"The education of an actor in our theater is not a matter of teaching him something; we attempt to eliminate his organisms resistance to this psychic process. The result is the freedom from the time-lapse bentween inner impulse and outer reaction in such a way that the impulse is already outer reaction. Impulse and action are concurrent: the body vanishes, burns, and the spectator sees only a series of visible impulses." "By gradually eliminating whatever proved superfluous, we found that theatre can exist without make-up, without autonomic costume and scenography, without a separate performance area (stage), without lighting and sound effects, etc. It cannot exist without the spectator relationship of perceptual, direct, communion. This is an ancient theoretical truth, of course, but when rigorously tested in practice it undermines most of our usual ideas about theatre. It challenges the notion of theatre as a synthesis of disparate creative discipline; literature, sculpture, painting. architecture, lighting, acting...."