Reality changes; in order to represent it, modes of representation must also change. Nothing comes from nothing; the new comes from the old, but that is why it is new.
Realist writing, of which history offers many widely varying examples, is likewise conditioned by the question of how, when and for what class it is made use of.
It is not enough to demand insight and informative images of reality from the theater. Our theater must stimulate a desire for understanding, a delight in changing reality.
Something ignoble, loathsome, undignified attends all associations between people and has been transferred to all objects, dwelling, tools, even the landscape itself.
