Adding some thoughts on Cordelia – reasons for pairing Cordelia with Shape: I wanted Noh and a fairy tale to be at the center of the experience, because these are the two forms of writing from which I learn all dramatic expression. Fairy tales are expansive (swift, light, and down Calvino’s list) frequently moral, coded and romantic. In formal terms they are in fellowship with saint stories, and are appropriate to convey the various meaning of “passion.” Discursive mental prayer. Noh is in some ways opposite – formally demanding, concentrated, meditative (still, focused on a seed, an action, an identity). Meditative.
The premise of Soulographie is that truth is interdisciplinary – multiple, pulling against itself, creative. So the center of Soulographie is (at least) bicameral, like a coffee bean.
I don’t know that it follows directly, but reflecting further on Gideon and the theology of the break-in, I often wonder why Christ is partnered by thieves in the end, of all sinners. And perhaps it is because we need to understand the skills of the good thief for the sake of salvation – we must break, break in, be broken into, be bereft of private property, steal and lose what we have stolen, be stolen and be redeemed.