By Emma Brodzinski
This unique book examines theatre perform that occurs inside of quite a number well-being and care settings from clinical education to advocacy tasks for carrier clients. Drawing on a variety of case experiences, the booklet presents insights into operating practices in addition to posing serious questions on the subject of the sphere.
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Additional resources for Theatre in Health and Care
Large, rectangular ice structures were placed throughout the city and left to melt. Members of the public might come across the structures during the course of their everyday activities and, due to the presence of the blocks, be invited to view the site from a different perspective. Kaprow wanted spectators to be active within his events rather than passive receptors and he spoke of them as ‘players’ rather than audience members (1993: 126). Similar to the environmental work of Kaprow, audience members were encouraged to be participants in the IOU event.
1 The ill person is taken out of everyday social circulation – shifting from the kingdom of the well to the kingdom of the sick. This is usually a literal removal into a space reserved for the unwell. Separation may span from the specially made-up sick bed – on the sofa within a person’s own home – to the isolation unit of the hospital. In his essay ‘Sickness as Cultural Performance’, anthropologist Frankenberg notes that: ‘Acute episodes of sickness are taken out of time with symbolically marked boundaries, reinforced by ceremonial bedrest and special foods’ and, through examining ritualized elements of the separation of the sick from the well, he posits that it is possible to extrapolate both practical and symbolic impulses behind such a division (1986: 616).
The workshops with patients were followed by a week’s making period at the IOU base and then the company travelled down to spend eight days on site at the hospital – three days of which were 38 Theatre in Health and Care spent constructing two ‘sound gardens’ either side of the main Garden Square. This was a residency that required much planning and co-ordination, with Vital Arts balancing the need for high-level risk assessments alongside the company’s need to make noise and have free access to the site.