Beware of the Concept

Yesterday Alan Ayckbourn's gold-nugget-laden book -

The Crafty Art of Playmaking by Alan Ayckbourn. Faber, 2004, softcover, ISBN 0571215106.
https://www.concordtheatricals.co.uk/s/45898/the-crafty-art-of-playmaking 

- found a new owner. Beforehand, I turned up the following helpful advice (or, 'obvious rules'): 

ix Introduction

'The following is an attempt to describe, as far as I can, this double process [writing and directing, PJ]. Some of it is quite probably unique to me and contains procedures and practices that it would be highly unwise for others to try and copy. The rest is really just plain common sense. But if I've learnt anything it is that it never hurts to point out the obvious occasionally, certainly in the theatre - to actors, directors or writers and sometimes even to designers, stage managers and technicians. Often we quite wrongly suspect simplicity. We go digging around in the creative sand trying to make.our art more meaningful, somehow 'deeper'. Generally all we do is end up with our heads entirely buried, presenting the audience with our rear ends.'

Obvious Rule No. 3
If you don't have the initial inspiration, put down the pen,put the pencil back in the jar, switch off the computer and go and dig the garden instead.
.. 
'At its most successful, theatre views things from a human standpoint. It is after all the most human in scale of all the performance media. My feeling is that that's also a good place for a dramatist to start, at the human level. As a playwright it may be your intention to build a vehicle to take us to the stars. But do make sure you have people aboard.

Initial inspiration - that essential starting point - comes in all shapes and sizes.' p..9.

Obvious Rule No. 49
Beware of the Concept.

DIRECTING

'Don't be talked into anything you feel instinctively you'll regret later. If you must have a concept (God save us from that word) then let the concept be something that's worked out between you. Let it spring from the play and not from the fact that the production manager has 5oo square metres of black lino left over from their last production. I once heard the fateful words, 'I think it's about time we did something with mirrors.' If at all possible, try and persuade the producer, whoever it is, to let you make as many scenic decisions as late on as possible. There will always be an intense pressure to decide everything before you start. This can be fatal.' pp.118-19.

In pencil I noted: 'Hodges' model is different. So, don't panic.' Is it? Really?

I've saved this for the last: 

'Then there is the new old playwright. Far more difficult to deal with. They have probably nursed this script for twenty-five years and they're damned if you're going to mess it up for them when they've waited so long. Especially someone your age who wasn't even born when their harrowing play about World War Two was still raging, dammit.' p.110.

It's not that I believe I'm a (potential) playwright, it's the learning.

See also: 'Ayckbourn' : 'drama'

'Oh Thomasina!' Such a drama in a diagram

Arcadia

Last evening I really enjoyed a performance of Tom Stoppard's Arcadia at the Duke of York's, or soon to be - The Tom Stoppard Theatre:

Act I, Scene 2  

'Septimus ... You should no more grieve for the rest than for a buckle lost from your first shoe, or for your lesson book which will be lost when you are old. We shed as we pick up, like travellers who must carry everything in their arms, and what we let fall will be picked up by those behind. The procession is very long and life is very short. We die on the march. But there is nothing outside the march so nothing can be lost to it. The missing plays of Sophocles will turn up piece by piece, or be written again in another language. Ancient cures for diseases will reveal themselves once more. Mathematical discoveries glimpsed and lost to view will have their time again. You do not suppose, my lady, that if all of Archimedes had been hiding in the great library of Alexandria, we would be at a loss for a corkscrew? ...'^ p.20.

 Act II, Scene 3

'Lady Croom We are intruding here - this will not do, Mr Hodge. Evidently, nothing is being learned. (To Noakes) Come along, sir! 

Thomasina Mr Noakes - bad news from Paris! 

Noakes Is it the Emperor Napoleon? 

Thomasina No. (She tears the page off her drawing block, with her "diagram" on it) It concerns your heat engine. Improve it as you will, you can never get out of it what you put in. It repays eleven pence in the shilling at most. The penny is for this author's thoughts. 

She gives the diagram to Septimus who looks at it.' p.74
...
Now Septimus retrieves his book from Thomasina. He turns the pages, and also continues to study Thomasina's diagram. ... 

Septimus Why does it mean Mr Noakes's engine pays eleven pence in the shilling? Where does he say it? 

Thomasina Nowhere. I noticed it by the way. I cannot remember now. 

Septimus Nor is he interested by determinism -------

Thomasina Oh... yes. Newton's equations go forwards and backwards, they do not care which way. But the heat equation cares very much, it goes only one way. That is the reason Mr Noakes's engine cannot give the power to drive Mr Noakes's engine. 

Septimus Everybody knows that. 

Thomasina Yes, Septimus, they know it about engines! 

Pause. He looks at his watch 

Septimus A quarter to twelve. For your essay this week, explicate your diagram. 

Thomasina I cannot. I do not know the mathematics. 

Septimus Without mathematics, then.' p.75.

 
Tom Stoppard, (1993) Arcadia (Playscript), Faber & Faber, pb. ISBN 9780571169344.
https://www.faber.co.uk/product/9780571169344-arcadia/

My text source:
https://collegearts.yale.edu/sites/default/files/attachments/arcadia_by_tom_stoppard.pdf 

^ n.b. This was therapeutic, but I still mourn the losses from Alexandria and other libraries ... today.

Wittgenstein's - Tractatus

Apparently, Wittgenstein walked away from philosophy after publication of the Tractatus. He thought he had solved the problems of philosophy, logic and reality.

In trying to ‘see’ Hodges’ model, in mathematical terms, there may be lessons in Wittegenstein’s approach, both in content and style. Of course, as a non-mathematician, I probably should leave well-alone; and stick to nursing. But that is the problem: from 1987-88 there is a need for a different perspective, even if this is a personal challenge. As with many ‘reviews’ here, we can look at Wittengenstein’s work, reflect upon it, and consider how it relates to the purposes, structures and content of Hodges’ model.

The Tractatus’s first line then, offers a warm welcome.

‘The world is everything that is the case.’ [I]

Making the decision to become a nurse and enrolling as a student makes you an educational and workforce demographic case.

Once a student in the university lecture theatre, you hopefully whether consciously, or not are exposed to the theory – practice gap; as you yearn to be on your first placement. Now it you who is seeking ‘cases’. As we live, and statistics roll and tally, the question of caseness (and categories) is key, one that is carried around even if not always active, recognised as such.

As noted in the previous post, we can for Hodges’ model (and other models, frameworks it must be said) think of ‘case’ as a, or the situation. 

A mathematical approach to Hodges’ model involves looking at things, concepts, people as objects. This includes patients and carers. In terms of a project worthy of pursuing in nursing and other disciplines involved in healthcare, this mathematization presents a non-trivial challenge. A fully-deserved response would be: 'What have you done to the aptitude for care and caring attitude? You've cancelled - subtracted it!' Humour aside:

'In order to know an object, I must know not its external but all its internal qualities.' [2.01231] 

Is this equivalent to us getting to know our patient / client and their socio-political context? 

‘The way in which objects hang together in the atomic fact is the structure of the atomic fact.’ [2.032] 

It is a help that Wittgenstein points to structure (crumbs of understanding are welcome here, as incremental steps). In formulating Hodges’ model we first identify the axes. It is the axes that then provide a space, four domains in total, to frame the objects that we decide; or, as the situation dictates, what concepts are placed in the domains of Hodges' model.

There is a successive series that follows, combining place, space and logic: ‘The proposition determines a place in logical space: the existence of this logical place is guaranteed by the existence of the constituent parts alone, by the existence of the significant proposition.’ [3.4]

‘The propositional sign and the logical coordinates : that is the logical place.’ [3.41]

‘The geometrical and the logical place agree in that each is the possibility of an existence.’ [3.411]

‘Although a proposition may only determine one place in logical space, the whole logical space must already be given by it.
(Otherwise denial, the logical sum, the logical product. etc., would always introduce new elements -in co-ordination.) 
(The logical scaffolding round the picture determines the logical space. The proposition reaches through the whole logical space.)' [3.42]

While Wittgenstein came to view ‘the picture theory of meaning’ as incorrect, as a conceptual framework and diagrammatic resource Hodges’ model is closely tied to this form of representation.

Of course, the logic at work here, is far from mathematical, but there is surely a logic.

'Formal concepts cannot, like proper concepts, be presented by a function.' [4.126]

'There is therefore really a sense in which in philosophy we can talk of a non-psychological I.
The I occurs in philosophy through the fact that the "world is my world'".
The philosophical I is not the man, not the human body or the human soul of which psychology treats, but the metaphysical subject, the limit - not a part of the world.' [5.641] 

'Although the spots in our picture are geometrical figures, geometry can obviously say nothing about their actual form and position. But the network is purely geometrical, and all its properties can be given a priori.

Laws, like the law of causation, etc., treat of the network and not of what the network describes.' [6.35]

There is much more in this work, and much that remains a challenge. Many commentators have written and said in interviews that the Tractatus rewards re-reading and some sentences stay with you for life (The Great Philosophers BBC TV). 

I'm still seeking mine.

https://www.gutenberg.org/files/5740/5740-pdf.pdf

Martha's Rule revisited ...

Last year in May, I posted about Martha's Rule. A year on, there is an update:

Evidence suggests Martha’s Rule is saving lives

'To support learning and assess the impact the programme is having, we regularly collect data from sites where Martha’s Rule is in place.

Early evidence suggests Martha’s Rule is saving lives and helping thousands of patients benefit from changes to their care.

Data from September 2024 to February 2026 shows 12,301 Martha’s Rule calls were made, with the highest proportion of calls (72%) made via the family/carer escalation process. 4,047 Martha’s Rule escalation calls (33%) related to acute deterioration.

Of those, 2,310 calls required changes in treatment. This includes 524 calls which resulted in transfers of care to high dependency or intensive care units, enhanced levels of care, tertiary centres or referral/transfer to specialists or a specialist ward. Other changes in treatment (1,786) did not require transfer of a patient from a ward in-patient setting. This includes the introduction of a new medication such as an antibiotic to treat infection, investigations including scans and procedural interventions including going to theatre.'

Source:
https://www.england.nhs.uk/patient-safety/marthas-rule/#implementingmarthasrule

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"Not herself ..."   Listening  Martha	1,700 NHS staff Taking action escalation
Mills parents, guardians, friends & family   Familly input - Multidisciplinary Team   Teamwork	Martha's Rule

My prompt:
Koronka, P. '1,700 NHS staff use Martha's Rule to raise the alarm'. The Times, 1 May, 2026, p.6.

Previously: 'intuition' : 'observation' : 'listen' : 'communication' (Never as an afterthought.)

Picking up sticks: when axes matter ii

This past week at WCCS26, I've put Hodges' model itself on the work-, or more properly the inspection bench. Now, referring back to the - 'Our broken sticks' c/o Roger Lewin "Complexity: life at the edge of chaos" post, perhaps a theatre table is required. That is, as I try to examine the model, take it apart, have a look at the bits - as far as they are. And, what about the question posed in the above post?

'If we take the axes of Hodges' model, and break them at twenty-five points, I wonder what we end-up (or start) with?'

If there are twenty-six sticks, well, amongst other things - we've made quite a mess. But, there's more going on.

There may be some kind of idealised symmetry, or is it equality between the necessary, or projected length of the I-G axis. That is, as it extends for the INTERPERSONAL and SOCIOLOGICAL domains. But is there equivalence, in a default sense, for the SCIENCE and POLITICAL domains? Or am I (once again) overthinking? If medicine, health and by implication social care are bio-psycho-social, then surely we have a structural problem? Not only that, but we see a boundary, partition ... axis - in action. In Hodges' model the axes have two parts, two sides, so they are in effect composite. If the bio-psycho-social model is true, in whatever senses we wish to declare, derive or pursue in research (the literature, logic, practice, political expediency, or realism ...), then the group axis is incomplete. 

Hodges' model: Structure and Content - Axes and Domains

Is this literally why health care systems are so difficult to design, develop, establish and sustain? Think about that too, please. Is this why we as individuals rely on a functioning (caring) society and political systems? Is this why health care systems can suddenly be faced with collapse, as geopolitics has revealed. Vulnerability, becomes more than an individual characteristic and experience; when nations are dependent upon others for their funding, organisation, logistics, personnel, continuity and more. As a result, many understandably want to break with this socio-political and coloanial legacy.

Is there something in the sentence above in italics, that we can actually utilise to help define the foundation of Hodges' model? Again, not wanting to sound grandiose, but is there an axiom hidden in there? Even as 'health' is the inevitable election issue. The irony of this! Even if the politics of health and health in politics is not so much hidden as often denied. History reveals the influence of triage on the battlefield on the emergence of medicine and surgery. The future is here now. There is a political fight to follow for health in all its manifest forms. So here is another post to return to.

WCCS26: World Conference on Complex Systems 20-22nd April

It was good that today I could relax a little sooner than I expected with my presentation delivered over lunch time instead of 1730. To recap, at the 6th edition conference theme of:

“Navigating Contemporary Complexity:
Transdisciplinary Approaches to Economic, Social, Political, and Environmental Challenges”

- my talk (I added "Hodges' model" in the slides):

'Hodges’ model: PRESENTING a UNIVERSAL and SIMPLE CONCEPTUAL WORKBENCH to SITUATE and ENCOMPASS COMPLEXITY'

This after arriving back from a conference dinner near Marrakech at 0100, but the event at Chez Ali was different and most enjoyable. 

I'm conscious that unlike other speakers I (still!) did not have 'data' to share and discuss. Equations have been necessary over the first two days. But overall all sessions have proved accessible. From comments received Hodges' model was understood and deemed relevant. One delegate noted how the visual nature of Hodges' model was apparent, the illustrations revealed the model more clearly than a verbal description the evening before.

There were two questions. I eventually recalled awareness of Franco Basaglia, the Italian pioneer of community mental health and mental health law in Italy. Another questions concerned were I though the arts, drama and culture sit, or fit in Hodges' model? I suggested a search of the blog for posts tagged 'art', 'theatre', or 'culture'; with a warning that it can be a bit of a rabbit-hole.

Discussion, in-sessions and outside have proved refreshing, and not just as a welcome change from 'world news'. There were reminders too of early career researchers, professionals, and policymakers and the need to phone home.

While I pack for a transfer to Marrakech tomorrow afternoon, I will reflect and look to add more here.

In adition to data, I need new angles so I am not self-plagiarizing; hence the attempt to see Hodges' model as a mathematical object.

Many thanks to the WCCS26 Committee for being able to participate and share this model made in the 20th century for the challenges of the 21st.

More to follow and in the meantime, you can read the programme yourself.

Theatres of War and Healing

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Theater of War Productions presents community-specific, theater-based projects that address pressing public health and social issues.	Wounded Ukrainian veterans find healing on stage c/o Reuters

Previously: 'theatre' : 'war' : 'public (mental) health' 

2026 Lancaster Philosophy of Psychiatry Work in Progress Workshop

I am looking forward to, and preparing for this event next week:

====================================================

Thursday 26 February 2026, 11:00am to Friday 27 February 2026, 3:30pm

Venue: Storey Lecture Theatre, Lancaster , LA1 1TH

Open to: Postgraduates, Staff

Event Details:
 
Sponsored by the British Society for the Philosophy of Science.
This workshop provides an informal forum where PhD students, and more experienced researchers, can present and discuss short works in progress. All paper slots are taken for 2026. 
Please email r.v.cooper AT lancaster.ac.uk if you'd like to attend.
THURSDAY 26th  FEB

10.45-11 Welcome
11-11.30 Hane Maung - Philosophy in Healthcare Practice: A Case Study.
11.30-12 Peter Jones - Hodges' model: A work-ALWAYS-in-progress and this is why...
12-12.30 Matthew Williams - The failure of the harm-minimisation argument for BID Surgery and the necessity of therapeutic justification
12.30-1 Clive Duddy – Autonomy in mental health care
1-2 LUNCH
2-2.30 George Turner - Difference denied.
2.30-3 Dieneke Hubbeling - Different ways of medical knowing in Walzer's different spheres of justice?
3-3.30 Ali Walker - Forget Fictionalism: Psychiatric Disorders are Quasi-Real
3.30-4 Ewa Grzeszczak - Philosophy of psychiatry and the methodology of social ontology.
4-4.30 Break
4.30-5 Alessandra Civani - What kind of concept is ‘incongruence’?
5-5.30 Anna Golova - Self-illness ambiguity without a self-illness distinction.
5.30-6 Break
6-7 Prof Miriam Solomon – Royal Institute of Philosophy talk ‘Stigma as an actant in the history of psychiatry’

FRIDAY 27th Feb

11-11.30 Sam Fellowes - Modelling psychiatric diagnoses when self-diagnosing - how does this work?
11.30-12 Giulia Russo - Epistemic and political role of experience
12-12.30 Frank Denning - Using Stebbing’s Directional Analysis to Evaluate ‘Mentalizing’.
12.30-1 Gloria Ayob - Flourishing as mental health
1-2 LUNCH
2-2.30 Richard Hassall - Hermeneutical Injustice and Damaged Intellectual Self-Trust in Psychiatric Service Users.
2.30-3 Lara Calabrese - Exploring epistemic injustice in dementia care: a scoping review and a qualitative study
3-3.30 Jacob Barlow - Epistemic borders: experts, communities, communication

<>

'Drama classes help GPs handle difficult patients' c/o BBC

'Hull Truck Theatre has just won the Innovation prize at the Stage Awards for their new training scheme for GPs. Associate Director Tom Saunders and GP Dr Eman Shamsaee discuss why drama classes are helping doctors treat patients.' 

BBC Radio 4 'Front Row' https://www.bbc.co.uk/sounds/play/m002q2jz (15 mins ...)

◇

Holly Phillips, East Yorkshire and Lincolnshire and Ian Youngs, Culture Reporter

Published - 21 January 2026

'A theatre company is using drama training to help doctors deal with challenging patients.

Hull Truck Theatre's classes feature actors performing difficult GP consultations, with GPs giving feedback before taking over the consultation themselves.

The theatre recently won the Innovation Award at the Stage Awards for the programme.

Dr Eman Shamsaee, who has taken part in the training scheme, described it as a "really creative way of doing GP training".'

BBC News:  Drama classes help GPs handle difficult patients

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The training programme has completed its pilot stage and is now in the delivery phase

A reminder of co-working to deliver STORM training with a Clinical Psychologist colleague. 

See also: 'communication' : 'primary care' : 'GP' : 'drama'

In search of socio-political logics

'The logic of appropriateness refers to actions which members of an institution take to conform to its norms. For example, a head of state will perform ceremonial duties because it is an official obligation. By contrast, the logic of consequences denotes behaviour directed at achieving an individual goal such as promotion or re-election.' p.87.

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'Institutions are far more than the theatre within which the political drama unfolds; they also shape the script (Peters, 1999). This emphasis within the institutional framework on the symbolic or ritual aspect of political behaviour contrasts with the view of politicians and bureaucrats as rational, instrumental actors who define their own goals independently of the organization they represent.' p.87.

'Further, institutions bring forth activity which takes place simply because it is expected, not because it has any deeper political motive. When a legislative committee holds hearings on a topic, it may be more concerned to be seen to be doing its job than to probe the topic itself. Much political action is best understood by reference to this logic of appropriateness rather than a logic of consequences. For instance, when a president visits an area devastated by floods, he is not necessarily seeking to direct relief operations or to achieve any purpose other than to be seen to be performing his duty of showing concern. In itself, the tour achieves the goal of meeting expectations arising from the actor's institutional position. "Don't just do something, stand there", said Ronald Reagan, a president with a fine grasp of the logic of appropriateness.' pp.86-87.

    

See also: 'drama' : 'bridges'

Hague, R., & Harrop, M. (2007). Comparative Government and Politics (7th ed.). New York, NY: Palgrave Macmillan.

Peters, B. Guy. (1999). Institutional theory in political science: the new institutionalism. London: Pinter.

COP30: Seeking change shopping in the far North & SOUTH

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	Understanding the Impact of Architecture 12 · 2020 by John Kørner 80 x 120 cm · (102 x 138 x 6,5 cm)
	COP30 COP stands for "Conference of the Parties"

'John Kørner (born 1967, Danish): Understanding the Impact of Architecture, 12, 2020

Lithograph

Kørner pursues his artistic practice through various media, including painting, printmaking, ceramics, installations, sculpture, videos and theatre work. Throughout his career he has tackled contemporary global issues such as migration, war, and systems of production and consumption. He refers to these as 'Problems' that form an ongoing process of enquiry in his work. In his series of paintings and prints Understanding the Impact of Architecture (begun in 2014) he explores the way architecture influences, impacts and interacts with people and their environment. This print from the series addresses blind consumerism and its effect on the fragile Nordic landscape. It was made at Edition Copenhagen which along with Borch Editions is the other major print workshop in Denmark.

Acquisition supported by AKO Foundation, 2023,7056.2'

Text and my source: British Museum Room 90

Nordic noir
works on paper from Edvard Munch to Mamma Andersson

Exhibition / 09 October 2025 – 22 March 2026

See previously: 'care architecture' : 'architecture'

Normansfield Theatre in Teddington

Normansfield Theatre in Teddington

'My favourite building is the amazing Normansfield Theatre in Teddington that John Langdon Down (1828-1896) built to provide positive and stimulating education for learning disabled people (Down syndrome is named after him). At a time when most disabled people would have been shut away in horrific asylums, Down adapted his own house as a residential home, and built a beautiful theatre for creative rehabilitation. It's one of the few surviving private theatres from the period, with original painted scenery and other ornate fixtures, recently remodelled. For me, it's also a reminder of how the wealthy often used their money for good causes, which feels less common now. Jos Boys, guest curator and co-director of The DisOrdinary Architecture Project'

My source: The pick of London Open House. House&Home, FTWeekend. 6/7 September 2025. p.8.

Image: Langdon Down Centre

Previously: 'learning disability' : 'theatre' : 'architecture'

Play - “The Ballad of Crooked Lane” 6th & 7th Oct.

Media Release - 

Blind Poet’s Life to be Celebrated in New Play. 

The life of Edward Rushton, Blind Poet and key figure in the Campaign against Slavery, will be spotlighted in a new production by Valley Theatre Drama Group in Liverpool. The play – entitled “The Ballad of Crooked Lane” – is set on the day Rushton, now well into middle age, awaits eye surgery to regain his sight. While waiting, he goes over his eventful life with his friend and biographer, William Shepherd, the Minister of Gateacre Chapel.

“Rushton was a larger-than-life character,” says writer and director Tom Mclennan. “The story is that he lost his sight going below deck to help sick African captives on their way to the plantations. I first read about him in Bill Hunter’s biography “Unsung Hero” and have always felt his life deserves more recognition.”

Apart from campaigning against the slave trade – not always a popular thing to do in those days, since a large amount of Liverpool’s wealth was based on the evil triangular trade – Rushton was also instrumental in establishing the Liverpool School for the Blind, one of the first in the country, as well as being at the forefront of efforts to end the notorious pressgangs that terrorised coastal neighbourhoods, intent on kidnapping sailors for the British Navy.

“The Ballad of Crooked Lane” will be performed as part of a double bill along with Day Sheehan’s “Wake” for the Liverpool Fringe on Monday October 6th, 7.30pm, at Valley Theatre n Netherley, and on Tuesday 7th October, 7.30pm, at The Studio Beyond, 63 Wood Street, Liverpool L1 4AL

Entrance for the Valley Theatre event is free (pay a donation if you like it). Tickets for the Studio Beyond are £8/£6 and can be bought from:

https://store.makeitwrite.org/product/balladandwake/

I read a part for this at Valley Theatre, very interesting and will look to see a performance.

See also: Edward Rushton: Who was this blind revolutionary?

https://www.bbc.co.uk/news/blogs-ouch-29957645

My source: https://www.philosophyinpubs.co.uk/

Currently reading, Arnold Wesker's 'The Friends'.
https://www.arnoldwesker.com/plays/the-friends/index.html

Book: 'Health and Health Care Inequities' iv

Fittingly, chapter 4 brings us to Political Power and Policy Advocacy. In Hodges' model you can both have your cake; and gratefully receive the cake you're given. This is the health in politics and the health in politics (as, for example, revealed in the health status of political leaders).

As a framework structure, the axes of Hodges' model initially give rise to four symmetric domains (spaces). There is an invitation to begin where you choose. Chapter four reveals some truths, as the 'nexus' - center of the model is mobile (unlike many citizens!) as the 2x2 rendition below suggests, if not illustrates. Borras takes us through health politics, political participation and representation, unequal power and politics, and policy change approaches with illustrative cases.

In an institution (like the NHS), bureaucracy, aka an organisation, the workforce are often acutely aware of policy and procedure. It is like the Force. It permeates everything - the meetings - and yet is remote. Borras seek to shed light on unequal resources and policy influence. Again Borras's literature informed discussion and argument, includes some historical gems, such as Lasswell (1958).

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	Political Power and Policy Advocacy

In chapter 5 on evidence and ideas, discussion of Katherine Smith's 'under 'Six Travelling Ideas' is an excellent resource, with several references including:

Smith, Katherine E (2013) Institutional filters : the translation and re-circulation of ideas about health inequalities within policy. Policy and Politics, 41 (1). pp. 81-100. ISSN 0305-5736 (https://doi.org/10.1332/030557312X655413).

I love the image of ideas as and on a journey, some successful, others fractured, weak, re-contextualised, even non-journeys (falling - 'dead from the press' - I suppose?). At least the journey of Hodges' model is ongoing. A baton for our times. As I wrote in post i, chapter 5 tackles 'evidence' (there's a post or two). It does so in relation to information, ideology, and interests:

• 
  Book: 'Health and Health Care Inequities' i

If you've read many posts on W2tQ, you may see: I've a chip on my shoulder. Evidence for the safety, benefits, theoretical underpinning ... of Hodges' model is still to be realised. To the satisfaction, that is: of course to the powers that be. Speaking of which: the axial (for me) subtitles arise again in chapter 6; capitalism-imperialism-colonialism-racism nexus (p.87).

To demonstrate the utility of Hodges' model, this is significant.

Please feel free to search for these terms - capitalism-imperialism-colonialism-racism in the search bar above.

I've been interested in drama since playing the part of Francis Nurse in Miller's The Crucible. It took some 50 years to go from armchair to treading the boards again. I played Ken, supported by his wife, trying to run a post office, amid a chaotic and injurious IT system. An 8-9 minute sketch which was part of a Living Newspaper. Interested in writing - as previous posts may reveal, I also keep trying get to the theatre. With the themes of chapter 6, Liberation was thought provoking.

Mind-Body, Private-Public, Socialist-Conservative, Borras adds the global health North-South schism. A prompt for suggesting a brief glossary is expropriation and exploitation^ (p.88). Four stages of capitalism too. This chapter - A critical political economy approach is essential reading for me (and you!?) - a path to a critical care economy (self-care to planetary health).

^There is a note #3 about these on page 99.

See also: Post i : Post ii : Post iii : Post v (to follow)

Merelman, R. M. (1981). Harold D. Lasswell’s Political World: Weak Tea for Hard Times. British Journal of Political Science, 11(4), 471–497. http://www.jstor.org/stable/193766

Arnel M. Borras. (2025) Health and Health Care Inequities - A Critical Political Economy Perspective. Fernwood Publishing.

Liberation image: The Agency

https://theagency.co.uk/news/cast-announced-for-ntombizodwa-nyonis-liberation-at-royal-exchange/

'Theatre' by Caroline Walker

Individual

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      INTERPERSONAL    :     SCIENCES               

HUMANISTIC  --------------------------------------  MECHANISTIC      

 SOCIOLOGY  :    POLITICAL 

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Group

'Theatre' by Caroline Walker

Image source: 
https://www.inglebygallery.com/news/7465-caroline-walker-the-scottish-national-portrait-gallery-theatre/

line of sight (seeing is believing) : 'care' : 'community' : 'theatre'

My source:
Harriet Baker, PAINT, FEED & PLAY, FT Weekend, Magazine. July 12 2025.  #1,133, pp.46-52.

https://www.ft.com/content/6e50181b-689e-4cd5-b084-37b311446e94

Great read too. The exhibition moves to Pallant House Gallery, Chichester from November 22nd.

Caroline Walker: Mothering. The Hepworth Wakefield. 17 May - 26 October 2025

https://www.nationalgalleries.org/art-and-artists/artists/caroline-walker

Entry to the Theatre of Nursing & Space

I do understand that reading theatre related texts, joining a theatre group, my writing a play is still pi in the sky. It's the journey, that's all. In Hodges' model I've differentiated between structure and content. This is the center of the stage about which Hodges' model turns. In the guided discovery by which students and audiences can discover the model,  these are the bases to touch in turn.

Sir Alan's focus on construction in writing: is narrative, time, location, characters (p.12). The overall message for me is, the frequently uttered - less is more. I must take heed and listen. During Ayckbourn's career, he has encountered the full retinue of writers and directors young and 'experienced'. Reading this, it is nice to be both 'new old-er' -

'Then there is the new old playwright. Far more difficult to deal with. They have probably nursed this script for twenty-five years and they're damned if you're going to mess it up for them when they've waited so long. Especially someone your age who wasn't even born when their harrowing play about World War Two was still raging, dammit.' p.110. (My emphasis in bold.)

Thinking about 1959 and the start of Sir Alan's career, his reference to WWII, made me recall nursing assistant and student nurse studies and placements at Winwick Hospital in 1977. On the geriatric wards for entertainment it was WWI songs were often sung, or records played. Long players, indeed.

In health we are usually accustomed to stopping before the 'true' end, with the exception of palliative care, although even then the ending should be 'better' than what it would otherwise have been.

If I am nursing Hodges' model, I've been doing so ever since 1987-88. As Sir Alan also observes of writers, while passionate about the utility of the model - my project - not my model; I am filled with self-doubt. Is this an over-valued idea - in my hands (and mind!)?

In other reading - Stagecraft. The Complete Guide To Theatrical Practice, by Griffiths Trevor R. 1982, I came across the word 'proscenium'.

'Incidentally, when we came to stage [the play in question is 'Woman in Mind' PJ] the London proscenium version this was far more difficult to achieve. Proscenium theatres generally make scenic statements whether they want to or not; the round makes none unless called upon to do so.' p.32. 

There are many insights into sets, design, and the various pros and cons. In May and earlier this month, with three other cast members I performed a role 8-9mins in a Living Newspaper (40-50 mins in total). It was fascinating to watch the various aspects developing from the initial reading in January. With Hodges' model an idea, the question of set design is not straight forward. But as with over-valued ideas, I am probably over-thinking (as usual) making things more complicated than necessary.

One golden nugget of advice, is if you are the writer and write well, well you don't have to think the set design. That is a problem for someone else to solve. Hopefully you will be impressed by the interpretation and realisation (often in film credits) of your work.

That is, unless you're unlucky and find yourself on the receiving end of Obvious Rule No. 13:

Beware of competitive set designers, particularly those with a 'concept'.

The name Ayckbourn is synonomous with The Stephen Joseph Theatre, which is in the round:

'The Round provides a truly unique experience as the audience is seated all around the stage. Not only does the audience see the performance from every angle, it also brings the actor into the same space as the audience.'

"Let’s have the actors in the same room as the audience, let’s have four front rows, let’s get really excited about this acting business!"

Stephen Joseph, 1959 - https://sjt.uk.com/about-us

From the mid-1980s and 90s I used to visit Bolton's Octagon quite regularly. Performances were frequently in the round. Last month, Abigail's Party was too (the last night).

Whatever, the staging, set, I'd be interested to see the 'concept'. On directing:

'As regards interpretation. you may need to tread more warily. As I said earlier, many playwrights are not naturally theatre creatures - certainly they are rarely visual theatre creatures, I have seen them sit there and watch their play physically anfold with a look of total amazement. pordering sometimes on delight, sometimes on dismay. What was in their head has been made three-dimensional flesh.' p.111.

Space has been and remains fundamental to my thinking about Hodges' model. Even pushing the envelope to topology, this is well beyond my ken. But not other gifted researchers. Hodges' model provides inter- multi- transdisciplinary bridges: we need to Before the time of schools becoming fenced and patrolled sites, we used to play cricket, tennis and football. There was a large wall at front of a former school, great for tennis, but not return of serve. Now a projection shared in the round - so everyone sees the same thing (yes, another rule!) might hold potential. There's acknowledgement that technology moves on too (p.123). And room for comedy, Ayckbourn's starting point. 

'Designers, it has been said, even the best of them, sometimes get hold of the wrong end of the stick. ... Always get to look at drawings, ground plans and, most helpfully, scale models of what they intend.' p.120.

The Crafty Art of Playmaking by Alan Ayckbourn. Faber, 2004, softcover, ISBN 0571215106.

https://www.concordtheatricals.co.uk/s/45898/the-crafty-art-of-playmaking

In Theatre, Silence is a genre, and therapeutic ally

'As a playwright it may be your intention to build a vehicle to take us to the stars. But do make sure you have people aboard.' (p.9).^
Alan Ayckbourn in The Crafty Art of Playmaking.

Sound of silence in activism

Quite fitting in the two decades since publication, given the rise of AI and the impact upon the arts, specifically human imagination, creativity, and livelihoods. Meaning: silence as a tool for protest, and activism is also a genre and a can be a therapuetic ally. 

Going backwards - Sir Alan writes: 'Theatre for me has always been, in a way, a reflection of life writ somewhat smaller'. p.10.

While the point concerns the faith and trust placed in theatre directors by the company, there is an analogue in healthcare. The belief of the patient, in their doctor and the medical team. Or, at least the knowledge and skills they should, and appear to possess. For Ayckbourn '... the director looked as if he knew.' (p.10).

Obvious rule no. 4: 'Use the minimum number of characters that you need' (p.13).

What can I say? Society, has peeled back the patient - doctor (substitute health profession as needed) to the person whose monologue seeks confirmation of illness x,y, or z. Apparently here in the UK 1 in 4 adults have a mental health condition. The debate is ongoing as to what is going on. But the subject of Hodges' model as a possible crucible for a work of drama can certainly keep to character count down.

Not only that, but is this a book on counselling - interpersonal skills?

'An audience that doesn't care stops listening in the end. '. p.14. 

As part of -

'Obvious Rule no. 5: They need to care about your characters. (So you should too.)'

So, for both playwrights and carewrights, there is a duty of care (for all of course - despite the actions of so many governments).

In health the patient is the character study. There is, should be, must be - a plan of  care, a care plan. As a 'play', Hodges' model begins as a template of at least five acts [Spiritual (Four domains) ]. That is whether or not they are all 'written'. The attitude though should be unconditional positive regard.

There's no Waiting for Godot here, unless the character is social care?

Could it be that as organisational hierarchies have been flattened, the notion of character has been under siege? The onion that is our identity, personality, persona unpicked, skin-by-skin by social media, social change, and policy affecting education. Character building used to be a thing didn't it? No longer needed now is it?

Sir Alan, supports this hypothesis in his 'Obvious Rule No. 28:

People in general are reluctant to reveal themselves.' (p.65).

I still wonder about the potential of Hodges' model in secondary level education. More than ever, with all the talk about resilience, recovery, mental health issues, the rising UK welfare bill, may beg the question: What is character today? But, it is not defined by a stiff upper lip.

Not to sound 'ableist', but the 'crafty' in Ayckbourn's title, can be read in health terms; the disciplines drawing on science and the arts. Plus, they involve craft - use of the self, empathy and rapport. Not limited to, but in mental health care, it could be 'crafty' in the exercise of power, so frequently a theme central in drama and the human condition.

^A nice reminder too, of a Poul Anderson's SF classic Tau Zero (and a previous post).

The Crafty Art of Playmaking by Alan Ayckbourn. Faber, 2004, softcover, ISBN 0571215106.

https://www.concordtheatricals.co.uk/s/45898/the-crafty-art-of-playmaking

https://www.isthiswhatwewant.com/

Image: https://upload.wikimedia.org/wikipedia/commons/thumb/b/b0/Is_This_What_We_Want%3F.jpg/250px-Is_This_What_We_Want%3F.jpg

https://www.amazon.com/Zero-Coronet-Books-Poul-Anderson/dp/0340163364

Theatre in TI:ME

The Crafty Art of Playmaking

In health we're dealing with time in all its forms: cardinal; birth and death and all that happens in-between. Aka, 'life', illness, and palliative care. And, even if not recognised, chronological and pathological time, which policymakers should pay more attention to. The art of theatre, has its time (p.20): stage time, and real (theatre foyer) time. 

'At its most successful, theatre views things from a human standabout.' (p.9). 

I'd second that, especially allied with the notions (ideas!) of health career, and life chances. 

Since the publication of TCAoP in 2004 people seem to quite ready to dispense, disregard, downplay, demote the humanistic with the rise of AI and assisted dying for the terminally ill (of course).

Time recurs - as a frame. (p.25) with a touch of elective surgery. 'Think of your story as a piece of thread. Where you cut in is the point at which the lights come on in Act One. Where you cut out will be your final curtain. (There may be a knot or two in the middle to denote the intervals, too.)' p.25.

In the first post re. TCAoP I stressed the complexity, plethora of ideas that Hodges' model can create. Sir Alan provides a potential 'get of jail free card' (or as near as?) in his original rule no. 9. 

'If a play can be too simple, it can also be too complicated. If one element is particularly complicated, keep the rest of it simple.' (p.25).

Very useful advice! But achieving it when having and applying an idea is another matter.

What's this though? Step back to original rule no. 6:

'There is no hard and fast rule as to which constructional element comes first.' (p.20).

Butrint National Park Albania   

In the guided discovery exercise in students (audiences..) creating the model, there are two constructional elements, that also contribute to the one big idea.

It gets better! Original rule no. 14:

At least fifty per cent of your play is going to be visual. (p.33).

I must make sure I don't confuse concept/ual with visual/imagery.

More to follow.

The Crafty Art of Playmaking by Alan Ayckbourn. Faber, 2004, softcover, ISBN 0571215106.

https://www.concordtheatricals.co.uk/s/45898/the-crafty-art-of-playmaking

Theatre - which one?

Summer reading includes Ayckbourne's The Crafty Art of Playmaking published in 2004. Already half way through, writing has been covered, directing follows.

Looking at what I can learn in contrasting health and theatre, there is more than both laying claim to having a 'theatre'. Perhaps health got there first in a very primitive, existential, and fundamental sense. The 'theatre of war' covering battle, and the fight for food and survival. Even as civilisation emerged, on the battle field, triage was practised in a more deliberate way with skills that were built on emerging knowledge handed down orally - to become art.

So, no doubt there was a concurrency going on. Heroics in so many guises, shared around the fire. Plus, our individual dreams and nightmares that are framed collectively.

Ayckbourn offer pithy lessons learned over his career that began in 1959. There's an acting maxim:

'When playing a miser, stress his generosity.'

So can we restate the acting maxim as:

'When playing a patient, stress their strengths'?

Or. 'When playing a patient, stress their personhood'? . . .

If that is a challenge to the healthcare sector (even if unintended), then it is one that is actually long-standing. There are the three R's: rehabilitation, reablement and recovery.

Ayckbourn explains how the darker the subject the more a writer needs to find the light. And vice-versa. This suits me fine, and medicine is recognised as a great source of humour across several cultures.

The book lists a series of  'Obvious Rules' all numbered. 

Of No. 1: Born in Liverpool, I never would look down on comedy; and never as a poor cousin of drama.

After reading his obvious Rule No. 2, 'Never start a play without an idea'; I put my pants back on.

Do I have an idea? Oh my! Well Brian's at least.

In a way it's the other way around. The shout goes up - "Eratosthenes! Please pass me a sieve."

On having an idea, Ayckbourn writes: 'They assume, I think, that if they start the journey, maybe an idea will occur on the way. Perhaps a map of where they're going will blow in through the car window. In my experience this never happens.' p.6.

This is good advice, with the additional complication of having many maps, and yes, none: c/o Hodges' model. I need a theme, a situation and a thread. I'm writing a few ideas down. And helpfully Sir Alan advises not to throw ideas away. He describes, from experience how disparate things can come together.

Today (19th), I finished TCAoP here in Corfu. A great help for me, that is, the writing section pp.3-96; as I will try to explain in further posts. Sooner than expcted, I've started a book that will be a 'review'. 

A visit to Albania tomorrow - early start pick-up 0710.

The Crafty Art of Playmaking by Alan Ayckbourn. Faber, 2004, softcover, ISBN 0571215106.
https://www.concordtheatricals.co.uk/s/45898/the-crafty-art-of-playmaking

Theatre - the best way to learn ...

Pardon me, while I stay local - in Liverpool . . . 

I've always been interested in drama since school days (aged 13-14) and playing Francis Nurse in Arthur Miller's Crucible. Recent reading (inc. Theatre of the Absurd, The Shifting Point), see 'drama' - with more to follow) encouraged me to find out more. As a community mental health nurse on a visit, I've sometimes thought of this script being written as we engage with each other. Framed within  interpersonal skills and the society 'outside', there's a sense in which a screenplay is also writ large. 

The fact of whether the session is therapeutic, progressive, person-centred, structured, ethical, purposeful, has tea and custard creams ... is the drama of course.

In a way the creators of formal psychotherapies are playwrights - directors:

After all, they keep producing 'original' therapy manuals, don't they?

In the new year I noticed a community message about a theatre group Valley Theatre Group, planning a 'Living Newspaper' for a drama festival that took place last month. There is another performance next month in Liverpool, as per the edited message below:

People have been asking what’s going on and when for our Hope Street performances June 6-8^th. So here’s the details.

We start each evening with the play about a 1930s Socialist Theatre group, “Unity”. (Cast: Peter Merrill, Ted Grant, Steve Donegan, Meggan Pye, Day Sheehan and Donna Lauder)

Then, on Friday 6 June, in the second half, we have our first Living Newspaper. This is the one that has most of the sketches submitted by outside writers and developed at the workshops. Then on Saturday 7th, second half, we have the Leverhulme group (The one that won the award at the festival) with their Living Newspaper. Finally, on Sunday 8^th, in the second half, we have the last of the Living Newspapers, the one with slightly longer pieces like Scouse Man. This final one also has an original sketch from a 1930s Living Newspaper, the Munich Pact.

Tickets are on sale at the Hope Street Theatre website (link below) and from Ticket Quarter. Please come along and try to get other people along as well.  It'll be a good night's theatre! 

Thanks for all your support. The WTM team

Ticket link:  www.hopestreettheatre.com

Phone: 0344 561 0622