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I started my work on narrative by trying to make the improvisers conscious of the implications of the scenes they played. I felt that an artist ought to be ‘committed’, and that he should be held responsible for the effects of his work—it seemed only common sense. I got my students to analyse the content of Red Riding Hood and The Sleeping Beauty and Moby Dick and The Birthday Party, but this made them even more inhibited. I didn’t realize that if the people who thought up Red Riding Hood had been aware of the implications, then they might never have written the story. This was at a time when I had no inspiration as a writer at all, but I didn’t twig that the more I tried to understand the ‘real’ meaning, the less I wrote.