And Now We Are to It

And with the first Courtesan scene, the discusison is formally kicked off:

DL: So we talked before about why we make political theatre … why did Weil make that scene?  What’s she getting at?

Man 1/JG: I think it’s about brutality.  That scene is an almost compassionate understanding of evil? Because you see it’s a cycle of shame, that it’s passed along.  I think good political theatre is about looking at evil without blinking.

Woman 1: It’s about exposing power relationship?

M2/Z: I wouldn’t take it for granted that it’s political – maybe it’s about character, maybe we thinkthat because she’s a philosopher – but on it’s own it could also just be good theatre.  Most Greek tragedy deals with similar topics – but we don’t necessarily limit that to a ‘political’ definition.

DL: So it’s about context?

M2: and about who wrote it.

DL: but that’s interesting – because often with a Greek play, you don’t think about it as political unless it’s dressed-up and modernized – that’s a normal theatrical tactic.  So let’s see a version that adopts that strategy …


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