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Put differently, the gesture that carries a certain signification or mes­ sage is enabled by something which produces its rhythm, con­ tours . . and existential territory. At that time, theater is said to be a place where the mutation between discursive components occurs. The function of this place is deployed within other forms of semiotization in the regime of representation, and at the same time, produces a certain existential territory, which is deployed in a non-discursive register, and then makes theater flourish - the fact that there is a production of theater, and in the induction of a theater, the induced annihilates the inducing.

One might misunderstand that playing more freely or anarchically is an improvisation, yet nothing proceeds well without recognizing what enables improvisation. Since im­ provisation has become one of the methods of artistic expres­ sion, it turns out not to have been a dream. It is just something like a pathway into a dream. Intuition comes from perspective. An intuition stands up in a single stroke, and then creates a fringe. Translator: After all, this improvisation is an immediate creation and "written retention" of a moment.

They can be water or soil; or plants just as well. " That is why the object is never fixed. Guattari: But is it done through deterritorialized components? Don't you use different, trans-semiotic elements, for instance, smells, sounds or impressions? Translator: In this case, the point of view should be changed a little bit, even while retaining the same words and elements. W hen Min-san talks about wind, it is already made up of very complicated components. W hen a body is compressed by wind, if I can relate it to the question raised by Mr.