authentic fur

One may if not love, then appreciate the ambiguous end of "Venus in Fur" as well as the performance and identity of the one and only(?), Vanda. At the end of the main script, her identity and exit resemble nothing of the Vanda who enters the play in the beginning. In the beginning she comes, late for an audition, unprofessional, practically begging to have a chance at reading, and clearly plays down her mental capabilities as well as her education, as well as her understanding the play and its historical content. She leaves the tortured director screaming profanities, "God damn it..." "fuck. FUCK!" and is practically worshiped- for her self, yet not being recognized as Vanda, but the goddess "Aphrodite." I enjoyed the stage note, "She takes a real fur stole from her big bag and put its on" as from the rest of the play Vanda kept grabbing shabby things she had "picked up" from a thrift-like store, and this is a moment of authenticity- as least when it comes in terms of fur. I also see this as a perhaps debatable take of power. It seems that this now worshiped goddess hold the floor, but in a very strong way, this is what Thomas has been wanting. In the beginning of the play we see him on his phone, talking to his fiance about what kind of actress he is looking for, and non of them seem polished and strong enough to assert that power- and as the end Vanda does. I wonder at the end who Thomas and Vanda view each other truly as, and who they are as well as who we are supposed to think they are...