A Vision for Drama: Inspiration, Imagination, and Consciousness
Distancing myself from the psychedelics side of 'spiritual dimension', I would think there is some positivity for the argument from buddhism, I believe, meditative calming and prayer from Christianity. The deep rooted study of the Enlightenment and Romantic flair for Imagination linking back to the producer in creative genius, etc. Playfulness and the like add to the talent that one may exercise with utter freedom to shift from style and certainly create before organising. Imaginings like Kubla Kahn, which Coleridge claimed his inspiration to have arisen from a dream, are prime examples for interpretation after interpretation and potential for awareness of our consciousness, I believe in an artistic, not merely, philosophical way. Free Interpretation for the creative mind is, I think, as way to morph imaginings from the imagination into meaningful and constructive conversations of the mind. The cultural trend could perhaps gaze back at our friends in the Renaissance, with especial attention to Shakespeare. The Comedy and Tragedy and its potentiality for an actual and organic application into daily lives and, furthermore, players in this great stage, have every stroll, every hop, dance, playful ditty on the streets, and improvised arias for the coloratura soprano--all with dreams, and one with a flute, and every trio of friends, and the contented boy along the streets, practicing his rhyme and meter, his inspiration for imagination for the next grand play where we have our resolution, our fun, for the world's beauty. The drama lives within the artist, the genius. Its life-force, very lifeblood, as activity of the mind for images, motifs with meanings as myriad as the fallen fruits in the orchard. We pluck and grasp at them from the branches and the dust below. We bite one: the flavour, ripe, pleases us, and to the eye it is as in 'oneness' to the 'flavour' as the sense of taste and smell are to the overall pleasure of the bite. May I propose such a lofty scenario amongst the fields and streets of our youth. They , combining their talents one with another build the stage from their dancing lofts, 'free-spirited' flowing meadows, and the 'streets they hold'. The stage and the youth of spirited talents can take model hinted at here-in, where 'play' and 'joy' are fertile soil for the growth our young dramatists. The creative attentive and meditative mind, with acceptance for polarising views, has the capacity to mobilise and inject joy into these brave minded youth. Moreover, the potential for these pockets of drama schools and drama writings and performances gives plenty of opportunity for 'autonomy, free intellectualism' all through 'play' an joy'. With especially the creative eye for talent seeking each playwright's potential and area of interest. It would be a very cultured and enjoyable event to see!