My sister, Michelle-Ann Iking's 3% chance of conceiving naturally was a success! Here's her story:
(My apologies as I've been overwhelmed with personal matters. I've only managed to get to my desk. So finally got around posting this).
This is the story behind my sister's pregnancy struggle and how she shared her journey over her Facebook page.
Because some may have not caught her LIVE session chat with me (https://www.facebook.com/daphneiking/videos/687743128744960/) , or read her lengthy post (as it's a private page);
she's allowed me to copy and paste it over my wall, in case you need to know more about her thought process on how AND why she focused on the 3% success probability. Read on.
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Posted 10th May 2020.
FB Credit: Michelle-Ann Iking
A week ago today I celebrated becoming a mother to our second, long awaited child.
Please forgive this mother's LONG (self-indulgent) post, journalling what this significant milestone has meant for her personally, for her own fallible memory's sake as well as maybe to share one day with her son.
If all you were wondering was whether I had delivered and if mum and bub are OK, please be assured the whole KkLM family are thriving tremendously, and continue scrolling right along your Newsfeed 😁.
OUR 3% MIRACLE
All babies are miracles... and none more so than our precious Kiaen Aaryan (pronounced KEY-n AR-yen), whose name derives from Sanskrit origins meaning:
Grace of God
Spiritual
Kind
Benevolent
...words espousing the gratitude Kishore and I feel for Kiaen's arrival as our "3% miracle".
He was conceived, naturally, after 3 years of Kishore and I hoping, praying and 'endeavoring'... and only couples for whom the objective switches from pure recreation to (elusive) procreation will understand how this is less fun than it sounds ...
3 years during which time we had consensus from 3 different doctors that we, particularly I (with my advancing age etc etc) had only a 3% chance of natural conception and that our best hope for a sibling for our firstborn, Lara Anoushka, was via IVF.
Lara herself was an 'intervention baby', being one of the 20% of babies successfully conceived through the less intrusive IUI process, after a year and a half of trying naturally and already being told then my age was a debilitating factor.
We had tried another round of IUI for her sibling in 2017 when Lara was a year old. And that time we fell into the ranks of the 80% of would-be parents for whom it would be an exercise in futility... who would go home, comfort each other as best they could, while individually masking their own personal disappointment... hoping for the best, 'the next time around'...
So the improbability ratio of 97% against natural conception of our second baby, as concurred by the combined opinion of 3 medical professionals, was a very real, very daunting figure for us to have to mentally deal with.
Deep, DEEP, down in my heart however, though I had many a day of doubt... I kept a core kernel of faith that somehow, I would again experience the privilege of pregnancy, and again, have a chance at childbirth.
And so, the optimist in me would tell myself, "Well, there have to be people who fall in the 3% bucket... why shouldn't WE be part of the 3%?"
Those who know me well, understand my belief in the Law of Attraction, the philosophy of focusing your mind only on what you want to attract, not on what you don't want, and so even as Kishore and I prepared to go into significant personal debt to attempt IVF in the 2nd half of 2019, I marshalled a last ditch effort to hone in on that 3% chance of natural conception... through research coming across fertility supplements that I ordered from the US and sent to a friend in Singapore to redirect to me because the supplier would not deliver to Malaysia.
I made us as a couple take the supplements in the 3 month 'priming period' in the lead up to the IVF procedure - preconditioning our bodies for optimum results, if you will.
At the same time, I had invested in a sophisticated fertility monitor, with probes and digital sensors for daily tracking of saliva and other unmentionable fluid samples, designed to pinpoint with chemical accuracy my state of fertility on any given day.
(UPDATE: For those interested - I obtained the supplements and Ovacue Fertility Monitor from https://www.fairhavenhealth.com/. Though I had my supplies delivered to a friend in Singapore, and redirected to me here since the US site does not deliver to Malaysia, there are local distributors for these products, you will just have to research the trustworthiness of the vendors yourself...)
I had set an intention - in the 3 months of pre-IVF priming, I would consume what seemed like a pharmacy's worth of supplements, and track fertility religiously... in hopes that somehow, within the 3 month priming period, we would conceive naturally and potentially save ourselves a down payment on a new property... and this was just a projection on financial costs of IVF, not even considering the physical, emotional and mental toll it involves, with no guarantee of a baby at the end of it all...
It was a continuation of an intention embedded even with my first pregnancy, where all the big ticket baby items were consciously purchased for use by a future sibling, in gender neutral colours, in hopes that sibling would be a brother "for a balanced pair", though of course any healthy child would be a welcome blessing.
It was a very conscious determination to always skew my thoughts in service of what the end objective was. For example, when 3+year old Lara would innocently express impatience at not yet having a sibling, at one point suggesting that since we were "taking too long to give her a baby brother/sister", perhaps we should just "go buy a baby from a shop", instead of getting defensive or berating the baby that she herself was, we enlisted Lara's help to pray for her sibling... so in any place of worship, or sacred ground of any kind that we passed thereon, Lara would stop, close her eyes, bow her small head and place her tiny hands together in prayer, reciting earnestly, "Please God, please give me a baby brother or baby sister."
After months and months of watching Lara do this, in the constancy of her childlike chant, Kishore started feeling the pressure of possibly disappointing Lara if her prayer was not answered. Whereas for me, Lara's recitation of her simple wish became like a strengthening mantra, our collective intention imbued with greater power with each repetition, and the goal of a sibling kept very much in the forefront of our minds (hence our calling Lara our 'project manager' in this endeavour).
And somehow in the 2nd month of that 3 month period, a positive + sign appeared on one of the home pregnancy tests I had grown accustomed to taking - my version of the lottery tickets others keep buying in hopes of hitting the jackpot, with all the cyclical anticipation and more often than not, disappointment, that entails...
This time however I was not disappointed.
With God's Grace, (hence 'Kiaen', a variation of 'Kiaan' which means 'Grace of God'), my focus on our joining the ranks of the 3% had materialised.
It seems poetic then, that Kiaen chose to make his appearance on the 3rd May, ironically the same date that his paternal great-grandfather departed this world for the next... such that in the combined words of Kishore and his father Kai Vello Suppiah,
"The 1st generation Suppiah left on 3rd May and the 4th generation Suppiah arrived on 3rd May after 41yrs...
One leaves, another comes, the legacy lives on..."
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KIAEN AARYAN SUPPIAH'S BIRTH STORY
On Sunday 3rd May, I was 40 weeks and 5 days pregnant.
The baby was, in my mind, very UN-fashionably late past his due date of 29th April, so as much as I had willed and 'manifested' the privilege of pregnancy, to say I was keen to be done with it all was an understatement.
In the weeks leading to up to my full term, I had experienced increasingly intense Braxton-Hicks 'practice contractions' - annoying for me for the discomfort involved, stressful for Kishore who was on tenterhooks with the false alarms, on constant alert for when we would actually need to leave home for the hospital.
Having become a Hypnobirthing student and advocate from my first pregnancy with Lara, and thus being equipped with
(1) a lack of fear about childbirth in general and
(2) a basic understanding of how all the sensations I would experience fit into the big picture of my body bringing our baby closer to us,
I was less stressed - content to wait for the baby to be "fully cooked" and come out whenever he was ready... though I wouldn't have minded at all if the cooking time ended sooner, rather than later.
With Lara, I had been somewhat 'forced' into an induced labour, even though she was not yet due, and that had resulted in a 5 DAY LABOUR, a Birth Story for another post, so I was not inclined to chemically induce labour, even though I was assured that for second time mothers, it would be 'much faster and easier'...
That morning, I had a hunch *maybe* that day was the day, because in contrast to previous weeks' sensations of tightening, pressure and even spasms that were concentrated in the front of my abdomen and occasionally shot through my sides and legs, I felt period - like cramping in my lower back which I had not felt before throughout the pregnancy.
It was about 8am in the morning then, and my 'surges' were still relatively mild ('surges' being Hypnobirthing - speak for 'contractions', designed to frame them with the more positive connotations needed to counteract common language in which childbirth is presented as something that is unequivocally painful and traumatic, instead of the miraculous, powerful and natural phenomenon it actually is).
I recall (masochistically?) entertaining the thought of opting NOT to have an epidural JUST TO SEE WHAT IT WOULD BE LIKE...
I figured this would be the last time I would be pregnant and so it would be my 'last chance' to experience 'drug free labour' which, apart from the health benefits for baby and mother, might be *interesting* in a way that people who are curious about what getting a tattoo and skydiving and bungee jumping are like, might find these *interesting*...even knowing there will be pain and risk involved...
Since I have tried tattoos and skydiving (unfortunately not being able to squeeze in bungee-jumping while my life was purely my own to risk at no dependents' possible detriment) a similar curiousity about a no-epidural labour was on my mind...
In the absence of other signs of the onset of labour (like 'bloody show' or my waters breaking), I wanted to wait until the surges were coming every few minutes before we actually left the house for the hospital, not wanting to be one of those couples who rushed in too early and had interminable waits for the next stage in unfamiliar, clinical surroundings and/or were made to go home in an anti-climatic manner.
I was even calm enough through my surges to have the presence of mind to wash and blowdry my hair, knowing if I did deliver soon I would not be allowed this luxury for a while.
Around 9am I asked Kishore to prep for Lara and himself to be dressed and breakfasted so we could head to hospital soon, while I sent messages to family members on both sides informing them 'today might be the day.'
My mother, who had briefly served as a midwife before going back into general nursing and then becoming a nursing tutor, prophetically stated that if what I was experiencing was true labour, "the baby would be out by noon".
The pace in which my surges grew closer together was surprisingly quicker than I expected; and while I asked Lara to "Hurry up with breakfast" with only a tad more urgency than we normally tell her to do, little Missy being prone to dilly-dallying at meals, I probably freaked Kishore out when about 930am onwards, I had to instinctively get on my hands and knees a couple of times, eyes closed, trying to practice the Hypnobirthing breathing techniques I had revised to help along the process of my body birthing our child into the world.
I recall him saying a bit frantically as I knelt at our front door, doubled over as he waited for Lara to complete something or other, "Lara hurry up! Can't you see Mama is in so much pain and you are taking your own sweet time??!!"
SIDETRACK: Just the night before, Lara and I had watched a TV show in which a woman gave birth with the usual histrionics accompanying pop culture depictions of labour.
Lara watched the scene, transfixed.
I told her, simply and matter-of-factly, "That's what Mama has to do to get baby brother out Lara, and that's what I had to do for you also."
In most of interactions with my daughter, I have sought to equip her to face life's situations with calmness, truthful common sense, and ideally a minimum of drama.
Those who know the dramatic diva that Lara can be will know that this is a work-in-progress, but her response to me that night showed me some of my 'teachings' were sinking in:
She looked at me unfazed, "But Mama," she said. "You won't cry and scream like that lady, right? You will be BRAVE and stay calm, right?"
#nopressure.
So as we prepped to leave for the hospital I did indeed attempt to be that role model of calm for her, asking her only for her help in keeping very quiet,
"Because Mama needs to focus on bringing baby brother out and she needs quiet to concentrate...".
As we left the house at 10.11am, I texted Kishore's sister Geetha to please prep to pick up Lara from the hospital, and was grateful Kishore had the foresight to ask our gynae to prepare a letter for Geetha to show any police roadblocks between my in-laws' home in Subang Jaya and the hospital in Bangsar, this all happening under the Movement Control Order (MCO).
To Lara's credit, in the journey over to the hospital, she - probably sensing the gravity of the situation, sat very quietly in her seat at the back, and the silence was punctuated only by my occasional deep intakes of breath and some variation of my Ohmmm-like moans when the sensations were at their height.
By the time we got to Pantai Hospital at around 10.30am, my surges were strong enough I requested a wheelchair to assist me in getting to the labour ward, as I did not trust my own legs to support me... and Kishore would have to wait until Geetha had arrived to take Lara back to my in-laws' house before he himself could go up.
I slumped in the wheelchair and was wheeled up to the labour room with my eyes closed the whole time, trying to handle my surges.
I didn't even look up to see the attendant who pushed me... but did make the effort to thank him sincerely when he handed me over, with what seemed like a palpable sense of relief on his part, to the labour ward nurses.
The nurse attending me at Pantai was calm, steady and efficient. I answered some questions and changed into my labour gown while waiting for Kishore to come up, all the while managing the increasingly intense surges with my rusty Hypnobirthing breathing techniques.
By the time Kishore joined me at around 11am (I know these timings based on the timestamps of the 'WhatsApp live feed' of messages Kishore sent to his family), I was asking the nurse on duty, "How soon can I get an epidural??" thinking what crazy woman thought she could do this without drugs???!!!
The nurse checked my cervix dilation, I saw her bloodied glove indicating my mucous plug had dislodged, and she told me, "Well you are already at 7cm (which, for the uninitiated, is 70% of the way to the 10cm dilation needed for birthing), you are really doing well, if you made it this far without any drugs, if can you try and manage without it... I suspect within 2 hours or less you will deliver your baby and since it will take about that time for the anaesthesiologist to be called, epidural to be administered and kick in... it might all be for nothing... but of course the decision is completely up to you... "
So there I was, super torn, should I risk the sensations becoming worse... or risk the epidural becoming a waste?? And of course I was trying to decide this as my labour surges were coming at me stronger and stronger...
I was in such a dilemma...because as a 'recovering approval junkie' there was also a silly element of approval-seeking involved, ("The nurse thinks I can do this without drugs... maybe I CAN do this without drugs... Yay me!") mixed with that element of curiosity I mentioned earlier ("What if I actually CAN do this without drugs... plenty of other women have done it all over the world since time immemorial.. no big deal, how bad can it be...??") so then I thought I would use the financial aspect to be the 'tiebreaker' in my decision making...
I asked the nurse how much an epidural would cost and when she replied "Around MYR1.5k", I still remember Kishore's incredulous face as I asked the question, i.e."Seriously babe, you are gonna think about money right now? If you need the epidural TAKE IT, don't worry about the money!!!"... and while we are not rich by any stretch of the imagination, thankfully RM1.5k is not a quantum that made me swing towards a decision to "better save the money"...
So in the end, I guess my curiosity won out, and I turned down the epidural "just to see what it would be like and if I had it in me" (in addition of course to avoiding the side effects of any drugs introduced into my and the baby's body).
My labour occuring in the time of coronavirus, it was protocol for me to have a COVID19 test done, so the medical staff could apply the necessary precautions. I had heard from a friend Sharon Ruba that the test procedure was uncomfortable, so when the nurse came with the test kit as I was starting another surge, I asked, "Please can I just finish this surge before I do the test?" as I really didn't think I could multitask tackling multiple uncomfortable sensations in one go.
The COVID19 test involved what felt like a looong, skinny cotton bud being inserted into one nostril... I definitely felt more than a tickle as it went in and up, being told to take deep breaths by the nurse. Then she asked me to "Try to swallow" and I felt it go into my nasal cavities where I didn't think anything could go any further, but was proven wrong when she asked me to swallow again and the swab was probed even deeper. Then she warned me there would be some slight discomfort as she prepared to collect a sample... but at that point all I could think about was:
(i) I really don't have much of a choice
(ii) please let this be over before my next surge kicks in
(iii) if all the people breaking the MCO rules knew what it feels like to do this test maybe they won't put themselves at risk of the need to perform one...
In full disclosure as I was transferred into the actual delivery room at some point after 11am, another nurse offered me 'laughing gas' to ostensibly take some of the edge off... I took the self-operated breathing nozzle passed to me but don't recall it making any difference to my sensations..so didn't use it much as it seemed pretty pointless.
I recall some measure of relief when I heard my gynae Dr. Paul entering the room, greeting Kishore and me, and telling us it was going well and it wouldn't be long now and he would see us again shortly.
From my previous labour with Lara I knew the midwives pretty much take you 90% of the way through the labour and when the Dr is called in you are really at the home stretch, so was very relieved to hear his voice though knowing he would leave and come back later meant it wasn't quite over yet.
I do remember realising when I had crossed the Thinning and Opening Phase of labour to the Birthing Phase, by the change in sensations... it is still amazing to me that as the Hypnobirthing book mentioned, having this knowledge I was instinctively able to switch breathing techniques for the next stage of labour .
Was my opting against epidural the right choice for me?
Overall? Yes.
Don't get me wrong.
I *almost* regretted the decision several times during active labour... especially when I felt my body being taken over by an overwhelming compulsion to push that did not seem conscious and was accompanied by involuntary gutteral moans where I literally just thought to myself, "I surrender, God do with me what you will..." (super dramatic I know but VERY real at the time...).
I think I experienced 3-4 such natural explusive reflexes (?), rhythmically pushing the baby down the birth path, one of which was accompanied by what felt like a swoosh of water coming out of a hose with a diameter the size of a golf ball... this was when I realised my water had finally broken...
The nurses kept instructing me to do different things, to keep breathing, to move to my side, then to move to the middle, to raise my feet... and when I didn't comply, Kishore (who was with me throughout both my labours) tried to help them by repeating the instructions prefaced with "Sayang..." but I basically ignored all the intructions because I felt I had no capacity to direct any part of my body to do anything and someone else would have to physically manoeuvre that body part themselves.
When I heard Dr. Paul's voice again and the flurry of commotion surrounding his presence, I knew the time was close... and when I heard the nurse say to Kishore, "Sir, these are your gloves, for when you cut the baby's cord", it was music to my ears...
I'm very, VERY grateful Kiaen slid out after maybe the 4th of those involuntary pushes... the wave of RELIEF when he came out so quickly... it still boggles my mind that my mother was essentially right and as his birth time was 12.02pm, it was *only* about 1.5 hours between our arrival at the hospital and his arrival into the world.
Kiaen was placed on my chest for skin to skin bonding and remained there for a considerable time.
For our short stay in the hospital he would be with us in my maternity ward number C327... another trivially serendipitous sign for me because he was born on the 3rd (May) and our wedding anniversary is 27th (July).
I was discharged the following day 4th May at about 5.30pm, after I got an all clear on COVID19 and a paediatric surgeon did a small procedure on Kiaen to address a tongue-tie that would affect his breastfeeding latch... making the entire duration of our stay about 31 hours.
I have taken the time and effort to record all this down so that whenever life's challenges threaten to get me down I can remind myself, "Ignore the 97% failure probability, focus on the 3% success probability".
Also that the human condition is miraculous and it is such a privilege to experience it.
To our son Kiaen Aaryan, thank you for coming into our lives and choosing us as your parents.
Even though Papa and I are both zombies trying to settle into a night time feeding routine with you, I look forward to spending not only all future Mother's Days, but every day, with you and your Akka...
And last but not least, to my husband Kishore...without whom none of this would be possible - we did it sayang, I love you ❤️
Photo credit: Stayhome session with Samantha Yong Photography (http://samanthayong.com/)
同時也有3部Youtube影片,追蹤數超過14萬的網紅SARAH & JASON,也在其Youtube影片中提到,the bag vlog was very popular so to continue we have a Chanel... STRAP hahahaha Sarah:Jason loves buying cameras... just love to spend actually? so t...
culture protocol 在 賴叔閱事 Facebook 的精選貼文
恐慌嘅時候,更需要睇清楚啲。
肥人知道呢篇文真係寫得遲,本來我乜都唔想寫,依家見到個勢係全世界順水推舟圍堵中共就更加唔想寫,但係姣婆係好難守寡既,尤其是呢排成日俾班極度恐慌既人trigger… 我決定代肥控制員寫,因為我呢邊收視率高過佢。
好,開波!
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“We had better learn to doubt our inflated fears before they destroy us. Valid fear have their place; they cue us to danger. False and overdrawn fears only cause hardship. Even concerns about real dangers, when blown out of proportion, do demonstrable harm.” – Barry Glassner, American sociologist, author of The Culture of Fear.
網絡世界千奇百趣,好多網上既意見同評論,如果同傳媒製造既輿論結合(不論有心定無意),係會對社會有非常深切既影響。例如以前有政權會向群眾灌輸恐懼,挑起群眾之間既仇恨,或令群眾不知所措,進而控制群眾。呢種手法,不論以前納粹德國、現存或者已覆亡既共產國家、甚至自命民主自由既開放社會如美國都有出現。當政者及其黨羽,就係利用群眾既錯誤認知,以感性因素去扭曲大家既認知同決策能力,咁就可以達到佢地既政治目的啦。咩政治目的?好多種既,下至失敗政府要掩飾施政失誤,上至衝出國際統治全世界都有。
所以唔好話咁樣係「誇張」、「陰謀論」、同「乜都拉埋政治來講」呀,因為人類歷史就係充滿呢種叫 fearmongering既手段-用有目的地散播同誇大一樣不愉快既事情既手法,去引起大家既恐懼來控制群眾。現今世界,庸碌無能之輩當政比比皆是,唔識控制群眾既情緒,點樣遮掩政府既無能同做錯事既後果?不過肥人今次唔講法律,我學下一般既KOL咁「跨界別評論」先,所以呢篇文我講生物醫學,particularly 係將近來我係周遭聽聽埋埋既恐慌言論歸納一齊,逐點解釋。
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首先,等肥人我同大家重溫一下近來有關武漢肺炎既新聞標題:
信報報導「河南超長潛伏期病例疑94天確診」
HK01就話「逾5000疫廈元朗區最多 衛生署拒回應真偽」
Business Focus既報導就恐怖啦,話「肺炎突變新冠腦炎? 北京醫院首證病毒能侵襲中樞神經系統 感染肺炎併發腦炎北京醫院:患者意識曾陷入混亂」
CCTVB報導「私家醫生可收患者呼吸道樣本交政府陳肇始稱可及早減低傳播」
仲有零零星星報導例如:
「伊朗新冠肺炎疫情增至145死55歲國會議員不治」
「伊朗新型冠狀肺炎疫情失控,再有一位高級官員病逝。」
「【新冠肺炎・伊朗】數名官員先後染病身亡 23國會議員確診」
「新型冠狀病毒南韓確診個案累計增至逾7千宗死亡人數維持在44人。」
「【新冠肺炎.最新疫情】意大利確診個案逾萬 美國突破千宗」
上面堆報導實在睇到好多人好恐慌,尤其是本來對科學/病毒/醫療/疾病無咩認知既人,呢兩個月睇新聞就好似睇恐怖熱線咁。於是搞到好多心理質素差,表面受過教育既人墮入恐慌之中。
然後,我聽到身邊好多人竭斯底理咁驚叫:
「個肺花!個肺花!個肺花!個肺花呀!」
「呢個唔係流感呀!唔好再錯誤同流感比較啦!」
「潛伏期變長呀!無病徵既隱形病人都會傳染人架!」
(隔離果個choke到,咳兩聲)「我以後唔同你坐埋一齊呀!我唔想死呀!」
「如果唔係香港人衛生意識好,堅持戴口罩,香港一早淪陷啦!依家已經無新病例!你睇鬼佬幾污糟!又唔戴口罩,病又話唔使入醫院,返屋企休息,依家美國同意大利都爆發啦!」
「呢D廢老唔戴口罩,鬼唔望佢地中招死全家!政府應該強制人戴口罩!」
以上說話我全部聽過人講,最後一句我最撚火滾,你自己恐慌就好啦,咒人死仲要政府好 draconian 咁立法同執法?俾個民主自由既國會你仲可以普選,你都會選班人渣出來,然後大比數通過立法強制抽血抽組織,強制所有人有無問題都要戴口罩,仲可能要將人tag完再限制人出入自由。1984呀!
我日日做mon post狗睇網上既post,好多share出來又會令人恐懼既post,大部份都係有好多空間令人胡思亂想,如果你對科學尤其是 research methods, medical science, microbiology, virology等等唔認識的話,你鐵定會誤讀誤解再誤判… oh wait,睇返上面「利用群眾既錯誤認知,以感性因素去扭曲大家既認知同決策能力」,BINGO! 咁就搞掂你啦。為咩事要搞掂你?唔講啦,因為你會用陰毛論、陳雲信徒、唔好乜都政治化來駁我。
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依家太多post講呢個新型冠狀病毒,例如Facebook有個印度人既 Infographics on Covid-19,好詳盡,但咁又點呢?大家對病毒以致肺炎、流感、醫療系統等等都毫無認識,講到咁深入你地都會誤解或者一頭霧水。咁樣樣,好多人因為無足夠既basic knowledge,又先入為主咁因為自己既恐慌情緒相信左錯既資訊,要同佢地「解毒」,就好似同藍絲講咩叫法治一樣困難,真係太監洞房無撚用。
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好,依家開始【法網肥人講病毒】!
1. 眾所鳩知,武漢肺炎係由新型既冠狀病毒 Covid-19引起。Covid-19係冠狀病毒科 Coronaviridae裡面其中一種,佢係屬於 positive-sense, singled stranded RNA virus (正鏈單股核醣核酸病毒) 。RNA病毒有好高突變率,因為病毒既RNA polymerases缺乏 DNA polymerase 既proofreading能力,所以佢地好難有 nearly identical既 sequence。仲有一點好重要,病毒同病菌唔同,病毒係需要靠 host cell (宿主細胞)先可以生存,離開 host cell 佢地不能複製,不能運作,只有死路一條。所以一開始就話新病毒同SARS個sequence有幾多幾多 percent 相似,我即刻叮左一下,然後好多人傳話新病毒點點點可以生存好耐,我更加叮多兩下…. 邊個放呢D料出來既?
2. 另外,呢隻病毒並非 retrovirus (逆轉錄病毒, class VI single-stranded RNA-Reverse Transcriptase),唔會將自己既RNA用 reverse transcriptase (逆轉錄酶)塞入host cell既基因裡面,然後適時復發。咩係retrovirus呢? 例如會引起 T Cell Leukemia 既 Human T-cell lymphotropic virus type 1 (HTLV-1),或者引起愛滋病既 Human Immunodeficiency Virus (HIV)。呢個病毒,亦唔係好似肝病毒科乙型肝炎咁,唔係 retrovirus 但會有reverse transcriptase去將 viral genome incorporate 入host cell,所以就算不幸中左,都唔會話咩病者會成世帶住個病。所以我每一次聽到人講「就算中左都一世帶病呀」就會好抆,冠狀病毒變愛滋,黐L線!
3. 冠狀病毒既結構好簡單:一個 viral envelope,外面有protein spike,裡面有RNA,that’s it。佢地個replication mechanism (複製機制) 就係病毒接觸host cell後進入 host cell,然後係host cell個細胞核nucleus裡面複製。複製完之後就由host cell cytoplasm (細胞質)裡面製造既 necleocapsid (核蛋白衣) 加埋細胞核既 endoplasmic reticulum (內質網) 既phospholipid membrane (磷脂層)包住病毒RNA,經由host cell 既Golgi apparatus (高氏體)帶出host cell 繼續傳染人。呢個複製過程,當然會破壞甚至殺死 host cell啦。咁知道呢點有咩用?Phospholipid membrane係lipid bilayer (脂質雙分子層),lipid bilayer係怕番梘soap既!咁勤D用番梘洗手就得啦,使撚用甲醇咩屌你,你嫌命長?
4. 有人話:「咁基因突變都得架嘛!個病毒咪做到所有野囉!」喔,係咩?如果咁簡單,呢個世界既大學就唔需要有生物系,而且達爾文應該無人理。首先,病毒點解會有基因變異?簡單講就係 replication 之中,有polymerases 抄錯條 sequence,例如本來係 ATCG 既,抄成 ATTG,跟住無 proofread 就掉出去。又有一種變異,就好似屬於Orthomyxoviridae 既influenza A virus咁,裡面有八條 RNA segments,可以係 replication既時候洗牌。呢種 replication 既錯誤或者洗牌,積埋積埋,小則變成 genetic drift/antigenic drift,大則變成 genetic shift/antigenic shift。前者可能將某一個半個 surface protein 結構變左少少,整體來講人體免疫系統仲認得出,變異後既病毒殺傷力有限。後者可能將原有病毒變成新既 subtype,大部份人既免疫系統都認唔出而死傷無數。假設,新既冠狀病毒係由舊有冠狀病毒(包括 SARS)天然 antigenic shift 變出來既,咁點可能係短短兩三個月再次 antigenic shift 呢?如果基因突變去到呢個地步,肯定顛覆生物學界既認知。但好多本來就無讀過生物既人會唔認同,佢地會搏命咁話基因變異點能夠預測!肥人話你知,唔係預測,而係不符合現實同暫時無人能夠推翻既理論。如果新病毒可以係短時間內變成 retrovirus,可以無任何條件下生存好耐,隨意改變 latent period潛伏期,隨意改變傳染力同殺傷力的話,科學家應該點 classify 佢呢?簡單講,長頸鹿頸長先叫做長頸鹿,如果長頸鹿變成 Mike Tyson 條頸咁短,咁我地應該叫佢做 Mike Tyson 定長頸鹿?如果新冠狀病毒有 HTLV-1既retrovirus能力,有hepatitis B 既 reverse transcriptase,有 flu A 可以 shuffle RNA 既能力,又有 HIV 既超長 latent period,你會叫佢做 coronavirus 定 super virus?
5. 講基因變異,要一個變異既病毒基因可以流傳,病毒本身必須要不斷繁衍,宿主傳宿主咁一代傳一代,病毒先可以續存。呢個就係進化論,survival of the fittest。古代有好多生物不能續存,就係因為被環境淘汰,例如有理論認為三葉蟲因為蛻變機制 (instar and molting) 有問題,結果難以生存,最後被大自然淘汰。如果病毒勁到咩人都可以一野就殺死佢的話,佢點傳播?宿主死左,無人帶佢地去傳染其他人嘛!病毒唔係病菌,可以係環境種生存好耐,病毒只要離開宿主好快就會死,就算有飛沫帶住,我地環境中既太陽紫外光、oxidizing agents、濕度與氣溫等等會令佢地好快收皮。病毒唔係倪匡衛斯理《藍血人》裡面隻「獲殼依毒間」,可以變成游離電波周圍飄。大家明白進化論,就會明白病毒學101既常識,從而 debunk 左一個不斷流傳既流言:「隻病毒好勁,好多人死架,傳播得又快!」傳播得快,不等如勁,而太勁既病毒,難以傳播。係呢度,傳播得快,同隻病毒之間並無關係。病毒殺傷力勁,傳播範圍就會窄,傳播速度都會慢;病毒殺傷力一般如普通流感的話,傳播範圍先會闊,傳播速度先會快。如果新聞瘋狂報導好多人死就等如勁,咁非洲同中東都有好多基督徒男女老幼被人大規模屠殺,你會唔會覺得信耶穌係死路一條?
6. 又有人話:「呢隻病毒唔同流感呀!唔好再同流感比啦!呢隻病毒會死人架!呢隻病毒無藥醫架!」首先,除左冠狀病毒同流感病毒,仲有 Respiratory Synctical Virus (人類呼吸道合胞病毒) 同 Rhinovirus (鼻病毒) 都會引起呼吸道感染疾病,隻隻都係病毒,病毒一向未必有有效既藥物醫治,隻隻都會死人。你地以為流感有得醫?用 Tamiflu 都未必得架,而且有可能有嚴重副作用。咁冠狀病毒同流感病毒有咩唔同? 有人話death rate高,無vaccine,latent period又長又短,病人無病徵,但呢堆因素唔係用來分別病毒勁唔勁囉。Death rate 高低由咩決定,點計?Vaccine有咩用,target 咩?latent period 點解會長短不一?有無病徵同嚴重性有咩關係,係咪好似異形咁,你怕有人無病徵但會 sudden death?你地睇得太多 WhatsApp D人無啦啦訓低既片段啦,你又知人地係武漢肺炎死?New England Journal of Medicine 有篇叫 First Case of 2019 Novel Coronavirus in the United States既文,提到美國華盛頓州有個病人1月19日入廠,20日確診,一直都係 supportive care,直到染病第11日,即係入廠第7日,醫生先用 IV 俾 remdesivir (瑞德西韋),然後佢就退燒,其他症狀都消失或者減輕。咁又點解會係無得醫?大家記住remdesivir (瑞德西韋),遲下會再講。
7. 仲有,我最憎既「個肺花!個肺花!個肺花!個肺花呀!」呢句,我想同講呢句既人講,肺花,係因為照 X-ray 既時候個肺有 consolidation/infiltration,呢個問題唔單止係肺炎,肺癆甚至cancer都會肺花。你怕咩肺花?流感去到嚴重的話,都可能肺花,因為你有 pulmonary consolidation or infiltration。肺花係因為你個肺 filled with liquid, exudate, pus 甚至 blood from hemorrhage。理性少少,冷靜D,肺花講一次就得,repeat 幾次無幫助。
8. 孤勿論點,呢隻病毒都只係一隻呼吸道感染既病毒,一隻真病毒,一隻同流感一樣會令人病,亦會令人死既病毒,只係流感令人鼻塞,但一樣有機會令人肺炎。呢個新病毒佢所有既威力都係傳媒、WhatsApp片段、社交媒體既報導俾佢,就好似有D 人,你聽佢大名如雷灌耳,一見到真人原來係柒碌又無料到一樣(我懷疑我自己都係咁)。其實有無人真正去了解上面我所講既野?無人話你聽你可以當呢隻病毒無到,話之佢死,但係一開始就進入恐慌狀態,咁你係咪俾人耍緊呢?
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講完上面既病毒既基本知識,不如講多少少基本病毒檢測既知識。好,依家開始【法網肥人化身肥控制員】!
外面成日有人話:「哎呀,個病人21日後先確診呀!」「哎呀,佢隻狗弱陽性呀!」「哎呀,本來係陰性依家係陽性呀!」「哎呀,南韓同意大利爆發,突然好多人確診呀!」Now TV 更報導「鑽石公主號在日確診香港人 康復回港後再檢測呈陽性」
究竟,呢堆確診數字信唔信得過?我意思唔係話邊個國家信唔信得過,而係呢個 test method 同個 protocol 信唔信得過,會唔會有 uncertainty 或者error? 一開始,我地可以睇下 Journal of the American Medical Association 3月9日既文章,Diagnostic Testing for the Novel Coronavirus,裡面有講到 false positive/false negative 既問題,仲有病毒測試既regulation,測試既 guideline等等。文中有提到,開初發展出來既病毒測試有 false negative,顯示出呢個測試既設計應該係有問題。另外,FDA,CDC與美國各州政府之間都有分歧,州政府當然想為居民檢驗啦,但因為個測試係新開發,有大量問題同 uncertainy,所以FDA “made clear that laboratories were encouraged to develop tests but could not use them for clinical diagnosis without FDA’s “approval, clearance, or authorization during an emergency declaration.” 咁 what does that means? 如果你讀 law 的話,我expect你可以 read between the lines。
講返個測試,檢驗新病毒一般都係會用 RT-PCR (Reverse transcriptase-polymerase chain reaction 逆轉錄聚合酶鏈式反應)。好多人,包括肥人好多行家與同事甚至客仔,一聽到咩DNA測試,就以為呢個 test 無L敵啦,一定準確啦。Oh Sorry,no! 撇除所有「中國的會爆炸」同「中國有咩係真」呢兩個因素,一個test既結果是否可信係建基於樣本收集同檢驗方法,無論你係美國,意大利,南韓,日本定中國,樣本收集同檢驗方法先係 main point!
檢驗呼吸道感染疾病,你地話收集咩樣本好呀?Saliva? Sputum? Nasopharyngeal aspirate (NPA)? Bronchial lavage? 如果係上呼吸道病毒,咁 NPA都足夠既,sputum 都可以,但saliva 就應該要reject。但有時呢類既樣本都未必有足夠既病毒樣本去驗,病毒深入氣管去到肺氣泡(alveoli),樣本可能要係bronchial lavage先夠做。仲有,收集樣本既手法,部位,儲存方式,收集時間與檢驗時間既差距,樣樣都會影響結果。支棉花棒「了」得唔好,你或者都會無 result。
好啦,到講 RT-PCR啦。RT-PCR係需要 medical scientist 去砌一段 primer 出來開始做test。為左檢驗結果既可靠性,scientist通常會係新病毒入面抽一段比較穩定既 RNA segment 出來做 primer。可惜,有好多情況下,RT-PCR會俾個錯既答案你。
第一,primer 既設計好影響結果,上面都話段 primer 要係抽病毒一段比較穩定既 RNA segment 出來做,咁如果你抽錯左呢?第二,樣本既 DNA/RNA sequence 既integrity好差,甩頭甩骨咁,結果就會受影響。即係上面所講既樣本收集出現問題呀!第三,樣本純度低,或者份量少,又即係上面所講既樣本收集出現問題呀!咁個 tech 或者 scientist 要係咁加 PCR cycle去 amplify 個 sample,咁 amplify 出來既樣本就有好大機會係 false positive,呢點會影響所謂確診既可信度,亦係咁肥人我見到漁護處話瑞士花園個阿婆患者隻狗呈現弱陽性反應,我當下笑 L97 左出來。大佬呀,你是咪無足夠 sample 就鳩 amplify,然後個 result 根本有問題你都聽長官意志,鳩簽個名話係弱陽性呀?陽就陽,陰就陰。Result 唔 significant 或者 inconclusive,你出咩報告jack? Invalid 啦!仲有呀,病毒係 host specific 架,會傳染人既病毒,又點會無啦啦傳染狗? 眾所鳩知冠狀病毒係靠人類細胞上既 ACE2 (Angiotensin-converting enzyme 2,血管收縮素轉化酶2)來進入人體細胞啦,狗 ACE2既同人既一樣?
寫下寫下,喂,原來未寫數據演繹同政策問題,太長啦,下次再續!
#跨界別吹水
#本來要免於恐懼唔跟隨共匪起舞
#依家又俾共匪睇穿你班人既心理
#個勢變啦全世界同共匪切割了
culture protocol 在 宮能安 Kung Facebook 的最佳貼文
《親密戲導演》
American Theatre,2018年11月號。
《演員的親密戲》
擷自內文:
「性愛場景,如同設計武打場,或是舞蹈動作一般,需要同樣細心編排的動作設計,特別是在這個 #MeToo時代。 」
「我在研究所時期也是演員,所以我有親身體驗—那種來自同事的不恰當經驗,一起跟我上台的人,或是導演完全不知道該怎麼處理這些(親密戲)場景,所以他們索性就完全不處理。」Sina說 「如果你有一個比較年長的導演,碰到親密戲他會跟你們說:你們就做吧,就試看各種可能。所以你們就開始在性愛場景中即興,這是非常不舒服的經驗,而且大多數時候非常令人受傷。」
「親密戲的指示,從來沒有在演員Emily與她的女搭檔編排動作設計遇到困難時出現(她們當時在編排一個充滿戲劇衝突的雙人愛情戲),即使Emily之前演過同性間的愛情戲,她仍然發現自己舉步維艱, 而她的導演除了不斷對著她們大吼舞臺指示「洶湧的情慾」以外,毫無建樹。兩位演員根本沒有辦法自己演完這場戲,而她們發現到了排練最後階段,她們的導演對著她們大喊「就做吧。時候到了。」
「劇場的一切都是假的,」Sina說,「那是一個由演員搬演的假故事,我們必須永遠記得這點,你不應該因此失去自我,你必須在自我跟所做事情之間取得很好的平衡。是的,你必須把自己奉獻給角色,但你也必須要在適當時候離開。」
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前言:
自己日常閱讀時發現這篇文章,其中許多觀念頗為受用,花了幾天翻譯出來,希望能給台灣帶來不同觀念交流、分享,人家對身體以及一切相關觀念,已經好前面了。
雖為英文系畢業,但仍非專業翻譯,謬誤之處歡迎指正。
歡迎轉貼,請勿用做商業用途。
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正文:
Intimate Exchanges
Sex scenes require as much careful choreography as flight or dances, especially in the #MeToo era.
《交換親密》
性愛場景,如同設計武打場,或是舞蹈動作一般,需要同樣細心編排的動作設計,特別是在這個 #MeToo時代。
Adam Noble had been teaching an advanced scene class for just one month when he faced a startling encounter with sexual assault in acting. A student came to him asking for a new scene partner, saying she thought the man she had been working with, on the final scene between Stanley and Blanche in A Streetcar Named Desire, had tried to rape her.
Adam Noble在他的進階場景分析課上遇到一件令他膽戰心驚的表演性騷擾事件,一名學生跟他要求更換場景搭檔,她說她的搭檔企圖在他們一起工作《慾望街車》最後一景Stanley跟Blanche的戲時,企圖強暴她。
Noble immediately offered to serve as a mediator for the two students, who had been rehearsing alone in the young man’s dorm room, in order to clarify what had happened. The situation was resolved as a misunderstanding, and the two were able to continue working together. But for Noble, who had staged his first theatrical flight in 1992, the incident served as a wake-up call.
Noble立即以協調者身分為兩位同學提供幫助(他們一直單獨在男同學宿舍房間單獨排練),以求能夠釐清事實真相。後來發現整起事件其實是個誤會,兩位同學也因此能夠繼續一起順利工作。但對於Noble來說—他從1992年就設計了他的人生第一場舞台打搏鬥戲—這起突發事件有如一記響鐘。
“We were sending these kids off on their own devices with no foundation for how to approach this stuff,” he recalled. The lack of resources for both students and teachers regarding the staging of intimate scenes was apparent.
「我們讓這些孩子在完全不具備如何處理理這種事的相關基礎知識時候,就放手要他們自己發展,」他這麼回憶。「因此,老師與學生雙方都缺乏排練親密戲的必須知識,這件事是顯而易見的。」
Noble developed a method called Extreme Stage Physicality to provide students with a framework to address what he called in an article for The Flight Master maginize “scenarios of intense physicality” with comfort and confidence. He began teaching ESP to high school, undergraduate, nd graduate students across the country. He found that the methodology was effective for all ages, and the number of reported incidents and problems dropped to zero.
Noble後來發展出了一套他稱之為「極端舞台形體」(ESP)的技巧,他對《The Fight Master》雜誌表⽰這個技巧提供了一組完整架構給學生使用,讓他們在「激烈的肢體情境」中可以感到安心並且擁有自信。他開始在高中、大學、研究所教導這套ESP技巧。他發現這套方法適用於所有年齡層,後來這些單位的性騷擾通報數量為零。
“For me as a director, it had to work for aggression, and it had to work for intimacy,” Noble said. “ It had to work across the board for those moments when the body steps in to fill the void, whether it’s violence or intimacy. Theres’s a point where the text and the words are no longer enough and the body steps in. There had to be a way for them to work on it safely.”
「身為導演,我認為在工作時,必須涵蓋侵略性以及親密性這些面向,」Noble說,「這些都必須要被全面地工作到的,特別是在那些時刻,當你的身體必須要介入來填補空缺的時候,會有那麼一個點,光靠文本跟台詞已經不足以支撐而你的身體必須要介入,在這時候必須要有一個安全工作的方法。」
That way would later be referred to as intimacy choreography, a term first used in 2006 by Tonia Sina, creator of the Intimacy Directors International. While studying movement pedagogy, including flowing and mime, Sina was helping to choreograph intimate scenes in student-directed plays and found what she described as “a hole” in choreography and no resources to help with her work.
那套方法,後來被「國際親密戲導演工作坊」創辦人之一Tonia Sina稱為「親密戲形體排練」。當 Sina在鑽研動作教育學時—其中包含小丑與默劇—一面幫忙在學生執導的劇目中擔任動作設計,就在這時候,她發現了在動作設計這個領域中的「空缺」,而這方面,她發現自己完全沒有任何資源可以幫上忙。
For her thesis he created a technique to help actors improve the conditions of their work as well as the results. Published in 2006, “ Intimate Encounters; Staging Intimacy and Sensuality” drew from her own experience as an actor. While attending graduate school at Virginia Commonwealth University, Sina’s personal life was disrupted due to the lack of structure provided for staging intimate sscenes. While rehearsing Picasso at the Latin Agile, she and her acting partner staged a love scene together, alone-a standard practice for such scenarios- with unnerving results.
她在她的論文創造了一套技巧,來幫助演員精進他們工作的狀態以及成果。2006年,她從自身演員經驗出發,發表了《親密接觸:表演中的親密性及其感官性》。大學就讀維吉尼亞聯邦大學時,Sina的私生活就因為沒有一套擁有完整架構的技巧來排演親密場景,而深受其苦。在排練Picasso at the Latin Agile 時,Sina跟她的表演搭擋需要排練一段愛情戲,而且是獨自排練—一個司空見慣的情況—然後最後結果卻令人不安。
“The second our lips touched it was not rehearing,” Sina recalled. “It was just kissing. We both felt it. We both knew. It ended up spiraling. We ended up leaving our parters for a month and we had a showmance. It caused a lot of mayhem in our personal lives because we couldn’t let these characters go. We didn’t have a safe way to do the intimacy, and we didn’t have a safe way of coming out of it.”
「當我們的嘴唇碰在一起時,那就不是在排練了。」Sina回憶道。「那就只是單純在接吻而已。我們都感覺到了,最後越演越烈,我們都因此而跟各自伴侶分手,在那個演出期間我們的私生活真的變得很混亂,因為我們都不肯放下我們劇中角色。我們沒有一個安全的方法來做親密戲,也沒有一個安全的方法來離開它。」
The two dated for a month, but their romantic relationship ended shortly after the show closed. And while Sina’s experience was consensual, there are many cases in which an intimacy director could have prevented non-consensual encounters and abuses of power, especially for young women in the industry.
他們兩個交往了一個月,但隨著戲告一段落感情也就馬上結束了。儘管Sina的案例是當事者雙方都心甘情願,仍然有非常多的例子不是如此,在那樣的狀況下其實親密戲導演是有大把機會可以防止這種違反自身意願的接觸,以及權力的濫用,特別是對業界年輕女性而言。
“While I was in grad school I was also an actress, so I was experiencing it firsthand- situations that had been completely inappropriate from co-workers, people who had been onstage with me, director and there’s a sex scene and they say, ‘You guys just do it. Just try something.’ So you’re improvising a sex scene with your partner. That’s extremely uncomfortable and very victimizing at times.”
「我在研究所時期也是演員,所以我有親身體驗—那種來自同事的不恰當經驗,一起跟我上台的人,或是導演完全不知道該怎麼處理這些(親密戲)場景,所以他們索性就完全不處理。」Sina說 「如果你有一個比較年長的導演,碰到親密戲他會跟你們說:你們就做吧,就試看各種可能。所以你們就開始在性愛場景中即興,這是非常不舒服的經驗,而且大多數時候非常令人受傷。」
Alcoa Rodies, co-founder of Intimacy Directors Internatial, witnessed and was a victim in such scenarios throughout her career. After almost chipping a tooth when a scene partner decided to intensify a kiss onstage, she was told, “ That’s part of the profession. Get used to it.” Knowing there were hundreds of other women who would gladly take her spot in a show if she left, Rodis thought she had to accept that kind of behavior for the rest of her career.
IDI共同創辦人Alcia Rodis在她自己生涯中,親眼見過幾個案例,並且,也曾經有過身為受害者的經驗。在她的對手演員決定在場上把吻戲變得異常激烈時,她的牙齒幾乎都要裂了,儘管如此,她還是被告知「這行就是這樣。早點習慣吧。」因為Rodis清楚知道如果她選擇離開的話,會有其他幾百位女性會搶破頭想要她的位置,她一度以為她必須要在整個職涯中接受這種狀況。
“We sort of learned that’s not the case, and we don’t have to just take it. We can actually be part of the process and work together,” Rodis said.
「我們後來知道其實並不是這樣的,我們不需要逆來順受。我們其實可以在整個工作過程中同心協力地工作。」Rodis 說。
Sina and Rodies, along with co-founder Siobhan Richardson, created the Pillars, the core protocol of IDI’s work and teaching. A codified process, the Pillars consist of Context, Commumication, Consent and Choreography. (They recently estabished a fifth pillar, Closure, to assist actors in walking away from a character after a performance.) Not having this process, Sina said, can be damaging and dangerous.
Sina跟Rodis,以及創辦夥伴Siobhan Richardson發明了「骨幹」這個IDI在工作及教學上的核心要素草案。其中包含:文本、溝通、同意以及動作(近期還加上了第五個骨幹:收尾。來幫助演員在戲結束之後順利離開他的角色。)Sina說,沒有這些幫助的話,是有可能帶來危害的。
“None of it’s real-it’s theatre,” said Sina. “It’s a fake story that is being portrayed by actors, and we have to keep remembering that. You shouldn’t be losing yourself. You need to have some semblance of yourself and some awareness of what you’re doing. Yes you can commit to the character, but you need to come out again.”
「劇場的一切都是假的,」Sina說,「那是一個由演員搬演的假故事,我們必須永遠記得這點,你不應該因此失去自我,你必須在自我跟所做事情之間取得很好的平衡。是的,你必須把自己奉獻給角色,但你也必須要在適當時候離開。」
IDI currently recommends four certified Intimacy Directors, with 16 candidates in training to become certified. Currently only established movement teachers, choreographers, and directors who have worked directly with a founder are able to apply for training. The organization also offers workshops for actors, directors who want to learn basic consent and choreography, and for stage managers and choreographers wanting to learn more about intimacy direction. In August 2018, a 10-day International Intimacy Pedagogy was held in Illinois.
IDI最近推薦了四位經過認證的親密戲導演,陸續還有其他十六位正在培訓。目前,機構只提供專業的、並且曾和創辦者共事過的動作老師、編舞以及導演可以申請接受培訓。IDI有提供工作坊給演員及導演學習「同意」與「動作」的基礎概念,另有舉辦工作坊,給有意願了解更多關於「如何給予親密戲指示」的舞臺經理與動作設計。2018年8月,他們在伊利諾州舉辦了為期10天的國際親密戲教育學工作坊。
Along with the Pillars, another crucial aspect of intimacy directing is recognizing and respecting traumas in one’s colleagues. All IDI-certified choreographers have completed state-offered metal health certification courses.
除了「骨幹」之外,另有一個至關重要的概念:辨識並且尊重同事的創傷。所有IDI的動作設計都完成了由州政府認證的心理健康課程。
“None of us are therapists, and none of us are counselors,” Rodis said. “But we know what to do if someone is having a metal health crisis, and we know what resources to give them. Because of the nature of the work we’re doing, and because some of us are so new, we’re getting further education on trauma.”
「我們都不是心理治療師,我們也都不是諮商師,」Rodis說「但是,我們知道當有人心理出現危機時該給他們什麼資源。因為就我們現在所做的工作本質上來說,我們都是新手,所以我們有必要持續在創傷這個議題上進修。」
While recognizing that theatre professionals are just that- professionals hired to tell a story- the founders also understand that that job can involve actors putting themselves through traumatic experiences night after night.
“We know what you’re doing is different than going to the office every day,” Rodis said, “If you’re playing Lady Macbeth every night, after a while it’s going to wear on you. So we also offer resources on how to close out at the end of every night.”
正因為知道劇場這個職業就是由一群受聘的專業演員來講一則故事,創辦者清楚的認識到這個工作可能需要演員讓他們自己日復一日、夜復一夜的經歷那些創傷。「我們明⽩你的工作不同於朝九晚五的上班族,」Rodis說,「如果妳每天晚上都在飾演馬克白夫人,過一陣子這個角色其實是會影響到妳本人的,正因為如此,我們也提供方法讓你在每晚演出過後把角色給關起來。」
One such resource is the ability to discuss sexuality and sexual experiences openly and without discomfort- a shift from the norm in American culture, which, as actor/director/teacher Claire Warden observed, has little problem with violence but tends to balk when it comes to sex, leaving directors feeling uncomfortable and embarrassed.
其中一個資源,就是擁有能力來討論性以及性經驗而不會感到不適。談論性這件事,不同於具有多重身份(演員、導演與老師)的Claire Warden觀察到的一個美國文化現象:談到暴力時大家都沒問題,不過一但談到性的時候大家都顯得有點畏畏縮縮的,這其實讓導演們都覺得不舒服與尷尬。
“We’ve got this really skewed view of sex and sexuality and intimacy, and an obsession with it,“ Warden Said, “ A lot of shame, judgment, power, and confusion lies around it, which has made it uncomfortable and awkward to talk about openly.” The root problem, she said, may be that “sexuality and intimacy have kind of blurred into one.”
「我們對於性與親密的相關議題有一種扭曲的觀念,同時卻又深深為其著迷」Warden說,「這同時又有許多羞愧、判斷、權力以及困惑參雜其中,因此讓它成為一個公開談論時會帶來不適與尷尬的議題。」根據她說,其實真正根深蒂固的問題是,我們把「性」與「親密」混為一談。
Intimacy direction was never mentioned when an actor we’ll call Emily(not her real name) was performing in a dramatic two-handler and struggled to choreograph a love scene with her female scene partner. Having never performed a same-sex love scene before, Emily found herself at a loss, and her director- whose only technique was to yell the stage direction “Rolling heat!” Repeatedly- was no help. The two actors were unable to stage the scene on their own and found themselves onstage at the end of rehearsal with the director yelling. “Just do it. It’s time.”
親密戲的指導,從來沒有在演員Emily與她的女搭檔編排動作設計遇到困難時出現(她們當時在編排一個充滿戲劇衝突的雙人愛情戲),即使Emily之前演過同性間的愛情戲,她仍然發現自己舉步維艱, 而她的導演除了不斷對著她們大吼舞臺指示「洶湧的情慾」以外,毫無建樹。兩位演員根本沒有辦法自己演完這場戲,而她們發現到了排練最後階段,她們的導演對著她們大喊「就做吧。時候到了。」
Emily recalled that “when it came time to do it in performances, fight director friends of mine ho came to see the how said, ‘That look incredibly uncomfortable for you both. You looked like you were in pain and it was obvious.’’’ Her friends asked her where the intimacy director was. Emily had never heard of such a director, saying, “ I wish I’d known about it at the time when all the yelling was happening.”
Emily後來說,「後來真的演出時,我有個舞台搏鬥導演朋友來看演出,到了所謂的『就做吧』片段時,他說『那看起來對妳們兩個都極其不舒服,妳們看起來超痛苦,而且非常明顯。」她的朋友繼續問她親密戲導演在哪。Emily那時從來沒有聽過有「親密戲導演」這種導演,她說「我真希望在所有的吼叫發叫的當下,我能夠知道『其實有親密戲導演』這件事。」
Emily now a director herself, said she is carful to ensure that her actors are comfortable when staging intimate scenes. “I am hyper-aware of my actors’ sensitivity and I’m constantly checking in with them: ‘Are you okay? Are you comfortable with this? Let me know if you’re not comfortable. We don’t have to do this. We can do something else.’ And my actors thank me for it. They’re not used to that.”
現在身為導演的Emily表示:「在排練親密戲時,我總是對我的演員的感受保持超級高的敏感度,我會不停的詢問他們『你還好嗎?你對這個覺得自在嗎?如果有不舒服要讓我知道。我們不一定要這麼做,我們可以有替代方案的。』我的演員總是對此心存感激,他們對這樣的工作方式其實還不是那麼習慣。」
Uncomfortable situations can present themselves with or without directors in the room. Often scene partners are encouraged to stage the scenes on their own, outside of rehearsal, a practice that can lead to feelings of fear and helplessness. Sina was kissed inappropriately- a kiss that hadn’t been choreographed or rehearsed- in front of an audience of 500 people and had to be in character as she received it.
不舒服的狀況不論導演在不在場都有可能發生。通常演員們會被鼓勵私下自己排練,其實,這麼做很容易引發恐懼與無助感。Sina曾在500位觀眾面前被不當的親吻—一個沒被事先設計或是排練過的吻 —而她在被親的同時還要想辦法讓自己「待在角色裡」。
“There are times where it’s, ‘Kiss, but don’t kiss until previews.’ It’s the worst,” Rodis said. “At best it’s a bad story, at worst they start grabbing you, ‘be in the moment.’ That’s the definition of assault.”
「有時候的情況是親,但是在試演前不會真的親,那種是最糟的。」Rodis說,「當那種狀況發生時,你能得到最好的結果是一個爛故事,最糟的結果是你開始被這件事給抓住還要『待在當下』, 這其實就是侵犯的定義。」
Along with establishing the definition of assault, IDI training also defines consent in clear, unquestionable terms that differentiate between that and permission. A director can give permission to touch another actor, but only a fellow actor can give consent.
除了建立侵犯的定義以外,IDI還以清清楚楚、不容模糊的語彙界定了「同意」與「允許」的差異。 導演可以「允許」演員去觸摸對手,但只有對手演員自己才可以真的表示「同意」。
“The conversation is always very professional and technical, so when we’re talking about parts of the body, it’s the biological name of the part of the body.” said Warden. “And we as intimacy directors never ask anything about and never inquire about the actors’, directors’ or anyone else’s personal sexual life, history, story, proclivities, etc.”
「所有的討論都是非常專業的,當我們必須要談論身體的部位時,我們都會用生物學名稱。」 Warden說,「身為親密戲導演,我們絕對不會去問任何演員、導演或是任何人的個人性愛生活、歷史、故事或是性傾向...等等任何事情。」
The language doesn’t change when the workshops contain students, Warden said, though she may move more slowly.
語彙的使用並不會因為工作坊有學生而改變,Warden說,只是她會教的更慢而已。
“A lot of what we’re saying for adults is still, ‘That is not real. None of this is real.’’’ said Sina. “In rehearsal, we don’t add acting to it until the very last minute, We choreograph it like we do anything else. Just do the moves so everyone knows what’s happening. Then they can add the emotion to it when the actors are ready and they feel they know the choreography well enough. And if you can get that to happen for minors, it separates the sexuality from the choreography and allows them to treat it like it is: choreography.”
「即便我們跟成年人都一直在強調『這都不是真的,這一切都是假的。』」Sina說。「排練的時候,我們不到最後一分鐘是不會加上『表演』的。在最後關頭之前。我們都像是處理其他素材一樣,做形體動作讓大家都知道會發生什麼事。一直到演員們都準備好了,對動作都夠熟悉時,他們才會真的帶入感情去演出。如果你能夠讓這些未成年先開始這麼做,慢慢的所有人就能夠把性跟動作設計分開來來看,然後以正確的眼光看它:動作設計。」
The inability to treat intimate scenes as simply choreography is a problem Sina has observed at numerous drama competitions, where students without sexual experience or knowledge, let alone the ability to separate themselves from the characters they were playing, have performed sex scenes. These situations can be traumatizing for people without the knowledge or resources to handle it.
Sina在無數個戲劇比賽上觀察到一個問題,學生們往無法把親密場景當成動作設計一樣來處理,這群學生們沒有性經驗或是相關知識,想當然就無法在性愛戲中把自己跟扮演的人物切割開來看待。這種狀況是非常有可能讓人受創的,特別是對那些沒有相關知識,或是資源來處理這種狀況的人。
“If they’re not being led through it properly, it can be very, very dangerous,” she said. “It’s illegal in our country to do anything sexual with a minor or have two minors do something sexual in front of an adult. It’s very thin line between choreography and a crime when you’re dealing with minors.”
「如果他們沒有被好好引導的話,那真的非常非常的危險。」她說,「根據我們國家的法律,讓一個或多個未成年人在成年人面前做出帶有性愛意味的事情是違法的。所以面對未成年時,在『動作設計』跟『犯罪』之間其實只有一條非常模糊的線。」
Demand for IDI services and training has spiked in the past year, since the #MeToo movement has exposed abuse in the entertainment field, including theatre, and the issues of consent and empowerment in the workplace (not to mention outside of it) have become central.
自從去年#MeToo運動開始後,對IDI這個機構的服務與訓練來說,他們面臨了重要挑戰。在娛樂產業(包含劇場)的職場上(更別提職場外也是),現在,關於「同意」與「權力」的議題都變得重要無比了。
“At the moment there’s so much need and demand and only so many of us to go around,” Warden said. “I cannot be in every single room and play out there, but what I can do is empower actors or directors or even stag managers to go into a room and say, ‘I would like to offer a way of talking about this.”
「目前來看,親密戲導演的需求與實際從業人數是不成正比的,」Warden說。「很顯然的,我不可能出現在每一個房間裡指導,但我可以做的是賦予演員、導演甚是舞臺經理權力,讓他們能夠在每個房間替自己發聲『我想要提供另外一種工作方式』。」
Also encouraging to Warden is the increased awareness among young students.
對Warden來說,令他欣慰的是年輕一代學生中對這件事情有意識的人數越來越多了。
“My hope, my intentions and my dream is that the next generation of actors, writers, and directors come out with a very different understating of respect and consent with their bodies and each others’ bodies,” Warden said. “And that leads us into an even more free and safe way to creat deep, authentic, risky stories.”
「我的願望、我的本意、以及我的夢想都是下個世代的演員、作家、以及導演都能夠對他們自己以及他人的身體,有一種非常不同於現在的理解、尊重、權利,」Warden說,「這可以讓我們以更自由,同時也更加安全的方式來創造出具深度、真誠、精彩的故事。」
Carey Purcell, New York city-based reporter
culture protocol 在 SARAH & JASON Youtube 的最佳貼文
the bag vlog was very popular
so to continue we have a Chanel... STRAP hahahaha
Sarah:Jason loves buying cameras... just love to spend actually? so the moment Fujifilm brought out a new camera, he said he'd buy it for me.... hmmm....
Jason: In all fairness, Sarah did say she wanted one for so long!
the story behind the camera isn't quite as memorable as the bag stories, and suppose getting a new camera right now is a little pointless, since we're home all the time...
but it's nice to film a variety of things, and the new camera is well worth talking about.
the Covid-19 virus is spreading all over the world, and with family and friends in England, Australia, Canada, different parts of Asia and the US, it's very worrying.
we constantly remind loved ones not to feel bad that they're wearing a face mask or if they seem to be using hand sanitiser excessively...
each country will have their own set protocol to deal with the situation, but it's all the same really... keep your hands clean, don't touch your face, avoid crowds, stay home etc...
we do have a mask wearing culture in Hong Kong, so everyone's going to do that if they have a mask.
only wearing a mask if you're sick? the experts, the doctors have been saying this for ages now, some people have the virus but don't display symptoms... so how do you know you';ve caught it? feeling fine, having no fever, not coughing doesn't mean you haven't caught the virus.
just protect yourselves how you can, look after yourself and look after each other❤️
let us know what else you wanna see
love you all!!!
#Chanel #Fujifilm #Sony
#X100V #A6600 #NewCamera
@KaiManWong Youtube: Kai W
#PrimeLens #Gadget #Camera
#HomeOffice
#StayHome #StayHealthy

culture protocol 在 MYO _ Youtube 的精選貼文
MYO (frontman of Oh Chentaku and host of Ke Korea Ke Kita, Ke Jepun Ke Kita, Ride Hensem) hits the road again! This time the adventure takes him to the magical land of Borneo with a mission to discover the beauty of nature and the culture, to connect with the locals and most importantly give back to the community, all on two-wheels...
Ride Borneo | EP03
A Project by Oh Chentaku Records.
Producer & Director : Myo
Asst. Director & DOP : M Imran J
Editor : Muhammad Bakri
Montage : Ameer Syafiq
Photographer : Mohd Nazmi Suhaimi
Crew Members :
John James
Mark Agan
David Vyner
Karl Lian
Emmanuel Nuk Chee
Special thanks to all Sarawak and Sabah motorcycle chapters. Lots of love to the children of Borneo.

culture protocol 在 JinnyboyTV Youtube 的最佳貼文
A lot of people always wanted to know how we shoot our vids! So here's a behind the scenes of one of our latest videos "Serendipity"
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