painting and the orgien mysterien theater

i saw the substance of sensuousness that fascinated me put into material practice by the art informel painters. they carried this out on a picture surface and i wanted to do the same in theater. suddenly i wanted to paint the walls of my theater. i dreamt of smeared, sullied picture surfaces. all of the substances i employed in my theater 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 mud were to be slapped against the walls and splatter. i saw in front of me pasty, coloured shapes of mud resembling intestines, encrusted, thick in application. an access into the subconscious, in the slimy, into the inner carnal, the cavities, the womb, into the world of the sexual, the erotic was to open up. but almost immediately i caught myself, should i create stage settings, should i once again be setting my theater limits with stage scenery after all the effort put in to free it? if this painting wrung from my theater was to make any sense, then it could only take place within my theater as dramatic action, as an event occurring at the time. i developed an action painting intrinsic to my theater. splattering walls was conceived as a theatrical in time. the action was just as important as the result. this painting became the visual grammar of my action performances on pictorial surfaces and the ritual entry into the action performances. the dionysian process, this often ecstatically excessive action painting induced the excessive acts of the action performances