Director Tara Robinson discusses the differences between staging Black Tenderness and her usual way of working, intercepting a friction between thinking about the audience and thinking about the idea of a more ethical approach to translation. What Robinson calls the ‘ideological’ dimension of the process can get in the way of her and the performers’ instincts as to how to play the text: how can the audience be aware of the strangeness of the language without feeling like the play simply doesn’t work?