To see a hot oven in your dream, indicates passion, loyalty, warmth, devotion, togetherness and unselfishness. You are surrounded by friends and family. Alternatively, an oven symbolizes the womb. You are either in anticipation or in fear of having children. Consider the phrase " a bun in the oven" to indicate a pregnancy.

For a woman to dream that her baking oven is red hot, denotes that she will be loved by her own family and friends, for her sweet and unselfish nature. If she is baking, temporary disappointments await her. If the oven is broken, she will undergo many vexations from children and servants.

Seeing a red hot oven in your dream, symbolizes you will be loved by friends and family for your devotion and unselfish nature. Alternatively, it symbolizes the womb. You may be in anticipation or fear of having children. Consider the phrase " a bun in the oven". Dreaming that your oven is broken means many vexations from children.

Colour symbolism is one of the most universal of all types of
symbolism, and has been consciously used in the liturgy, in heraldry, alchemy, art
and literature. There are a great many considerations bearing upon the meaning of
colour which we can here do little more than summarize. To begin with, there is
the superficial classification suggested by optics and experimental psychology.
The first group embraces warm ‘advancing’ colours, corresponding to processes
of assimilation, activity and intensity (red, orange, yellow and, by extension,
white), and the second covers cold, ‘retreating’ colours, corresponding to processes of dissimilation, passivity and debilitation (blue, indigo, violet and, by
extension, black), green being an intermediate, transitional colour spanning the
two groups. Then there are the subtle uses to which colour may be put in emblematic designs. The serial order of the colour-range is basic, comprising as it
does (though in a somewhat abstract sense) a kind of limited set of definitive,
distinct and ordered colours. The formal affinity between, on the one hand, this
series of six or seven shades of colour—for sometimes it is difficult to tell blue
from indigo, or azure from ultramarine—and, on the other hand, the vowelseries—there being seven vowels in Greek—as well as the notes of the musical
scale, points to a basic analogy between these three scales and also between them
and the division of the heavens, according to ancient astrobiological thought, into
seven parts (although in fact there were sometimes said to be nine). Colour symbolism usually derives from one of the following sources: (1) the inherent
characteristic of each colour, perceived intuitively as objective fact; (2) the relationship between a colour and the planetary symbol traditionally linked with it;
or (3) the relationship which elementary, primitive logic perceives. Modern psychology and psychoanalysis seem to place more weight upon the third of these
formulas than even upon the first (the second formula acting as a bridge between
the other two). Thus, Jolan de Jacobi, in her study of Jungian psychology, says
in so many words: ‘The correspondence of the colours to the respective functions varies with different cultures and groups and even among individuals; as a
general rule, however, . . . blue, the colour of the rarefied atmosphere, of the clear
sky, stands for thinking; yellow, the colour of the far-seeing sun, which appears
bringing light out of an inscrutable darkness only to disappear again into the
darkness, for intuition, the function which grasps as in a flash of illumination the
origins and tendencies of happenings; red, the colour of the pulsing blood and of
fire, for the surging and tearing emotions; while green, the colour of earthly,
tangible, immediately perceptible growing things, represents the function of sensation’ (30). The most important of the symbols derived from the foregoing
principles are these: red is associated with blood, wounds, death-throes and
sublimation; orange with fire and flames; yellow with the light of the sun, illumination, dissemination and comprehensive generalization; green with vegetation,
but also with death and lividness (green is therefore the connecting-link between
black—mineral life—and red—blood and animal life—as well as between animal
life and discomposition and death); light blue with the sky and the day, and with
the calm sea; dark blue with the sky and the night, and with the stormy sea; brown
and ochre with the earth; and black with the fertilized land. Gold corresponds to
the mystic aspect of the sun; silver to that of the moon. The different conclusions
reached by psychologists and by traditional, esoteric thinkers, apparent in the
above summaries, can be explained by the fact that in the psychologists’ view,
symbolic impressions formed in the mind may be merely fortuitous, whereas
according to esoteric theory, the three series (of shades of colour, of component
elements and natural appearances, and of feelings and reactions) are the outcome
of a single, simultaneous cause working at the deepest levels of reality. It is for
this reason that Ely Star, and others, maintains that the seven colours are severally analogous to the seven faculties of the soul, to the seven virtues (from a
positive point of view), to the seven vices (from a negative viewpoint), to the
geometric forms, the days of the week and the seven planets (55). Actually this is
a concept which pertains more to the ‘theory of correspondences’ than to the
symbolism of colour proper. Many primitive peoples intuitively sense that close links exist between all the different aspects of the real world: the Zuni Indians of
Western America, for example, make a yearly offering to their priests of ‘corn of
seven colours’, each colour pertaining to a planetary god. Nevertheless, it is
worth while bearing in mind the most essential of these correspondences. For
example: fire is represented by red and orange; air by yellow; both green and
violet represent water; and black or ochre represent earth. Time is usually symbolized by a sheen as of shot silk. About the various shades of blue, ranging from
near black to clear sapphire, there has been a great deal of speculation. The most
relevant comments in our opinion are the following: ‘Blue, standing for the vertical’—and the spatial, or the symbolism of levels—’means height and depth (the
blue sky above, the blue sea below)’ (32). ‘Colour symbolizes an upward-tending
force in the pattern of dark (or gloom and evil) and light (or illumination, glory and
good). Thus, dark blue is grouped with black, and azure, like pure yellow, is
coupled with white’ (14). ‘Blue is darkness made visible.’ Blue, between white
and black (that is, day and night) indicates an equilibrium which ‘varies with the
tone’ (3). The belief that colours may be grouped in respect of their basic essentials, and within the general tendency to place phenomena in antithetical groups,
according to whether they are of positive value (associated with light) or of
negative (linked with darkness), is echoed even in present-day aesthetics, which
bases the colour-system not upon the three primary colours of red, yellow and
blue but upon the implied antithesis of yellow (or white) and blue (or black),
taking red as the indirect transition between these two colours (the stages being:
yellow, orange, red, violet, blue) and green as the direct (or summational) transition, this being the view of Kandinsky and Herbin. To sum up, those interpretations of colour symbolism which in our view have most importance: blue (the
attribute of Jupiter and Juno as god and goddess of heaven) (56) stands for
religious feeling, devotion and innocence (59); green (the colour pertaining to
Venus and Nature) betokens the fertility of the fields (56), sympathy and adaptability (59); violet represents nostalgia and memories, because it is made up from
blue (signifying devotion) and red (passion) (59); yellow (the attribute of Apollo,
the sun-god) indicates magnanimity, intuition and intellect (56, 59); orange, pride
and ambition (56, 59); red (the attribute of Mars), passion, sentiment and the lifegiving principle (56, 59); grey, neutralization, egoism, depression, inertia and
indifference—meanings derived from the colour of ashes (56, 59); purple (the
colour of the imperial Roman paludament, as well as the Cardinal’s) provides a
synthesis comparable with, yet the inverse of, violet, representing power, spirituality and sublimation (56, 59); pink (the colour of the flesh), sensuality and the
emotions (56, 59). One could go on with such interpretations ad infinitum, giving more and more exact meanings to more and more precise shades of colour, but to
do so would be to fall into one of the traps of symbolism, that is, the temptation
to evolve a hard-and-fast system of allegories. It is important, nevertheless, to
bear in mind the analogy between the tone (that is, the intensity of a colour, or the
degree of its brightness—its place on the scale between the opposite poles of
black and white) and its corresponding level-symbolism. It must also be borne in
mind that the purity of a colour will always have its counterpart in the purity of
its symbolic meaning. Similarly, the primary colours will correspond to the primary emotions, whilst the secondary or tertiary colours will express symbols of
like complexity. Children instinctively reject all mixed or impure colours, because
they mean nothing to them. Conversely, the art of very advanced and refined
cultures has always thrived upon subtle tones of yellowish mauve, near-violet
pink, greenish ochres, etc. Let us now consider some of the practical applications
of colour-symbolism, by way of clarification of the above. According to Beaumont, colour has a very special significance in Chinese symbolism, for it is
emblematic of rank and authority; yellow for instance, because of its association
with the sun, is considered the sacred privilege of the royal family (5). For the
Egyptians, blue was used to represent truth (4). Green predominates in Christian
art because of its value as a bridge between the two colour-groups (37). The
mother goddess of India is represented as red in colour (contrary to the usual
symbolism of white as the feminine colour), because she is associated with the
principle of creation and red is the colour of activity per se (60). It is also the
colour of blood, and for this reason prehistoric man would stain with blood any
object which he wished to bring to life; and the Chinese use red pennons as
talismans (39). It is for this reason too that when a Roman general was received in
triumph he was carried in a chariot drawn by four white horses which were clad
in gilt armour (as a symbol of the sun), and his face was painted red. Schneider,
considering the essential bearing of the colour red upon alchemic processes, concludes that it is to be related to fire and purification (51). Interesting evidence of
the ominous and tragic character of orange—a colour which in the view of Oswald
Wirth is actually a symbol for flames, ferocity, cruelty and egoism—is forthcoming in the following passage taken from Heinrich Zimmer, the orientalist: ‘After
the Future Buddha had severed his hair and exchanged his royal garments for the
orange-yellow robe of the ascetic beggar (those outside the pale of human society
voluntarily adopt the orange-yellow garment that was originally the covering of
condemned criminals being led to the place of execution) . . .’ (60). To wind up
these observations upon the psychic significance of colour, let us point to some
correspondences with alchemy. The three main phases of the ‘Great Work’ (a symbol of spiritual evolution) were (1) prime matter (corresponding to black),
(2) mercury (white) and (3) sulphur (red), culminating in the production of the
‘stone’ (gold). Black pertains to the state of fermentation, putrefaction, occultation and penitence; white to that of illumination, ascension, revelation and pardon; red to that of suffering, sublimation and love. And gold is the state of glory.
So that the series black—white—red—gold, denotes the path of spiritual ascension. The opposite or descending series can be seen in the scale beginning with
yellow (that is, gold in the negative sense of the point of departure or emanation
rather than the point of arrival), blue (or heaven), green (nature, or immediate
natural life), black (that is, in the sense of the neoplatonic ‘fall’) (33). In some
traditions, green and black are seen as a composite expression of vegetation
manure. Hence, the ascending series of green—white—red, formed the favourite
symbol of the Egyptians and the Celtic druids (54, 21). René Guénon also points
to the significant fact that Dante, who knew his traditional symbology, has Beatrice
appear in clothes coloured green, white and red, expressive of hope, faith and
charity and corresponding to the three (alchemic) planes which we have already
mentioned (27). The complex symbolism of mixed colours is derived from the
primary colours of which they are composed. So, for example, greys and ochres
are related to earth and vegetation. It is impossible to give any idea here of all the
many notions which may be derived from a primal meaning. Thus, the Gnostics
evolved the idea that, since pink was the colour of flesh-tints, it was also the
colour of resurrection. To come back to the colour orange, the beautiful explanation of some allegorical figures in the alchemic Abraham the Jew contains a reference to orange as the ‘colour of desperation’, and goes on: ‘A man and a woman
coloured orange and seen against the background of a field coloured sky-blue,
signifies that they must not place their hopes in this world, for orange denotes
desperation and the blue background is a sign of hope in heaven.’ And finally, to
revert to green, this is a colour of antithetical tendencies: it is the colour of
vegetation (or of life, in other words) and of corpses (or of death); hence, the
Egyptians painted Osiris (the god of vegetation and of the dead) green. Similarly,
green takes the middle place in the everyday scale of colours.

To see something burning in your dream, indicates that you are experiencing some intense emotions and/or passionate sexual feelings. There is some situation or issue that you can no longer avoid and ignore. Alternatively, it may suggest that you need to take time off for yourself and relax. Perhaps you are you feeling "burned out" or "burned up".

To dream that you or someone is being burned alive, suggests that you are being consumed by your own ambition.

Dreaming of something burning indicates that you are experiencing some intense emotions and/or passionate sexual feelings. There is some situation or issue that you can no longer avoid and ignore. Alternatively, it may suggests that you need to take time off for yourself and relax.

If you dream of burning wood you could be feeling creative and mentally agile.

A dream about burning incense can represent a need for emotional warmth.

If you have a dream about a house burning down, you could be hoping to be relieved of a problem.

Superstition-based dream interpretations often say that a dream of something burning is good luck.

The Chinese, in their solar rites, utilize a tablet of red jade, which they
call Chang; it symbolizes the Element of fire (39). In Egyptian hieroglyphics, fire
is also related to the solar-symbolism of the flame, and associated in particular
with the concepts of life and health (deriving from the idea of body-heat). It is
also allied with the concept of superiority and control (19), showing that the
symbol had by this time developed into an expression of spiritual energy. The
alchemists retained in particular the Heraclitean notion of fire as ‘the agent of
transmutation’, since all things derive from, and return to, fire. It is the seed which
is reproduced in each successive life (and is thereby linked with the libido and
fecundity) (57). In this sense as a mediator between forms which vanish and
forms in creation, fire is, like water, a symbol of transformation and regeneration.
For most primitives, fire was a demiurge emanating from the sun, whose earthly
representative it was; hence it is related on the one hand with the ray of light and
the lightning (35), and, on the other, with gold. Frazer lists many rites in which
torches, bonfires, burning embers and even ashes are considered capable of stimulating the growth of the cornfields and the well-being of man and of animals.
However, anthropological research has furnished two explanations of the firefestival (as it persists today in the Valencian bonfires on the night of St. John,
fireworks and the illuminated Christmas tree): on the one hand, there is the
opinion of Wilhelm Mannhardt, to the effect that it is imitative magic purporting
to assure the supply of light and heat from the sun, and, on the other, the view of
Eugene Mogk and Edward Westermarck that it has as its aim the purification or
destruction of the forces of evil (21); however, these two hypotheses are not opposing but complementary. The triumphant power and the vitality of the
sun—by analogy, the spirit of the shining Origin—is tantamount to victory over
the power of evil (the forces of darkness); purification is the necessary sacrificial
means of achieving the sun’s triumph. Marius Schneider, however, distinguishes
between two kinds of fire, depending upon their direction (or their function): fire
as in the axis fire-earth (representing eroticism, solar heat and physical energy),
and fire of the axis fire-air (linked with mysticism, purification or sublimation,
and spiritual energy). There is an exact parallel here with the ambivalent symbolism of the sword (denoting both physical destruction and determination of spirit)
(50). Fire, in consequence, is an image of energy which may be found at the level
of animal passion as well as on the plane of spiritual strength (56). The Heraclitean
idea of fire as the agent of destruction and regeneration is reproduced in the Indian
Puranas and in the Apocalypse (27). Gaston Bachelard recalls the alchemists’
concept of fire as ‘an Element which operates in the centre of all things’, as a
unifying and stabilizing factor. Paracelsus demonstrated the parallel between fire
and life, pointing out that both must feed upon other lives in order to keep alive.
To steal fire like Prometheus, or to give oneself up to fire like Empedocles, are
two concepts which point to the basic dualism of the human predicament. The
middle way lies in the comfortable solution of simply making material use of the
benefits of fire. But fire is ultra-life. It embraces both good (vital heat) and bad
(destruction and conflagration). It implies the desire to annihilate time and to
bring all things to their end. Fire is the archetypal image of phenomena in themselves (1). To pass through fire is symbolic of transcending the human condition,
according to Eliade in Myths, Dreams and Mysteries (London, 1960).

Depending on the context of your dream, to see fire in your dream can symbolize destruction, passion, desire, illumination, purification, transformation, enlightenment, or anger. It may suggest that something old is passing and something new is entering into your life. Your thoughts and views are changing. In particular, if the fire is under control or contained in one area, then it is a metaphor of your own internal fire and inner transformation. The dream may be a metaphor for someone who is "fiery". It represents your drive, motivation, and creative energy. Alternatively, the dream may be warning you of your dangerous or risky activities. You are literally "playing with fire".

To dream that you are being burned by fire, indicates that your temper is getting out of control. Some issue or situation is burning you up inside.

To dream that a house is on fire, indicates that you need to undergo some transformation. If you have recurring dreams of your family house on fire, then it suggests that you are still not ready for the change or that you are fighting against the change. Alternatively, it highlights passion and the love of those around you.

To dream that you put out a fire, signifies that you will overcome your obstacles in your life through much work and effort. If you are setting a fire to something or even to yourself, then it indicates that you are undergoing some great distress. You are at the brink of desperation and want to destroy something or some aspect of yourself.

Fire is favorable to the dreamer if he does not get burned. It brings continued prosperity to seamen and voyagers, as well as to those on land.

To dream of seeing your home burning, denotes a loving companion, obedient children, and careful servants.

For a business man to dream that his store is burning, and he is looking on, foretells a great rush in business and profitable results.

To dream that he is fighting fire and does not get burned, denotes that he will be much worked and worried as to the conduct of his business. To see the ruins of his store after a fire, forebodes ill luck. He will be almost ready to give up the effort of amassing a handsome fortune and a brilliant business record as useless, but some unforeseen good fortune will bear him up again.

If you dream of kindling a fire, you may expect many pleasant surprises.
You will have distant friends to visit.
To see a large conflagration, denotes to sailors a profitable and safe voyage. To men of literary affairs, advancement and honors; to business people, unlimited success.

Health and great happiness, kind relations and warm friends.

Depending on the context of your dream, to see fire in your dream can symbolizes destruction, passion, desire, illumination, transformation, enlightenment, or anger. It may suggest that something old is passing and something new is entering your life. Your thoughts and views are changing. In particular, if the fire is under control or contained in one area, it is a metaphor of your own internal fire and inner transformation. It also represents your drive and motivation. Dreaming of that you are being burned by fire indicates that your temper is getting out of control. Some issue or situation is burning you up inside. Dreaming that a house is on fire means passion and loving companions. Dreaming that you put out a fire means that you will overcome your obstacles in your life through much work and effort.

This is a very complex symbol that can have both negative and positive connotations. When interpreting this dream, you need to consider all of its details and your emotional responses in the dream. Fire can be a deeply spiritual symbol representing transformation and enlightenment. On the other hand, it could represent danger, anger, passion, pain or fear. A warm fireplace can symbolize happiness and security. Is the fire in your dream destroying something or simply warming you? Are you currently engaging in negative behaviors, or are you knowingly making wrong (or destructive) choices? Are you putting out fires in your dream? Your unconscious mind may be warning you and at the same time encouraging you to alter those things in your life that may be hurtful and dangerous.

Brown is not the most cheerful colour in the spectrum. It is a very serious colour that is associated with the earth, dirt, or soil. Autumn is generally brown and it represents a season of dormancy and conservatism. The brown in your dream may be symbolic of physical reality and earthiness. It may represent things in their "barest" form, and its interpretation may encourage you to add some light and depth into your daily life.

The essence of the question involved here is contained in the saying of
Plotinus that the eye would not be able to see the sun if, in a manner, it were not
itself a sun. Given that the sun is the source of light and that light is symbolic of
the intelligence and of the spirit, then the process of seeing represents a spiritual
act and symbolizes understanding. Hence, the ‘divine eye’ of the Egyptians—a
determinative sign in their hieroglyphics called Wadza—denotes ‘He who feeds
the sacred fire or the intelligence of Man’ (28)—Osiris, in fact. Very interesting,
too, is the way the Egyptians defined the eye—or, rather, the circle of the iris
with the pupil as centre—as the ‘sun in the mouth’ (or the creative Word) (8). René Magritte, the surrealist painter, has illustrated this same relationship between the sun and the mouth in one of his most fascinating paintings. The possession of two eyes conveys physical normality and its spiritual equivalent, and it
follows that the third eye is symbolic of the superhuman or the divine. As for the
single eye, its significance is ambivalent: on the one hand it implies the subhuman
because it is less than two (two eyes being equated with the norm); but on the
other hand, given its location in the forehead, above the place designated for the
eyes by nature, it seems to allude to extra-human powers which are in fact—in
mythology—incarnated in the Cyclops. At the same time the eye in the forehead
is linked up with the idea of destruction, for obvious reasons in the case of the
single eye; but the same also applies when there is a third eye in the forehead, as
with Siva (or Shiva). This is explained by reference to one of the facets of the
symbolism of the number three: for if three can be said to correspond to the
active, the passive and the neutral, it can also apply to creation, conservation and
destruction. Heterotopic eyes are the spiritual equivalent of sight, that is, of
clairvoyance. (Heterotopic eyes are those which have been transferred anatomically to various parts of the body, such as the hands, wings, torso, arms, and
different parts of the head, in figures of fantastic beings, angels, deities and so on.)
When the eyes are situated in the hand, for example, by association with the
symbolism of the hand they come to denote clairvoyant action. An excessive
number of eyes has an ambivalent significance which it is important to note. In
the first place, the eyes refer to night with its myriads of stars, in the second
place, paradoxically yet necessarily, the possessor of so many eyes is left in
darkness. Furthermore, by way of corroboration, let us recall that in symbolist
theory multiplicity is always a sign of inferiority. Such ambivalences are common
in the realm of the unconscious and its projected images. Instructive in this
connexion is the example of Argus, who with all his eyes could not escape death.
The Adversary (Satan, in Hebrew) has been represented in a variety of ways,
among others, as a being with many eyes. A Tarot card in the Cabinet des Estampes
in Paris (Kh. 34d), for instance, depicts the devil as Argus with many eyes all over
his body. Another comparable symbolic device is also found commonly in demonic figures: it consists of taking some part of the body that possesses, as it
were, a certain autonomy of character or which is directly associated with a
definite function, and portraying it as a face. Multiple faces and eyes imply
disintegration or psychic decomposition—a conception which lies at the root of the demoniacal idea of rending apart (59). Finally, to come back to the pure
meaning of the eye in itself, Jung considers it to be the maternal bosom, and the
pupil its ‘child’.
(1)
Thus the great solar god becomes a child again, seeking renovation at his mother’s bosom (a symbol, for the Egyptians, of the mouth) (31).
1 The Jungian idea is expressed as a pun. ‘Niña’ means both ‘daughter’ and ‘pupil (of the eye)’. The
phrase ‘Niña de los ojos’ is like the English ‘apple of one’s eye’, which gives something of the feel of
the pun.—Translator

To dream of seeing an eye, warns you that watchful enemies are seeking the slightest chance to work injury to your business. This dream indicates to a lover, that a rival will usurp him if he is not careful.

To dream of brown eyes, denotes deceit and perfidy.
To see blue eyes, denotes weakness in carrying out any intention.
To see gray eyes, denotes a love of flattery for the owner.
To dream of losing an eye, or that the eyes are sore, denotes trouble.

To see a one-eyed man, denotes that you will be threatened with loss and trouble, beside which all others will appear insignificant.

Seeing your own eyes in your dream, represents enlightenment, knowledge, comprehension, understanding, and intellectual awareness. Unconscious thoughts may be coming onto the surface. The left eye is symbolic of the moon, while the right eye represents the sun. It may also be a pun on "I" or the self. If you dream that your eyes have turned inside your head and you can now see the inside of your head, then it symbolizes insight and something that you need to be aware of. This dream may be literally telling you that you need to look within yourself. Trust your intuition and instincts. Dreaming that you have something in your eye, represents obstacles in your path. Alternatively, it may represent your critical view and how you tend to see faults in others. Dreaming that you have one eye indicates your refusal to accept another viewpoint. It suggests that you are one-sided in your ways of thinking. Dreaming that you have a third eye, symbolizes inner vision and insight. You need to start looking within yourself. Dreaming that your eyes are injured or closed, suggests your refusal to see the truth about something or the avoidance of intimacy. You may be expressing feelings of hurt, pain or sympathy. Dreaming that you have crossed eyes indicates that you are not seeing straight with regards to some situation. You may be getting your facts mixed up.

To dream that you are being protected or need protection, indicates that you are feeling helpless in some situation. Life's difficulties has made you dependable on others. You need to start taking charge of the situation.

To dream that you are protecting someone or something, suggests that you are putting up an emotional wall or barrier between you and others around you. Consider who or what you are protecting for clues as to what aspect of your own self you are afraid of letting out and letting others know.

Dreaming that you are being protected or need protection indicates that you are feeling helpless in some situation. Life's difficulties has made you dependable on others. You need to start taking charge of the situation. Dreaming that you are protecting someone, suggests that you are putting up an emotional wall or barrier between you and others around you. Consider who or what you are protecting for clues as to what aspect of your own self you are afraid of letting out and letting others know.

To dream of healing, represents your need for emotional and/or physical healing. You need to find the power to rectify and care for the issues in your life.

Dreaming of healing, represents your need for emotional and/or physical healing. You need to find the power to rectify and care for the matters in your life.

To dream that you are on a retreat, represents spiritual renewal and healing. It is time to replenish your energy.

To dream that you are retreating from a situation, indicates that you do not have the strength or the energy to deal with some waking situation. Perhaps you are in denial about something.

To dream that you are performing yoga, symbolizes unity, balance, harmony, calmness, and self-discipline. You have complete control of your mind and body. Alternatively, the dream indicates that you are stressed and overwhelmed. You need to take a breather.

Dreaming that you are performing, symbolizes calmness and control of mind and body. You have great self-discipline.