But the source of this behavior isn't recognizable. Innaurato is less interested in grounded acting and dramatic structure than Durang. Part of that struggle manifests itself in the delicate balance between structure and chaos in the play. This need to make sense of everything is awful. We have to liberate ourselves from that.
Nothing makes sense.
Our grandfathers had realism. But the second half of this century has forced us to take seriously writers such as Ionesco or Beckett, who come out of an experience of the randomness of life. Theatre has to express that chaos of being. The Idiots Karamazov is about acting, about instantaneous self-transformation. An actor has to have the gift of transformation.