the artist to do other than he must do, the compulsion to be creative. But a habit is also a garment, and in the vernacular, the default reading of the term is that of a bad habit. And so we’re launched into ambiguity linking the levels of discourse.
proceeding slowly and with ambivalence on several counts. In a discussion that feeds the theme of the craft of art, they talk over reviving this project. Despite the detachment encouraged by rapid switches between layers of reality, Auden’s exhortation to Britten that he must never give up on the creative impulse, even if his music has now gone out of fashion, is deeply moving.
age-boundaries and the division of responsibility in seduction, openly articulating the theme of homosexuality. Thomas Mann, his main character Eschenbach, the real Auden and Britten were all in their ways gay, with a preference for the under-age. It is not entirely clear whether in 2010 this is an essential or incidental detail, such that the ideas and structure of the play might equally have been supported by heterosexual fascination with people almost two generations
unacknowledged, at whose expense art flourishes — the play within a play accordingly entitled Caliban’s Day, Caliban as the exploited savage. But by this point the action has become thematically crowded and Bennett doesn't create enough space for this interesting idea, although it’s ingenious that the rent boy, whilst not being highly educated, has already without artificiality been shown to have emotional and cultural insight. The ending is retrieved by orderly exits and realistic everyday winding-down conversations, then a beautifully theatrical turning out of the lights by the Stage Manager.