomy—what we know about it, how wetreat it and whether medical practices can gain anything from the arts.Taking place in venues as diverse as Sadler’s Wells and the Anatomytheatre of King’s College, London, the season intends to bring togetheraudiences and practitioners of various disciplines into some form ofconversation. When "Performing Medicine” had its first outing in 2008,Ms Willson explains the “themes were much more general: power, ways ofseeing, human rights”. The more specialized theme of anatomy offers abetter way to unify a complicated subject, and has encouraged artists tocreate lyrical and haunting hours of performances.
Ms Willson,who co-founded the theatre company The Clod Ensemble with Paul Clark, aconductor, began this ambitious project after training medical studentsin basic performance skills around six years ago. But it is not that shewants “doctors to be all-singing, all-dancing health workers,” shesays. Rather, Ms Willson argues that medical students can learn from thetype of training she herself received at the Jacques Lecoq school inParis, which is famous for its emphasis on mime and what is oftendescribed as “physical theatre.”
It is an intriguing idea.Writing about the value of the arts in medical training in the journalthe Lancet in 2006, Ms Willson observed that medical students “do thingsto other people’s bodies rather than gathering an awareness of theirown.” So too do audience members witness other bodies at a remove fromtheir own. The performance that launched the season—the Clod Ensemble’sown “An Anatomie in Four Quarters”—was an effort to blur this divide.The show managed to include the audience, all 400 members, and hadeveryone move until ultimately they joined the dancers on stage.
Such a bold and eccentric approach to performance characterizes thework of Ms Willson’s Clod Ensemble, whose previous projects include aseries of identical “Red Ladies” actors trawling across London, or thepiece “Under Glass”, where performers could be seen in large-scale testtubes or jam jars. Ms Willson’s background in experimental theatre meansthe strongest aspects of “Performing Medicine” are the theatricalwoq�ky"http://kaoyan.koolearn.com/zhuanshuo/mt/" target="_blank">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"s performance,“I’m not sure how much you’ll learn about the human body, but you’lllearn that you have one.” As I found myself alternating between delightand squirms of horror, I found that this was accurate.
Butspeaking with two medical students from UCL in the audience of “AnatomyLessons” gave me hope. Taking pains to separate themselves from otherstudents—they were different, by virtue of being in a theatre thatevening that didn’t have an operating table in it—they both seemedenthused by the night’s performances. “It is good to see something welearn about being made entertaining,” one of them said. It is hard tosay whether or not that’s enough to bridge the gulf C.P. Snow spoke of.But it’s a start.
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