HAVE WE CHOSEN THE WRONG COUNTRY

Perhaps this is somewhat true, it is true that this country has little to do with theatre, not that natural sense of drama like Italy or Spain, or traditional and thorough education like Germany for example.

The snobbish-civic understanding of theatre prevails here, be it traditional theatre or the avant-garde. “Theatre” is not an essential basic need, but something received from the outside, something unnatural, learned, like a sociopath imitates behaviour only from the outside, and has no genuine sense of it.

A country where ‘fine writing’ is appreciated, and this means literally ‘beautiful’ handwriting.

Theatrologists and theatre critics are generally very poorly educated here.

Perhaps it might be more painless if we went to a country whose theatre tradition we already had respect for, such as Britain or America.
So, to a certain extent, this is about choosing the “wrong country”, but it probably wouldn’t be much different for us if we went to any other country in Western Europe.
But probably going to a socialistic country would not help either.

It’s about something else: Wherever we decided to go we should have prepared the ground in advance and secured connections with the theatre elite. We should have paved our road. Why we didn’t do it was the biggest mistake.