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Abstract

Background:

Many people still lack a clear understanding of what palliative care is and the value it brings. Although recognized by the World Health Organization as a fundamental human right, palliative care remains inaccessible to many. This lack of awareness and genuine understanding hinders its integration into health systems. Art—and theatre in particular—can offer innovative ways to connect with the public.

Objective:

To explore how a theatrical performance about the origins of palliative care can influence students’ understanding and attitudes.

Design:

A qualitative descriptive study with an interpretivist approach.

Methods:

The study examined the impact of the play Cicely and David on university students. The play dramatizes the early development of palliative care through imagined dialogues between Cicely Saunders and David Tasma. Audience members (n = 42) completed an open online questionnaire, and data were analysed using inductive thematic analysis.

Results:

Students reported improved understanding of palliative care and its historical foundations. The performance evoked strong emotional responses and personal reflection. Key values such as empathy, accompaniment, and focus on quality of life were highlighted. Theatre was perceived as an effective and transformative way to convey the principles of palliative care.

Conclusion:

Theatrical performance is an innovative and effective tool to raise awareness and educate about palliative care. Beyond knowledge transfer, it fostered empathy and personal motivation to engage with this field. These findings underscore the potential of art-based strategies to promote palliative care understanding and engagement among younger generations, contributing to broader societal awareness and support.

Plain language summary

How a theatre play helped university students understand and feel the meaning of palliative care

Why was the study done? Many people are still unsure about what palliative care really means. It is more than care at the end of life, it is about improving quality of life, relieving suffering, and offering emotional and social support. Because palliative care is often misunderstood, it remains underused in many health systems. The research team wanted to see whether theatre could help young people understand and connect emotionally with this topic. What did the researchers do? We invited university students to watch Cicely and David, a play that tells the story of how palliative care began, through imagined conversations between Cicely Saunders, the founder of modern palliative care and David Tasma, a patient whose story inspired her work. After the performance, 42 students completed an online questionnaire about their reactions and reflections. We then analyzed their written responses to identify key themes and insights. What did the researchers find? Theatre helped students understand palliative care in a new and personal way. Many said the play moved them emotionally and made them think deeply about empathy, dignity, and the importance of supporting others. Students also valued learning about the historical roots of palliative care. They described the play as both educational and transformative, showing that art can make complex or sensitive topics more approachable. What do the findings mean? This study suggests that theatre can be a powerful way to raise awareness and encourage empathy about palliative care among young people. Artistic experiences like this can complement traditional education, helping future professionals and citizens to see the human side of care and to value compassion in health and society.

Keywords

palliative care palliative medicine education medicine in the arts health education theatre

Introduction

Palliative care is an approach that seeks to improve the quality of life of patients and their families facing serious and life-threatening illnesses. Its main goal is to prevent and relieve suffering through early identification, proper assessment, and treatment of pain and other physical, psychological, social, and spiritual problems.¹ Recognized as a fundamental human right, palliative care should be accessible to all and accompanied by clear and accurate public information about its purpose and benefits.^2,3

Despite notable advancements in the field, significant gaps persist in public understanding. A review of studies from the United States, Canada, the United Kingdom, Ireland, New Zealand, Sweden, Italy, and South Korea shows that public knowledge of palliative care remains low, even in countries with established services.⁴ In Spain, a study analysing media portrayals found that palliative care is predominantly associated with death and dying, and only secondarily represented as a healthcare service.⁵ Similar misunderstandings are evident in public surveys. In Northern Ireland, for instance, only about 20% of more than 1200 respondents demonstrated an accurate understanding of palliative care. The most common misconceptions included the belief that it is solely for the last 6 months of life (55.4%), that it does not address psychological needs (42.2%), and that it does not aim to support patient functionality and daily life (39.6%).⁶

Such misconceptions hinder public demand for palliative care and weaken support for maintaining or expanding related services.⁷ They also reinforce stigma, limiting the integration of palliative care early in the illness trajectory—precisely when it can be most beneficial.^8,9 Seymour et al.^7,10 have emphasized that low public awareness remains a key barrier and highlighted the importance of developing public engagement strategies that foster broader understanding and appreciation of palliative care.

For all these reasons, it is essential to foster a deeper societal understanding of palliative care—one that goes beyond mere intellectual knowledge and cultivates genuine public awareness. This requires more than simply providing information; it calls for innovative and diverse approaches that enable citizens to recognize, value, and actively support palliative care as an integral part of both the healthcare and social systems.

Art can be a powerful medium to convey meaning beyond “pure knowledge.” A literature review shows that artistic forms—such as theatre, painting, and film—can be effective in teaching and training healthcare professionals and students about palliative care, with positive results.¹¹ However, little is known about its potential as a tool for public dissemination and awareness-raising. In fact, there is a gap in understanding how general audiences respond to the use of theatre in science communication.¹²

In this context, we proposed to study the impact of a theatrical performance titled Cicely and David, which portrays the origins of palliative care through imagined conversations between Cicely Saunders and David Tasma.^13,14 Although the play has been performed in various locations, there is no published research to date on audience response to it.

This study emerged within the framework of the Cicely and David theatre project, developed in collaboration with the Museum of the University of Navarra, with the aim of promoting the values and principles of palliative care through public outreach. The objective is to explore the emotional, cognitive, and attitudinal impact of the performance, and to assess whether it can generate personal and collective change among university student spectators. Our research question is: Can the play Cicely and David function as an effective medium for disseminating palliative care?

Objectives

This study explored how a theatrical performance on the origins of palliative care influenced university students’ understanding, attitudes, and personal reflections regarding this field. Specifically, it sought to examine students’ emotional and cognitive responses, as well as any signs of increased empathy or motivation to engage with palliative care.

Methods

This qualitative study is situated within an interpretivist paradigm. It is a qualitative descriptive study designed to examine the immediate impact of a theatrical performance on undergraduate students’ perceptions and understanding of palliative care.^15,16 The study is reported according to the SRQR guideline.¹⁷ The researchers were not involved in the creation of the theatrical performance and have no prior experience in theatre. The author’s interest arose from the idea that theatre could engage the public in discussions about palliative care, although they were uncertain about how audiences would respond to this artistic and communicative approach. This outsider perspective allowed researchers to approach the phenomenon with openness, while remaining reflexive about our interpretive position throughout the analysis.

The play: Content and educational value

The play, approximately 1 h in length, is based on the real-life conversations between Cicely Saunders and David Tasma, a terminally ill Polish refugee. It reimagines this formative encounter through a fictional frame in which an older Cicely Saunders recalls those moments in conversation with the husband of a recently deceased patient in the gardens of St. Christopher’s Hospice. Through a series of flashbacks, the play reconstructs the conceptual origins of modern palliative care.

Written by Professor David Clark—biographer of Saunders and scholar of the history of palliative care—the script was translated into Spanish by a professional translator and a linguist. The performance was carried out by members of the palliative care team at Clínica Universidad de Navarra and the ATLANTES Global Observatory of Palliative Care. Though none of the cast had prior theatre experience, they were supported and trained by professionals from the Museum’s theatre programme.

Participants and recruitment

The study targeted a general audience, as the play was performed as part of the university’s annual theatre festival and was open to the public (see Figure 1). The festival was traditionally promoted by the city council through municipal social media and brochures distributed via local activity leaflets. Additionally, the performance was announced directly to students enrolled in the universities’ palliative care course. This was the first time the play had been offered as a complementary educational activity within the palliative care course in one of the universities. After the play, and before the open discussion, all attendees (N ≈ 250) were invited to participate in the study via a QR code projected on stage, which linked to the study’s information sheet and online informed consent form. Only those who actively indicated their consent by clicking the acceptance option were able to proceed to the questionnaire.

Figure 1.

Promotional poster for the play Cicely and David, inspired by the origins of palliative care.

Regarding inclusion and exclusion criteria. Only audience members who were students were included in the study. Respondents who were not students were excluded. All students were eligible to participate regardless of their field of study, age, or other characteristics.

This paper specifically analyses responses from undergraduate students. The study aimed to explore whether the theatrical experience could enhance undergraduate students’ comprehension of an active engagement with palliative care.

Data collection

Data were collected in March 2024, via an online questionnaire with SurveyMonkey^®. The questionnaire was developed ad hoc by the research team for this study. It included sociodemographic questions and three open-ended questions: the perceived contribution of the play to their understanding of palliative care, personal reflections it triggered, and its perceived educational value (see Supplemental File). Open questions allowed participants to express their thoughts freely and individually. Data collection was conducted anonymously, ensuring that individual participants could not be identified.

Data processing and analysis

Once data collection was completed, responses were exported to a digital file for analysis, which enabled aggregation of all responses into one file for analysis. All responses were reviewed to ensure integrity and anonymity before coding. Each response was assigned a unique identification code (i.e. S: Student; Number of participant and letter relating to each of the three questions: B for question 1, D for question 2, and F for question 3), enabling the provenance of quotes to be traced and showcasing variability across participants. Transcription was not required, as the data were already in written format. Data were collected anonymously, and all responses and sociodemographic information were stored securely. Responses from students were analysed. A descriptive analysis was conducted for the sociodemographic data. The open-ended responses were analysed using inductive reflexive thematic analysis.^18,19 Coding was conducted inductively, without imposing predefined categories, returning to the dataset multiple times as our analytic insights evolved. In line with reflexive thematic analysis, themes were developed as interpretative constructs rather than as fixed representations of the data, through the dynamic interplay between the dataset, the analytic process, and the researchers’ interpretive lenses, which were shaped by the diverse backgrounds of the research team. The analysis was undertaken by a multidisciplinary team comprising two healthcare professionals with experience in palliative care and a qualitative researcher with experience in this type of analysis. Their diverse professional backgrounds and countries of origin contributed to a more nuanced interpretation of the data. None of the analysts participated in the organization or performance of the theatrical play. This brought an external perspective to the analysis while drawing on the team’s disciplinary knowledge to interpret the students’ responses. The three researchers independently analysed the first 20 responses, met to agree on coding consistency, and then continued the analysis. Codes were compared, discussed, and grouped into themes in regular meetings. Discrepancies were resolved by revisiting the original data collaboratively. As this was a general descriptive qualitative study, the analysis aimed to capture a wide range of audience perspectives, and the number of responses obtained was sufficient to identify consistent and recurring themes in the spectators’ views.

Rigour was ensured through the principles of reflexive thematic analysis, which emphasize transparency, iterative engagement with the data, and the active interpretive role of the researcher.¹⁹ Analytic decisions were documented throughout the process and regularly discussed within the team, supporting coherence between codes, themes, and the evolving interpretations. This ongoing reflexive dialogue, informed by the diverse disciplinary perspectives of the research team, strengthened the credibility and depth of the final thematic construction.

Results

Participant characteristics

A total of 42 undergraduate students completed the open-ended questionnaire after attending the theatrical performance. The mean age was 22.9 years (range: 15–27), with a majority of female participants (74%). Most respondents (91%) were of Spanish nationality, with a small number from Latin America. Nearly all participants (95%) reported having attended a course related to palliative care as part of their academic curriculum. This group represented a diverse cohort of university students, many of whom were being exposed to palliative care concepts in an interdisciplinary context for the first time (Table 1).

Table 1.

Undergraduate students’ profile.

Variable	Category	n	%
Age (average)		24	100
Sex	Male	11	26.2
Sex	Female	31	73.8
Nationality	Spain	38	90.5
Nationality	Latin-American	4	9,5
Previous training in palliative care	Yes	40	95.2
Previous training in palliative care	No	2	4.8

Thematic findings

The student’s response provided valuable insights into how the theatrical performance influenced their emotional engagement, cognitive understanding, and personal perceptions of palliative care. Thematic analysis of their reflections revealed four major areas of impact, described below (Table 2).

Table 2.

Thematic findings from students’ reflections on the theatrical performance.

Main theme	Subthemes
1. Enhanced understanding of patients’ needs	– Importance of empathy and presence– Role of family and loved ones– Personal reflection on dying
2. Deeper understanding of palliative care	– Historical roots and role of Cicely Saunders– Holistic care philosophy– Contrast with conventional medicine
3. Personal connection and motivation to care	– Emotional resonance and inspiration– Desire to contribute or help– Admiration for personal commitment
4. Theatre as an effective educational tool	– Accessibility of complex messages– Emotional and cognitive impact– Potential for public awareness

Enhanced understanding of patients’ needs

Participants highlighted that the theatrical performance deepened their awareness of what truly matters to patients facing advanced or serious illness. Rather than presenting abstract or clinical notions, the play offered a personal and emotionally resonant perspective on patients’ experiences. Many students expressed how the performance helped them recognize the value of small details, emotional presence, and human connection in this situation.

To immerse myself in the characters’ stories and become a bit more aware of the suffering caused by being alone, having family far away, feeling constant pain. . . And to realize that we can do something to help. (S19.B)

Several responses emphasized empathy—not only towards the patient but also towards the family—and the need for closeness and love during the illness, and some specify the final moments.

I realized how essential it is never to lose empathy toward the patient and their family, and how much support we can offer to help them through such a difficult situation. (S7.D)

It made me feel what a terminal patient might feel. The play makes you empathize with them. (S6.B)

Some participants reflected on their own future and values, imagining how they would wish to be accompanied at the end of life.

Yes, it made me think about how I would like to face my last moments and who I would want by my side. (S31.D)

Deeper understanding of palliative care and its origins

Many students reported that the play not only informed them about the principles of palliative care but also provided a meaningful and emotionally engaging introduction to its historical roots. By focusing on the early relationship between Cicely Saunders and David Tasma, the play offered a narrative that connected personal experience, moral commitment, and the emergence of a new way of caring.

I learned how palliative care began, through Cicely’s concern and willingness to help those in the last stages of life. (S8.B)

The story of Cicely and David moved me. It made me reflect on the importance of palliative care. (S39.B)

Participants valued how the theatrical format conveyed not just information, but also the spirit behind palliative care: a commitment to human dignity and emotional presence. Several responses pointed to the advantage of learning about palliative care through storytelling, rather than textbooks.

A deeper understanding of how palliative care emerged. Learning about it through a play instead of studying it was very enriching. (S33.B)

The students also grasped the holistic nature of palliative care—its focus on physical, emotional, and spiritual needs—and the value of quality of life for both patients and families.

It always conveys the idea of improving the quality of life in the final stage, not just for the patient but for their loved ones too. (S7.F)

It became clear that feeling accompanied and loved at the end of life helps relieve not only physical but also total pain. (S18.F)

Participants contrasted the approach presented in the play with their perception of conventional medicine, highlighting that palliative care offers a broader and more holistic response to suffering. This included attention to emotional, social, and spiritual dimensions, beyond clinical or pharmacological interventions.

A vision different from that of conventional medicine, not only based on the pharmacological treatment or prognosis, but on alleviating spiritual, social and extra-health pain. (S23.B)

Personal connection and motivation to care

Several students described how the play resonated with their personal emotions and values, awakening a deeper sense of empathy and a desire to help. Beyond learning, they experienced a kind of emotional activation that made them reflect on the suffering of others and on their own role in alleviating it.

The suffering of others never leaves you indifferent, and seeing that some people take action to help inspires me to contribute as well. (S19.D)

It touched me deeply. I felt the need to help people who are suffering—not just physically, but in many aspects of their lives. (S16.D)

For many participants, Cicely Saunders’ story served as a source of inspiration. Her commitment and the transformation of a personal intuition into a global movement were perceived as a powerful example of how one individual can generate profound change.

It was really interesting to see how a dream and an idea, like Cicely’s, can become real through dedication, perseverance, and love. (S15.D)

These responses suggest that, beyond increasing knowledge or understanding, the theatrical experience had the capacity to activate personal values and commitments aligned with the ethos of palliative care.

Theatre as an effective medium for palliative care communication

Students widely recognized the play as an effective and engaging tool for communicating the essence of palliative care. They highlighted how the artistic format allowed complex ideas to be transmitted with clarity, depth, and emotional impact, in a way that traditional didactic approaches may not achieve.

Artistic performances always help convey the message in a more enjoyable and accessible way. (S2.F)

From my perspective, theatre is the perfect way to communicate the message of palliative care to society. (S5.F)

Participants appreciated that the play made the principles of palliative care understandable for a general audience, without oversimplifying them. The format was seen as both informative and emotionally compelling, offering a multidimensional approach to learning and public awareness.

I think it’s a great way to bring the idea of palliative care closer to people who are unfamiliar with it or want to understand it better. (S40.F)

It’s not an exhaustive analysis, and it doesn’t need to be. It effectively communicates all the basics one needs to know about palliative care—how to accompany. (S13.F)

This theme underscores the potential of artistic and narrative strategies—particularly theatre—as a means to foster societal understanding of palliative care, blending education with empathy and cultural resonance.

Discussion

The findings suggest that theatrical performance can serve as an effective and innovative tool to raise awareness about palliative care, particularly in educational settings. The audience perceived the play as a powerful means to foster empathy towards seriously ill individuals and their families, enabling a deeper understanding of their needs. The immersive nature of the theatre facilitated an emotional connection with the characters, prompting reflection on core palliative care principles such as accompaniment, quality of life, and holistic care. This dual impact—both emotional and educational—was clearly identified through the thematic analysis of the students’ responses.

Interpretation of key findings

One of the key contributions of this study is that students not only acquired a better conceptual understanding of palliative care but also integrated that knowledge through an emotionally meaningful experience. This type of affective engagement appears to support a more empathetic, humanized, and relational perception of end-of-life care. Participants described feelings of being moved, inspired, or personally connected to the characters, reinforcing the idea that the performing arts can mobilize not just thought but also motivation to act.

The play encouraged a view of palliative care grounded in empathy, humanity, and compassion—core values consistent with the foundational principles of the field and with the concept of a caring attitude as proposed by the International Association for Hospice & Palliative Care.²⁰ Furthermore, the notion that palliative care should be guided by patients’ needs rather than prognosis aligns with the position of Radbruch et al.²¹ Importantly, this understanding did not emerge in an abstract or academic form, but rather through the emotional experience evoked by the play, with several participants describing being profoundly touched.

Reinforcing the human and holistic nature of palliative care

A recurring theme in participants’ responses was the identification of palliative care as a fundamentally human and holistic form of attention. Students emphasized the central role of emotional accompaniment, highlighting the value of being present, offering comfort, and ensuring that patients feel supported. While references to end of life were explicit in some responses, the overall focus of the comments was not on this aspect, but rather on support, empathy, and the preservation of dignity.

This aligns closely with the WHO¹ definition of palliative care, which stresses the importance of improving quality of life for patients and families facing life-threatening illness by addressing physical, psychological, social, and spiritual dimensions of suffering. For some students, the theatrical experience provided a new perspective on the contribution of palliative care to emotional and existential wellbeing. Several commented on the importance of allowing patients to “put their affairs in order,” underscoring the existential support dimension.

Moreover, some participants acknowledged the practical value of emotional presence. This resonates with the literature that emphasizes the role of the arts in enabling deeper, empathetic understanding of complex health experiences.¹² In our study, emotional resonance appeared to be a gateway for students to internalize key values of palliative care—values often hard to convey through conventional didactic approaches.

Theatre and the arts as public awareness strategies

Despite growing interest in public health palliative care approaches, the use of theatre as a medium to raise public awareness about palliative care remains largely unexplored. While previous initiatives have used artistic forms to address issues related to dying and bereavement—such as the “Room for Death” exhibition in Sweden²² or the international “Before I Die. . .” installation by Candy Chang²³—few have focused specifically on improving public understanding of palliative care as a whole (Table 3).

Table 3.

Comparison of innovative public engagement initiatives on end-of-life issues.

Study/initiative	Format	Focus	Target audience	Main contribution
Cicely and David (This study)	Theatre play (live)	Palliative care comprehension	University students	Emotional engagement, deeper understanding, and motivation
Room for Death (Lindqvist and Tishelman²²)	Art exhibition	Preferences about dying environment	General public	Promotes reflection on death, expands conversation on dying
Dying matters (Tan and Barnes²⁴)	Theatre + participatory act	End-of-life conversations within families	General public + professionals	Encourages communication, training for healthcare professionals
Before I die (Chang²³)	Public wall installation	Life goals and mortality awareness	Global urban audiences	Invites reflection, democratizes dialogue on death

Our findings suggest that theatre may provide a compelling and emotionally engaging way to overcome common misunderstandings and stigmas surrounding palliative care. For example, the play Cicely and David illuminated not only the historical roots of the discipline but also the values that underpin it—empathy, compassion, and accompaniment. This immersive and narrative-based approach seems to promote not only awareness but a more profound and reflective appreciation of what palliative care entails. Other examples of theatre used in end-of-life education, such as Dying Matters,²⁴ further support the potential of dramatic arts to engage audiences, foster open conversations, and empower individuals to consider their own preferences and values regarding care. These approaches are consistent with the aims of health-promoting palliative care, which seeks to integrate palliative principles into community discourse and everyday life.⁷

Given that our audience consisted mainly of university students, this initiative may also serve as a model for engaging younger generations in these conversations. Reaching them earlier in life could help normalize discussions around serious illness, caregiving, and end-of-life care—topics that will inevitably affect them, either personally or through their families and communities.

Recent work also highlights the educational value of theatre in health-related contexts. Koufopoulos et al.²⁵ showed that theatrical sketches improved medical students’ understanding of emergency scenarios, while the BRIGHTLIGHT project demonstrated how performance can effectively disseminate complex research findings to broad audiences.²⁶ Although these initiatives are not specific to palliative care, they provide contemporary evidence that supports the transferability of our results: theatre can facilitate engagement, emotional resonance, and comprehension of sensitive or complex topics, reinforcing its potential as a medium for public awareness and education.

Transformative potential and empowerment through theatre

Beyond improving understanding, several participants described personal resonance with the play and expressed a desire to “do something” in response. These reactions align with the concept of transformative learning, where individuals move from passive reception of knowledge to active engagement and behavioural change. Such responses suggest that theatre can serve not only as an educational intervention but also as a tool for empowerment.

This aligns with principles observed in community theatre or people’s theatre, which view audiences as co-creators of meaning and change, rather than mere spectators.^27,28 In these frameworks, performance becomes a catalyst for civic reflection and action. In our study, the narrative of Cicely Saunders’s personal commitment inspired participants to reflect on their own potential contributions, echoing this dynamic.

The sense of agency and personal motivation reported by participants—some of whom expressed feeling “moved to help” or “inspired to contribute”—points to a fertile area for future research. Understanding how arts-based interventions may foster advocacy, especially in groups without a prior healthcare background, could open up new pathways for public engagement with palliative care.

Moreover, theatre, as a culturally versatile medium, offers accessibility to diverse audiences. It may be especially helpful in reaching groups historically underserved in palliative care education, including linguistic minorities, migrants, or individuals with low health literacy.⁷ Its capacity to convey complex emotional realities without reliance on technical jargon positions it as a particularly suitable medium for widening access to palliative care discourse.

Implications and limitations

This study contributes preliminary evidence on the value of theatre as an innovative strategy to foster awareness, empathy, and engagement with palliative care among university students. The audience’s emotional connection and personal reflections suggest that theatrical experiences may complement traditional educational methods, especially when aiming to reach younger populations.

However, several limitations must be acknowledged. First, the data were collected immediately after the live performance, capturing only short-term reactions. Second, most participants had already received some palliative care education, which may have influenced their perceptions. Third, the sociodemographic information was limited because audience research is still emerging in this context; a concise questionnaire to encourage participation was used. As a result, sociodemographic data were limited, restricting analysis of differences between social or cultural groups.

Future studies could include more detailed sociodemographic variables to explore potential differences among participant groups. The questionnaire was not pilot-tested, but it was considered appropriate for the exploratory aims of the study.

For future research, it would be relevant to explore whether similar results can be observed when the play is viewed in a video format. This could support more sustainable and scalable integration into educational settings where live performance is not feasible.

Conclusion

This study suggests that theatrical performance can serve as a meaningful and innovative tool to promote understanding and engagement with palliative care among undergraduate students. By combining emotional resonance with historical and ethical insight, the play fostered deeper awareness of patient needs and the holistic philosophy of palliative care. Beyond transmitting knowledge, it inspired personal reflection and, in some cases, a desire to contribute actively to the field. These findings highlight the potential of artistic approaches to complement conventional education and raise public awareness in new, emotionally compelling ways.

Supplemental Material

sj-docx-1-pcr-10.1177_26323524251410610 – Supplemental material for “Cicely and David”: Exploring the transformative power of theatre to communicate palliative care among university students

Supplemental material, sj-docx-1-pcr-10.1177_26323524251410610 for “Cicely and David”: Exploring the transformative power of theatre to communicate palliative care among university students by Irene Centeno, Carla Zapata, Carlos Centeno and María Arantzamendi in Palliative Care and Social Practice

Supplemental Material

sj-docx-2-pcr-10.1177_26323524251410610 – Supplemental material for “Cicely and David”: Exploring the transformative power of theatre to communicate palliative care among university students

Supplemental material, sj-docx-2-pcr-10.1177_26323524251410610 for “Cicely and David”: Exploring the transformative power of theatre to communicate palliative care among university students by Irene Centeno, Carla Zapata, Carlos Centeno and María Arantzamendi in Palliative Care and Social Practice

Footnotes

We are especially grateful to Professor David Clark for generously sharing his original play and allowing its translation and adaptation into Spanish. Our sincere thanks also go to the cast—Ana Larumbe,Alicia Hernando,Diego Candelmi,Álvaro Montero,and Ana Paula Salas—composed of professionals from the clinical and research palliative care teams at the University of Navarra,who took on the challenge of becoming actors for this initiative. We also thank the direction and production team—Vilma Tripodoro,Alicia Hernando,Carlos Centeno,and Sergio Zarranz—and the technical and support team—Fernanda Bastos,Cristina Béjar,Irene Centeno,and Albert Recasens—for their dedication and creativity throughout the project. We extend our appreciation to all the anonymous spectators who,after the performance,generously shared their perspectives by participating in the study.

ORCID iDs

Irene Centeno

Carla Zapata

Carlos Centeno

María Arantzamendi

Ethical considerations

The study was approved by the University of Navarra’s Research Ethics Committee (Ref: 2024.023).

Consent to participate

Participation was voluntary,anonymous,and confidential,and informed consent was obtained from all participants.

Author contributions

Irene Centeno: Data curation;Formal analysis;Investigation;Validation;Writing – original draft;Writing – review & editing.

Carla Zapata: Data curation;Formal analysis;Investigation;Validation;Writing – original draft;Writing – review & editing.

Carlos Centeno: Conceptualization;Funding acquisition;Investigation;Methodology;Resources;Software;Writing – review & editing.

María Arantzamendi: Conceptualization;Data curation;Formal analysis;Investigation;Methodology;Project administration;Supervision;Validation;Writing – original draft;Writing – review & editing.

Funding

The authors disclosed receipt of the following financial support for the research,authorship,and/or publication of this article: This study was funded by the ATLANTES Global Observatory of Palliative Care,Institute for Culture and Society,University of Navarra under its research theme entitled the message of palliative care. The theatrical project was partially funded by a Pia Aguirreche Foundation’s grant and developed in collaboration with the Museo Universidad de Navarra (MUN) through its Campus Creativo programme. This interdisciplinary educational initiative offers artistic training to students and professionals in direct contact with contemporary creators. Within this framework,the cast underwent an intensive 6-month programme in theatrical expression and staging to prepare for the performance.

Declaration of conflicting interests

The authors declared no potential conflicts of interest with respect to the research,authorship,and/or publication of this article.

Data availability statement

Not applicable.

Supplemental material

Supplemental material for this article is available online.

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