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Writing on the viceroy of Sardinia that, at the opening up of his essay on “The Cinema and often the Plague, ” “had a new particularly afflicting dream, ” Artaud asks: “But could it be too late to avert typically the scourge? Even demolished, even annihilated, even pulverized together with ingested to his or her exact marrow, he is aware that do not die around our dreams, that our may operates even in nonsensicality, even in the negation involving possibility, even throughout the métamorphose of lays from which fact may be remade” (15). In case the viceroy “wakes up” on this knowledge, as if concerning your pet and plague right now there was “a palpable communication” (17)—confirming Artaud in “the thought connected with symbols and even archetypes which act just like quiet blows, rests, advances of the heart, summons of the lymph, other photos thrust into each of our suddenly wakened heads, ” enumerating the powers “we are as symbols” (27)—the challenge with symbolist theatre (as with expressionism later) is that the thrilling promise involving a transfigured actuality, for you to which we break through this dreaming, leaves us all using the everlasting irony regarding something to be wanted, definitely not as opposed to the phantasm associated with exclusive reality within a cyberspatial world. We seem to be guaranteed something different, outside, further than, outdoing to all look often the program of representation, but once there's an attractive vertigo in the hallucina