Your demons will cause your angels to sing. Use the pain as fuel.
August WilsonRead
When I first started writing plays I couldn't write good dialogue because I didn't respect how black people talked. I thought that in order to make art out of their dialogue I had to change it, make it into something different. Once I learned to value and respect my characters, I could really hear them. I let them start talking.
Interpretation
The quote emphasizes the importance of authenticity and respect in representing voices in art.
August Wilson reflects on his journey as a playwright, acknowledging that his initial inability to write authentic dialogue stemmed from a lack of respect for the way black people communicate. It highlights the necessity of valuing and honoring the unique perspectives and voices of characters, which allows for a more genuine artistic expression that resonates with truth and integrity.
In practice
In a speech about diversity in the arts, one might quote this to emphasize the need for authentic representation.
Your demons will cause your angels to sing. Use the pain as fuel.
I think the blues is the best literature that we as blacks have created since we've been here. I call it our 'sacred book.' What I've attempted to do is to mine that field, to mine those cultural ideas and attitudes and give them to my characters.
All you need in the world is love and laughter. That's all anybody needs. To have love in one hand and laughter in the other.
I do - very specifically, I remember Bessie Smith; I used to collect 78 records that I would buy from the St Vincent de Paul store at five cents apiece, and I did this indiscriminately. I would just take whatever was there. And I listened to Patti Page and Walter Huston, 'September Song.'
I know some things when I start. I know, let's say, that the play is going to be a 1970s or a 1930s play, and it's going to be about a piano, but that's it. I slowly discover who the characters are as I go along.
My influences have been what I call my four Bs - the primary one being the blues, then Borges, Baraka, and Bearden.
I love movies, but sometimes I think it's better for actresses not to be total cinephiles. You have to be able to do the work at some point; you can't be totally starstruck. 'I can't believe it's Woody Allen!' You have to get past that.
Each morning my characters greet me with misty faces willing, though chilled, to muster for another day's progress through the dazzling quicksand the marsh of blank paper.
Art is an experience, not an object.
I write as if to save somebody’s life. Probably my own. Life is a kind of madness that death makes. Long live the dead because we live in them.
To some extent I happily don't know what I'm doing. I feel that it's an artist's responsibility to trust that.
I got this idea of doing a really serious big work-it would be precisely like a novel, with a single difference: Every word of it would be true from beginning to end.
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