Alfred Barr asserts, for example, that Hopper’s paintings often include foreground horizontals such as railroad tracks, roads, and streets which act “like the edge of a stage beyond which drama unfolds” (127) Rolf Renner states of Hotel Window (1956) “everything we see through the window is as inert as a stage set” and of Summer Evening (1947) that the figures are “lit as if they were on a stage” (71, 73) Geoffredo Fofi contends that Hopper appears in his works to have “set up lights and decided their brightness. Where human figures do appear in his works, their sight lines rarely meet, sometimes suggesting the solipsistic experiences of individuals who share a physical space but are disconnected emotionally Kunsthalle Wien asserts that Hopper’s figures often “wait, their gaze a ‘mild stare’ resting on something invisible to the beholder” (9).Ĥ The themes of emptiness and internality in his works connect, I seek to demonstrate, with another common theme which runs across the universal experience of Hopper’s work the sense many viewers experience of Hopper’s paintings as evocative of theatre. 1 The dominant response to Hopper’s work is a sense of loneliness-while Hopper’s paintings are too complex and varied for a totalizing description, one can assert that throughout his seven-decade career he shows a recurring interest in depeopled spaces. These words seem to be interrelated, which suggests that there is a universal experience or response to Hopper’s paintings that has been interpreted as content” (404). As Jean Gillies asserts, “in almost every article that has appeared on this artist, such words as ‘alienation,’ ‘silence,’ and ‘timelessness’ have appeared.
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1 Hopper, characteristically, was resistant to totalising visions of his work the recurring theme of (.)ģ There has been a broad consensus from both amateur and professional critics that Hopper’s work produces consistent effects upon viewers.The empty stage, or the emptying of a stage, I seek to argue, is a recurring theme in the work of Edward Hopper. Impressions of the work may persist, but, setting aside preparation such as rehearsal and set building, a work of theatre exists only for the length of a performance. 1238, 4.1.148-158.Ģ A work of theatre does not exist, or exists only in parts to be assembled, before the curtain rises, and ceases to exist as soon as the curtain falls. We are such stuff,Īs dreams are made on, and our little life Yea all which it inherit, shall dissolve Īnd, like this insubstantial pageant faded, The solemn temples, the great globe itself, The cloud-capped towers, the gorgeous palaces,
These our actorsĪnd like the baseless fabric of this vision,
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This latter moment is captured in one of the most famous passages from The Tempest: An empty stage at the end of a performance is an invitation for the audience to reflect upon what they have just seen. An empty stage at the start of the performance is an invitation for the audience to examine the objects before them and anticipate the action to follow.
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1 An empty stage typically signals a moment of transition between the reality the audience occupies outside of the performance and their emersion into the representation of reality presented on the stage.