††††††††††† Talijancic:† What I wanted was the flavor of the play, or
the senses one has from the world of the play - maybe an awakening
to the play - but it is absolutely not the play. Again, what I was
interested in was the tensions and conflicts.†
Another axis was the contrast between a scientific
outlook and a poetic one.† Wangel versus Ellida.† He can give her pills, but her disease is of
a different kind.† He is experimenting
with her.† Heís so rational,
so scientific, he doesnít understand how people work.† Heís studying
them, and itís this metaphor that informs the visuals in the
Yes, Site 7, the computers, monitors, and so on; she is being observed
and experimented on
My aim was to explore these ideas, not to give a finished production.
I found it desirable to work on it in a site-specific production.
I walked around the buiding, let the space talk to me so I could
find how the space could lend itself to the play. Some spaces were
more performative than others. I find that there is something liberating
in the freedom with which the audience can move around as it wants.
Also, the whole idea is to move around, isnt it? To be free
of sitting in a theatre, in an auditorium?
you done traditional productions of texts?
Yes, Im working on Heiner Müller now - Quartet,
which Im doing at P.S. 1 in Queens this spring and taking
to Europe next summer.
Do you think that Lady lends itself to an installation performance
better than A Doll House, say, or Hedda Gabler?
Oh yes, there is something much more here, and I was challenged
to express this.
What is it? Are you saying that the play breaks its realistic
bounds, that the form of the play keeps the kernel of
the play from being dramatized? Is it schizophrenic?
Yes, I think I would say that. I wanted the actors to explode
the text, I told them to do this. To take it to extremes.
Now we have destroyed the sea, we are destroying the environment.
Templeton: Do you find this in the play?
Well, its the 21rst century and we are alienating
ourselves from nature. Ellida is the only one who is
in tune with it, and these days that is an incredibly important
Would you say that you have completed a leitmotif of Ibsenís play?†
Something he implied but didnít work out?†
You seem to be saying that the play should have been a tragedy
rather than a comedy, that she should have left Wangel and returned
to her element
Yes, of course, as in Hedda Gabler, for example.
This is very interesting because with the possible exception of
Little Eyolf, this is
the only mature play of Ibsenís that ends in comedy.† You seem to be suggesting that the ending of
The Lady from the Sea is really against
the grain of Ibsenís writing, not only atypical but in contradition
of Ibsenís work as a whole.
Talijancic:† Well, yes.† The
ending just stops.† It doesnít follow.
Templeton:† You were really interested in the play Ibsen
Yes, and I guess you could say the audacity to explore it.
Thank you very much. You are taking Ibsen where nobody has taken
him before. Its very exciting and I congratulate you.