By Theodore Shank (auth.)

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The sixteen actors in the production change character frequently and sometimes are inanimate objects or simply themselves. The continuity is that of the presence of the performers rather than of specific characters. No scenery is used, the actors wear their own clothes, and there are few props. The actors enter while a recording of the song 'The Viet Rock' is playing. They lie on their backs with their heads together forming a circle. Gradually movement can be detected, then sounds of humming, babies gurgling, childlike sounds of laughter, sounds of children playing war games, cowboys and 38 Primary Explorations 11.

The ending is not to be mi staken for the revolution, it is an enactment or a demonstration. Nevertheless, it was their intention to bring the spectators to astate where non-violent revolutionary action was possible. An interior change was a necessary prerequisite to the extern al social and economic revolution . 23 American Alternative Theatre 8. Paradise Now, photo: Gianfranco Mantegna For the Living Theatre life, revolution and theatre had become one. The Action portion of each section of Paradise Now consisted in part of unrehearsed actual behaviour of performers and spectators without a fictional illusion.

In short the Living Theatre attempted to be co me a model of the anarchistic society. 'Our presence is our message,' said Beck, 'we are what we stand for. ,16 Their rehearsal methods became more collective. Malina and Beck still had the greatest impact on the productions, but rehearsals were now conducted without a director which, although less efficient, demonstrated that work could be accomplished without bosses. They were encouraged by the interest in their performances, especially since they had been warned that they would be greeted by apathy and rejection.

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