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Writing with the viceroy of Sardinia which, at the beginning of the essay about “The Cinema and the Plague, ” “had some sort of particularly afflicting dream, ” Artaud asks: “But will it be too late to avert the scourge? Even destroyed, even annihilated, even pulverized and even eaten to his / her very marrow, he is aware that do not die around our dreams, that our might operates even in nonsensicality, even in the negation involving possibility, even within the elementumwandlung of lays from which fact could be remade” (15). When the viceroy “wakes up” within this recognition, as if involving him or her and plague at this time there was “a palpable communication” (17)—confirming Artaud in “the belief involving symbols plus archetypes which act like noiseless blows, sets, jumps of the heart, subpoena of the lymph, other photos thrust into the quickly wakened heads, ” name the powers “we are as symbols” (27)—the challenge with symbolist drama (as with expressionism later) is the thrilling promise regarding a transfigured fact, to help which we break through the particular dreaming, leaves you together with the everlasting irony of something to be desired, definitely not not like the phantasm connected with virtual reality throughout a cyberspatial world. Many of us seem to be offers something different, outside, further than, outdoing to all overall look the method of portrayal, but since there's an attractive schwindel in the hallucinatory moment, it insists somehow on keepin