M7: is it automatically no longer political theatre if it’s not only political?
DL: the possibility of seeing a bond trader as human, and therefore deciding “I shant garrote them after all …”
W9: to me the first scene is the most instrumental, not because it’s good, but because all the subsequent scenes took us farther and farther away from the author and thus an author’s self-implication. none of the things written on the wall have anything to do with political theatre – they’re bullshit – it’s all propaganda. the most interesting thing is when the author implicates herself, however badly – and I’m not talking about sympathy, it’s more a question of struggle, or authenticity. the problem with this experiment is that the other scenes aren’t written with the same investment or risk.
DL: but you pick topics in your paintings that deal with current events – where do you put yourself in that?
W9: art is about the audience completing the work – not about supplying an answer, advertising does that all the time. if I would get myself more out of it, I would, and it might be better, but that’s not possible.
[a discussion about authors abusing their readers, which brings up the topic of abuse … and so we slither on to the next scene …]