Abstract

The study of consciousness has developed considerably over the past ten years, with an emphasis on seeking to explain subjective experience. Our understanding of key questions relating to the performing arts, in theory and practice, benefits from the insights of consciousness studies. This book discusses selected concerns of theatre history from a consciousness studies perspective, develops a new perspective on ethical implications of theatre practice, reassesses the concept of the guru, and offers a new approach to the actor’s cool-down. The book expands the framework from theatre to opera, and presents a new consideration of the spiritual aspects of singing in opera, conducting for opera, and the opera experience for singers and spectators alike.