The organization of appearances is a system for protecting the facts. A racket. lt represents the facts in a mediated reality to prevent them emerging in unmediated form. Unitary power organized appearances as myth. Fragmentary power organizes appearances as spectacle. Challenged, the coherence of myth became the myth of coherence. Magnified by history, the incoherence of the spectacle turns into the spectacle of incoherence (eg, pop art, a contemporary form of consumable putrefaction, is also an expression of the contemporary putrefaction of consumption) (1). The poverty of ‘the drama’ as a literary genre goes hand in hand with the colonization of social space by theatrical attitudes. Enfeebled on the stage, theatre battens on to everyday life and attempts to dramatize everyday behaviour. Lived experience is poured into the moulds of roles. The job of perfecting roles has been turned over to experts (2).