Abstract

Relevance. This article explores the emerging field of “quantum theatre” and critically examines attempts to apply quantum concepts to theatrical theory and practice.

Purpose. This article aims to evaluate the current state of quantum theatre research and propose new theoretical frameworks.

Methodology. The author conducts a critical analysis of existing literature on quantum theatre, including works by Carol Fisher, Naomi Iizuka, Anne Bogart, and others. The methodology involves examining these works through the lens of quantum physics principles, while cautioning against simplistic analogies.

Results. The analysis reveals that many current approaches to quantum theatre rely on superficial analogies to quantum phenomena without sufficient rigor. The author argues there is not yet a true “quantum theatre”, but rather early explorations of quantum-inspired ideas. The author proposes new theoretical frameworks drawing on Rupert Sheldrake’s morphogenetic fields and V.V. Nalimov’s “fields of consciousness” to understand theatrical phenomena.

Conclusions. This article concludes that more rigorous interdisciplinary approaches drawing on quantum physics, biology, and consciousness studies offer promising directions for future research. The author suggests that theatre and artistic culture in general as open non-linear systems operating based on self-organization, self-regulation and self-development, with high degrees of freedom, can provide a unique understanding of quantum phenomena at the macro level, potentially contributing to the fundamental principles of cognitive theory.

Keywords: morphogenetic fields; quantum biology; non-linear theatre; space-time in performance; post-non-classical art science

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