b'T3 Journal - Student Writing in Drama, University of Exeter 2019-20Before concluding, I want to briefly touch on virtualHope, Cat and Charles Ryan, John (2014), Digital Arts: An Introduction to reality as it is becoming more popular. Virtual surgery isNew Media, New York: Bloomsbury Publishing being developed to assist surgeon training. The equipmentLeigh, Rich. Michael, Ashby and Mthot, Pierre-Olivier (2012) allows surgeons to interact with virtual flesh and bone inRethinking the Body and Its Boundaries, Bioethical Inquiry, vol 9, a simulated environment. I thought I was in an operatingMarch, pp1-6. theatre, one of the surgeons said, thus showing theLindemann, Mary (2010) Medicine and Society in Early Modern Europe, realness of the experience (BBC 2017). I am curious about2nd edition, New York: Cambridge University Press.how the inclusion of VR in medicine will impact empathy.OBryan, C. Jill (2005), Carnal Art: Orlans Refacing, Minneapolis: Abramovis The Artist is Present exemplifies the power ofUniversity of Minnesota Press. Richards, Mary (2010) Marina Abramovi, corporeal empathy by being present. This can be seen byLondon: Routledge. the phenomenological response in audiences day in day outRichards, Mary (2010) Marina Abramovi, London: Routledge. for three months. Abramovi gives her full attention to theStrong, Marilee. (2005) Bright Red Scream: Self-mutilation and the language person across from her. Similar attention is needed in theof pain, New ed., London: Virago Press.doctors room as demonstrated in role-playing techniques to train doctors. They note the importance of eye contact for example. Perhaps medical role-play can take from performance art in encouraging authenticity over artificial empathy between health professionals and patients. As Abramovi states: Performance is real. (Contemporary Art Fashion Slub Pop Kitsch 2018). Will the incorporation of VR and other technologies in medicine disconnect doctors and hinder their empathy towards patients? Abramovi, Marina (1974) Rhythm 5, Belgrade, Student Cultural Centre. Abramovi, Marina (1975) Lips of Thomas, Austria, Krinzinger Gallery in Innsbruck. Aston, Elaine and Savona, George (1991) Introduction, in Theatre as Sign-systems: A Semiotics of Text and Performance, London and New York: Routledge, pp1-10. BBC (2017) How VR is helping to train a new generation of surgeons, 15 October 2017, Available from: https://www.bbc.co.uk/news/av/technology-41574027/how-vr-is-helping-to-train-a-new- generation-of-surgeons [Accessed: 27/01/19]. Beard, Alison (2016) Lifes Work: An Interview with Marina Abramovi in Harvard Business Review, November 2016, Available at: https://hbr.org/2016/11/marina-abramovi [Accessed: 27/01/19]. Bosch, Morwenna Bronwyn (2006) Telling tales, allowing the body to speak: redefining the art of flesh in feminist performance art, Pietermaritzburg: University of KwaZulu Natal.Carlson, Marla (2010), Performing Bodies in Pain: Medieval and Postmodern Martyrs, Mystics and Artists, Basingstoke: Palgrave Macmillan, (online). Contemporary Art Fashion Slub Pop Kitsch (2018) Marina Abramovic - The Artist Is Present (Contemporary Art Documentary), 20 February 2018. Available from: https://www.youtube.com/watch?v=-0G8dvrtw5s [Accessed: 27/01/19]. Foucault, Michel (2012) The Birth of the Clinic, 3rd edition, translated from French by A. M. Sheridan, London: Routledge. 46'