… The drama of modern art and its public, Everyman after Hiroshima faced with the debris of Dubuffet, the chromatic tumors of Wols, the burlap canvasses, Burri's industrial red-lead on shards of sheet metal, the orchestral blasts of Nono, the “what cannot be said is better left unsaid” of Wittgenstein's anti-philosophy; a drama already dated, if it is true that the levelling-off of taste, the techniques of psycho-control, the establishment of the marketplace in the cultural sphere all threaten to deprive Everyman (and his artist) of any right to tragedy. In this respect Each In His Own Way can be presented, today, not at all as a manifesto of Pirandellism, but rather as nothing less than a lyrical consummation without a trace of discursive reasoning, a poetics that is poetry. For someone working in the theatre it has the same value as a page by Mallarmé on poetry would have for a poet.