i saw the substance that is sensual perception, which has fascinated me, first put into material practice by the art informal painters. they carried this out on a picture surface and i wanted to do the same in theatre. suddenly i wanted to paint the walls of my theatre. i dreamt of smeared, sullied picture surfaces. all of the substances i employed in my theatre were to run down the walls. menstrual blood, pus, hot wax, cow dung, urine were to flow and drip from the walls in thick streams. pats of mucus were to be slapped against the walls and splatter. i see before me impasto, intestine-like shapes of slimy colour, encrusted, thickly applied, an access to the subconscious, the oozing, into the inners of bodily flesh, the cavities, the womb, into the world of the basal sexual, the erotic was to open up. but almost immediately i caught myself, should i produce stage sceneries, should i once again fence in my theatre with sets after going through the toil of liberating my theatre? if this painting wrung from my theatre was to make any sense, then it could only take place within my theatre as dramatic action, as an event in time. i developed an action painting intrinsic to my theatre. splattering walls was conceived as a theatrical act in time. the action was just as important as the result. - this painting became the visual grammar of my performance actions on pictorial surfaces and the ritual entry into the performance. the dionysian process, this often ecstatically excessive action painting induced the excessive acts of the performance.