![]() They were to proceed through the day with a series of activities and discussion exercises, these were: participant presentations, spectogram (a true or false statement exercise), mapping of power (or mapping Lauveng’s world), actor investigations (questions from the actors to the scientists), and a final group discussion. ![]() In the room were postdoctoral researchers in psychological medicine, psychiatrists, project managers for youth and community theatre projects, artists, and project leaders/consultants, as well as actors and BFT’s creatives. The idea was to gather medical professionals and artists who live with hearing voices (HV) or seeing visions (SV), to work together with BFT to consider director Vladimir Shcherban’s three questions about the work in relation to its adaptation to stage: “What is schizophrenia? Where is the line between the illness and a patient’s rights? What methods can we find to tell this private story in a simple way?” ![]() ![]() I had been invited to observe Belarus Free Theatre’s (BFT) workshop exploring A Road Back from Schizophrenia, a controversial 2012 memoir by Norwegian Arnhild Lauveng chronicling her painful recovery from schizophrenia, in preparation for Tomorrow I Was Always A Lion, their new show based on Lauveng’s account. ![]()
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