For the crisis to be offered, the collapse is offered—simultaneous crisis within collapse into crisis as offering. To capture, to experience, that great cost, the Character of Image sustained in weakness offers its will, and the will breaks and so too the Character of Image. The will is the last vestige of its strength. It must be willingly offered. The breaking, the shattering, is the foregoing of all choice. And the steeped heart of weakness is sustained. Where the weakness is utterly absolute, the discovery of strength—upside down weakness (clownish, foolish); dedicated craft; foresight—risks wisdom. And there the line; and there the space; and there the place and there the active congruence fulfills itself into freedom, discovers its choice, enlivened by the choice it chooses, actions flowing forth where the image strikes at the boundaries where the soul pours forth its paradox, the Character of Image expressing its story no longer surface driven but breaking the surface breaking because it broke, breaking the theatrical form itself—it is ancient, ancient, let it be ancient; do not overflow it with the piecemeal hiding of your weakness that encourages you to forget the ancient pain, the ancient guilt, that forces you to shut out all else but you and your surface pain, not really pain at all, ignoring your deeper pain, as if it is greater than that ancient pain, to the point where pain is merely an artifice, yet tricked into a pretended real action to affect a false humility. Break, break, I call: the you is the audience; the you is the actor; the you is those who cannot see; the you is those who pretend to see who pretend not to see. The you is you. Theatre is no artifice. It is the ideal form of playing real formed and fulfilled within the imagination. When you break, then I will speak of joy.