Tawaif, Interrupted, or, Theorizing the Courtesan

Since learning to perform "Tell Me, Sister," the story of the child widow who is abused by her in-laws and empowers herself by becoming a courtesan, I have been thinking about the piece's ending.  I would like to avoid romanticizing the figure of the courtesan as some sort of "proto-feminist."  Rather, I would like to recognize that she exercised her agency and power within the confines of a patriarchal structure.  I also feel that it is ultimately impossible as a contemporary woman and classically trained dancer to understand and grasp the historical courtesan in any sort of "pure" way, unmediated by society's myriad perceptions of her.

Thus I've been toying with the idea of undermining the courtesan at the height of her power by having Chakravarty's theory on how the courtesan is regarded in Indian cultural consciousness typed upon my face as I do sitting abhinaya.  This would occur during what was formerly the ending of Tell Me, Sister.  The image was inspired by one of the images from my artbook, Harassing the Sanskrit Heroine :

Shyamala and I tried this in rehearsal, and at first it seemed potentially interesting:

password "shyamalabai"

In addition, Sangita and I recently collaborated on reworking my dance-for-camera study, "skin," which uses the same theoretical text.  After reshooting it, Sangita did a beautiful job editing the footage into mysterious, organic imagery where Sumita Chakravarty's academic theory slips and melts on the not-quite-recognizable landscape of the female body.

I thought it might be interesting to transition from typing the theory on my face to a projection of "skin" that I would somehow interact with live.  However, we ran into some technical problems -- the two projections interrupt each other when the "skin" projection fills the back wall (which is why they are side by side here, rather than fading from one to another).  In addition, the typing on my face spills over to the back wall in a way I find distracting.  Here is rehearsal footage of this experiment:

password: "discursive"

Feedback Questions:
(1) Based on this footage, I'm thinking I may scrap the typing on my face altogether and instead transition straight from the sitting abhinaya into interacting with the projection on the back wall.  Do you think this is a good idea?
(2) Which movements are most effective with the video projection?  (I was just improvising ad hoc here.)
(3) What do you see as being the relationship between myself and the projection?
(4) How long do you stay interested in myself interacting with the projection?  Would you like to see less or more?
(5) Other thoughts/suggestions?