Sarvin’s Reviews > The Theater and Its Double > Status Update

thus, we shall rejoin the ancient popular drama, sensed and experienced directly by the mind without the deformations of language and the barrier of speech,

the language of theater aims at encompassing and utilizing space, to make it speak.

it seems that the highest possible odea of theater is one that reconciles us philosophically with Becoming, suggesting to us through all sorts of objective situations the furtive idea of the passage and transformation of ideas into thins, much more than transformation and stumbling of feelings into words.

it is the question then of making the theater, in the proper sense of the word, a function; something as localized and as precise as the circulation of the blood in the arteries or the apparently chaotic development of dream images in the brain.....
عجبببببب

enough of personal poems, benefiting those who create them much more than those who read them!

the public, which takes the false for the true, has the sense of the true and always respond to it when it is manifested. However, it is not upon the stage that the truth is it be sought nowadays, but in the street; and if a crowd in the street is offers an occasion to show its human dignity, it will always do so.

it must be said that the domain of the theater is not psychological but plastic and physical,

Theater's object is not to resolve social or psychological conflicts, to serve as a battlefield for moral passions, but to express objectively certain secret truths, to bring into the light of day by means of active gestures, certain aspects of truth that have been buried under forms in their encounters with becoming,

آرتو در مورد تئاتر بالی می گوید:
Everything is thus regulated and impersonal....
...and the strange thing is that in this systematic depersonalization, in these purely muscular facial expressions, applied to the features like masks, everything produces a significance.