In the mid-1960s, the company began a new life as a nomadic touring ensemble.

In Europe,
they evolved into a collective, living and working together toward the creation of a new form
of nonfictional acting based on the actors political and physical commitment to using the
theater as a medium for furthering social change. The landmark achievements of this period
include Mysteries and Smaller Pieces, Antigone, Frankenstein and Paradise Now.

In 1964 the company took up voluntary exile in Europe. Now influenced by

Oriental mysticism, gestalt therapy techniques, and an Artaudian desire to
abolish the distinction between art and life, The Living Theatre moved
toward deliberately shocking and confronting its audiences in such works
as Paradise Now (1968), in which the actors performed rituals, provoked
arguments, and carried on until members of the audience left.

https://www.youtube.com/watch?v=3oycJjTSgMA

https://www.youtube.com/watch?v=jF7_BdHi_NA

The companys most notorious show, Paradise Now, consisted of a

jumble of nonlinear vignettes, theater games, ritualistic exercises, group
embraces and volleys of incantatory anticapitalist slogans and other
epithets, some encouraging sexual abandon and marijuana use, often
culminating with members of the company and the audience taking off
their clothes. The vehemence of the revolutionary message and its delivery
joined the Living irrevocably to the more perfervid nonviolent strain of the
1960s counterculture.
I demand everything total love, an end to all forms of violence and
cruelty such as money, hunger, prisons, people doing work they hate, Ms.
Malina explained in a 1968 interview with The New York Times Magazine
about the sort off revolution her theater wanted to engender. We can have
tractors and food and joy. I demand it now!
Performances of Paradise Now often generated chaos in the theater and
controversy outside it. In Europe, where the Living became a collective
(operating as, in one reporters words, a tribe or an anarchists
commune) and commanded a large and youthful following that
newspapers routinely described as hippies, the police were called to shut
down or prevent performances of Paradise Now and other Living shows
in Rome, Avignon and elsewhere. In 1968 the Living returned to the
United States, where, after a performance at Yale, several members of the
company and the audience were arrested for indecent exposure.

In 1963 they had to close the Living Theatre because of IRS charges (later proved false) of tax
problems, and Malina and Beck were convicted of contempt of court, in part because Judith
defended Julian wearing the garb of Portia from The Merchant of Venice and tried to use a
similar argument.[6] They received a five-year suspended sentence, and decided to leave the U.S.
The company spent the next five years touring in Europe and creating increasingly radical works,
culminating in Paradise Now. They returned to the US in 1968 to present their new work. In her
book The Enormous Despair (1972), part of her series of published diaries, Malina expressed the
sense of danger and unfamiliarity she felt on returning to the U.S. in the midst of the social
upheavals of the late 1960s.[citation needed]

Paradise Now: Collective Creation of the Living Theatre. Written down by Judith Malina and
Julian Beck. "The play is a voyage from the many to the one and from the one to the many. It is a
spiritual voyage and a political voyage. It is a voyage for the actors and the spectators. It begins
in the present and moves into the future and returns to the present. The plot of The Revolution.
The voyage is a vertical ascent toward Permanent Revolution. The Revolution of which the play
speaks is The Beautiful Non-Violent Anarchist Revolution."