Peacock Moth Caterpillar (Saturnia pyri).

Christopher Doyle’s “Buenos Aires”, his own diary while making “Happy Together”

“But by an altogether Oriental means of expression, this objective and concrete language of the theater can fascinate and ensnare the organs. It flows into the sensibility. Abandoning Occidental usages of speech, it turns words into incantations. It extends the voice. It utilizes the vibrations and qualities of the voice. It wildly tramples rhythms underfoot. It pile-drives sounds. It seeks to exalt, to benumb, to charm, to arrest the sensibility. It liberates a new lyricism of gesture which, by its precipitation or its amplitude in the air, ends by surpassing the lyricism of words. It ultimately breaks away from the intellectual subjugation of the language, by conveying the sense of a new and deeper intellectuality which hides itself beneath the gestures and signs, raised to the dignity of particular exorcisms.”

–Antonin Artaud, from The Theater of Cruelty (First Manifesto): The Theater and Its Double, 1938.