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That is all the timeliness of the Decroux: in the radicality with which it realizes its art. In the 1970s, Decroux will begin to invent scenic works, their themes and structures, through which his improvising collaborators offer him gestures, dynamics, and specific moves. The artist Decroux finally overcomes the hypothetical reformer of the theatre, the tireless educator and the thinker of movement: gestures, exceptional movements and attitudes are ultimately the only bearers of the poem. Indeed, his Words of Mime is neither a theoretical treatise on theatre and scenic movement, nor a conceptual analysis of human movement in the manner of Rudolf Laban or François Delsart. Rather, we are dealing with the definition of poetics. And Decroux's works have a radical power that we are still looking for in the stage form: the viewer will flood with gestures, movements, and actions that refer only to themselves and exert a glow of their precision and uniqueness of their style. And the power of these works is born in the absolute engagement of those who invent them, settle them and let them penetrate, that is, the stage artist Decroux calls "actor," and as he writes, without distinction, whether he is a mime or a dancer.