I just reread it, and I admit it, it doesn’t make sense.
But I do have something to write about the ensemble created/performer created theater “movement”, such as it is, and about the theoretical contradictions in the lingo and technique w/r/t notions of “the psychological”, the need for intellectual inquiry and context that’s so often lacking, and how the tools end up most effective when anchored to the artist’s strength of purpose and curiosity. Etc.
Later, later. After I write about my recent return to an obsession over becoming a commodity.