The avant-garde often rediscovers the classical
The classical is often radical. For a start, complex spectacles are nothing new. The Bauhaus and Andy Warhol did them. Moliere and Shakespeare were radicals in their day. Being radical depends on who’s doing it; it’s not something with a time frame. I continually ask myself what I’m doing. When you make a film or design a painting, you start from nothing. When you work with Shakespeare, you have a solid, given basis: Shakespeare. That’s where the questions begin. What do you do, what should you do? They are two different approaches. And we have to differentiate repertory theater, which operates under different conditions. It’s like finding a new jacket for an old play. Personally, I aim to be disconnected from tradition. I believe everything depends on the needs of a project. Is there a need for dance, video, language? Everything is to do with real need.
