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

One does not devote one's life in art to shock an audience.

There is no work of art that has ever been made that is absolutely truthful about life.

I was enchanted by the escape into that meticulous world that seemed real yet not... well, it seemed not real, but very detailed and meticulous, bizarre.

I acted in junior high in the junior high school group, and then when I got into senior high I was, you know, the main actor of the senior high school.

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’.

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.