Allison Brennan, Matthew Edison (photo by Dylan Hewlett)Topping from the Bottom
How do I know when the scene is over?
by Edgar Governo
BDSM relationship dynamics are (ideally) much more explicitly, and carefully, negotiated between all of the partners involved. If you're going to be a slave, it's only because you want to be (even if a literal contract is relatively uncommon), and the idea of Risk-Aware Consensual Kink means that everyone taking part knows what is at stake, knows what could potentially go wrong, and knowingly consents to whatever is going to take place. For those reasons of consent, it would generally not be considered acceptable to include people who hadn't consented to your kink (a common criticism of scenes in public places, as disruptive as a play bursting out in public where none was expected) or to manipulate someone into a submissive position without that person's agreement.
Vanda does this by slowly shifting and then overturning Thomas's direction--she ignores his blocking, she improvises lines, and she adds a new scene to the beginning of his play, thus establishing her own tone and worldview overtop of his within his initial creation. She also explicitly calls out Thomas on the extent to which his play blurs with his reality, assuming that it reflects his unsatisfied desires as much as Sacher-Masoch's work reflected his. Sacher-Masoch ended up entering into a real-life contracted relationship where he acted as slave to a baroness, while the fictional Vanda works to take the same sort of relationship from the even more fictional Vanda of Thomas's play and apply it to Thomas himself by using his name as that of the fictional servant as they continue the audition.