Enter a portal, enter the theatre. All the world’s a stage - all the world is contained upon this stage.

Every stage is constructed on something, a single language all participants speak. In sex, we enter through libido. In dreams, we enter through sleep. In ritual, we enter through ecclesiarchy.

Every actor speaks the same language, is wearing a mask cut from the same cloth as every other mask. When they interact, they do so through masks, through outfits taken from the same wardrobe.

The Theatre is the neutral center, the zero around which the world rotates. All things are represented symbolically, with a unified set of gamepieces, and manipulated on stage. From the outside, effects seem to be four dimensional, symbols without direct connection affected simultaneously as the Theatre acted upon them in unison.

The Theatre is Plato’s phenomenal cave in inverse. Symbolic representations of the world within the cave act as noumena upon what they represent, the whole world unified in one context, represented in the lingua franca of what the stage is made of - sex, dreams, ritual…

Consider the masked ball in Eyes Wide Shut. All things are gathered together as one, a commedia dell’arte mask on a robed figure, united in the single language of the rituals. Doctor Hartford enters the manor and sees the center of it all. The whole world has come together here, has been unified under one umbrella to play out its dramas. He has a sense looking at the first act, where the hierophant orders the circular procession around an inverse mass, that whatever happens here is what really happens - the world outside the temple is merely the effects of causes in the making before his eyes.

It’s true on a deeper level than usually read, to quote Oscar Wilde: “everything in the world is about sex - except sex. Sex is about power.”

For the Theatre, everything in the world is in reference to it - and through the Theatre, everything in the world is manipulated.