How does the Babal, Rashomon, as I Lay Dying narrative affect us when we experience it following our own paths versus following a set path (film, play, drama, novel)?
One aspect that it changes for me is in the creation of dramatic irony, which is only possible if someone has the information (suggested or otherwise) of later events. That’s not to say that a linear text can’t produce dramatic irony — but that different ironies are produced depending on our sequence.
In Charles Deemer’s piece we experienced this by seeing Bobby’s story first. Kate’s second.]]>
I’m going to pose this as a comment
This is not processing-intensive but it is a fundamental narrative question that we are still wrestling with. Who is actively and critically working on these questions now?]]>