A Quote by Tony Kushner
The kind of theater that I do is sort of ‘narrative realism,’ which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.
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The kind of theater that I do is sort of 'narrative realism,' which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.
In the "Intervention" section of the book we go into that looping from a battery of positions (where healer and sufferer are blurred). I'm very interested in "repetition and revision" (to use Suzan Lori-Parks's phrase) and in the culture's desire to loop or repeat.
Abstraction didn't have to be limited to a kind of rectilinear geometry or even a simple curve geometry. It could have a geometry that had a narrative impact. In other words, you could tell a story with the shapes. It wouldn't be a literal story, but the shapes and the interaction of the shapes and colors would give you a narrative sense. You could have a sense of an abstract piece flowing along and being part of an action or activity. That sort of turned me on.
Where's Lori?" he asked when he saw the nurse wasn't there. "She's not avoiding me, is she?" His grandmother slipped off her glasses, put down her book and stared at him. "Amazingly enough, the whole world doesn't revolve around you, Reid. Lori's sister is sick and Lori took her to the doctor. She'll be back in an hour or so. Can you survive on your own until then, or should I call 9-1-1 for emergency assistance?
Mainstream's never appealed to me, really. I mean, I've become popular over the years in certain areas. But mainstream, you know, I would rather the mainstream come to me.
I will say this: I've always sort of had maybe an inflated sense of my ability to sequence songs in a narrative flow.
I think of myself as a narrative artist. I don't think of myself as a novelist or screenwriter or playwright. All of those modalities of processing and experiencing narrative are obviously very different, and I'm not sure that I prefer any one to the other. I think the novel gives you the opportunity to have a kind of interiority that you can't have in the theater, which is pure exteriority.
I mean, when we did 'Families At War,' on Saturday night prime time, people said we were mainstream then. But it wasn't in the least mainstream. The fact that we got that on BBC1 at that time with those ridiculous things, that's as mainstream as we get. We do what we do and people can think that it's mainstream or avant-garde.
There's some ambient music that doesn't do anything. I wouldn't say that that's narrative. It is narrative in that it creates a sort of world where nothing happens, where really nothing happens, so you become a different person after hearing eight minutes of exactly the same thing. Yes, I hear music all the time in which one idea is strung together to another idea, and I feel that such music is non-narrative.
I mean, maybe I'm alternative in that my stuff's not mainstream, doesn't want to be mainstream, could never be mainstream.
I need to tell the things that are important but which don't make sense in terms of the narrative, things that would destroy symmetry or narrative pace. This is my personal belief about what it means to write nonfiction.
There are two strains, I think, in American playwriting, of importance. One is traditional narrative realism, which is definitely my strain, and then the other great contribution is American musical theater, which is a whole other kettle of fish.
I mean, in many ways, you know, I felt very connected to Ian (Dury) on, on a lot of levels. I mean, politically, & sort of, socially, our, kind of, social backgrounds are quite similar in many ways, as well as our kind of artistic endeavors. So there were many, many things that sort of chimed in for me, and kind of made me feel very instinctive about playing him, and, and although, there was sort of a certain amount of impression involved, actually, there's a lot of myself in the role.
I think my sensibilities about storytelling and character just automatically come into play when I'm trying to work on any kind of narrative. For me, it doesn't really matter what the source of the narrative is. I will be looking for ways to make it into an intriguing story with empathetic characters.
To read fiction means to play a game by which we give sense to the immensity of things that happened, are happening, or will happen in the actual world. By reading narrative, we escape the anxiety that attacks us when we try to say something true about the world. This is the consoling function of narrative — the reason people tell stories, and have told stories from the beginning of time.
I don't have to think too hard to keep my writing within a certain narrative thread. That happens because certain words trigger other associations you have in your mind. So, there is this inherent narrative in the end, whether it is abstract or what.
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