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Writing of the viceroy of Sardinia that, at the launching of the essay with “The Movie theater and the particular Plague, ” “had a particularly afflicting dream, ” Artaud asks: “But could it be too late to avoid often the scourge? Even ruined, actually annihilated, even pulverized together with taken to the pretty marrow, he understands that we do not die within our dreams, that our can operates even in drollery, even in the negation involving possibility, even within the alchemie of untruths from which truth can be remade” (15). If your viceroy “wakes up” with this knowledge, as if involving him and plague at this time there was “a palpable communication” (17)—confirming Artaud in “the notion connected with symbols in addition to archetypes which will act like quiet blows, beds down, advances of the heart, summons of the lymph, inflamed pictures thrust into all of our forthwith wakened heads, ” identifying the powers “we are as symbols” (27)—the challenge with symbolist theatre (as with expressionism later) is usually that the thrilling promise of a transfigured reality, to help which we break through often the dreaming, leaves us all along with the everlasting irony associated with something to be desired, definitely not in contrast to the phantasm associated with exclusive reality inside a cyberspatial world. Most of us seem to be stated something different, outside, further than, outdoing to all overall look often the progra