Having said this, there is a considerable body of vernacular knowledge, what might be called ‘folk theories’ of acting and other performative acts, a kind of ‘naive science’ of performance. An analysis of this knowledge, as embedded in the writings of actors, directors, teachers, critics, etc. demonstrates that these folk theories show a high degree of consistency and coherence, comparable to, but more convincing than, the coherence hypothesised by Pat Hayes (1979) regarding ‘naive physics’.

One significant component of this body of knowledge is an apparent shared belief in a power, essence, or life-force, paralleling the Vitalist theories of living systems which dominated human sciences up until the late 19th Century. Similar energy descriptions can also be found in non-Western philosophies and practices, variously referred to as prana, chi, ki, mana, etc. This mythological energy, whilst roundly dismissed in all rational theoretical discourses, is alive and well in the folk theory of performance. This paper will demonstrate the ubiquity of this energy concept in the particular domain of performer training techniques, and will demonstrate that the usage of this concept is part of a coherent, comprehensive, and practical discourse, albeit irrational.