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210   $aFrankfurt am Main$cInsel$dc1966
215   $a201 p.$d18 cm.
676   $a100$v(21. ed.)$9Filosofia
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100   $a20121214d2010      uy         0
101 0 $aeng
135   $aur|n|---|||||
181   $ctxt
182   $cc
183   $acr
200 00$aPerforming consciousness /$fedited by Per Brask and Daniel Meyer-Dinkgrafe
205   $a1st ed.
210   $aNewcastle upon Tyne $cCambridge Scholars Pub.$d2010
210   $aNewcastle upon Tyne $cCambridge Scholars Pub.$d2010
210  1$aNewcastle upon Tyne :$cCambridge Scholars Pub.,$d2010.
215   $a1 online resource (229 p.)
300   $aDescription based upon print version of record.
311 08$a9781443816342 
311 08$a1443816345 
320   $aIncludes bibliographical references.
327   $aTABLE OF CONTENTS; INTRODUCTION; CHAPTER ONE; CHAPTER TWO; CHAPTER THREE; CHAPTER FOUR; CHAPTER FIVE; CHAPTER SIX; CHAPTER SEVEN; CHAPTER EIGHT; CHAPTER NINE; CHAPTER TEN; CHAPTER ELEVEN; CHAPTER TWELVE; CHAPTER THIRTEEN; CHAPTER FOURTEEN; CHAPTER FIFTEEN; CONTRIBUTORS
330   $aSince its inaugural issue in April, 2000, the journal Consciousness, Literature and the Arts has regularly published essays on the intersection of theatre and consciousness. Often these essays have seen theatre as a spiritual practice that for both the performer and her audience can bring about experiences that help heal the world, a shift in consciousness. This practice, though spiritual, is not ethereal but is rooted in doing, in actions, in breathing. That is, theatre is seen as an art f...
606   $aActing$xPsychological aspects
606   $aActing$xPhilosophy
615  0$aActing$xPsychological aspects.
615  0$aActing$xPhilosophy.
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701   $aBrask$b Per$01493235
701   $aMeyer-Dinkgrafe$b Daniel$f1958-$0852416
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