ABSTRACT
In the “Conversations” that accompany “Extreme Fidelity,” Cixous suggests that it is in her work for the theater that she has come closest to writing others. 1 Describing Clarice Lispector’s exemplary approach to this task, Cixous writes:
I have only been able to resolve the question in an equivalent movement to Clarice’s strategy which consists in making the author I am fade to the point of disappearing. I, the author, have to disappear so that you, so other, can appear. My answer has come through writing for the theater.
On the stage, I, the author, am no longer there, but there is the other. 2
