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APPENDICES step from one to the other to the other, this thing, that thing, and you can ask yourself: “what do I do in that scene?”, but you have always got to be aware of the bank that the stepping stones are going towards. Because that is the centre as it were, the bank. That’s a useful way of looking at it. But, you see, and this is especially true of young people, because then later on they can get taken on in other ways, young people want to live in extreme situations, in a way they are saying what is the centre of my life? So you can create drama for young people which enables them to go to the centre of their own lives. In a very generalised way you can say, the centre of any play is how can I be human? But then you always have to say in this situation. So the centre is always the situation, but in it you are looking for your humanness, but it’s as if you get there accidentally, it’s as we said at the very beginning, it’s something that you cannot evade. The centre is complex, I would think you could say, look what is the centre of our society now? How can we try to make that concrete and how can we produce situations which will show people the void where there should be a centre. I try to write plays that will point out those situations.
