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 …