Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.

As I told you, from the time I was fifteen, I thought the theater was too much involved with actors trying to make the audience love them, being over emotional.

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.

Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.

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

It's true, I don't like the real world.

I'm there to make a kind of theatrical music that is desperately missing in my life. And if other people don't like it, I'm very unhappy, but I can't do anything about that.