I do not imagine a theater, because I live theater, breathe it in and out; I dream it. But, if I had to imagine a theater, then I'd like to imagine that the languages that have been forgotten, which are still spoken in many parts of the world, would be part of this new playwriting.
It’s an experiment in placing the private in public, says the director—a device HE will learn to use well in the many years to come.
Our theatre languages – not one, but many – will reflect the myriad visual, physical, social, musical and storytelling lives of our place and time, in the local vernaculars.
The “ultimate performance” requires the agora, as it demands a democratic space in which every author is also every other person’s performer.