The idea of song as a medium for praising and propritiating the gods, casting spells and promoting oneness with the universe, is ancient. It survives today in western culture in hymn singing and national anthems, as well as in the cults of the great opera singers.
Western traditions of performance are rooted in the religious origins of Greek theatre, and its shamanist forerunners. Added to these are later, Christian influences on theatre and music.
Singers and actors speak of times in performance when " the god descends ". This refers to the ancient idea that performers impersonating a god as an act of worship would sometimes be overtaken and entered by the god himself. The performance would then be elevated to another plain, and the god and his worshippers would attain a profound level of communication, understanding and release.
Modern performers use the term to describe occasions when everything combines to produce an extraordinary moment in the theatre or concert hall, felt by audience and performers alike. Such occasions are impossible to describe, cannot be summoned up and - even in the twentieth century - are frequently described as ΓÇ£magical ".
An early response to cruel and unpredictable forces in nature in all cultures is to personify them as dark gods or devils. Belief in ill-luck and attempts to ward off evil abound in theatre tradition. These have given rise to ritual behaviour still common today, the meaning of which has often been lost, but which is still considered vital.
In the light of these traditions, the indefinable nature of performers' talents, and the insecurity of their careers, it is hardly surprising that they're given to superstition.
