9:59:59.000,9:59:59.000
Interviewer: So where are we?

9:59:59.000,9:59:59.000
Woman: Right now?

9:59:59.000,9:59:59.000
Interviewer: Yeah, where are we right[br]now?

9:59:59.000,9:59:59.000
Woman: At the preforming garage, 33[br]Wooster Steet, New York City

9:59:59.000,9:59:59.000
Interviewer: And what is this place?

9:59:59.000,9:59:59.000
Woman: This place is our home,[br]This place is our studio,

9:59:59.000,9:59:59.000
this place is our theater, this place is[br]our office.

9:59:59.000,9:59:59.000
Interviewer: And who is we?

9:59:59.000,9:59:59.000
Woman: The company, The Wooster Group

9:59:59.000,9:59:59.000
Interviewer: And what is the Wooster [br]Group?

9:59:59.000,9:59:59.000
Woman: It's an ensemble theatre.

9:59:59.000,9:59:59.000
Interviewer: And what do you do?

9:59:59.000,9:59:59.000
Woman: Why'd you have to get to the hard[br]one's so fast?

9:59:59.000,9:59:59.000
What do I do?

9:59:59.000,9:59:59.000
I move around, in a space and arrange it[br]in a way that's pleasing to moi and I move

9:59:59.000,9:59:59.000
furniture, I move stage furniture and [br]people around and I listen to them talk.

9:59:59.000,9:59:59.000
I think I'm a director, [laughs] I think[br]I'm a director, but I'm not sure.

9:59:59.000,9:59:59.000
I'll get it.

9:59:59.000,9:59:59.000
[Distant chattering]

9:59:59.000,9:59:59.000
Interviewer: Now why did you pick[br]Vieux Carré?

9:59:59.000,9:59:59.000
Woman: Because, uh, one of our performers[br]got a shepherded, caught be saying

9:59:59.000,9:59:59.000
something about, um, Tennessee Waves [br]being our greatest playwright, or at least

9:59:59.000,9:59:59.000
discussing the possible that he was[br]better than Émile, and so Scott,

9:59:59.000,9:59:59.000
in his imitable way said that, 'well, why[br]aren't you doing Tennessee Waves?'

9:59:59.000,9:59:59.000
Not--it didn't feel like a regular[br]Tennessee Waves play, the dark side of it

9:59:59.000,9:59:59.000
was cut by this other weird that I didn't[br]know what it was, but some kind of a...

9:59:59.000,9:59:59.000
some kind of a farcical thing.

9:59:59.000,9:59:59.000
I though, oh the blending of those two[br]things that earlier Tennessee Williams the

9:59:59.000,9:59:59.000
kind of dark and, uh, lyrical voice next[br]to this kind of rock, a satirical one.

9:59:59.000,9:59:59.000
I thought was good for us.

9:59:59.000,9:59:59.000
Interviewer: Do you start with a[br]visual image?

9:59:59.000,9:59:59.000
Elizabeth: Yes, I do.

9:59:59.000,9:59:59.000
I started, but it was a visual image[br]which was from the play before,

9:59:59.000,9:59:59.000
which is Hamlet.

9:59:59.000,9:59:59.000
Because all of them for me, they're[br]like tales that go through my mind

9:59:59.000,9:59:59.000
and the visual is my mind.

9:59:59.000,9:59:59.000
So the visuals not necessarily[br]a literal picture op-- you know, like

9:59:59.000,9:59:59.000
in naturalistic theatre.

9:59:59.000,9:59:59.000
It's an amalgamation of sort of[br]architectural things that, that feel like

9:59:59.000,9:59:59.000
my visual landscape,[br]my personal visual landscape.

9:59:59.000,9:59:59.000
And then I have to bring the text to it[br]and my visual landscape towards the text.

9:59:59.000,9:59:59.000
[Slow music]

9:59:59.000,9:59:59.000
[Outro tune]