The Living Theatre Company of New York has been playing Europe, in voluntary, self-imposed exile, since September, 1964. During this period, despite extreme physical and financial hardship, they have created and produced two astonishing new works, Mysteries and Smaller Pieces and a new version of Frankenstein, both of which have had an enormous impact on critics and large audiences in Europe. Both are remarkable in that they are the result of the collective authorship of an entire company working deliberately with the concepts of Artaud. Each has a freedom of movement, an imaginative inventiveness, and lyric qualities that transcend Artaud. Each has a unity of form and content, fusing the political and aesthetic directions in which the Living Theatre had been groping for many years.