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 …