Search Interest. Latest Editorial And News. Meme Roll Tide. Meme Shawn Oakman Tweets. Person Booger McFarland. Meme Odell Beckham Jr's Catch. Meme Handegg. Meme Bills Mafia. Event Super Bowl LI. Meme Kaepernicking. Meme The Madden Curse. View All Related Entries. Recent Videos There are no videos currently available. Add a Video. Add an image. It was only in the American psychiatric bible, the Diagnostic and Statistical Manual of Mental Disorders, first included the term. One can only imagine the countless numbers of servicemen returning from World Wars I and II who spent years suffering from undiagnosed depression.
Read more: Vietnam and Iraq: lessons to be learned about mental health and war. Moreover, it is not only direct participants who are affected, and not only military conflict, but also other disasters and crimes that may precipitate it. Within journalism, there has been increasing recognition of the emotional toll reporting on traumatic events may have. The Dart Center , dating back to the s, is devoted both to helping journalists report trauma more sensitively, and to lend support to journalists reporting such events.
Among the many recurring traumas Suzie brought home with her, the one which haunts her the most was from a hospital in Kandahar, filming a boy called Abdul in agony, critically injured by a landmine. When she returned the next day, he was still alive, but soon after she left, he suffered a massive brain haemorrhage and died. But when we follow her home to Sydney , we can see further afield than Suzie can, and we know that her trauma is going to catch up to her.
In Stop Girl, a play about facing trauma to find peace, we are all bound in tension: this is going to hurt. When Suzie breaks down, it holds us back. But there is a love of order here, of the habit to place distance between story and emotion, that resists theatricality. Director Anne-Louise Sarks, who understands the language of pain, burrows in: if we are to be grounded, then she will explore the ground.
The naturalism in this production in her hands becomes even more interior, scalable — and sometimes relatable. But this production turns inwards so often it forgets, at times, to reach back out.
As Suzie, all eyes are on Harbridge, who never leaves the stage as she charts her way through an undoing and inches towards the other side. We have to lean forward and pay close attention.
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