To call into question
who we are to each other
in the social environment of the theater,

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.