]]>There can be freedom and joy within a script too: it's the moment when, as an actor, you realize that you aren't bound by your last performance of the script and that there are dozens of choices in every line. It's that moment where you stop controlling how you look, how you sound, what the lines are supposed to mean. Some lines have more choices and some have fewer, but it's not so much that scripted theatre is 100% destiny where improvisation is 100% freewill.
It's like, for hundreds of years, Buddhist meditators have been asking the same questions: "What is this?" "Who am I?" and so on. They are scripted questions, but they don't have scripted answers. For theatre practitioners, doing Macbeth can be like koan practice. You say the lines, and forget yourself inside the story, and then between your commitment, and abandonment, and the audience's energy and reactions, something emerges. You don't build to the scene where the theme gets clothed in words. You let every piece of the story stand for itself.