Invision

It is possible, since I sat so many hours on the wall of the Acropolis in Athens. The idea of course would be the reduction, simplification and synthesis of the crowd, to character archetypes. To know one is to know all. I remember that this was a conscious decision. However the pantheon thing, if it were true, would have been unconscious and an invisible double game.

The theater had a context of the pottery shop and artist studio. So the players unusually had an affinity for that in some way. I was more concerned with the quality of the characters and not their class backgrounds. This meant I got along with everyone, but they couldn't necessarily get along with each other. Over time this proved to be due to class distinctions. One of the great things I liked about the Professor is that he would discuss social relations in terms of class background, as many classical writers would. Mostly this was, and still is, a taboo in America. There were a tremendous variety of characters that came around, from San Francisco, all over the country, and some from other parts of the world. Probably the unifier was the hippie philosophy. You had to start with the assumption that everyone was equal. Part of the process was people used first names only, with no last-name class qualifiers.

That first impression of people was suppose to be everyone equal, a painted portrait with no title and unsigned. After that it was psychology. One was to base their relationships on what the person said and did, and not on historical stereotypes. If I created a little castle, it was intended to be without class and no caste.

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