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
At the end of the day, 'Shuffle Along' is about people coming together and making something extraordinary - and history not necessarily being kind to them. It's about the love of necessarily being kind to them. It's about the love of doing, regardless of the consequences.
Interpretation
The quote highlights the importance of collaboration and creativity, regardless of the outcome or historical judgment.
In this quote, George C. Wolfe reflects on the essence of the musical 'Shuffle Along', emphasizing that it represents a collective effort by individuals to create something remarkable. He suggests that while history may not always remember their contributions kindly, the true value lies in the passion and love for the act of creation itself, independent of potential consequences.
In practice
In a speech about teamwork, you might say, 'As George C. Wolfe noted, it's about people coming together to create something extraordinary.'
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.
Hollywood's a mecca, but it's not the final answer. You pick up a camera anyplace in the world, you can make a movie.
The whole world, as we experience it visually, comes to us through the mystic realm of color.
As a loyal believer in the Auteur Theory I first felt editing was but the logical consequence of the way in which one shoots. But, what I learned is that it is actually another writing.
I had given up ( around 1950, fh) any ambition of making a career as an artist…..I had lost all interest in the art shown in galleries and museums, and I no longer aspired to fit in that world. I loved the paintings done by children, and my only desire was to do the same for my own pleasure.
History has proven that art depicting black people cannot be disentangled from the political implications that such art has on their lives. As Africans were being stripped from the continent and sailed across the Atlantic to the Western world, depictions of black people in Western art changed in order to further render them racialized caricatures.
Good literature can be created only with something that is different from literature.
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