Military Espionage Theory of Theater: A military espionage theory, using theater, must cross three variables, and a third code of integration, from the first two, string and latter (the particular order of plays used, and the secondary actions of other players besides those having been showing the play, not giving, the third code to be stated). The variables are construction, placement, and consequence. Construction, is what theory made this, to be packaged as a culture statement. Placement, is where is your target, to be frauded, is it you, or is it someone else, and then therefore, what is your role, as the target. Consequence, is the term of movement, through pieces, those being devices, removed from the term of parts to be played, by the theory used in the third code, this being the uniting theory between three variables and the three codes. The final one, the third code, is the trigger point of the recipient, from the offering party, the vestibule, the Church term for the double priest’s sanctum, for works and books, and the outer spanse between doors and main cathedral, the antechamber. This way, the giver, is also the viewer, for an intelligence switch of character, in terms of shift of anything that is a device, not a part, piece, or concept of theory. It cannot be customized, that is for a special bloodline, a potential architect, unless squandered, by a cheat, with a cat kill signaling the cheat, the police arrest and the dead pet cat of the individual breaking rules here, and perhaps below (it gets worse as you go down the list, doesn’t it, humble viewer).
Julius Caesar: There is a group of Irish in a highschool, and there’s been a town tragedy. Each Irish, must get involved in school politics as a candidate, and the one refusing the run, filed the improper police report. He has to go to the chief victim’s school as Brutus, with Caesar being told Brutus followed him, and then Brutus is betrayed as Caesar, and is placed contrary his unit report.
A Midsummer Night’s Dream: A member of a corporate company has formed a crime syndicate, and has to take them off bond notice; unless Puck, a civil rights family, spies, then he has to be paid per removal, or the corporation folds under scandal.
MacBeth: A civil rights family has attempted a character other than MacBeth, and has to be removed by consequence from MacBeth, the new cop clergy, hence if it is the actual MacBeth, nobody believes them, but if the cop clergy invokes falsely, they are the new civil rights family, as a shooting victim, for falsely invoking the play.
Hamlet: A drug intervention is to be refused, through name of drink, of any type, as a biker’s mixture, since an Irish has been placed in a support group for drinking to take away their liquor for a Mob/Posse/Yardie group. Even if you kill the Irish, the play is present forever, with whatever punishment possible for the gang named after a German cultural work.
Romeo and Juliet: A pair of rival groups that can’t mate, Saxons and Turks, has been aligned into a marital pact, and each group’s member, is marked as a politician. The play must be aligned to ruin each politician with a side, to remove each on a slow grade down, from the main character, to the nothingness of bowing off stage, with the true conspirator as having been removed for mixing Palestinians with Huns.
Henry VII: A marriage game for a man, a man has his own kingdom, and a kingdom to invest in controlled by a broader conspiracy, the community. The king must make a short term loss in a mutual investment, the war, to pull France to England by forcing the Church of England, and therefore the longterm investment profits, the marriage with wife and children, at expense of the Papacy, the township.
King Lear: A man has three male advisors, and whichever one called female, is more trustworthy. Cordelia, is always selected, for being the one the father dislikes, since the other pair, are homosexual, and think the third, a woman. If the male chooses incorrectly, he turns transexual, and has a rape suit against him, from both men.
Merchant of Venice: A police agent has attempted to control drug prices privately, instead of through fraternity and sorority, so a Jewish drug dealer, and Christian drug dealer, are selected, to remove the Shylock from power, the independent arbiter of narcotics for usage to make independent from family at collegiate schools and universities. Shylock converts to Christianity, despite having never been Jewish; a Catholic priest. He is defrocked.
Sonnets: A formula personal is applied, never to be changed, unless the writer to go through a psycho-somatic schism, into a suicide. The single trap point of logic, is on a criminal ethic, related to the subject of all Sonnets. Once written, the formula is stuck, and a new set can’t be written by the author, hence the debate about Shakespeare signing other people’s work.
Much Ado About Nothing: Sets of betrayed pairs are shown, with someone in a family having betrayed a pair at once, due to corruption in the family. The set of betrayals set up by the female matron, are to work together, ignoring the other pairs of betrayals. That way, the treacherous matron can be shown, and the business dealings involved with family can be removed, at expense of other literature induced.
The Tempest: The military culture of homosexuality is displayed, with gay being required but sex being refused, hence any engaging in fraternal brotherly acts, are held at court martial, for pederasty and criminal behavior, assuming homosexuality, to be a lifestyle choice, instead of the stage of committing murder and covert movement, in the heat of battle, not the heat of the night (your eventual lovers, women, or if women, men, after the Grand Tour is over).
King Richard: A leader is shown to be treasonous, by holding sway with toadies, and identifying their own royal servants, as to be on contract, when in fact, no such deal of armament exists. The proper king, defects into enemy lines, and if following the history of the War of the Roses, is humiliated, having refused to kill the servants of the other household he is taking power in. The proper way to win, is to refuse to analyze Henry VIII as a play, King Richard’s ordering of the construction of the Globe Theatre in the first place, having destroyed British intelligence by giving the Noble’s Catholicism, to the peasant, hence caused unprovoked war with “minders”, people who stalk and victimize and rob any man of wealth or wisdom; the courts protecting minders as Nobles, and as punishment, breed themselves Jewish, to encacerbate guilt, among high minded scholars of these plays.
Henry VIII: You are so evil, you have used theater stage theory, or the arts, for the police, instead of defense of civilian code, and refusal of those seeking otherwise, the establishment of Britain as a Mafiaso state; to be refused, by the Nobles and Groundlings, when there is word of the British Houses of Art, and Munitions, siding with police other than their own. A spy’s game, simply arranged by the release of a family secret, to a gilded hall, a scholar much aroused by defame.