To call into question

who we are to each other in the social environment

of the theatre,

to undo the knots that lead to misery,

to spread ourselves

across the public's table

like platters at a banquet,

to set ourselves in motion

like a vortex that pulls the spectator

into action,

to fire the body's secret engines, 

to pass through the prism

and come out a rainbow,

to insist that what happens in the jails matters,

to cry "Not in my name!"

at the hour of execution,

to move from the theater to the street

and from the street to the theater.

This is what The Living Theatre does today.

It is what it has always done.