One thing you both share is a sense for reorganising the theatre, of finding new ways for it, something that is highly necessary. Milo Rau, you have released the Ghent manifesto for NTGent, which defines ten rules for the work of your theatre. Luk Perceval, you were working with manifestos many years ago. Have you talked about the Ghent manifesto?
Milo Rau: We only met in 2017 for the first time, in Cologne. The manifesto was written in 2018, after I had experienced the German system. It is a very technical manifesto, but the idea behind it was the way that theatre is produced in Germany. I wanted to bring the focus away from management and back to production, and away from routine and toward working with a motto for the season and then finding the right directors and designers for it and so on. The manifesto is not an aesthetic blueprint for theatre, you can do whatever you want with it. By the way, for my new production “Orestes in Mossul” I didn’t adopt all its rules myself. It is a bit like it used to be with the Dogme manifesto, where you can’t find a single film in...