The Art of Transition

As I was listening near the end of an older Stephen King novel (Yes, I am addicted to audio books), I realized that King is, among other things, a master of the transition. He knows when and where to put them and, more importantly, how to make them work so that the reader is moved from one place/time/idea to another seamlessly and unnoticeably. As I think about it, it is one of the things that makes King so very readable (or in my case, listenable).

Whether he/she works in fiction, non-fiction, essay, or poetry, every writer is (hopefully) aware of the transition and the attendant difficulties. The good writer does exactly what King does, move the reader smoothly and effortlessly from one place/time/idea to another. And if those transitions can be made invisible, or at least transparent, so much the better. Anyone who writes seriously knows how difficult that is.

Mulling over King’s ability, it occurred to me that all artists have to deal with transitions. Certainly composers do; they must move the listener from one section of their music to another. Likewise the instrumentalists and vocalists who interpret that music must make those transitions as well. Similarly, all theatre artists (playwrights, directors, actors, set designers, lighting designers) must do the same thing in moving from one scene to another, one stage picture to another, one look to another. And certainly filmmakers (directors, editors) must master transition: not only must the dramatic units transition, but the camera shots must transition as well, and on a much more frequent basis

All this talk of transitions make sense in arts that take place, at least from an audience perspective, in a time sequence, but what of other arts? At first I thought that transition was a function of story or argument, then I realized that it exists in non-narrative art as well.

My own photographic work is an example: most of my recent work is gridded abstract collage. Even though these pieces fall into the category of meditation rather than story images, there must be transition between the pieces in the grid or the overall piece will absolutely fail. Likewise there must be transition between the parts of any visual or plastic composition. While each part may be interesting in itself, those parts must relate to each other and to the composition as a whole to tell the story or complete the meditation. Thus the transitions can make or break any piece art.

Given their importance, a reasonable expectation would be that transitioning would be taught in arts schools of all varieties. My experiences is that it isn’t. And when I read about art technique, I seldom find it mentioned. The single exception is film editing/directing, where it is not only taught, but the methods have names. It is as if once those of us who are not film editors or directors get out of those freshman composition classes, it is presumed that we know all that we need to know about transitions.

And that is not the case. Sometimes we find the piece that we are working on isn’t coming together the way that we want it to, and are not sure where to look to correct the situation. We would do well to look at the transitions, particularly if the work seems inappropriately fragmented or lacking in cohesiveness. In more cases than you’d think, that’s where the problems are, and so that’s the place to start repairs. Perhaps we should even take a little time out to study and learn how to transition better. After all, anything that results in better work is time well spent.

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Date: Monday, 1. December 2014 0:32
Trackback: Trackback-URL Category: Creativity, Presentation

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