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.
Theatre, Opera and Consciousness 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.
Daniel Meyer-Dinkgräfe studied English and Philosophy at the Universität Düsseldorf. In 1994 he obtained his Ph.D. from the University of London. From 1994 to 2007, he was Lecturer and Senior Lecturer in the Department of Theatre, Film and Television Studies, University of Wales Aberystwyth. Since October 2007 he has been Professor of Drama at the Lincoln School of Performing Arts, University of Lincoln. He has numerous publications on the topic of Theatre and Consciousness to his credit, and is founding editor of the peer-reviewed web-journal
Consciousness, Literature and the Arts and the book series of the same title with Rodopi.
"Daniel Meyer-Dinkgräfe’s book
Theatre, Opera and Consciousness, History and Current Debates marks a significant extension and further development of his previously published
Theatre and Consciousness: Explanatory Scope and Future Potential." – Martha Blassnigg,
University of Plymouth
Table of contents
Consciousness, Literature and the Arts research context, 2000-2012
Subjectivity, spirituality and the
Vedanta model of consciousness
Contents and scope
Theatre and Consciousness 1. Consciousness and western theatre history: Theory and examples
2. Consciousness and ethics
3. Consciousness and the concept of
Guru 4. Consciousness, warm-up, cool-down
Opera and Consciousness 5. Opera and Spirituality
6. Spiritual Aspects of Operatic Singing
7. Spirituality and operatic conducting
Conclusion and Outlook