The 22 Magazine Vol 2/II Sign & Symbol

in Foreman’s Ontological-Hysteric Theater on West Broadway until midnight, and then going back to sleep for two hours until I left for work. After weeks of somnambulism, I convinced Foreman to hire me for a hundred dollars a week so that I could quit my U.P.S. job. The most interesting assignment I had from Foreman was searching for the face of God in lower Manhattan. I learned everything about theater from him: script building, stagecraft, directing the actors, sound and lighting. I found myself so stimulated that I began to construct my own script using the fragments of old performance scripts as a basis and then turning to newspapers and magazines that I began to tear up for material.

Foreman didn’t assign characters to his lines until he staged them; I translated that freedom into assigning text to images while I composed on cardboard. One image simply had to be connected with one line of text at a time. Those storyboards evolved directly from a process I discovered by watching Foreman work. I began to see how language could be manipulated in visual terms (I was reading a lot