Sense is the surface tension of union. It is a motive power of a mere moment that decides the unified action—merely momentous. Though the word and body move and speak toward their union and the craft is studied relentlessly from the cause so the depth of the soul is at one with the sense, yet the sense is so brief and the decision is so quick that the fear of the uncertain outcome, the unknown, paralyzes the decision. So the decisive fear glosses over the paralysis and merely grasps the objective: what speaks is separated from what moves; the voice cannot move and the body cannot speak.

The surface tension of union is yielded unto trust. The relentless craft discovers the impulse to act upon the unknown: a release into the captive moment; a movement of captivity that is the voice of freedom.

It is an admittance to the moment. The Character of Image is free to choose because they are captive to it. If the captivity is rejected, the moment is lost to utility and no matter the cries of freedom, the use has made it useless.

Sense is the surface tension of action. As what speaks moves toward movement what moves speaks toward voice. The search is of the soul driven into the tension of action where the choice is felt at the pinnacle of union and the Character of Image chooses the captivity of the moving voice—action completely unified, adhering to the vision of the play.

Play lays bare the captivity of the soul.

Playing sets it free.

Joy becomes it.

The surface tension of choice senses into the good. Theatre and all good art is the revelation of goodness. It is relentless.

It risks.

When it proclaims your falsehood, you may reject it.

When it proclaims the truth, you may relativize its conclusions.

Who wants to discover laughter when pain is most evident?

Who wants to explore pain in the midst of joy?

Who wants to be captive?