There were not a lot of women in the theater department - it was really run by men, and so the message was that women can be onstage, but women can't really be backstage.
Lynn NottageRead
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.
Interpretation
The quote emphasizes the influence of actors on character development in theater.
Lynn Nottage reflects on how the collaboration between playwrights and actors in the rehearsal process shapes the characters of a play. As actors bring their unique interpretations and rhythms to the roles they portray, their presence profoundly influences the writing and development of the script, highlighting the dynamic relationship between performer and playwright in the creation of a theatrical work.
In practice
In a discussion about the rehearsal process in theater class.
There were not a lot of women in the theater department - it was really run by men, and so the message was that women can be onstage, but women can't really be backstage.
The person whose work introduced me to the craft was Lorraine Hansberry. The person who taught me to love the craft was Tennessee Williams. The person who really taught me the power of the craft was August Wilson, and the person who taught me the political heft of the craft was Arthur Miller.
I was repeatedly told that there isn't an African American woman who can open a show on Broadway. I said, 'Well, how do we know? How do we know if we don't do it?' I said, 'I think you're wrong.'
Once working people discover that, collectively, we have more power than we do as individual silos, then we become an incredibly powerful force. But I think that there are powers that be that are invested in us remaining divided along racial lines, along economic lines.
It's incumbent on us to reach beyond the confines of the institutions that traditionally produce art and find new ways to get it to the people.
My grandfather was a Pullman porter, and my father put his way through college by cleaning floors at night in the libraries. I understand that working people are in some way the bedrock of my existence and the existence of many people here.
Then the writing became so fluid that I sometimes felt as if I were writing for the sheer pleasure of telling a story, which may be the human condition that most resembles levitation.
A person who's only suffering can't write a poem. There are choices to be made, and you need to be objective.
Being essentially a creator, I never set out to shock, always thinking about creating my work and not about the benefits it could produce.
I heard someone from the music business saying they are no longer looking for talent, they want people with a certain look and a willingness to cooperate. I thought, that's interesting, because I believe a total unwillingness to cooperate is what is necessary to be an artist — not for perverse reasons, but to protect your vision. The considerations of a corporation, especially now, have nothing to do with art or music. That's why I spend my time now painting.
Composing is improvisation slowed down.
When I began making electronic music, the only thing I was thinking about was creating music that I really liked. I didn't think about what effect it would have; I was busy doing it.
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