To break through language in order to touch life is to create or re-create the theater.
The theater, which is in no thing, but makes use of everything - gestures, sounds, words, screams, light, darkness - rediscovers itself at precisely the point where the mind requires a language to express its manifestations.... To break through language in order to touch life is to create or recreate the theatre.
All true language is incomprehensible, like the chatter of a beggar's teeth.
The fixation of the theater in one language--written words, music, lights, noises--betokens its imminent ruin.
With society and its public, there is no longer any other language than that of bombs, barricades, and all that follows.
I am adding another language to the spoken language, and I am trying to restore to the language of speech its old magic, its essential spellbinding power, for its mysterious possibilities have been forgotten.
It has not been definitively proved that the language of words is the best possible language. And it seems that on the stage, which is above all a space to fill and a place where something happens, the language of words may have to give way before a language of signs whose objective aspect is the one that has the most immediate impact upon us.
Like all magic cultures expressed by appropriate hieroglyphs, the true theater has its shadows too, and, of all languages and all arts, the theater is the only one left whose shadows have shattered their limitations.
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