1 1
We can't let the theater continue to be a slut.
It's only worth a lot of suffering.
There's an unknown risk of distorting reality.
1 2
Let's just say
The theatre must be a universal focus.
A self-evident existence.
The theater through its material properties
It's the only expression it needs in space.
It's not like I'm going to be able to be a part of this, but I'm going to be a part of it.
Like the magic of a return.
1 3
All this has done is for one result.
The theatre will no longer be given clear operational power.
Until it is given a language (a thought) that belongs to it.
1 4
In other words, instead of continuing to rely on so-called authoritative and sacred texts
I think it would be better to just cut off the slave trade between the theater and the text.
To restore that idea.
The idea of a unique expression between pose and thought.
2 1
This idea must not be easily defined.
Unless it finds in space a possibility of interactive and dynamic expression
It is not just the possibility that can be expressed in an oral dialogue.
2 2
And the theater also needs to take over the possibility of its extension beyond words.
The kind that grows in space.
It's a possibility for the act of alienation and oscillation to occur in a sense.
2 3
This is about the moment when a word can be said or spoken.
It also intervenes in the visual language, movement, attitude and position of objects (other than the audio language of the sound).
But if their meaning, their faces, their combinations can be symbols
These symbols are used to form an alphabet (the essential elements of the system).
2 4
Once this language is recognized in space
The language of sound, crying, lights, writings.
The theatre must organize it with the help of characters and matter into an absolutely pure hieroglyphic symbol.
And they use their symbols to connect to each organ and level.
3 1
Well
For the theater
The problem is to create a form of speech, pose and expression to go to school.
It was released from a state that was enslaved by psychology and "human taste".
3 2
Attention!
This effort is likely to be useless.
Unless there's a real tendency to go to school behind it
It's not normal for me to think.
It's hard to define what's in essence.
You can't even be officially described.
3 3
The theatre must now be completely alien (it has to come from outer space).
In the first place in the world of silent space order and supply, there is a great deal of hope for the future.
The creation of ideas about creation, becoming and chaos.
So they can all create
A fanatical equation between people, society, nature and things.
3 4
In addition
This is not a question of moving the idea of physical schooling directly to the stage.
It's about creating an atmosphere around these ideas that you can call temptation, pull in.
4 1
It's like a state of anarchy accompanied by humor.
It's like a symbol and an image of poetry.
Providing a basic concept to channel these temptations.
4 2
Now we have to talk about the unique material dimension of this language.
That is, all the ways and means it uses for its sensory effects.
4 3
If it's just music, dance, mime or imitation
That's pointless.
It's obvious.
It uses exercise, sound, rhythm.
But in a way
They will work with each other to make a central expression.
Without favouring any particular form of art.
4 4
But that doesn't mean it doesn't use everyday behavior and emotions.
They have to be used as a jumpboard.
It's like humor as destruction.
To reconcile the corrosiveness of the smile with our usual rationality.
5 1
This is an objective and specific theatre language that attracts and trapes our organs.
Go through an east expression.
It flows into our senses.
Let go of those Western words!
Words are treated as spells.
5 2
It expands the tone.
It takes advantage of the vibrations and the senses in the sound.
It tramples on the rhythm at its feet.
Like a sticker.
It seeks a sense of high, numbness, glamorousness and inspirability.
5 3
It will release a new gesture of love.
Through it it lands or fills the air.
In the end, it goes beyond words.
5 4
It will emerge from the intellectual conquest of language.
By conveying a new and deeper wisdom.
It will be released from hiding in positions and symbols.
Go to the height where the exorcism lies.
6 1
All these attractions
All these poems
All these direct and attractive means will be lost.
If they don't get used to putting the spirit on other tracks
If that real theater doesn't give us that feeling anymore
That's the only way we can hold on to it.
But it's all about creativity from other levels.
6 2
As to whether or not these other levels are really conquered by the mind.
It doesn't matter.
In other words
Through intelligence
They will be devalued.
And that is neither good nor meaningful.
6 3
The only important thing is
It's been a long time.
It's not like it's not like it's in a state of heightened sensitivity and permeability.
And that's the purpose of magic and ritual.
The theatre is just a reflection.
6 4
The theatre is just a reflection.
It's a terrible language, but I don't want to translate any of the original author's trash, but I just can't stand the fact that the Chinese Internet can find a few translations on my own. All translations are created, and future plans are made to translate more words about cruel theatres and to use them to guide their own practice. If you want to talk about cruel theatres, you can keep talking.
The theater is just a reflection.