If we follow the analysis of this dream, we can see how each element adds to the overall picture and understanding of what the dream is trying to communicate, yet it is not using images as literal messages, but as the essences of the images. For example, a dynamic redhead represents an inner catalyst for something to happen, and she helps the action move forward. And everyone is going to a play at the theater, and a play, in its essence, is a troupe of individuals working together to create something greater. So as dream imagery unfolds, it speaks to us through the essences of things we already understand – because our unconscious creates them for us personally. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: In a dream, in which I’ve gone from where I’m staying to next door, and there’s a lady there that’s a seminar leader I’ve known in the past, who’s kind of a dynamic redhead, and she’s scurrying around. She’s always rather high energy, and I’m kind of pleased to see her, and she seems to want to see me.
And she comes over at one point to show me something that she’s bought, that she’s going to hang on a wall. And I’m trying to figure out whether she got it for herself, whether she’s actually living there and she’s going to put it up on the wall there, or whether she got it for someone else – I can’t quite hear clearly.
And then she suddenly has to run off, but I know everyone’s going to the theater later, I think, but she pulls me with her as she starts to go out the door because she has to run and catch a cab or something, and she whispers to me that she wants me to meet her at this, it’s either a prosecutor’s office, or an attorney’s office, in the morning. I think it’s a prosecutor’s office.
Obviously there’s something she wants me to help her with, that is legal, but that’s all she whispers to me and I don’t know anything more about it than that. So I go back inside.
And then the dream continues, but in a slightly different vein. It’s because I heard them drop the thought that people were going to the theater, and it’s a play that’s being at a place called the Hawaiian… something like the Centennial Hawaiian, or Celestial Hawaiian something, Casino. I decide we should go because my sister’s there, and I think it’d be fun if she and I went to the theater to see a play.
John: So the dream is looking at two parts. It’s looking at something that’s very amnesic and something that’s very dynamic. In other words, there’s the woman that’s come into the building that’s high energy, and then there’s you and something about you knows something, or acts it. Nothing comes together in terms of what is there. Everything’s kind of in a swirl.
And yet there’s all these component pieces that are there. There’s the high energy woman, there’s you that supposedly knows something in relationship to something else that needs to unfold, there’s something artistic that’s there, there’s the play that one can go to that would have an affect. A play is something that has an affect in terms of an overall. It’s like none of the pieces are coming together.
Jeane: So the next stage in the dream I realize that since there’s a play that night, now she and all the other people would have their tickets, but my sister’s with me and I thought, well, why don’t we just go down to the theater and see if we can get tickets? Why not? The worst thing that’d happen is she can’t get in, right? Or you might not get the best seat because it’s a last minute decision.
And I know that the play is being put on at the theater that’s at this casino that’s called something like either the Celestial or the Centennial Hawaiian, and that there’s a great big sign on the freeway that shows you exactly where it is.
So I go down to get in my car. Meanwhile my sister has rushed ahead of me, hopped in her own car, and sped off. And I’m hoping she knows where it is. I’m wondering if she drove right by the turnoff for it, because I look up and there’s this huge sign as I’ve gotten in my own car and headed down after her, and I see there’s a great big sign over the road that says Celestial Hawaiian Casino, right. I know the theater is in there, so I just have to hope my sister figured it out.
And I drive to the theater and I don’t see her but I get in line. There’s three or four different lines. I figure out what line to get into and go down and ask for tickets, or buy some tickets, and I think I buy three tickets, one for her and me, and one for my dad, even though up until now I hadn’t been aware my dad was around.
Well, then I go to wait. I go and find a table to sit at, just in the foyer or something, and suddenly my sister shows up and plops down, and that’s when my dad shows up, too, but they have bought their own tickets, or actually she’d bought her own ticket, and so I don’t know about dad. It doesn’t seem to be an issue.
So now I have an extra ticket, I have to decide what to do with, or do we take her ticket and turn it in? Meanwhile the play is going to start before too long and I’ve suddenly gone up in almost like a little bit of an elevated area, because it feels like for some reason to go to this play one of the things is that you sit down, and you did something with your shoes, and you attached your ticket to the shoe.
So I’m up there sitting down trying to make sure I get the ticket attached right to my shoe, and then I’m wondering if I have the ticket on my shoe if I’m going to be able to tell where it is that I sit. So I’m trying to study the numbers on it, and I think that was when I woke up.
John: So the whole thing centers around the play, and the thing that is interesting is everyone has to be independent. In other words, they have to take what it is that they contribute, and what they do is they contribute their involvement, their interest, their attention, they aren’t carried along, they step into it, they buy the tickets, they buy their own tickets, and that enables something then to proceed.
But when something is handed to them, or bought for them, the idea of it having to function like that doesn’t seem to be what causes and enables things to unfold – in terms of coming into the play. In other words, the motion, the involvement involves a ticket that is put into motion, in other words, tied to the shoelaces or the feet so that something then can proceed in motion.
The first part of the dream shows everything is kind of in a swirl, that there’s no way of sorting anything and everything out, because there’s this and there’s this, and there’s that and there’s that and there’s that, and all of that leads to a kind of a bewilderment.
And then in the second part of the dream, there’s the succinctness where something comes and constellates, or gels, in which there is a recognition, or realization, or understanding that people take on. In other words, in the dream you may have been trying to do everything yet, but what really works, and what really causes the play to happen is the people show up with their own tickets. They come committed in their own way.
And the fourth ticket still remains to be seen, right? Like your sister, your dad, and you have a ticket, and then there’s a fourth ticket.
Which is like: do you give up on something? Do you call it a halt as it is and go in and appreciate the play? Or is that still something yet to unfold? But in any event the format, the template, for it unfolding is people have taken and mobilized their interest and involvement, that being the ticket. That ticket is put in motion, and there’s still the fourth, and how is that to be handled? Because the tickets are attached to the feet and put into action.
So what’s this kind of saying? Well, I guess it’s kind of saying that the energy that you’re feeling, in other words, we grow in our consciousness by the way the outer conditions touch us, confront us. And the outer condition that you’re feeling is that there’s dynamics in this area and in that area and all around, in the first part of the dream – but so what? Where does it go? How does it come together?
It seems to be a little interest over here, a little interest over there, and it seems to be an around, and an around, and an around. The underlying thing, in the first part, is the play. Now the play is something that is an evolvement that is for all to see, that’s in the overall. But the play is also you, which means that that quality of yourself participates in the overall. However, it has to participate in terms of each of those qualities being and finding their own way of functioning or holding their own. You can’t attempt to do it all. You have to work in relationship.
All of these parts has to work in relationship to its own individual focus, and so you exist in a life in which you have all kinds of things that are there, but nothing can be properly appreciated unless it’s brought into a motion that is embraced, that is taken on, and so that it then embraces or enhances the overall.
And the overall is always evolving, and that’s the fourth ticket. But you’re not going to get to that fourth, or to a stage of completion, if you have this stuff not quite constellated or gelled. And the way that it gels is it comes into a recognition of what’s important, in terms of how it perceives, and feels, and experiences things.
And so that second part of the dream is like an answer to the first part. It’s an answer to the first part from the standpoint that it is showing that in order for something to come out of that maze, that there has to be a recognition that steps forward on its own volition, and that each aspect that’s you, meaning that you are everything in the environment all around you, those aspects all have to come into a focus, a centering, in which there’s no disarray.
The first part of the dream indicates that things are intriguing and interesting, but are running into a kind of general disarray because something isn’t pulled properly together. The second part of the dream shows that something can flow because there is, and has resulted in, a pulling together.
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