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Words that I discovered one by one in my own coming-of-age novella, which I call life, and only later put together that this is some shared human need, experience, warmth, that goes beyond culture, language, continent, history, religion, and that speaks more about our human nature than anything else. And although Christian theology (1 Corinthians 13:13), like every theology throughout history, has written its own story from them, faith, hope and love are deeply secular, mythical, psychological, archaic, almost evolutionary, cosmological experiences. 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I think this is why I love theatre. I even wrote my undergraduate philosophy thesis from the hypothesis of whether it is possible to strip away every reference from our aesthetic experience, whether the way the world is given to us in phenomenology can somehow be transferred into a theatrical experience. Which theatrical experience is, by definition, layered with references, culturally burdened many times over. And then I imagined that I would “put everything in brackets” (Husserl), reduce, and simply let the theatrical performance appear before me. If I want to be honest, I think this is what I practise in every aesthetic experience. This festival diary is becoming very confessional. (laughs awkwardly)",{"type":304,"children":331},[332],{"type":307,"value":333},"When did I realise what the performance was about? When I saw the little word Cana in the subtitles. A huge penny dropped. And from that moment on I was watching a completely different performance. Because until then I had been watching the struggle of the eternal woman and mother, as she is unseen, unloved, unappreciated, and from the moment I recognised the reference, I could no longer think about the eternal woman. I do not know whether this took something away from or added something to my experience, but it certainly made me sink a little deeper into my seat, and while I did not necessarily lose interest, the next movement became more predictable. 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