That intellectual space, psychic interplay, and silence solidified by thought which exist between the members of a written

phrase is here, in the scenic space, traced between the members, the air, and the perspectives of a certain number of shouts, colors and movements. In the performances of the Balinese theater the mind has the feeling that conception at first stumbled against gesture, gained its footing in the midst of a whole ferment of visual or sonorous images, thoughts as it were in a pure state. To put it briefly and more clearly, something akin to the musical state must have existed for this Mise en Scene where everything that is a conception of the mind is only a pretext, a virtuality whose double has produced this intense stage poetry, this many-hued spatial language. This perpetual play of mirrors passing from color to gesture and from cry to movement leads us unceasingly along roads rough and difficult for the mind, plunges us into that state of uncertainty and ineffable anguish which is the characteristic of poetry.