UPDATE in PHYSIOTHERAPY of the performing arts

UPDATE in PHYSIOTHERAPY of the performing arts

Next Thursday, May 7, we do a course with the Apdc (Professional Dance Association of Catalonia), for dancers.

What is the course about: To know how to work the balance with the fine Postural System, to understand what is the clinical Posturology and to give fast tools of detection of the imbalance. It's about not always using the same thing, not always training the same and valuing yourself more in order to focus the training where it suits us best. It will be three hours, from 10:00 to 13:00. It is very common to focus workouts on the biomechanical part of the body of the joints, muscles and soft parts of the tissues (stretching, strengthening, flexibilization, warm-up).

Ana Velázquez proposes a talk aimed at another direction: working on the system that regulates balance and knowing how to train it from the non-biomechanical, but proprioceptive part (that is, the ability to feel the position of the muscles and to regulate the direction of movements), vestibular (spatial orientation) and neurological, with practical exercises that can be done anywhere.

We give you the link here so you can sign up:


New book: The artist without pain.

look the vídeo (this vídeo is in spanish):

The purpose of this book is to combine science with the performing arts, to improve performance in performance without risk of injury. Combining science and research with performance art and music, this book presents real examples and studies the international art scene to find out if the type of training and study used today to get the best of yourself in scene, is the most suitable. An alternative proposal is offered through an ergonomic, physiotherapeutic and clinical posturology analysis.

You will be able to find evaluations of different current scenographic proposals, warm-up exercises, interpretive works and the personal experiences acquired as a result of cooperation with different actors, directors and musicians from the current cultural scene; all with the aim of finding the shortest path to optimizing performance on stage.


Thus, we offer proposals that are articulated in two different areas: everything that can harm us with respect to the voice, the body, gestures and acquired counterproductive habits; and some improvement proposals through exercises that will allow us to give the best of ourselves.

The work puts on the table mechanical and physiological evidence related to the function of the human body. These evidences, which have been scientifically verified, clash squarely with some usual current methods of body and voice work. We invite you to enrich yourselves from the reflections that are raised in this book and our experience in this regard.

This book is a tool to raise concerns, to better understand your own body and see how interpreters of different artistic activities can improve their daily tasks. It is also the key with which artists of any discipline can achieve a freer body, learning to breathe correctly, so that both these professionals and the spectators who come to see their work can fully enjoy any show.

The link to by the book : https://www.cpae.net/en/bibliography

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