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 was raised to believe that other people's suffering was my responsibility.
Interpretation
The quote emphasizes the moral obligation to care for others and acknowledges the interconnectedness of human experiences.
George C. Wolfe's quote reflects a deep-rooted belief in the importance of empathy and the moral responsibility we have towards the suffering of others. It suggests that our upbringing and values heavily influence our sense of duty in alleviating the pain of those around us, highlighting the interconnected nature of human experience and compassion.
In practice
During a speech on community service, this quote can inspire volunteers to engage with those in need.
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 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.
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 wake up like this, this sense that I've somehow been transported to an alternate universe where my life took a left instead of a right beacuse of some seeemingly insignificant yet cosmically crucial choice I've made, about a girl or a kiss or a date or a job or which Starbucks I went into...something.
Life is never fair, and perhaps it is a good thing for most of us that it is not.
What distressed me most - more even than my own folly - was the perplexing question - How can beauty and ugliness dwell so near? Even with her altered complexion and face of dislike; disenchanted of the belief that clung around her; known for a living, walking sepulcher, faithless, deluding, traitorous; I felt, notwithstanding all this, that she was beautiful. Upon this I pondered with undiminished perplexity.
Why do we not care to acknowledge them? The cattle, the body count. We still don't like to admit the war was even partly our fault because so many of our people died. A photograph on every mantlepiece. And all this mourning has veiled the truth. It's not so much lest we forget, as lest we remember. Because you should realise the Cenotaph and the Last Post and all that stuff is concerned, there's no better way of forgetting something than by commemorating it.
Man's deliberate destruction of his own habitat -- planet Earth -- could serve as a mighty theme for a mighty book worthy of a modern Melville or Tolstoy. But our best fictioneers confine themselves to domestic drama -- soap opera with literary trimmings.
You can't have a world where 50 percent of the people are dieting and 50 percent of the people are starving if you want stability.
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