Alternative Vision, Without Turks

DL: We didn’t do this with Turks, but there’s a common strategy of updating things in search of either immediacy or relevance …

A revised version of the Courtesan scene, updated:
DL: so what changes when you do that?  Your feelings about the characters, the scene?

M3: everything seems changed – even the shift from prostitute to courtesan – the rerevenge is more general, where for the first courtesan is more specific

DL: But which speaks more to our current situation?  What are the impulses behind that move in the theatre?

MDL: maybe it seems more sentimental …

DL: but the first scene is more distant –

MDL: it is.  I can identify with the second – but when I do that, I lose my critical faculties, I take it personally and aren’t thinking so much

M4: my problem with adaptations is that the second scene doesn’t make sense – I don’t think of Venice as the source of such prostitution –

W1: but it is happening in all those cities – paris, rome –

M1: the first scene is more specific – she has the list – whereas the second woman isn’t so individual

DL: but the 2nd scene has so many more facts

M1: that doesn’t matter.  the 2nd scene is easier to grab hold of, but the first courtesan is more special –

DL: but does the person have to be special in order for you to care?


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