More images, preshow, during the extensive preparation for the theatre, to transform it from the presentation format of Cartas de Chimbote, into the gallery of history, testimony, graphic evidence, propaganda, documentation, and installation, of Sin Titulo. These are NOT photos of the performance, but rather, of load-in. I have seen the Wooster Group, Arianne Mnouchkine’s theatre in Paris, the San Francisco Mime Troupe, Peter Brook’s Midsummer, Peter Sellars’ Ajax, the Mahabarata, Sankai Juku, The Moscow Art Theatre…and so many more. Yuyachkani is all of them, and miles above them simultaneously. These performers have travelled the world studying and performing, they are wise and seasoned professionals, not marginal political activists who “use” theatre to create messages. This is supreme theatre, a complete theatre (see Charles Ludlam’s manifesto in Scourge of Human Folly). In the courtyard outside the playing space, a student of yuyachkani is blindfolded, suspended in space, a living testimony to the suspended lives of those who have lost so much.