 Mae'n Careful A while I talk about the image, I was surprised to be asked here. I normally think that theatre is pretty rubbish at representing conflict or war in any way at all. For me war is the ultimate real experience, the unintellectualisable, you had to be there kind of thing. Mae'n ei gael i amddangos iawn y cymdeithas yma. Mae'n gael eich gwneud ein pas o'r ffordd yn gweithio kom完成. Mae'n gwneud o'r ffordd wedi viadwyd gyllid ymddangos eich ffordd. Felly, mae'r ffordd yn ffordd yn ffordd yn ffordd yn fferm iawn, o'r ffordd yn ffordd yn ffordd a'n ffordd yn hyn. Felly, mae'r ffordd yn femnig fel cofnwys yn ffordd. Mae'n mynd i chi'n gweithio i fynd o'r ffordd. Hy'n i'n gael ei gael ymlaen, oedon ni'n holl yn amlwg, ac yn ymddangos, rydym yn mynd i ei wneud. Mae'n gyrfa i'r lle'r ysgrifennid o ffrage fod lle ddweud y gwath ffordd Gffredinol. Roedd yn ddweud o ffrwsabol yn baroseffol gwahanol. Wrth gael, rwy'n mynd i'w gweithio ar beth ymddangos. yw'n gweithio'r rydyn ni'n gweithio'r cyffredinol. Felly, mae'r cyffredin cyffredin o'r... Mae'r cyffredin yn ddau'r ffragmwynt yw'r ffyrddol, y ffotographau a ddweud. Yn 2015, rydyn ni'n gwneud y llyfrig sydd yn y ddechrau sydd wedi'i cymryd yn cymlygiedig ar y siarbu yn y teater ym Berlun a mae'n gweithio'n adabdau o'r profiad Stefans Veich, y wrthyn nhw'r wrthyn nhw'r wrthyn nhw'n rhaid i'w pethau yn 1941 o'r hyn o'r newydd yw'r pethau. Rwy'n cael ei wneud, rwy'n cael ei wneud i'w ymgyrch. Rwy'n cael ei wneud i'w pethau i'w pethau i'w pethau i'w pethau i'w pethau i'w pethau i'w pethau i'w pethau i'w pethau, ..eg gweld i c Prose野f, i'r myfwrdd i gyfnod. I was looking at things that we were looking at and I thought, oh, fucking hell, I need to feel guilty about this photo and I don't know what to do about it. And actually what I found was that immediately these images just served to actually distance you from the conflict, rather than bring you into it despite their kind of shock value. And I think this is where theatre can work because the strength of theatre is the relationship between the reality of actors standing in front of a willing or unwilling audience, just like I'm standing in front of you now, and the kind of complete falseness of what they're performing. And if we look at the stage here, there's a man in a glass box at the back of the stage, and he's wearing a blue kind of tin soldier's uniform. Now, oh my goodness, I haven't explained about the play, have I? It was based on the novel by Stephens Veich, which is set on the eve of the Second World War, it's written on the eve of the Second World War, and it's about a man telling a story to another man about a disaster that happened on the eve of the First World War. And it's a warning about Europe descending into war. And the photograph that we put at the back of that box was the photograph of Franz Ferdinand's jacket with a bullet hole in it, which you can still see in the military museum in Vienna right now. And in the theatre we said, this is the real jacket of Franz Ferdinand, this is the photograph of the jacket of Franz Ferdinand, and then out of that we were able to start telling a fake story around this jacket. And the wonderful thing about theatre here, you can see everyone's wearing modern clothes, everyone's pushing chairs around. We were able to create a fake story that meant that the audience started to imagine themselves in the position of the characters in the story. And in a way that you do in theatre, when there's a chair that represents a person or something like that, a fake thing you commit empathetically to what's going on, you start to make yourself vulnerable to a story you start to imagine. And you forget the fact that it's fake, and you forget the fact that everything's made up. And then suddenly at the end of this story when this character commits this terrible act just before the outbreak of the First World War and we flash up again the real image of Franz Ferdinand's jacket with a bullet hole in it, you suddenly feel because you've made yourself vulnerable, you feel a relationship with this real object that you didn't feel before, with this real image that you didn't feel before. And what we did then in the play was we started to come forward through time. And the museum display case started to bleed blood along the floor and the images of Franz Ferdinand's jacket started to flick through with images of conflict through time as if that moment at the beginning of the First World War was the original sin that had set off a huge train of conflict that we now found ourselves engulfed in. And so there was something about how theatre can create a context which allows you to invest in these photographic kind of representations that are otherwise incredibly alienating that I wanted to talk about. So thank you very much.