The theatre, the drama, the conflicting of forms upon form revealing the live and living the concealing, is not the text of the play. It is the play. Therefore, the text must be played. Not worshipped. Intrinsic within the text and its operations on the stage is the unity of word and image and space of voice of body of soul. The primacy of the text that can often be given upon the stage relegates the body to a secondary state—a worthless state that is mere utility to what is spoken. When examining the play and required action, the examination of text cannot take precedence over the body. The body and word must be united. The sense unites them. It is a paradoxical union: the sense of the soul rising, rising; the body of the earth grounding, grounding; the word of the intellect speaking, speaking. All conflicting into one. The union is all the play. The Character of Image interacts upon the primacy of that unity. Nothing divided. Only conflicted. The supreme paradox.

The text alone worshipped and given primacy narrowly directs and confines its method to the objectives. What is produced is a concise cleanliness; a product that is surface driven. The cost of such clean conciseness is the paradoxical unity, is the beauty, is the forms upon form—the deeper understanding that the image is truth.

The words cohere to the depth in search of the depth, the deep crying out to the deep, to the revelation of word that is the image of play that is the very movement of the body of space alive with creation and meaning.

The text is not the text. It is the word—a challenge, a rebellion to all unilateral constricted directives so that the space of movement becomes free to speak. Hate is poured upon the stage in play as love is actualized in the word played.

The playing moves.

Word moves unity.