The thing about The Tart is that I wanted to be specific and unabstract. Most experimental theatre has been done by painters who think abstractly. But I was a musician in rebellion against my medium; I didn't come to Happenings from the visual arts. I felt that the painters were too elegant and iconoclastic. What was missing was danger. So I wrote The Tart to express a sociological concept through choreography. It was not successful; neither was it intended to be. As it has no psychological empathy, The Tart does not permit the audience to view it as a play or ballet. But my hope was that audiences would sympathize with the performers (not the characters) in their social contexts and that the lines would be more tragic than funny.