By Subha Mukherji
Why does the location of the edge exert this type of compelling carry on our creative lives? Why is it a resonant house? Why is it so urgently where of writing – where the place one may possibly stay, steer clear of conversing or naming, but converse from? via a mixture of case reviews and theoretical investigations, this e-book addresses those questions and speaks to the inventive energy of the edge as a efficient house in literature and art.
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Extra resources for Thinking on Thresholds: The Poetics of Transitive Spaces
Example text
I will always remember the life-likeness of his slow arrival. 6 The paradox inherent in realist theatre, which must use ever more skilful artifice to conceal the necessary construction of the theatrical event, was already acknowledged in one of its founding documents. Strindberg commented in his Preface to Miss Julie, the consciously-Naturalist play written in response to news of Antoine’s innovations in staging: [ W]hen one has only one set, one is entitled to demand that it be realistic – though nothing is more difficult than to make a room which looks like a room, however skilful the artist may be at creating fire-spouting volcanoes and waterfalls.
The doors that pierced them functioned as a threshold between the stage and the world beyond the room. The plays of late nineteenth century realism might well claim to present what Jean Jullien, rephrasing Zola’s rather more poetic ‘lambeau d’existence’ [shred of existence], was the first to label ‘une tranche de vie’ [a slice of life],5 but writers and stage directors remained alert to the ways in which the shaping imagination could supply dramatic power to their supposedly unvarnished truths.
I will always remember the life-likeness of his slow arrival. 6 The paradox inherent in realist theatre, which must use ever more skilful artifice to conceal the necessary construction of the theatrical event, was already acknowledged in one of its founding documents. Strindberg commented in his Preface to Miss Julie, the consciously-Naturalist play written in response to news of Antoine’s innovations in staging: [ W]hen one has only one set, one is entitled to demand that it be realistic – though nothing is more difficult than to make a room which looks like a room, however skilful the artist may be at creating fire-spouting volcanoes and waterfalls.