Good art theory must smell of the studio, although its language should differ from the household talk of painters and sculptors.
Interpretation
Art theory should be closely connected to the practical experiences of artists but needs to communicate in a more refined manner.
Rudolf Arnheim emphasizes that while art theory should be rooted in the real-life experiences and nuances of artists working in studios, it requires a level of sophistication in language that sets it apart from casual conversations among those creators. This distinction is vital for the development of a deeper understanding of art that transcends everyday language, focusing instead on a more analytical and structured approach to discussing art.
In practice
During a lecture on art theory, one might reference this quote to illustrate the balance between practical artistry and academic discussion.
The dance, just as the performance of the actor, is kinesthetic art, art of the muscle sense. The awareness of tension and relaxation within his own body, the sense of balance that distinguishes the proud stability of the vertical from the risky adventures of thrusting and falling--these are the tools of the dancer.
Nothing is more humbling than to look with a strong magnifying glass at an insect so tiny that the naked eye sees only the barest speck and to discover that nevertheless it is sculpted and articulated and striped with the same care and imagination.
Once it is recognized that productive thinking in any area of cognition is perceptual thinking, the central function of art in general education will become evident.
Man's striving for order, of which art is but one manifestation, derives from a similar universal tendency throughout the organic world; it is also paralleled by, and perhaps derived from, the striving towards the state of simplest structure in physical systems.
The arts are neglected because they are based on perception, and perception is disdained because it is not assumed to involve thought.
Variety is more than a means of avoiding boredom, since art is more than an entertainment of the senses.
I think in some ways, it can do a listener a disservice to explain a song. I think I'd rather leave a little room for people to put themselves in it.
Often I don't know what the song means until it's finished. Sometimes months later. I don't think that's bad. It implies that I don't know what I'm doing but-I think if you're able to follow your instincts, then that's knowing what you're doing.
People probably have different philosophies about this, but I think that when you're first shaping the play and trying to find a character, the initial actors that develop it end up imprinting on it - you hear their voices; you hear their rhythms. You can't help but to begin to write toward them during the rehearsal process.
I try to represent specific experiences of specific characters, and that's all I want to try to do. I don't ever try to think about representing a culture, because its impossible, and someone will fault you. And it just doesn't interest me.
Why would somebody just read a novel when they can see it on TV or in the cinema? I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel, you can get right inside somebody's head.
Getting a book published made me feel a little bit sad... I felt driven by the need to write a book, rather than the need to write. I needed to figure out what was important to me as a writer.
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