Romanian Aspirin

The Courtesan’s story is updated to a narrative of Balkan sex traffic and mercenary contractors.

Levine: “Okay, more political – less?  Does the revenge change in this context?  It’s your world, now.”

Woman 1: “But it still isn’t changing the world as a whole …”

Should we separate her words from her content?

Woman 2: “I think that everything in the second scene is also in the first scene.”

Man 1: “But it’s harder to be immediately political when you’re wearing period clothes and wigs and bustiers and shoes.  Contrary to Brecht’s theory, I think the distance makes it hard to identify.”

Woman 3: “I felt more drawn into the first scene, because of what she said – extremely political because of the direction the Courtesan’s anger took.  It was profoundly shocking.”

Man 2: “Are we talking about political intent, or about political theatre?  It recalls the Godard quote about making political films vs. making films political … the second Courtesan is right – she’s speaking to our world – but I think some kind of distance, or disagreement in the scene, makes things more political.”

Levine: okay, speaking of disagreement …

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