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Writing in the viceroy of Sardinia who also, at the starting of his / her essay on “The Theater and the particular Plague, ” “had a good particularly afflicting dream, ” Artaud asks: “But could it be too late to prevent often the scourge? Even damaged, perhaps annihilated, even pulverized together with consumed to their exact marrow, he has learned that we do not die inside our dreams, our may operates even in drollery, even in the negation associated with possibility, even in the métamorphose of fabrications from which real truth may be remade” (15). When the viceroy “wakes up” with this recognition, as if concerning the dog and plague right now there was “a palpable communication” (17)—confirming Artaud in “the notion involving symbols in addition to archetypes which often act such as muted blows, beds down, jumps of the heart, summons of the lymph, other photographs thrust into all of our forthwith wakened heads, ” naming the powers “we are as symbols” (27)—the challenge with symbolist theatre (as with expressionism later) is that the thrilling promise involving a transfigured truth, for you to which we break through the particular dreaming, leaves us along with the perpetual irony regarding something to be sought after, not really not like the phantasm involving digital reality in a cyberspatial world. Many of us seem to be promised something other, outside, above, outdoing to all look the method of manifestation, but since there's an elegant schwindel in the hallucinator