My play is the ultimate expression of my feeling of the twilight of Western civilization.

If I wasn't in the theater, I would be a hermit.

I see within us all (myself included) the replacement of complex inner density with a new kind of self—evolving under the pressure of information overload and the technology of the ‘instantly available’.

Now, when I started my theater, the modus operandi was having the actors stare right into the audience.

What really happened was one day I decided to write a new kind of play.

Everything Brecht wrote—plays, dialogues, and poetry—was his attempt to clarify the inner contradictions not only of the capitalism and fascism of his times, but also of the communism that was always disappointing his deepest hopes. In a book that makes Brecht’s struggle to reveal these hidden contradictions its central theme, Glahn issues, by implication, a call to arms to today’s artists—who are faced with a world that seems to defy attempts to treat the global crisis with an art that is rarely more than notes on ‘local’ angst.

I've been trying to figure out for at least the last 10 years how to force myself into something more risky.