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.
Never does one feel oneself so utterly helpless as in trying to speak comfort for great bereavement.
The first step in liquidating a people is to erase its memory. Destroy its books, its culture, its history. Then have somebody write new books, manufacture a new culture, invent a new history. Before long that nation will begin to forget what it is and what it was... The struggle of man against power is the struggle of memory against forgetting.
I think one of the primary goals of a feminist landscape architecture would be to work toward a public landscape in which we can roam the streets at midnight, in which every square is available for Virginia Woolf to make up her novels
I shall not want Honor in Heaven For I shall meet Sir Philip Sidney And have talk with Coriolanus And other heroes of that kidney.
I have taken more out of alcohol than alcohol has taken out of me.
Did it matter then, she asked herself, walking towards Bond Street, did it matter that she must inevitably cease completely? All this must go on without her; did she resent it; or did it not become consoling to believe that death ended absolutely?
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