Bladder injury is a possible complication of laparoscopic surgery. If it is not identified, the subsequent clinical presentation is usually unclear and confusing. We report the case of a 31-year-old patient without an obstetric history. A laparoscopic ovarian cystectomy was performed and a bladder perforation due to the use of an accessory suprapubic trocar must have occurred. However, the perforation was not identified as such during the operation nor in the postoperative period. This injury subsequently caused unclear symptoms with diffuse and persistent abdominal pain, sometimes intense and focused on the right side, in the days following the surgery. The observation of the globe of the Foley catheter with trasvaginal ultrasound in an extravesical location suggested bladder injury with spilling of the urine and catheter into the peritoneal cavity. An immediate laparotomy was performed, revealing a small bladder perforation on the front pre-peritoneal face and another 1-cm perforation in the upper part of the bladder that were corrected. Postsurgical progress was then normal. A high urachal vesical extension or filled bladder, no visual control or a too-low introduction of the suprapubic trocar can produce an unrecognised bladder perforation. Attention must be paid to irritating and persistent abdominal pain of urinary peritonitis, presumed anuria corrected after the positioning of the Foley catheter, variable haematuria, leukocytosis, and eventual electrolytic alterations without fever. The key to the diagnosis of bladder injury is awareness of this clinical entity.

In Rosaura, Teatro Inverso revisits Calderón’s La vida es sueño as an arena of contention in which women struggle against men for control of their lives. Directors Sandra Arpa and Paula Rodríguez call into question systems of male privilege operant in the play and foreground the self-actualization process of their protagonist. To this end, they invert outcomes that consolidate male power in the original text by replacing key points in Segismundo’s trajectory with similarly pivotal moments in Rosaura’s development. In addition, they satirize phallocentrism through mimicry of the instruments, language, and gestures of male privilege. Throughout the action, the actors create a sense of community and inclusiveness by engaging their audience, humanizing themselves, and dispelling any illusions of absolute truth and authority, unlike the male characters contending for the throne in Calderón’s classic.

No abstract