Underneath this side of the limit, and in the extent to which he wanted to save the purity of a presence without interior difference and without repetition (or, paradoxically amounting to the same thing, the purity of a pure difference), Artaud also desired the impossibility of the theater, wanted to erase the stage, no longer wanted to see what transpires in a locality always inhabited or haunted by the father and subjected to the repetition of murder.