In each of your performance installations that I’ve been part of up until now, I as a spectator felt myself really staged; staged in the sense of being an integral part in one-on-one situations on the one hand, and in the sense of a somehow clear intention towards the prospective impact on me as an audience member on the other hand. Let’s first focus on your work The Automated Sniper. You’ve decided – due to guidelines of the producing theatre – to create two versions, a so-called ‘theatre version’ and an ‘installation version’. How did you and your team think about the different ways of staging the spectators in these two arrangements? Let’s start with the theatre version…