If I have to make a generalization, I think it is important for us makers to find a language, a connective language of our audience.1 And it doesn’t mean we have to write towards an audience, we live in the same world, we see the same things. So, I think it’s important to be very true to yourself about that, I want to write something that I can communicate with an audience with, and not write something which is completely heavy, and I dream up in my attic studio and then an audience doesn’t grasp it.2 So, it is — an audience is important for me. I think, because I also watch the films the audience watches, and see the theater pieces, watch the television series and see the exhibitions that everybody sees.3 I think it is important to sort of acknowledge that vocabulary and to acknowledge that we live now and don’t look back. And use sort of earlier reference to what we think opera should be or music theater should be, which is maybe for an American, an open door, but for a European, less so I think, because we’re way much more sort of, how do you say — we carry much more of a historic residue on our backs I think.4

  1. Peter Sellars []
  2. Deliberately Ambiguous, Moveable Feast []
  3. Winnetou []
  4. Freedom To Intervene []
Return to Index