Well for one I enjoy that—like you pointed out here—it does not happen very much in narrative terms.
To me, the forest is like a canvas, where things do happen inconsequentially, yet powerfully like a dream.
I love the scene Orlando fights the lioness and wins back—magically—his brother’s love. Rosalind disguised as a man (Ganymede), yet clearly betraying her feelings for Orlando.
I agree with freedom. But also, it tells me that we need to write following our inner depths.
Let me share a short essay I wrote a while ago on this (when you have time—thanks for reading!)
On Writing
To those who advocate concrete writing, “bestseller” content, fast-paced, action-driven narratives, or minimalist, ego-led, “confessional” poetry—I wonder: why, then, do your dreams not unfold that way?
Why do we all see a confused mosaic of non-linear time, with no cause and effect? Why do we encounter symbols we’ve never seen in waking life— and yet relate to them more deeply than anything else, even as they slip away with the dawn?
Regardless of whether dream or nightmare, that strange inner vision often speaks to our waking life more truthfully than any newspaper article ever could.
I understood I had learned Japanese and English when I dreamt in those languages.
So how is it possible to write—without following our dreams?
Thanks Stefano, I also like the scenes you mention (particularly the bit where Orlando pins bad poetry to the trees in the Forest of Arden). Regarding writing, yes, I think the writer's mission is to make sense of the world - our own lives can seem a stream of unrelated events, but when we write about it (or about other people's lives), we have the opportunity to shape time and reveal universal truths. Good luck with your writing!
Well for one I enjoy that—like you pointed out here—it does not happen very much in narrative terms.
To me, the forest is like a canvas, where things do happen inconsequentially, yet powerfully like a dream.
I love the scene Orlando fights the lioness and wins back—magically—his brother’s love. Rosalind disguised as a man (Ganymede), yet clearly betraying her feelings for Orlando.
I agree with freedom. But also, it tells me that we need to write following our inner depths.
Let me share a short essay I wrote a while ago on this (when you have time—thanks for reading!)
On Writing
To those who advocate concrete writing, “bestseller” content, fast-paced, action-driven narratives, or minimalist, ego-led, “confessional” poetry—I wonder: why, then, do your dreams not unfold that way?
Why do we all see a confused mosaic of non-linear time, with no cause and effect? Why do we encounter symbols we’ve never seen in waking life— and yet relate to them more deeply than anything else, even as they slip away with the dawn?
Regardless of whether dream or nightmare, that strange inner vision often speaks to our waking life more truthfully than any newspaper article ever could.
I understood I had learned Japanese and English when I dreamt in those languages.
So how is it possible to write—without following our dreams?
Thanks Stefano, I also like the scenes you mention (particularly the bit where Orlando pins bad poetry to the trees in the Forest of Arden). Regarding writing, yes, I think the writer's mission is to make sense of the world - our own lives can seem a stream of unrelated events, but when we write about it (or about other people's lives), we have the opportunity to shape time and reveal universal truths. Good luck with your writing!
Thank you Annette for writing this.
I am reading this play right now, and you managed to make it more interesting while not spoiling the surprise.
Enjoy reading you.
Thank you for this lovely comment Stefano - I'm so thrilled to hear you're reading the play. Please do let me know your thoughts!