Richard Schechner was fascinated by John Cage's notions of chance and
"life as theater," and by the radical approaches to performance of
painters like Allan Kaprow. Kaprow's rules of thumb for "Happenings,"
such as "the line between art and life should be kept as fluid, and
perhaps as indistinct, as possible," were the model for his own
manifesto on theater, Six Axioms for Environmental Theater
(1967). Dionysus 1969 illustrated several of these axioms, such
as "all the space is used for performance," and it was a powerful
example of his belief in involving the audience (here shown being led
into the street).
RoseLee Goldberg, Performance: Live Art since 1960, p. 68.