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
I think all creative people are operating from the fear that, of the best of what they did, will anybody remember it? Will anybody tell stories about them? Will anybody keep those pictures on the mantle long after they are gone? It's why people write stories. It's peoples' grave markers.
Interpretation
This quote expresses the deep-seated fear of artists about their legacy and the impact of their creations on future generations.
George C. Wolfe articulates the anxiety that many creative individuals experience regarding whether their work will be remembered or appreciated after they are gone. The quote suggests that the act of creation serves as a way for people to leave a lasting mark on the world, akin to a grave marker that signifies their existence and contributions long after they depart.
In practice
In a speech at an art exhibition, one could use this quote to discuss the importance of remembering artists and their work.
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.
We have that illusion that we are 'deciding' what to make a character do, in order to 'convey our message' or something like that. But, at least in my experience, you are often more like a river-rafting guide who's been paid a bonus to purposely steer your clients into the roughest possible water.
A first-rate soup is more creative than a second-rate painting.
O for a Muse of fire, that would ascend The brightest heaven of invention, A kingdom for a stage, princes to act And monarchs to behold the swelling scene!
When I look back and think how fortunate I've been to work with some wonderful people and had some marvelous experiences, then I can look at 'Star Trek' and think it's almost like the cream on the coffee. I don't approach it as anything but a magnificent plus.
What pleases the public is lively and vivid delineation which makes no demands on the intellect; but passionate and absolutist youth can only be enthralled by a problem.
The word 'celebrity' and the word 'architect' are basically incompatible.
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