out what they wanted to change about their community, and he used the audience reaction to change legislation in his role as a councillor. In the United States, the tumultuous 1960s saw experimental theater emerging as a reaction to the state's policies on issues like nuclear armament, racial social injustice, homophobia, sexism and military–industrial complex. The mainstream theater was increasingly seen from as a purveyor of lies, hence, theatrical performances were often seen as a means to expose what is real and this entails a focus on hypocrisy, inequality, discrimination, and repression. This is demonstrated in the case of Grotowski, who rejected the lies and contradictions of mainstream theater and pushed for what he called as truthful acting in the performances of his Poor Theater as well as his lectures and workshops. Experimental theatre encourages directors to make society, or our audience at least, change their attitudes, values, and beliefs on an issue and to do something about it. The distinction was explained in the conceptualization of experimentation that "goes much deeper and much beyond than merely a new form/or novel content" but "a light that illuminates one's work from within. And this light in the spirit of quest – not only aesthetic quest – it is an amalgam of so many quests – intellectual, aesthetic, but most of all, spiritual quest." Methods of creation Traditionally, there is a highly hierarchical method of creating theatre - a writer identifies a problem, a writer writes a script, a director interprets it for the stage together with the actors, the performers perform the director and writer's collective vision. Various practitioners started challenging this and started seeing the performers more and more as creative artists in their own right. This started with giving them more and more interpretive freedom and devised theatre eventually emerged. This direction was aided by the advent of ensemble improvisational theater, as part of the experimental theatre movement, which did not need a writer to develop the material for a show or "theater piece." In this form the lines were devised by the actors or performers. Within this many different structures and possibilities exist for performance makers, and a large variety of different models are used by performers today. The primacy of the director and writer has been challenged directly, and the directors role can exist as an outside eye or a facilitator rather than the supreme authority figure