"I am calling it the Holy Theater for short, but it could be called The Theater of the Invisible – Made – Visible: the notion that the stage is a place where the invisible can appear has a deep hold on our thoughts. We are all aware that most of life escape our senses: a most powerful explanation of the arts is that they talk of patterns which we can only begin to recognize when they manifest themselves as rythms or shapes. We observe that the behaviour of people, of crowds, of history, obeys such recurrent patterns. We hear that trumpets destroyed the walls of Jericho, we recognize that a magical thing called music can come from men in white ties and tails, blowing, waving, thumping and scraping away. Despite the absurd means that produce it, through the concrete in music we recognize the abstract, we understand that ordinary men and their clumsy instruments are transformed by an art of possession. We may make a personality cult of the conductor, but we are aware that he is not really making the music, it is making him – if he is relaxed, open and attuned, then the invisible will take possession of him; through him, it will reach us."
- Brooke, Peter, 1968: The Empty Space. New York: Touchstone. (First Touchstone Edition 1996) S. 42.