‘Playing according to the sense’, the Ensemble calls it; and the sense is what Brecht tried to get clear in any play, first for himself and his collaborators, then for the audience too.Hence, for example, his emphasis on that side of Shakespeare’s work which is so often neglected: the actual story. ‘It is a long time,’ he found, ‘since our theatre played these scenes for the events contained in them; they are played only for the outbursts of temperament which the events allow.’ [. . . ]