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
Commercial theater, in its agenda to appeal to everybody, is often at the expense of the unique vision of the artist.
Interpretation
Commercial theater prioritizes mass appeal over the individual creativity of artists.
George C. Wolfe highlights the tension between commercial interests and artistic integrity within theater. He suggests that when theater productions aim solely to attract broad audiences, they can compromise the distinctive visions of the artists, leading to a dilution of creativity and originality in the performing arts.
In practice
In a discussion on the impact of commercialism in the arts, this quote effectively underscores the need for artistic vision.
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.
A man writes because he is tormented, because he doubts. He needs to constantly prove to himself and the others that heβs worth something. And if I know for sure that Iβm a genius? Why write then? What the hell for?
My dreams were at once more fantastic and agreeable than my writings.
We hated Bauhaus. It was a bad time in architecture. They just didnβt have any talent. All they had were rules. Even for knives and forks they created rules. Picasso would never have accepted rules. The house is like a machine? No! The mechanical is ugly. The rule is the worst thing. You just want to break it.
Sometimes the magnetism of a song is impossible to ignore, and it demands that it be sung in a certain way.
When I turned to writing fantasy, and writing for young people, it was joyous. It was like discovering an underground lake of ideas that went on forever.
Real mathematics must be justified as art if it can be justified at all.
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