the character. Through Foreman's alienating characterization, the audience is made to look at Foreman's actors as "self-enclosed units," or theatrical props, rather than characters. Therefore, Foreman's aesthetics demand that the spectator not escape into the play, but become conscious of their own process of interpretation. In Foreman's essay, "14 Things I Tell Myself," he elaborates, "Our art then = a learning how to look at 'A' and 'B' and see not them but a relation that cannot be 'seen.' You can't look at 'it' (that relation) because it IS the looking itself. That's where he looking (you) is, doing the looking." Davy points out that "by eliminating internal punctuation in long complicated sentences," Stein's writing produces a similar effect for her readers who have to actively take part in discerning Stein's words. Ontological-Hysteric Theatre The Ontological-Hysteric Theater (OHT) was founded by Foreman in 1968. The core of the company's annual programming is Richard Foreman's theater pieces. Foreman mounted his first production with Ontological-Hysteric Theatre in 1968 at the Film-Maker's Cinematheque on Wooster Street, where he worked under the Fluxus leader George Maciunas. Ontological-Hysteric Theatre balances a primitive and minimal art style with extremely complex and theatrical themes. OHT's first productions, Angelface (1968) and Ida-Eyed (1969), received almost no critical attention. By the mid 1970s, however, OHT gained traction with relatively popular works such as Sophia = (Wisdom) Part 3: The Cliffs (1972). Critical Analysis In his 1973 essay, "Richard Foreman's Ontological-Hysteric Theatre," theater critic Michael Kirby aptly breaks down the aesthetics of OHT through the case study of Foreman's play Sophia = (Wisdom) Part 3: The Cliffs. Kirby uses the elements of setting, picturization, speech, written material, control, movement and dances, sound, objects, relation to film, structure, content, and effect to analyze Foreman's theatrical vocabulary. Among his observations, Kirby notes that although "Sophia" is a play without a plot, it produces its own kind of structure of "thematic webs of visual and verbal ideas and references." Foreman achieves this visual structure through "picturization.' By picturization, Kirby means that Foreman's staging is presented as "sequences of static pictures" in which the actors adjust themselves into tableaux as opposed to moving continuously throughout the play. Kirby also notes that Foreman makes use of written text that is projected on screens on the set. These projected words, Kirby describes, are both direct addresses to the spectator and "expository information". Kirby also writes about