With August Stramm, drama developed away from verbal context, from propaganda, and from character delineation, and toward explosive activism. Creative experiments with MOTION AND SOUND (speech) were made, based on the impetus of human sources of energy, that is, the “passions.” Stramm's theater did not offer narrative material, but action and tempo, which, unpremeditated, sprang almost AUTOMATICALLY and in headlong succession from the human impulse for motion. But even in Stramm's case action was not altogether free from literary encumbrance.