I'm not against asking the audience to work, but I think what you have now is a sort of gratuitous deconstruction as a result of a fashion of literary deconstructionism indicating that there are no meanings.
I became startled by the extraordinary difference between something whose surface is completely invisible which only makes itself present by virtue of what it reflects, and a window, which doesn't make itself apparent at all, in the ideal case.
I spend a lot of my time trying to draw the attention of actors to the minute and subtle details of human behavior, which was the sort of thing I was looking at when I was a neurologist.
I was trained as a neurologist, and then I went into the theater, and if you're brought up to think of yourself as a biological scientist of some sort, pretty well everything else seems frivolous by comparison.
What I should have been, you see, is a neurologist.
Being a doctor has taught me a lot about directing. You're doing the same thing: You're reconstructing the manifold of behavior to the point where an audience says, yes, that's exactly like people I know.
