Speaking from a breadth of disciplines, themes, and cultural perspective, the eight essays in this collection offer a wide-ranging view on the ways theater can be employed in the service of public health. The projects examined include activist theater companies, "theater of survival" dealing with issues like AIDS and peer violence, the use of theater in therapy and in the training of therapists, and an in-depth look at the issues and methods driving any theater seeking to produce a healthy change. The ten contributors include theater practitioners; therapists; and teachers, researchers, and scholars in medical anthropology and international health, psychology and drama therapy, communication and performance studies, and feminist and cultural criticism.

This unique book examines theatre practice that takes place within a range of health and care settings from medical training to advocacy projects for service users. Drawing on a range of case studies, the book provides insights into working practices as well as posing critical questions in relation to the field.

"This book will guide you through the philosophical, methodological, theoretical, ethical and political underpinnings of health promotion to enable you to become a more effective practitioner" -- Back cover.

This edited collection focuses on performance practice and analysis that engages with medical and biomedical sciences. After locating the 'biologization' of theatre at the turn of the twentieth century, it examines a range of contemporary practices that respond to understandings of the human body as revealed by biomedical science. In bringing together a variety of analytical perspectives, the book draws on scholars, scientists, artists and practices that are at the forefront of current creative, scientific and academic research. Its exploration of the dynamics and exchange between performance and medicine will stimulate a widening of the debate around key issues such as subjectivity, patient narratives, identity, embodiment, agency, medical ethics, health and illness. In focusing on an interdisciplinary understanding of performance, the book examines the potential of performance and theatre to intervene in, shape, inform and extend vital debates around biomedical knowledge and practice in the contemporary moment.

Many patients who present to district (first-referral) level hospitals require surgical treatment for trauma, obstetric, abdominal or orthopedic emergencies. Often surgery cannot be safely postponed to allow their transfer to a secondary or tertiary-level hospital but many district hospitals in developing countries have no specialist surgical teams and are staffed by medical, nursing, and paramedical personnel who perform a wide range of surgical procedures often with inadequate training. The quality of surgical and acute care is often further constrained by poor facilities, inadequate low-technology apparatus and limited supplies of drugs, materials, and other essentials. The mission of the team responsible for Clinical Procedures in the World Health Organization Department of Essential Health Technologies (EHT) is to promote the quality of clinical care through the identification, promotion and standardization of appropriate procedures, equipment and materials, particularly at district hospital level. WHO/BCT has identified education and training as a particular priority, especially for non-specialist practitioners who practice surgery and anesthesia. It has therefore developed Surgical Care at the District Hospital as a practical resource for individual practitioners and for use in undergraduate and postgraduate programs in-service training and continuing medical education programs. The manual is a successor of three earlier publications that are widely used throughout the world and that remain important reference texts: General Surgery at the District Hospital (WHO 1988), Surgery at the District Hospital: Obstetrics Gynecology Orthopedics and Traumatology (WHO 1991), Anesthesia at the District Hospital (WHO 1988; second edition 2000). This new manual draws together material from these three publications into a single volume which includes new and updated material, as well as material from Managing Complications in Pregnancy and Childbirth: A Guide for Midwives and Doctors (WHO 2000).

To what extent is theatre a contagious practice, capable of undoing and enlivening people and cultures? Theatres of Contagion responds to some of the anxieties of our current political and cultural climate by exploring theatre's status as a contagious cultural force, questioning its role in the spread or control of medical, psychological and emotional conditions and phenomena. Observing a diverse range of practices from the early modern to contemporary period, the volume considers how this contagion is understood to happen and operate, its real and imagined effects, and how these have been a source of pleasure and fear for theatre makers, audiences and authorities. Drawing on perspectives from medicine, neuroscience, psychology, anthropology, philosophy, law and affect theory, essays investigate some of the ways in which theatre can be viewed as a powerful agent of containment and transmission. Among the works analysed include a musical adaptation and an intercultural variation of Shakespeare's Romeo and Juliet; a contemporary queer take on Hamlet; Grand Guignol and theatres of horror; the writings and influence of Artaud; immersive theatre and the work of Punchdrunk, and computer gaming and smartphone apps

This book focuses on the influence of classical authors on Ben Jonson’s dramaturgy, with particular emphasis on the Greek and Roman playwrights and satirists. It illuminates the interdependence of the aspects of Jonson’s creative personality by considering how classical performance elements, including the Aristophanic ‘Great Idea,’ chorus, Terentian/Plautine performative strategies, and ‘performative’ elements from literary satire, manifest themselves in the structuring and staging of his plays. This fascinating exploration contributes to the ‘performative turn’ in early modern studies by reframing Jonson’s classicism as essential to his dramaturgy as well as his erudition. The book is also a case study for how the early modern education system’s emphasis on imitative-contaminative practices prepared its students, many of whom became professional playwrights, for writing for a theatre that had a similar emphasis on recycling and recombining performative tropes and structures.