RESUMO
Though written amid an atmosphere of unprecedented medical advance in both diagnosis and therapeutics, Karel Capek's The White Plague takes a starkly critical stance against overconfidence in medical science and its dubious ethical orbit. This article explores Capek's censure of those who would privilege scientific interest in disease over the holistic plight of the sufferer. Provocatively, Capek achieves this not only via the play's content, but also-prefiguring aspects of contemporary live art practice by several decades-by placing audience members in worrying proximity to abject ill bodies. Capek proposes a sort of theatrical homeopathy, suggesting that limited exposure to the threat of disease might spur spectators toward empathy for those who suffer and promote a healthier, more compassionate society.
