Every play is rhythmic control. If you want an audience to go on a journey, it's rhythmic control. You're crafting when they lean in, when they push back, when they breathe, when they surrender.
George C. WolfeRead
Always, when I do a play, there's got to be an equation of risks and potential failure. When you're working on a new play, it's like, 'How the hell do I do this, and do we have the time?' All of these huge questions engage, hopefully, the smartest part of me. And then when you're doing a revival, I went, 'Well, somebody's already solved it.'
Interpretation
Creating art involves balancing risks and potential failures, especially when trying something new.
In this quote, George C. Wolfe reflects on the creative process of theatre, highlighting the inherent risks and challenges faced when producing a new play. He acknowledges that these uncertainties engage his intellect in finding solutions, while reviving an existing play offers a sense of security, as the problems have already been addressed by previous artists.
In practice
This quote could be used in a workshop for aspiring playwrights to encourage them to embrace the uncertainties of their creative journey.
Every play is rhythmic control. If you want an audience to go on a journey, it's rhythmic control. You're crafting when they lean in, when they push back, when they breathe, when they surrender.
One of the things I learned very early on was that if you cast the show correctly, and if you've created the right energy in the room, the solution is also in the room. The solution doesn't necessarily come from someone, but if everybody is working in a very steadfast and rigorous way, then everything you're looking for is in the room.
A musical is what happens when text collides with motion collides with song collides with spectacle. And spectacle can be the human heart; it doesn't necessarily have to be a helicopter crashing.
The wonderful thing about theater is that it has so many people involved in the creation of it. The worst thing about theater is that it has so many people involved in the creation of it. That dynamic is thrilling and challenging every time you make a show.
I was raised to believe that other people's suffering was my responsibility.
I think I am the first person of color to direct a major white play on Broadway. In 1993? That's astounding to me. And horrifying to me.
Women's art, political art - those categorisations perpetuate a certain kind of marginality which I'm resistant to. But I absolutely define myself as a feminist.
Rock 'n' Roll is a combination of good ideas dried up by fads, terrible junk, hideous failings in taste and judgment, gullibility and manipulation, moments of unbelievable clarity and invention, pleasure, fun, vulgarity, excess, novelty and utter enervation.
Movies are dreams! And they work on you subliminally.
I like making images that from a distance seem kind of seductive, colorful, luscious and engaging, and then you realize what you're looking at is something totally opposite. It seems boring to me to pursue the typical idea of beauty, because that is the easiest and the most obvious way to see the world. It's more challenging to look at the other side.
What art is, in reality, is this missing link, not the links which exist. It's not what you see that is art; art is the gap.
If art is not to be life-enhancing, what is it to be? Half the world is feminine - why is there resentment at a female-oriented art? Nobody asks The Tale of Genji to be masculine! Women certainly learn a lot from books oriented toward a masculine world. Why is not the reverse also true? Or are men really so afraid of women's creativity?
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