Daniel Meyer-Dinkgräfe and co-authors take the exploration of the subjective dimension of theatre, its spiritual context, its relation to consciousness and natural law, further than ever before, thanks to the context provided by the thinking of German geobiologist Hans Binder. We present relevant aspects of Binder’s approach as precisely as possible, then take Binder’s approach for granted to tease out the implications of that approach to the issues of theatre, including nostalgia, intercultural theatre, theatre criticism, dealing with demanding roles, the canon, theatre and philosophy, digital performance, practice as research, and applied theatre. Overall, the book proposes an overarching emphasis on the importance of living in the present and the concomitant need to abandon obsolete but still powerful patterns of the past. In this context, theatre, according to Binder, has a global responsibility for the new world in which humans are liberated from the scourge of the past. Theatre has the power and thus the responsibility to be path-breaking for a new “fiction”, to show to people, in a playful and creative manner, the direction in which the new consciousness can move.
Daniel Meyer-Dinkgräfe is 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.
Table of contents
Contents and scope
Chapter One: Benjamin Poore, Yana Meerzon, Daniel Meyer-Dinkgräfe:
Nostalgia Chapter Two: Daniel Meyer-Dinkgräfe, Gayathri Ganapathy, Shrikant Subramaniam: Towards
intuitive collaboration as a concept for discussing intercultural performance
Chapter Three: Daniel Meyer-Dinkgräfe, Per Brask, Harry Youtt: Appropriate forms of praise of acting in theatre criticism
Chapter Four: Daniel Meyer-Dinkgräfe: New dimensions of consciousness studies
Chapter Five: Principles of consciousness and theatre contexts
Chapter Six: Feedback from contributors and discussion
Summary and outlook