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 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.
Interpretation
The quote highlights the significance and shock of racial representation in theater.
George C. Wolfe reflects on his historic role as a person of color directing a major Broadway production, expressing both pride and a sense of disbelief about the lack of diversity in the arts during that era. His words underscore the ongoing challenges of racial representation and equity within the theater industry, prompting questions about progress and the need for inclusive voices.
In practice
This quote can be used in discussions about diversity initiatives in the arts.
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.
One thing I tend to do is ask actors tons and tons of questions to try to get at what they're thinking but also to expose to them whatever box they've placed their characters in - to blow up that box so the journey can begin.
I wrote my first novel and my second novel in Chicago. It was the place where I became a writer. It's my favorite city.
I give you soul. I give you wisdom and light and music and a bit of laughter. Also, I am the world's greatest horseplayer.
You see, I am a poet, and not quite right in the head, darling. Itβs only that.
I have made up thousands of stories; I have filled innumerable notebooks with phrases to be used when I have found the true story, the one story to which all these phrases refer. But I have never yet found the story. And I begin to ask, Are there stories?
I can think of numberless males, from Bonnard to Callahan, who have photographed their lovers and spouses, but I am having trouble finding parallel examples among my sister photographers. The act of looking appraisingly at a man, making eye contact on the street, asking to photograph him, studying his body, has always been a brazen venture for a woman, though, for a man, these acts are commonplace, even expected.
That's the reason why I'm making albums. That's the reason why I love hip-hop: It's a challenge every time.
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