Injury and the arts: planning for pain

Sooner or later, dancers and circus artists will hurt themselves. But what is the cost when the show goes on despite broken bones or overuse injuries?
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Promotional image for the Casus production Knee Deep.

The simple act of trying and failing to turn a door knob was the first real indication for Casus Circus co-founder and ensemble member Emma Serjeant that a recent wrist injury she’d suffered was more serious than she’d realised.

‘I was taking a high level of anti-inflammatories, and I was training on it all the time because I didn’t really get much of a break, and because I was noticing that if I had a day off it was incredibly sore the next day; so I just kept it mobile, basically … At no point did I think “Oh, this is not good.” I just thought it was a sprain, and I know that [sprained] wrists and fingers take ages. And we were in a pretty gruelling schedule so I didn’t give it a second thought until that door-handle moment when I went “Hang on a minute, something’s really not right”,’ she told ArtsHub.

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Richard Watts is ArtsHub's National Performing Arts Editor; he also presents the weekly program SmartArts on Three Triple R FM, and serves as the Chair of La Mama Theatre's volunteer Committee of Management. Richard is a life member of the Melbourne Queer Film Festival, and was awarded the status of Melbourne Fringe Living Legend in 2017. In 2020 he was awarded the Sidney Myer Performing Arts Awards' Facilitator's Prize. Most recently, Richard was presented with a Lifetime Achievement Award by the Green Room Awards Association in June 2021. Follow him on Twitter: @richardthewatts