Wanke E M, Groneberg D A, Quarcoo D
Abteilung für Tanzmedizin, Institut für Arbeitsmedizin, Charité - Universitätsmedizin Berlin.
Sportverletz Sportschaden. 2011 Sep;25(3):179-83. doi: 10.1055/s-0029-1245911. Epub 2011 Sep 15.
Specific requirements in the Musical field such as the versatility of abilities in dancing, singing and acting, the aspiration for perfection as well as the high number of performances, lead to a high amount of occupational accidents not yet evaluated. Aim of this study is, therefore, to analyze and evaluate occupational accidents in Musical performers and to suggest preventive concepts.
The data of this evaluation comprise occupational accident reports of consultants, accident reports of various Berlin theatres as well as case records of all Berlin State Theatres (n = 89, m: 58, f: 31) of the Berlin State Accident Insurance covering a period 12-year period.
A total of 60.3 % of the accidents happen during performances, 24.4 % during rehearsals, and 6.7 % during the training. Lower extremity injuries (m: 61.1 %, f: 58.2 %) are the most common for performers. The majority of injuries (m: 46.3 %, f: 50.0 %) happens during ordinary dance movements. Altogether 66.7 % of the injuries have a uniquely defined exogenous cause. The dance partner is with 17.9 % the most common exogenous cause, followed by props (15.4 %) and dance floor (11.6 %). 66.3 % of all accidents happen in the first three hours after starting work with an incidence in the evenings. There are gender specific differences.
Parallels can be drawn (e. g. injured structures, type of injuries) to the professional dance and the dance theatre, however, there are also differences (e. g. age, injury location) Due to the results and the work specific requirements the Musical is to be considered as an autonomous field among the performing arts. Above all, the majority of injuries are - compared to other dance styles - caused by exogenous factors. Modifications may here reduce the incidence. At that, an early interaction in the planning progress of a production, an optimal selection of physical and psychic qualified performers as well as an improvement of training conditions are primary steps towards an injury prevention.
音乐领域有特定要求，如在舞蹈、歌唱和表演方面能力的多样性、对完美的追求以及大量的演出，这导致了大量尚未评估的职业事故。因此，本研究的目的是分析和评估音乐表演者的职业事故，并提出预防概念。
本次评估的数据包括顾问的职业事故报告、柏林各剧院的事故报告以及柏林州事故保险涵盖的柏林所有国家剧院（n = 89，男：58，女：31）的病例记录，时间跨度为12年。
总共60.3%的事故发生在演出期间，24.4%发生在排练期间，6.7%发生在训练期间。下肢受伤（男：61.1%，女：58.2%）是表演者中最常见的情况。大多数受伤（男：46.3%，女：50.0%）发生在普通舞蹈动作期间。总共66.7%的受伤有明确界定的外部原因。舞蹈搭档是最常见的外部原因，占17.9%，其次是道具（15.4%）和舞池（11.6%）。所有事故的66.3%发生在开始工作后的前三个小时，晚上发生率较高。存在性别差异。
可以与专业舞蹈和舞蹈剧院进行对比（例如受伤结构、损伤类型），然而也存在差异（例如年龄、受伤部位）。根据结果和工作的特定要求，音乐剧应被视为表演艺术中的一个独立领域。最重要的是，与其他舞蹈风格相比，大多数受伤是由外部因素引起的。在此进行改进可能会降低发生率。此时，在作品制作的规划过程中尽早进行互动、对身体和心理合格的表演者进行最佳选择以及改善训练条件是预防受伤的主要步骤。
