The Centre for Prevention of Injuries in Performing Arts, CPAE, has created a NEW TREATMENT which is devoted to assisting the artist when they suffer from an injury or from pain, not only in his PHYSICAL and EMOTIONAL conditions but also in his NEURONAL adaptations (neuto-motor and auditory) when they want to improve their physical condition.
The work suggested to me by Ana Velázquez and the CPAE team has helped me in my career. My first contact with them was due to an injury which they quickly relieved. However, we continued to work and they taught me how to modify my position so as to make it more natural, this way improving my breathing. The results on stage were surprising. Xavi Fernández, actor and singer.
OBJECTIVE: OBTAINING THE BEST POSSIBLE CONDITION WHILE IMPROVING ALL THE SKILLS OF THE ARTIST
The following TREATMENT is carried out in the first visit, which consists of the following parts:
1 - DIAGNOSIS via ANAMNESIS and POSTUROLOGY
1.1 - Anamnesis: complete medical history.
1.2 - Exploration of Posturology.
1.3 - Study in dinamics and statics
2 - TREATMENT OF THE PAIN OR INJURY IN AN ANALYTIC
3 - FUNCTIONAL AND ARTICULATED FREEDOM OF THE VOICE TRACT
4 - PROPER TRAINING OF THE REST OF THE BODY
￼1: TREATMENT PLAN: DIAGNOSIS
Accomodate the treatment to the real need of the artist.
1.1: Anamnesis: complete medical history: past injuries, type of pain, chronology, illnesses, pains, etc.
1.2: POSTUROLOGY APPLIED TO THE ARTIST. Funcional assessment to find the postural captors which alter posture and check whether or not it is the CAUSE OF THE PAIN. It will be explored both in DAILY LIFE and in THE MOMENT OF PERFORMANCE by a simulated movement at the consulting room.
1.3: Study of the posture in STATICS and DYNAMICS in coreography and staging.
Diagnosis and Assessment of HOW has the artist came to injure themselves, how they realised that particular motor act which we will improve and change.
2: TREATMENT OF THE PAIN OR INJURY.
ADAPTATION TO THE PHYSICAL-PSYQUICAL AND EMOTIONAL NEEDS OF THE ARTIST.
We take into account physical characteristics such as type of muscle, general and analitic muscle tone of the artist's body, positioning of the body according to the muscular and genetic structure in relation to the coreographic demands, weight bearing, contact method and exchanges with collegues, type, quantity and shape of the material used, atrezzo, material transportation, touch and points of support, among others.
The emotional characteristics the patient has with their body (such as the amount of hours they devote to study, the level of mastering and the dexterity in corporal movement) and their corporal conscience (type of method used or technique studied or used).
3: TREATMENT OF THE VOCAL TRACT: THE PHYSIOTHERAPIST'S INTERVENTION:
The specific work the PHYSIOTHERAPIST carries out in actors and singers:
Our treatment is aimed at preventing muscular-skeletical injuries as well as phonation injuries as a complement to the treatment issued by logopedas, speech therapists, laryngologists, phycologists, endocrines, gynecologists, etc, when there is a vocal reeducation in the treatment.
The physiotherapist is key in voice treatment when of the cause of the dysphonia is an alteration in posture.
The first step is a muscular analytical characterisation of the vocal tract, diafragma, cervical spine, dorsal and lumbar, looking for the tonic and hypertonic muculature, mobilisation restrictions and the possible strains or tensions.
Rigid jaws do not allow the proper tongue movement and this is one of the most frequent causes of alteration in voice resonance. It may be due to the increase in tone of the deep suboccipital musculature, which paired with the synergy of the temporo-mandibular articulation and the eye musculature, give the necessary information of the brain stem to the trunk so as to regulate the corporal equilibrium.
The hyoid, the bone placed between the tongue and the larynx, is the point of origin of the tongue musculature, and mantains the muscular connections with the larynx and the tongue. Therefore, a tongue tension may be transmitted to the larynx via the hyoid. The freedom of movement of the larynx is key for phonation.
The treatment we offer is aimed at releasing these tensions via manual therapy.
Thanks to massaging the hard palate we achieve the necessary proprioception to project the voice correctly.
Sensitivity and proprioception are achieved at the moment we activate sensitivity in the nerve endings in the palate, those which perceive sensations provoqued by voice ressonance.
We want you to save muscular energy and to improve PRECISION, SPEED AND MOTOR AND AUDITIVE COORDINATION.
Once we have the diagnosis, we create new NEUTO-MOTOR and sensitive ways which allow the incorporation of the NEW MOTOR ACT TOGETHER WITH THE FINAL DESIRED SOUND.
4: Outlining the guidelines for training and study according to:
Your actual studies, pieces or plays to perform at short and long term.
Hours devoted to studying per day, week and month.
Guidelines of corporal and ergonomic conditioning according to one's morphology, corporal structure, diet, pulmonar capacity, muscular and ligamental flexibility.
The treatment is also accomodated to the present-day needs of the artist, enquirying about the past and future of the artist's studies and rehearsals, their planning of the performances, the type of muscular activity, the structural morphotype (body shape according to the predominance of muscular chains) and the degree of anxiety and nervousness in stage.
All of these factors are assessed both in statics and in dynamics of the interpretative motor gesture.
Along the treatment, the artist is served with PERCEPTIVE, SENSORIAL AND RATIONAL POSITIVE STIMULI which reinforce the attitude in changing positively, concetrations and motor improvement.
On following sessions after the first visit, the treatment is constantly reoriented in relation to the patient's evolution. Each point mentioned before will be revised.
1st treatment: 60€