Theatre secedes from repetitious, various, fleeting preoccupations—the clouding, secretion of mammon. The Advocate instills a specific humility. To be away from the vain shadow, the character ascends: receives the being and in the context of theatre gives their being: the received gaze and the given gaze. And the given gaze. Being consciously gazes at its constraints—what it is and how it is. The Ascension is the deliberate conscience uplifting the Character of Image. Theatre uplifts existence, plays the moment that is continued and endured: suffering ascended to joy. The Character exists by its Image and their being exists other than itself from being its self. The Advocate is being itself. Together with it the Character of Image is fully alive (together we are—unto Ascension).

Theatre constrains the moment and exalts it through the idea—the good idea (only the good are free). It examines conflict by engulfing being in its constraints: its limits, its weaknesses, its sins. The engulfment is so difficult to endure that the character often meets its tragedy by defining being by the very constraints that shackle them: the advocate is dragged into the shallows; the character presumes it is the ascension. Fully lived, the constraints humble being and by that living humility being detaches from the constraints by the grace of the Ascension—the brief, unending catharsis. 

The Character of Image is so racked with constraints that they become the constraints themselves until they embrace the Ascension (thereby involving their being) and instead of serving the constraints, the character endures them in image because the Advocate has been sent by the Ascension, and from their conscience the Character of Image serves what is as is the beyond: to be with the Advocate and the Ascension into their intersection.