Abstract

In the context of consciousness studies, it has become important to differentiate different kinds, or modes of energy, related to atmosphere, that arise in performance. The one created from conflict is likely to be different from the one created from any context that lacks conflict, such as beauty. The strength of such energy is related to where society in general places more emphasis--thus in our time, with most energy / attention placed on conflict in the media, and in most people's thoughts, they, artists and audiences are likely to respond more easily and strongly to energy in theatre relating to conflict, and it may be easier for dramatists to write conflict, and for directors to direct conflict and for actors to act conflict, and on each occasion to feel the energy--on each occasion they tap into a massive field of that energy in mass consciousness, which they strengthen further by giving it their attention, and by which they feel strengthened in turn. It is thus perhaps a "better" energy that does without conflict, but also one that will not be as attractive as conflict-generated energy to an audience used to the conflict-generated/related energy. It may be difficult for the performer to generate that conflict-less energy in the first place because idea of the need for conflict in dance, theatre and opera is so strongly engrained in mass-consciousness as a belief pattern. In the keynote I trace the implications of this context.