The architecture of the conspiracy

David cues the Renault and Jaffier scene, in light of…I’m not sure what? Observing the unities? It sheds light on the notion of specificity in reference to terrorism.

I realize I am nervous that people can see me up here, (I know they can hear me typing)–and will they read this and note my critique of NYTW’s stance? The farce of Rachel Corey? The farce of holding a CC play and only inviting the rich and those who you can trust to agree with you to see it?

I wonder if the discussion will become more meta–there is much possibility here. We need a JQ in the audience for that.

More couples cuddling in the audience. Who knew this would be a Date Movie?


Molly finds this scene boring, straightforward–Gideon chimes in, to defend it; and now all the actors are stirred up. In fact, nothing is straightforward. Sometimes we identify with these conspirators, sometimes we don’t–do we know what to think? Does Weil know what she’s doing is the question.

DL is in comfortable terrain. He has the audience involved, he has argument. He hangs back and lets the discussion take place, and tonight, he can trust the audience–it does. He has helped it to have a life of its own. Instead of a test of endurance, he can actually forget that he is playing the role of the director–he has allowed the discussion in many ways to self direct. Over time, it will solve its own inequities. He is trusting in the object of theater being made here.

Jaffier as the ideal audience member: Jaffier listens to this painting out of the horrors–and the horror is so effective, and he decides to save the city.

Faint applause.

He decides to save the city because of what he has seen and heard.

A break!



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