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the audience remained unable to tell whether they were black or white until the actors removed their gloves at the end. The Hun developed his concepts about theater in "his" free store, and from mental notes he had taken during discussions with Emmett, Tumble and many others, he wrote an intelligent, perspicacious manifesto, which was published as an eight-page pamphlet by the Communication Company and distributed freely throughout the city. It was also mailed to different parts of the country, giving the Hun a reputation among the Tulane Drama Review Set, as one of the brighter, more ingenious, radical minds involved with "liberating theater" in America. The perceptive article was also an attempt at correcting the underground's concept of the Diggers, as a "hip Salvation Army." It was an effective piece to a degree, and naturally, entitled "Trip Without a Ticket:

Our authorized sanities are so many Nembutals. "Normal" citizens with store-dummy smiles stand apart from each other like cotton-packed capsules in a bottle. Perpetual mental outpatients. Maddening sterile jobs for straitjackets, love scrubbed into an insipid "functional personal relationship" and Art as a fantasy pacifier. Everyone is kept inside while the outsicle is shown through windows: advertising and manicured news. And we all know this.

How many TV specials would it take to establish one Guatemalan revolution? How many weeks would an ad agency require to face-lift the image of the Viet Cong? Slowly, very slowly we are led nowhere. Consumer circuses are held in the ward daily. Critics are tolerated like exploding novelties. We will be told which burning Asians to take seriously. Slowly. Later.

But there is a real danger in suddenly waking a somnambulistic patient. And we all know this.

What if he is startled right out the window?

No one can control the single circuit-breaking moment that charges games with critical reality. If the glass is cut, if the cushioned distance of media is removed, the patients may never respond as normals again. They will become life-actors.

Theater is territory. A space for existing outside padded walls. Setting down a stage declares a universal pardon for imagination. But what happens next must mean more than sanctuary or preserve. How would real wardens react to life-actors on liberated ground? How can the intrinsic freedom of theater illuminate walls and show the weakspots where a breakout could occur?

Guerrilla theater intends to bring audiences to liberated territory to create life-actors. It remains light and exploitative of forms for the same [end page 300]


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