Sunday Edum* Abstract: The therapeutic role of theatre and drama has remained useful to health experts as a preventive measure and for patients as a fast recovery antidote. This paper examines the medical dimension of the play Cauldron of Death
Tracy E. Bersley* Abstract: This article explores a radical new approach to actor training through the lens of neurological body maps—specifically how touch receptors dominate and shape what is mapped in the brain. Putting touch at the center of character exploration
Elisabeth Hostetter* and Melanie Stewart** Abstract: The US Medical Licensing Examination requires future doctors to examine actors in simulated, improvisational scenarios to test students’ ability to empathetically collect medical histories, perform basic examinations and diagnose an illness. To better prepare for this
Serge Ouaknine* Résumé: Les interfaces technologiques et visuels ont radicalement transformé la relation médecin-malade. Les écrans ont modifié la qualité de présence et d’annonce du médecin face aux malades. Le médecin s’adresse à la maladie, aux organes et non à
Kearsley A. Stewart*, Nehanda Loiseau**, Jules Odendahl-James***, Crissi Rainer****, and Evi Alexopoulos***** Abstract: There is a strong need for the humanities and arts in global health training and research. However, the relationship must move beyond the instrumental use of humanities content
Alberto Pagliarino* Abstract: The article analyzes the Social and Community Theatre project Cantiere San Giovanni Antica Sede (2006-08). The project took place at San Giovanni Antica Sede Oncological Hospital in Turin. Led by a team of professionals, the artistic process engaged
Rui Pina Coelho* Sopro, written and directed by Tiago Rodrigues. Premiered at Festival d’Avignon, Cloître des Carmes, in July 2017; next run at the National Theatre D. Maria II, Lisbon, in November 2017. Tiago Rodrigues’ theatre has always been traversed
by Savas Patsalidis* Rodrigo Francisco graduated with a BA in Modern Languages and Literatures from Universidade de Lisboa. He started writing for the stage with Quarto minguante (2007), a play that was adapted for television and translated into Spanish for
by Savas Patsalidis* Internationally acclaimed theatre and film director, Haris Pašović, made his name in the late 1980s with his landmark production in Belgrade of Frank Wedekind’s Spring’s Awakening. When Sarajevo fell under siege, Pašović returned to the city. He
Barry Gaines* 16th Europe Theatre Prize Festivities in Rome, Italy, December 12-17, 2017 Attending the theatrical productions of the 16th Europe Prize festivities, I was less intrigued by the acting than by the scenic and costume choices. Yet, too often,