I believe artistic experiences can be spiritual. I think we are many who have experienced it; when a piece of art reaches you so deeply it opens your mind and puts you in contact with something bigger. These experiences are so precious, and can offer a great deal of help on our journeys through this crazy life. I’ve been longing to be able to offer such experiences to others and have developed the method of Spiritual Theatre to create the best conditions for them to take place.

 

The method outlines three main principles:

 

Intention

Our experience of anything we do is deeply affected by our intentions. If I want to create a theatre experience where the audience allows themselves to be fully in the moment and open up for a deeper experience, I have to plant that seed before they arrive. I can never force this experience to take place, it can only happen if the people in the audience themselves decide to go there. For them to have the possibility to make such a decision, the principle of Intention is a reminder to communicate the aim and opportunity of the show (through marketing, website, the process of buying a ticket) and to invite the audience to come open to experience something new. 

 

Preparation

As said, in order to experience something truly profound, we have to be in the moment. To help the audience become present they will have the chance to go through some  “grounding” before the show begins. This can support the transition from the day behind and can be anything from being personally greeted to having a sensory experience such as drinking a cup of tea, handwashing in warm water with scented soap or receiving touch (could be a handshake, hug or a simple massage). There should also be a possibility to settle in the room in calmness, without chatter, before the performance begins. 

 

Facilitation

In Spiritual Theatre the performers are not only actors, but facilitators. Their main focus should be to serve the audience's experience. This includes bridging the gap between spectator and actor. The performer should be present and approachable before and after the show and the show itself should offer interactive elements - all to strengthen the engagement of and focus on the audience. These could be ritualistic activities such as being invited to set a personal intention in the beginning or a ceremony to help integrate or release what the show has brought up, at the end. It could also be collective actions such as toning, singing or movement.

 

Through developing and working with this method, I hope to create more magical moments in people's lives. Theatrical experiences where the venue can become a temple, and the show a ritual. 

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Amanda Quartey

Bristol, 6 April 2022