Quantum Drama

The definitive account of the great Bohr-Einstein debate and its continuing legacy In 1927, Niels Bohr and Albert Einstein began a debate about the interpretation and meaning of the new quantum theory. This would become one of the most famous debates in the history of science. At stake were an understanding of the purpose, and defense of the integrity, of science. What (if any) limits should we place on our expectations for what science can tell us about physical reality? Our protagonists slowly disappeared from the vanguard of physics, as its centre of gravity shifted from a war-ravaged Continental Europe to a bold, pragmatic, post-war America. What Einstein and Bohr had considered to be matters of the utmost importance were now set aside. Their debate was regarded either as settled in Bohr's favour or as superfluous to real physics. But the debate was not resolved. The problems of interpretation and meaning persisted, at least in the minds of a few stubborn physicists, such as David Bohm and John Bell, who refused to stop asking awkward questions. The Bohr-Einstein debate was rejoined, now with a new set of protagonists, on a small scale at first. Through their efforts, the debate was revealed to be about physics after all. Their questions did indeed have answers that could be found in a laboratory. As quantum entanglement became a real physical phenomenon, whole new disciplines were established, such as quantum computing, teleportation, and cryptography. The efforts of the experimentalists were rewarded with shares in the 2022 Nobel prize in physics. As Quantum Drama reveals, science owes a large debt to those who kept the discussions going against the apathy and indifference of most physicists before definitive experimental inquiries became possible. Although experiment moved the Bohr-Einstein debate to a new level and drew many into foundational research, it has by no means removed or resolved the fundamental question. There will be no Nobel prize for an answer. That will not shut off discussion. Our Drama will continue beyond our telling of it and is unlikely to reach its final scene before science ceases or the world ends.

Quantum mechanics is an extraordinarily successful scientific theory. It is also completely baffling. From the moment of its inception, its founders struggled to understand its meaning. This struggle was most famously encapsulated in the debate between Niels Bohr and Albert Einstein; Quantum Drama tells the story of their engagement and its legacy.

Quantum Theatre uses the science of quantum mechanics to construct a rigorous framework for examining performance practice and the theatrical event, and live performance as a means of exploring the implications of quantum mechanics. Key ideas from physics are used to develop an interdisciplinary approach to writing about the work of a number of British theatre practitioners in terms of identity, observation and play. What this type of analysis does is enable an examination of aspects of performance that can remain hidden and so cast new light on the performance event. This is the first study of its kind that develops such a framework for analysis of contemporary performance, and provides a coherent alternative to postmodernism as a theoretical framework for writing about performance. As such, this book develops a methodology that can be applied to a wide range of performance practices. Furthermore, it presents an analysis of the work of a number of contemporary performance makers, including Vincent Dance Theatre and Triangle Theatre.

Examines how the intertwining paths of avant-garde theater and mainstream drama work to produce provocative new forms

Provides an international forum for the discussion of topics of current interest in theatre studies. This issue includes articles on women and theatre in Spain; Sarah Bernhardt in Vaudeville; Giorgio Strehler's 'Faust' project; Deborah Levy in interview; and social space in ancient theatre.

Through reading this book, you will have a better understanding on the Holographic Universe and your ability to have experiences in the Holographic Universe increases. Through keeping an open, clear mind (as you read), you can experience what the author has experienced and you will be able to understand what the author is explaining. Instead of just reading the words, read it with the intent to understand the depths of what is being explained. Keep contemplating on it until you experience and understand what is being said about the Holographic Universe. Keep reading the book again and again until you have understood it so that your ability to have experiences in the Holographic Universe increases. In this book, the explanations on the Holographic Universe are based on: 1. the guidance from God, 2. the knowledge of the Brahma Kumaris, 3. Quantum Mechanics (nothing in this book is contrary to quantum mechanics), 4. research, 5. experiences of the author, 6. the knowledge on the chakras and aura, 7. the ancient Hindu texts, etc. There are explanations, in this book, about: 1. the various divisions and nature of the Holographic Universe. 2. how everything happens as per the World Drama (Akashic Records). 3. how people live in two kinds of worlds, the Real World and the Holographic World, at the same time. 4. the Holographic Film of the Hologram which we are participating in. 5. how various kinds of worlds exist. 6. how the quantum energies materialise the physical bodies and physical world through the Holographic Universe. 7. how the creation process takes place through the vortices and chakras. 8. Near Death Experiences 9. the Cosmic Consciousness. 10. how subtle dimensions, holographic bodies and subtle bodies are created. 11. how the aura is used during experiences. 12. how quantum energies of different densities materialise a different kind of Real World for us to live in. 13. how the Holographic Universe changes when the world transforms. 14. the meditation and knowledge of the Brahma Kumaris.

Presence in Play: A Critique of Theories of Presence in the Theatre is the first comprehensive survey and analysis of theatrical presence to be published. Theatre as an art form has often been associated with notions of presence. The 'live' immediacy of the actor, the unmediated unfolding of dramatic action and the 'energy' generated through an actor-audience relationship are among the ideas frequently used to explain theatrical experience – and all are underpinned by some understanding of 'presence.' Precisely what is meant by presence in the theatre is part of what Presence in Play sets out to explain. While this work is rooted in twentieth century theatre and performance since modernism, the author draws on a range of historical and theoretical material. Encompassing ideas from semiotics and phenomenology, Presence in Play puts forward a framework for thinking about presence in theatre, enriched by poststructuralist theory, forcefully arguing in favour of 'presence' as a key concept for theatre studies today.

The first comprehensive history of theater in Pittsburgh is offered in this volume that relates the significant influence and interpretation of urban socioeconomic trends in the theatrical arts and the role of the theater as an agent of social change.