Punishment resists its own ends while the pun continues to intrigue a captivated audience. If captivity is suggested it's only because elsewhere a prison was entertained to show how this pun outdistances circularity into a spiraling performance. Captivation is an endless energy that exerts the audience to go beyond play as noun or verb into the alchemical spell of words. The lasting endurance of surprise is a constant source of play, the spell of words anticipates, and overcomes the expectation syntax denies. The wall between actor and audience is forgotten when the finish line disappears, the last leg of stamina propels the spell towards a prophetic mixture of metaphors.
Performance races the engine as an accountability to the lines the part spells out.
This Nietzschean spell of Eternal Recurrence is a sameness only for those for whom syntax is an impasse, whether by dereliction of self to a system or by rebellion into an annihilation as gristle for others. The King of Time plays at order to perceive the unexpected laughter that arises somewhere between permutations of words. This is the purpose of naming, a movement through perception that exerts change upon the petrifaction of language. Stamina retrains syntax as the compulsion to movement, the imperative that heralds in statements as victorious masters disseminating equalitarian signs. Financial Aid is available for those that qualify.