The moment interactive with the other, interacting with the image, authenticated from its matter stimulating potency among time. The act is the voice of the idea. It asserts its wants and deep needs, which often defy each other. In theatre, the act is the defier, defying life itself, and, there, there!, it either succeeds in new life or fails within, negating its own life.

The act is the energy of the moment and not the movement because the action upon the stage is the image where a specific potentiality becomes the act of the character, but still remains in its matter and time with still other potentialities among it.

I know the Character of Image from its act, which is my act and you judge it by its act—my act. The act comes to judgment and risks the guilt from judgment. It must be still. Its authenticity is upon matter, which interacts the act unto the limits of time where it derives its past and is the future: the assertion of its potency.

The assertion negates other potential assertions, which have lead some to believe that theatre is cruel or violent, where theories like theatre of cruelty assert itself, not only because the negation seems violent, but also because any good assertion terrifies the audience unto newness and thereby ‘assaults’ them. The negation and assertion of potentialities may be intense, but in now way are they violent. By calling them violent—even if it is only meant as a metaphor, the action is exaggerated unto falsehood. The action must be true to its matter and time. Cruel and violent theatre is false and ugly. It is important to note that your matter and your potentiality within its time is good. Theatre is of a cry; a whisper; a crazed laugh: theatre is of an overwhelming longing for joy. The act is almost nearly innocent. And that’s its excitement.