What drew us to the way we went? What was the vision, the inciting incident? Actually, there was no incident, no high drama. There was simply a change of thought, a new way of looking at things, a tilt of the head, a revolution in our perception. We looked at what we had—the hit-or-miss; put-it-up, tear-it-down; make-a-buck, lose-a-buck; discontinuous; artist-indifferent; New York-centered ways of Broadway, and they weren’t tolerable anymore, and it made us angry. We thought there had to be a better way, and we made that up out of what was lying around ungathered and, standing on the shoulders of earlier efforts in America and examples common in other countries, we went forward, some of us starting small, some like the Guthrie, big.
The fabric of the thought that propelled us was that theater should stop serving the function of making money, for which it has never been and never will be suited, and start serving the revelation and shaping of the process of living, for which it is uniquely suited, for which it, indeed, exists. The new thought was that theater should be restored to itself as a form of art."