So all Cirque shows are moving. I think some of them are very dreamlike and sort of touching deep parts of ourselves. There's a little bit of a dark side to them sometimes, right?
And you're kind of reenacting or reliving the situation. And the experience presents in a dreamlike way.
Like, I was in a writing group years and years and years ago. And it's sort of dreamlike and weird and kind of crazy and trippy.
That's a really interesting point. Now, what's very common, very, very common And she remembers having a kind of a dreamlike sense of looking up at the water shimmering above her, she could feel this thing's mouth on
and devices like flashbacks to tell a story non-chronologically. Using these literary tools, Rulfo creates a dreamlike world that speaks to the horrors of the real world. But while casual readers were a bit perplexed, “Pedro Páramo” spoke to Latin American writers, in a big way.
And then for the rest of it, I think I tried to really, through my style, my writing style, I'm not sure if you could see it on the page but I try to make the first few chapters seem sort of in a dreamlike state. And it's because I really wanted to cue the reader into knowing that these are very early memories of mine and I can only provide these snapshots.
I think that's what Cirque does brilliantly without being, we're just going to be esoteric. It's more about, let's put on this dreamlike reality that we walk away going, I felt like I had a dream. And we go, right.
You know, his first four albums were a little bit more rootsy, Americana, folky a little bit. And this definitely has-- I wrote down in my notes, "a dreamlike sound to it." Then I put, "Is that the right way to describe it?" I was going to ask you.
a little bit about how you see storytelling changing or changed over time and maybe going forward from the that's what Danny used as the memory the flashbacks and it creates like a real visceral color and a kind of dreamlike
And you're kind of reenacting or reliving the situation. That is to say, you can direct your attention to the dreamlike quality of the state.
And you're kind of reenacting or reliving the situation. So you might have an experience in which there's a kind of feeling of insight that this is dreamlike .
And maybe that dream is different at different times when you read the book. But there is this real sense of letting go of yourself and sinking into the book into a dreamlike state. And so of course, that's something that neuroscientists have studied.
And I hope that I have retained the lessons that I learned in fiction while I was at Columbia to write this. For sure. And I think in the beginning of your story, you infused a lot of that dreamlike state. Now that you're mentioning it, a lot of-- I guess, do you think that a lot of your training in fiction has helped you shape that, influenced that dreamlike state
For sure. And I think in the beginning of your story, you infused a lot of that dreamlike state. Now that you're mentioning it, a lot of-- I guess, do you think that a lot of your training in fiction has helped you shape that, influenced that dreamlike state that you were trying to capture in your early story?
experience. Lucid dreaming, where we come to realize that we're dreaming. And we can attend to our state as a dream state, or attend to the quality of the experience as dreamlike . Out-of-body experiences, which can occur spontaneously, or through partial aspects of them through virtual reality technologies.