Many disciplines of scholarship are now involved in the study of consciousness: philosophy, neurosciences, psychology, physics and biology, and approaches focusing on human experience. Scholarly interest in the relationship of consciousness to theatre is also growing steadily. This book discusses a range of questions relevant to understanding the phenomenon of theatre against a consciousness studies background. Those questions include: What inspires the dramatist to write a play? ; How do different plays reflect human consciousness? ; What kinds of new ideas did major directors or theatre makers, such as Artaud, Grotowski, Barba, and Brook introduce? ; Should actors be personally involved with the emotions they have to portray? ; Are puppets or marionettes superior to actors? ; How to account for the designer's combination of creativity and practical skill? ; How does theatre affect the spectator?