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?