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Grand opera
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Degas (1876): Ballet of the Nuns from Meyerbeer's Robert le diable (1831); one of the earliest sensations of grand opera
Grand opera is a genre of 19th-century opera generally in four or five acts, characterized by large-scale casts and orchestras, and (in their original productions) lavish and spectacular design and stage effects, normally with plots based on or around dramatic historic events. The term is particularly applied (sometimes specifically using in its French language equivalent grand opéra, pronounced [ɡʁɑ̃t‿ɔpeˈʁa]) to certain productions of the Paris Opéra from the late 1820s to around 1850;[1] 'grand opéra' has sometimes been used to denote the Paris Opéra itself.[citation needed]
The term 'grand opera' is also used in a broader application in respect of contemporary or later works of similar monumental proportions from France, Germany, Italy and other countries.[2]
It may also be used colloquially in an imprecise sense to refer to 'serious opera without spoken dialogue'.[3]
Contents
[hide]
1 Origins
2 France
2.1 The first grand operas (1828–1829)
2.2 The golden age of grand opera: 1830–1850
2.3 Ballet in grand opera
2.4 Grand operas of the 1850s and 1860s
2.5 Late French grand operas
2.6 Decline of French grand opera
2.7 French grand opera today
3 Grand opera outside France
3.1 Italy
3.2 Germany
4 North America
5 Bibliography
6 Notes
Origins[edit]
Paris at the turn of the 19th century drew in many composers, both French and foreign, and especially those of opera. Several Italians working during this period including Luigi Cherubini demonstrated that the use of recitative was suited for the powerful dramas that were being written. Others, such as Gaspare Spontini, wrote works to glorify Napoleon. These operas were composed on a suitably grand scale for the Emperor. Other factors which led to Parisian supremacy at operatic spectacle was the ability of the large Paris Opéra to stage sizeable works and recruit leading stage-painters, designers and technicians, and the long tradition of French ballet and stagecraft. The first theatre performance ever lit by gas, for example, was Aladin ou La lampe merveilleuse at the Opéra in 1823; and the theatre had on its staff the innovative designers Duponchel, Cicéri and Daguerre.
Several operas by Gaspare Spontini, Luigi Cherubini, and Gioachino Rossini can be regarded as precursors to French grand opera. These include Spontini's La vestale (1807) and Fernand Cortez (1809, revised 1817), Cherubini's Les Abencérages (1813), and Rossini's Le siège de Corinthe (1827) and Moïse et Pharaon (1828). All of these have some of the characteristics of size and spectacle that are normally associated with French grand opera. Another important forerunner was Il crociato in Egitto by Meyerbeer, who eventually became the acknowledged king of the grand opera genre. In Il crociato, which was produced by Rossini in Paris in 1825 after success in Venice, Florence and London, Meyerbeer succeeded in blending Italian singing-style with an orchestral style derived from his German training, introducing a far wider range of musical theatre effects than traditional Italian opera. Moreover, Il crociato with its exotic historical setting, onstage bands, spectacular costumes and themes of culture clash, exhibited many of the features on which the popularity of grand opera would be based.
What became the essential features of 'grand opéra' were foreseen by Etienne de Jouy, the librettist of Guillaume Tell, in an essay of 1826:
Division into five acts seems to me the most suitable for any opera that would reunite the elements of the genre: [...] where the dramatic focus was combined with the marvellous: where the nature and majesty of the subject [...] demanded the addition of attractive festivities and splendid civil and religious ceremonies to the natural flow of the action, and consequently needed frequent scene changes.[4]
France[edit]
The first grand operas (1828–1829)[edit]
The golden age of
grand opera, 1828–1850
La muette de Portici, Auber, (1828)
Guillaume Tell, Rossini, (1829)
Robert le diable, Meyerbeer, (1831)
Gustave III, Auber, (1833)
La Juive, Halévy, (1835)
Les Huguenots, Meyerbeer, (1836)
La Esmeralda, Bertin (1836)
Stradella, Niedermeyer (1837)
Guido et Ginevra, Halévy, (1838)
Le lac des fées, Auber, (1839)
La favorite, Donizetti, (1840)
Les martyrs, Donizetti, (1840)
La reine de Chypre, Halévy, (1841)
Charles VI, Halévy, (1843)
Dom Sébastien, Donizetti, (1843)
Marie Stuart, Niedermeyer (1844)
L'étoile de Séville, Balfe (1845)
Jérusalem, Verdi, (1847)
Le prophète, Meyerbeer, (1849)
L'enfant prodigue, Auber, (1850)
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The first opera of the grand opera canon is, by common consent, La muette de Portici (1828) by Daniel François Auber. This tale of revolution set in Naples in 1647 (and ending with an eruption of Mount Vesuvius into which the heroine precipitates herself), embodied the musical and scenic sensationalism which were to be grand opera's hallmark. The libretto for La muette was by Eugène Scribe, a dominant force in French theatre of the time who specialized in melodramatic versions (often involving extremes of coincidence) of historical topics which were well-tailored for the public taste of the time. This was his first libretto for the Opéra; he was to write or be associated with many of the libretti of the most successful grand operas which followed. La muette's reputation was enhanced by its being the touchpaper for a genuine revolution when it was produced in Brussels in 1830.
In 1829 this was followed by Rossini's swan-song Guillaume Tell. The resourceful Rossini, having largely created a style of Italian opera to which European theatre had been in thrall, recognized the potential of new technology, larger theatres and orchestras and modern instrumentation and proved in this work that he could rise to meet them in this undoubted grand opera. But his comfortable financial position, and the change in political climate after the July Revolution, persuaded him to quit the field, and this was his last public composition.
The golden age of grand opera: 1830–1850[edit]
After the Revolution, the new regime determined to privatize the previously state-run Opéra and the winner of the contract was a businessman who acknowledged that he knew nothing of music, Louis-Désiré Véron. However he soon showed himself extremely shrewd at discerning public taste by investing heavily in the grand opera formula. His first new production was a work long contracted from Meyerbeer, whose premiere had been delayed by the Revolution. This was fortunate for both Véron and Meyerbeer. As Berlioz commented, Meyerbeer had "not only the luck to be talented, but the talent to be lucky."[5] His new opera Robert le diable chimed well with the liberal sentiments of 1830s France. Moreover, its potent mixture of melodrama, spectacle, titillation (including a ballet of the ghosts of debauched nuns), and dramatic arias and choruses went down extremely well with the new leaders of taste, the affluent bourgeoisie. The success of Robert was as spectacular as its production.
Over the next few years, Véron brought on Auber's Gustave III (1833, libretto by Scribe, later adapted for Verdi's Un ballo in maschera), and Fromental Halévy's La Juive (1835, libretto also by Scribe), and commissioned Meyerbeer's next opera Les Huguenots (1836, libretto by Scribe and Deschamps), whose success was to prove the most enduring of all grand operas during the 19th century.
Having made a fortune in his stewardship of the Opéra, Véron cannily handed on his concession to Henri Duponchel, who continued his winning formula, if not to such financial reward. Between 1838 and 1850, the Paris Opéra staged numerous grand operas of which the most notable were Halévy's La reine de Chypre (1841) and Charles VI (1843), Donizetti's La favorite and Les martyrs (1840) and Dom Sébastien (1843, librettos by Scribe), and Meyerbeer's Le prophète (1849) (Scribe again). 1847 saw the premiere of Giuseppe Verdi's first opera for Paris, Jérusalem, an adaptation, meeting the grand opera conventions, of his earlier I Lombardi alla prima crociata.
For production statistics of grand opera in Paris, see List of performances of French grand operas at the Paris Opéra.
Ballet in grand opera[edit]
A notable feature of grand opera as it developed in Paris through the 1830s was the presence of a lavish ballet, to appear at or near the beginning of its second act. This was required, not for aesthetic reasons, but to satisfy the demands of the Opera's wealthy and aristocratic patrons, many of whom were more interested in the dancers themselves than in the opera, and did not want their regular meal-times disturbed. The ballet therefore became an important element in the social prestige of the Opéra.[6] Composers who did not comply with this tradition might suffer as a consequence, as did Richard Wagner with his attempt to stage a revised Tannhäuser as a grand opera in Paris in 1861, which had to be withdrawn after three performances, partly because the ballet was in act 1.
Grand operas of the 1850s and 1860s[edit]
The most significant development—indeed transformation—of grand opera after the 1850s was its handling by Giuseppe Verdi, whose Les vêpres siciliennes (1855), proved to be more widely given in Italy and other Italian language opera houses than in France. The taste for luxury and extravagance at the French theatre declined after the 1848 revolution, and new productions on the previous scale were not so commercially viable. The popular Faust (1859) by Charles Gounod started life as an opéra comique and did not become a grand opera until rewritten in the 1860s. Les Troyens by Hector Berlioz (composed 1856–1858, later revised), was not given a full performance until nearly a century after Berlioz had died—although portions had been staged before—but the spirit of this work is far removed from the bourgeois taste of the grand opera of the 1830s and 1840s.
By the 1860s, taste for the grand style was returning. La reine de Saba by Charles Gounod was rarely given in its entirety, although the big tenor aria, "Inspirez-moi, race divine," was a popular feature of tenor recitals. Meyerbeer died on 2 May 1864; his late opera, L'Africaine, was premiered posthumously in 1865. Giuseppe Verdi returned to Paris for what many see as the greatest French grand opera, Don Carlos (1867). Ambroise Thomas contributed his Hamlet in 1868, and finally, at the end of the decade, the revised Faust was premiered at the Opéra in its grand opera format.
Late French grand operas[edit]
During the 1870s and 1880s, a new generation of French composers continued to produce large-scale works in the tradition of grand opera but often broke its melodramatic boundaries. The influence of Wagner's operas began to be felt, and it is a moot point whether these works can be simply called grand opera. Jules Massenet had at least two large scale historical works to his credit, Le roi de Lahore (Paris, 1877, assessed by Grove as "the last grand opera to have a great and widespread success."[7]) and Le Cid (Paris, 1885). Other works in this category include Polyeucte (Paris, 1878) by Charles Gounod and Henry VIII by Camille Saint-Saëns (Paris, 1883). Ernest Reyer had started to compose his Sigurd years before, but, unable to get it premiered in Paris, settled for La Monnaie in Brussels (1884). What may have been one of the last successful French grand operas was by an unfamiliar composer, Émile Paladilhe: Patrie! (Paris, 1886). It ran up nearly 100 performances in Paris, and quite a few in Belgium, where the action takes place, but has since disappeared without a trace.
Decline of French grand opera[edit]
The expensive artifacts of grand opera (which also demanded expensive singers)—Les Huguenots was known as the night of the seven stars because of its requirement of seven top-grade artistes—meant that they were economically the most vulnerable as new repertoire developed. Hence they lost pride of place at the Paris Opéra (especially when many of the original stage sets were lost in fire in the late 19th century). However, as late as 1917, the Gaité Lyrique devoted an entire season to the genre, including Halévy's La reine de Chypre.
French grand opera today[edit]
Today these works are rarely given live performance, as their sheer length and the expense of staging them can still be prohibitive, even for the largest opera houses. However, they are increasingly being resuscitated for Compact Disc recordings, and many are revived at opera festivals and regional opera houses such as that at Compiègne.
Grand opera outside France[edit]
Italy[edit]
French grand opera was generally well received in Italy, where it was always performed in Italian translation.
Italian operas with their own ballet started to become relatively common in the late 1860s and 1870s. Some of these, such as Il Guarany by the Brazilian composer Antônio Carlos Gomes were designated as "opera ballo" (i.e. 'danced opera'). Others, such as La Gioconda by Amilcare Ponchielli were not, although they qualified for the description. They constituted an evolution of grand opera.
Verdi's Aida, despite having only four acts, corresponds in many ways to the grand opera formula. It has a historical setting, deals with 'culture clash' and contains several ballets as well as its extremely well known Grand March. It was a huge success, both at its world premiere in Cairo and its Italian premiere in Milan, resulting in an increase in the scale of some of the works by other composers that followed it. This was particularly noticeable in works by Gomes (Fosca (1873) and Salvator Rosa (1874)); Marchetti (especially Gustavo Wasa (1875)); Ponchielli: (I Lituani (1874) and La Gioconda (Milan, 1876, revised 1880)); and Lauro Rossi (La Contessa di Mons (Turin, 1874)).
Other operas on this scale continued to be composed by Italian composers during the 1880s and even 1890s, but with less frequency; examples being Marchetti's Don Giovanni d'Austria (1880) and Ponchielli's Il Figluol Prodigo (also 1880).[8]
Germany[edit]
French grand operas were regularly staged by German opera houses; an early article by Richard Wagner depicts German opera managers hurrying to Paris to try to identify the next hit.[9] The Dresden performances of Le prophète (in German) in 1850 were the occasion for a series of articles by Wagner's disciple, Theodor Uhlig, condemning Meyerbeer's style and crudely attributing his alleged aesthetic failure to his Jewish origins, inspiring Wagner to write his anti-Jewish diatribe Das Judenthum in der Musik ("Jewishness in Music").
Meyerbeer himself was German by birth, but directed nearly all his mature efforts to success in Paris. Richard Wagner's Rienzi, the composer's first success (produced Dresden, 1842) is totally Meyerbeerean in style. Wagner was at that time a sincere admirer of the older composer, who assisted him in arranging performances of Rienzi and Der fliegende Holländer in Dresden and Berlin. As described above, Wagner attempted in 1860/1861 to recast Tannhäuser as a grand opera, and this Paris version, as later adapted for Vienna, is still frequently produced today. Götterdämmerung, as noted by George Bernard Shaw,[10] shows clear traces of some return by Wagner to the grand opera tradition, and a case could also be argued for Die Meistersinger von Nürnberg.[11]
Meyerbeer's only mature German opera, Ein Feldlager in Schlesien is in effect a Singspiel, although act 2 has some of the characteristics of grand opera, with a brief ballet and an elaborate march. The opera was eventually transformed by the composer to L'étoile du nord.
In many German-language houses, especially in Vienna, where Eduard Hanslick and later Gustav Mahler championed Meyerbeer and Halévy respectively, the operas continued to be performed well into the 20th century. The growth of anti-Semitism in Germany, especially after the Nazi Party obtained political power in 1933, spelled the end of the works of these composers on German stages until modern times when some (e.g. La Juive, Le prophète at Vienna) have been revived.
North America[edit]
The first American grand opera, Leonora, was written by the American composer William Fry for Anne Childe Seguin to take the title role in the 1840s.[12]
Bibliography[edit]
Bartlet, M Elizabeth C: "Grand opéra" in The New Grove Dictionary of Opera, 2: 512–517, ed. Stanley Sadie, Macmillan Publishers Limited, London, 1992 ISBN 978-0-935859-92-8
Charlton, David: "On the nature of 'grand opera'", pp. 94–105 in Hector Berlioz: Les Troyens, ed. Ian Kemp, Cambridge University Press, 1988 ISBN 978-0-521-34813-3
Charlton, David, editor: The Cambridge Companion to Grand Opera, Cambridge University Press, 2003 ISBN 978-0-521-64683-3
Crosten, William Loren: French Grand Opera: an Art and a Business, King's Crown Press, 1948. OCLC 557984867, 608910
Gerhard, Anselm: The Urbanization of Opera: Music Theater in Paris in the Nineteenth Century, University of Chicago Press, 1998 ISBN 978-0-226-28857-4
Huebner, Steven: French Opera at the Fin de Siècle: Wagnerism, Nationalism, and Style, Oxford University Press, 1999 ISBN 978-0-19-518954-4
Pendle, Karin: Eugène Scribe and French Opera in the Nineteenth Century, UMI Research Press, Ann Arbor, 1979 ISBN 978-0-8357-1004-6
Soubies, Albert: Soixante-sept Ans a L'Opéra en une Page, 1826–1893, Paris, 1893 OCLC 17710718, 503911859
Warrack, John; West, Ewan, editors: "Grand Opera" in The Oxford Dictionary of Opera, Oxford University Press, 1992 ISBN 978-0-19-869164-8
Wolff, Stéphane: L'Opéra au Palais Garnier (1875–1962), Paris, Deposé au journal L'Entr'acte [1962] OCLC 7068320, 460748195. Reprint: Slatkine, 1983 ISBN 978-2-05-000214-2
Notes[edit]
Jump up ^ 'French opera of the Romantic period, sung throughout, generally in five acts, grandiose in conception and impressively staged.' (Grove Music Online definition of 'grand opéra': consulted 27 August 2011)
Jump up ^ 'Nineteenth-century opera of a certain large-scale type.' Charlton (2003), p.xiii
Jump up ^ 'Grand opera', Oxford Companion to Music
Jump up ^ quoted in Charlton (2003), p. 150
Jump up ^ Hector Berlioz, tr. D. Cairns, Memoirs, London ,1969. p. 569
Jump up ^ see Crosten, pp. 31–32
Jump up ^ Grove, Opera
Jump up ^ see chapter on Italian opera by Fiamma Nicolodi in Charlton (2003), pp. 383–402
Jump up ^ Richard Wagner, A First Night at the Opera, in Robert Jacobs and Geoffrey Skelton, Wagner Writes from Paris, London, 1973, pp. 163–164
Jump up ^ G. B.Shaw, ed. Dan Laurence, Shaw's Music, 3 vols., London 1981, vol. 3, p. 469
Jump up ^ See Grove, Opera.
Jump up ^ More Treasures from Tams Archived 2010-06-09 at the Wayback Machine., Geri Laudati, University of Wisconsin Madison, retrieved 14 May 2015
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First aid kit
From Wikipedia, the free encyclopedia
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For other uses, see First aid kit (disambiguation).
This article relies too much on references to primary sources. Please improve this by adding secondary or tertiary sources. (December 2011) (Learn how and when to remove this template message)
Large and small first aid kits used by the British Red Cross for event first aid, in the internationally recognised ISO green with a white cross. These kits also feature the red cross which is a protected symbol under the Geneva Conventions and may only be used by the Red Cross or military
A small first aid kit
A first aid kit is a collection of supplies and equipment that is used to give medical treatment. There is a wide variation in the contents of first aid kits based on the knowledge and experience of those putting it together, the differing first aid requirements of the area where it may be used and variations in legislation or regulation in a given area.
The international standard for first aid kits is that they should be identified with the ISO graphical symbol for first aid (from ISO 7010) which is an equal white cross on a green background, although many kits do not comply with this standard, either because they are put together by an individual or they predate the standards.
Contents
[hide]
1 Format
2 Appearance
3 Contents of first aid
3.1 Airway, Breathing and Circulation
3.2 Common Items
3.3 Trauma injuries
3.4 Personal protective equipment
3.5 Instruments and equipment
3.6 Medication
4 Improvised uses
5 Workplace first aid kit
6 Historic first aid kits
7 See also
8 References
9 External links
Format[edit]
First aid kits can be assembled in almost any type of container, and this will depend on whether they are commercially produced or assembled by an individual. Standard kits often come in durable plastic boxes, fabric pouches or in wall mounted cabinets. The type of container will vary depending on purpose, and they range in size from wallet sized through to large rucksacks.
It is recommended that all kits are in a clean, waterproof container to keep the contents safe and aseptic.[1] Kits should also be checked regularly and restocked if any items are damaged or are out of date.
Appearance[edit]
The International Organization for Standardization (ISO) sets a standard for first aid kits of being green, with a white cross, in order to make them easily recognizable to anyone requiring first aid.
ISO First Aid Symbol
Alternate version of the first aid symbol
Symbol of the Red Cross
Star of Life
The ISO only endorse the use of the green background and white cross, and this has been adopted as standard across many countries and regions, including the entire EU. First aid kits are sometimes marked (by an individual or organisation) with a red cross on white background, but use of this symbol by anyone but the International Committee of the Red Cross (ICRC) or associated agency is illegal under the terms of the First Geneva Convention, which designates the red cross as a protected symbol in all countries signatory to it. One of the few exceptions is in North America, where despite the passing of the First Geneva convention in 1864, and its ratification in the United States in 1881, Johnson & Johnson has used the red cross as a mark on its products since 1887 and registered the symbol as a U.S. trademark for medicinal and surgical plasters in 1905.[2]
Some first aid kits may also feature the Star of Life, normally associated with emergency medical services, but which are also used to indicate that the service using it can offer an appropriate point of care. Though not supported by the ISO, a white cross on red back ground is also widely recognised as a first aid symbol. However, for very small medical institutions and domestic purposes, the white cross on a plain green background is preferred.
Contents of first aid[edit]
A Pocket mask in its case.
Adhesive bandages are one of the most commonly used items in a first aid kit.
Plastic Tweezers
Disposable gloves are often found in modern first-aid kits.
Commercially available first aid kits available via normal retail routes have traditionally been intended for treatment of minor injuries only. Typical contents include adhesive bandages, regular strength pain medication, gauze and low grade disinfectant.
Specialized first aid kits are available for various regions, vehicles or activities, which may focus on specific risks or concerns related to the activity. For example, first aid kits sold through marine supply stores for use in watercraft may contain seasickness remedies.
Airway, Breathing and Circulation[edit]
First aid treats the ABCs as the foundation of good treatment. For this reason, most modern commercial first aid kits (although not necessarily those assembled at home) will contain a suitable infection barrier for performing artificial respiration as part of cardiopulmonary resuscitation, examples include:
Pocket mask
Face shield
Advanced first aid kits may also contain items such as:
Oropharyngeal airway
Nasopharyngeal airway
Bag valve mask
Manual aspirator or suction unit
Sphygmomanometer (blood pressure cuff)
Stethoscope
Some first aid kits, specifically those used by event first aiders and emergency services, include bottled oxygen for resuscitation and therapy.
Common Items[edit]
The common kits mostly found in the homes may contain:
Alcohol or non alcohol antiseptic wipes
Bandaids
Cotton Balls
Cotton Swabs
Iodine
Bandages
Hydrogen Peroxide
Gauze
Saline
Dressings
Eye wash
Trauma injuries[edit]
Trauma injuries, such as bleeding, bone fractures or burns, are usually the main focus of most first aid kits, with items such as bandages and dressings being found in the vast majority of all kits.
Adhesive bandages (band-aids, sticking plasters) - can include ones shaped for particular body parts, such as knuckles
Moleskin— for blister treatment and prevention
Dressings (sterile, applied directly to the wound)
Sterile eye pads
Sterile gauze pads
Sterile non-adherent pads, containing a non-stick teflon layer
Petrolatum gauze pads, used as an occlusive ( air-tight) dressing for sucking chest wounds, as well as a non-stick dressing
Bandages (for securing dressings, not necessarily sterile)
Gauze roller bandages - absorbent, breathable, and often elastic
Elastic bandages - used for sprains, and pressure bandages
Adhesive, elastic roller bandages (commonly called 'Vet wrap') - very effective pressure bandages and durable, waterproof bandaging
Triangular bandages - used as slings, tourniquets, to tie splints, and many other uses
Butterfly closure strips - used like stitches to close wounds, usually only included for higher level response as can seal in infection in uncleaned wounds.
Saline-used for cleaning wounds or washing out foreign bodies from eyes
soap - used with water to clean superficial wounds once bleeding is stopped
Antiseptic wipes or sprays for reducing the risk of infection in abrasions or around wounds. Dirty wounds must be cleaned for antiseptics to be effective.
Burn dressing, which is usually a sterile pad soaked in a cooling gel
Adhesive tape, hypoallergenic
Hemostatic agents may be included in first aid kits, especially military or tactical kits, to promote clotting for severe bleeding.
Personal protective equipment[edit]
A waterproof Pelican first aid kit.
The use of personal protective equipment or PPE will vary by kit, depending on its use and anticipated risk of infection. The adjuncts to artificial respiration are covered above, but other common infection control PPE includes:
Gloves which are single use and disposable to prevent cross infection
Goggles or other eye protection
Surgical mask or N95 mask to reduce possibility of airborne infection transmission (sometimes placed on patient instead of caregivers. For this purpose the mask should not have an exhale valve)
Apron
Instruments and equipment[edit]
Trauma shears for cutting clothing and general use
Scissors are less useful but often included
Tweezers, for removing splinters amongst others.
Lighter for sanitizing tweezers or pliers etc.
Alcohol pads for sanitizing equipment, or unbroken skin. This is sometimes used to debride wounds, however some training authorities advise against this as it may kill cells which bacteria can then feed on
Irrigation syringe - with catheter tip for cleaning wounds with sterile water, saline solution, or a weak iodine solution. The stream of liquid flushes out particles of dirt and debris.
Torch (also known as a flashlight)
Instant-acting chemical cold packs
Alcohol rub (hand sanitizer) or antiseptic hand wipes
Thermometer
Space blanket (lightweight plastic foil blanket, also known as "emergency blanket")
Penlight
Cotton swab
Cotton wool, for applying antiseptic lotions.
Safety pins, for pinning bandages.
Medication[edit]
Medication can be a controversial addition to a first aid kit, especially if it is for use on members of the public. It is, however, common for personal or family first aid kits to contain certain medications. Dependent on scope of practice, the main types of medicine are life saving medications, which may be commonly found in first aid kits used by paid or assigned first aiders for members of the public or employees, painkillers, which are often found in personal kits, but may also be found in public provision and lastly symptomatic relief medicines, which are generally only found in personal kits.
Life saving
Aspirin[1] primarily used for central medical chest pain as an anti-platelet
Epinephrine autoinjector (brand name Epipen) - often included in kits for wilderness use and in places such as summer camps, to temporarily reduce airway swelling in the event of anaphylactic shock. Note that epinephrine does not treat the anaphylactic shock itself, it only opens the airway to prevent suffocation and allow time for other treatments to be used or help to arrive. The effects of epinephrine (adrenaline) are short-lived, and swelling of the throat may return, requiring the use of additional epipens until other drugs can take effect, or more advanced airway methods (such as intubation) can be established.
Diphenhydramine (brand name Benadryl) - Used to treat or prevent anaphylactic shock. Best administered as soon as symptoms appear when impending anaphylactic shock is suspected- Once the airway is restricted, oral drugs can no longer be administered until the airway is clear again, such as after the administration of an epipen. A common recommendation for adults is to take two 25mg pills. Non-solid forms of the drug, such as liquid or dissolving strips, may be absorbed more rapidly than tablets or capsules, and therefore more effective in an emergency.
Pain killers
Paracetamol (also known as Acetaminophen) is one of the most common pain killing medication, as either tablet or syrup
Anti-inflammatory painkillers such as Ibuprofen, Naproxen or other NSAIDs can be used as part of treating sprains and strains
Codeine which is both a painkiller and anti-diarrheal
Symptomatic relief
Anti diarrhoea medication such as Loperamide - especially important in remote or third world locations where dehydration caused by diarrhea is a leading killer of children
Oral rehydration salts
Antihistamine, such as diphenhydramine
Poison treatments
Absorption, such as activated charcoal
Emetics to induce vomiting, such as syrup of ipecac although first aid manuals now advise against inducing vomiting.
Smelling Salts (ammonium carbonate)
Topical medications
Antiseptics / Disinfectants
Antiseptic fluid, moist wipe or spray- For cleaning and disinfecting a wound. Typically benzalkonium chloride, which disinfects wounds with minimal stinging or harm to exposed tissue. Can also be used as an antibacterial hand wipe for the person providing aid.
Povidone iodine is an antiseptic in the form of liquid, swabstick, or towelette. Can be used in a weak dilution of clean water to prepare an irrigation solution for cleaning a wound.
Hydrogen peroxide is often included in home first aid kits, but is a poor choice for disinfecting wounds- it kills cells and delays healing
Alcohol pads- sometimes included for disinfecting instruments or unbroken skin (for example prior to draining a blister), or cleaning skin prior to applying an adhesive bandage. Alcohol should not be used on an open wound, as it kills skin cells and delays healing.
Medicated antiseptic ointments- for preventing infection in a minor wound, after it is cleaned. Not typically used on wounds that are bleeding heavily. Ointments typically contain one, two, or all three of the following antibacterial ingredients(those containing all 3 are typically called 'triple-antibiotic ointment') Neomycin, Polymyxin B Sulphate or Bacitracin Zinc.
Burn gel - a water-based gel that acts as a cooling agent and often includes a mild anaesthetic such as lidocaine and, sometimes, an antiseptic such as tea tree oil
Anti-itch ointment
Hydrocortisone cream
antihistamine cream containing diphenhydramine
Calamine lotion, for skin inflammations.
Anti-fungal cream
Tincture of benzoin - often in the form of an individually sealed swabstick or ampule, protects the skin and aids the adhesion of adhesive bandages, such as moleskin, bandaids, or wound closure ('butterfly') strips. Benzoin swabsticks are very prone to leaking and making a mess when kept in portable first aid kits, ampules are a more durable option. If swabsticks are used, it is advisable to keep them in a sealed zip lock bag.
Improvised uses[edit]
Besides its regular use in first aid, many alternate uses can be an important consideration when picking items for a kit that may be used in wilderness or survival situations. An alternative could however also be the use of additional kits with tools such as Survival kits and Mini survival kits.
Workplace first aid kit[edit]
In the United States, the Occupational Safety and Health Administration (OSHA) requires all job sites and workplaces to make available first aid equipment for use by injured employees .[3] While providing regulations for some industries such as logging [4] in general the regulation lack specifics on the contents of the first aid kit. This is understandable, as the regulation covers every means of employment, and different jobs have different types of injuries and different first-aid requirements. However, in a non-mandatory section, [5] the OSHA regulations do refer to ANSI/ISEA Specification Z308.1 [6] as the basis for the suggested minimum contents of a first aid kit. Another source for modern first aid kit information is United States Forest Service Specification 6170-6 ,[7] which specifies the contents of several different-sized kits, intended to serve groups of differing size.
In general, the type of first aid facilities required in a workplace are determined by many factors, such as:
the laws and regulation of the state or territory in which it is located;
the type of industry concerned; for example, industries such as mining may have specific industry regulations detailing specialised instructions;
the type of hazards present in the workplace;
the number of employees in the workplace;
the number of different locations that the workplace is spread over;
the proximity to local services (doctors, hospital, ambulance).
Historic first aid kits[edit]
Travel pharmacy (early 20th century).
As the understanding of first aid and lifesaving measures has advanced, and the nature of public health risks has changed, the contents of first aid kits have changed to reflect prevailing understandings and conditions. For example, earlier US Federal specifications [8] [9] for first aid kits included incision/suction-type snakebite kits and mercurochrome antiseptic. There are many historic components no longer used today, of course; some notable examples follow. As explained in the article on snakebite, the historic snakebite kit is no longer recommended. Mercurochrome was removed in 1998 by the US FDA from the generally recognized as safe category due to concerns over its mercury content. Another common item in early 20th century first aid kits, picric acid gauze for treating burns, is today considered a hazardous material due to its forming unstable and potentially explosive picrates when in contact with metal. Examples of modern additions include the CPR face shields and specific body-fluid barriers included in modern kits, to assist in CPR and to help prevent the spread of bloodborne pathogens such as HIV.
See also[edit]
First aid
Bug-out bag
Medical bag
Injury
References[edit]
^ Jump up to: a b First Aid Manual 8th Edition. St John Ambulance, St Andrews First Aid, British Red Cross. 2002. ISBN 0-7513-3704-8.
Jump up ^ "USPTO record for Johnson & Johnson's Red Cross mark". tsdr.uspto.gov. Retrieved 6 May 2015.
Jump up ^ 29 CFR 1910.151 (1998-06-10). "Occupational Safety and Health Standards: Medical services and first aid". Retrieved 2006-08-28.
Jump up ^ 29 CFR 1910.266 App A (1995-09-08). "Occupational Safety and Health Standards: First-aid Kits (Mandatory)". Retrieved 2006-08-28.
Jump up ^ 29 CFR 1910.151 App A (2005-01-05). "Occupational Safety and Health Standards: Appendix A to § 1910.151 -- First aid kits (Non-Mandatory)". Retrieved 2006-08-28.
Jump up ^ ANSI/ISEA (2009-05-12). "ANSI/ISEA Z308.1-2009, American National Standard - Minimum Requirements for Workplace First Aid Kits and Supplies". Retrieved 2009-08-25.
Jump up ^ U.S. Department of Agriculture Forest Service (2006-01-25). "6170-6H, Kits, First Aid" (PDF). Retrieved 2009-08-25.
Jump up ^ GG-K-391A GAUZE (1954-10-19). "Kit (Empty) First-Aid, Burn-Treatment and Snake Bite, and Kit Contents (Unit-Type)". Retrieved 2009-08-24.
Jump up ^ GG-K-392 (1957-04-25). "Kit, First Aid (Commercial Types), and Kit Contents". Retrieved 2009-08-24.
External links[edit]
Wikibooks has a book on the topic of: First Aid/Appendix E: First Aid Kits
Wikivoyage has a travel guide for First aid kit for travellers.
How to make your own first-aid kit, Centers for Disease Control and Prevention
Red Cross' Anatomy of a First Aid Kit
[hide]
v
t
e
First aid
Techniques
Abdominal thrusts
Airway management
Cardiopulmonary resuscitation
Emergency bleeding control
Equipment
Automated external defibrillator
Bag valve mask
Bandage
Dressing
First aid kit
Nasopharyngeal airway
Oropharyngeal airway
Mnemonics
ABC
DCAP-BTLS
OPQRST
RICE
SAMPLE
SOAP
Certifications
Certified first responder
Emergency medical technician
Wilderness Emergency Medical Technician
Topics
Bleeding
Golden hour
Good Samaritan law
Wilderness medicine
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