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.
Interpretation
This quote reflects on the transformative impact that influential writers and playwrights have on one's understanding and appreciation of art and its societal significance.
Lynn Nottage emphasizes the importance of mentorship and the cumulative influence of various notable figures in her journey as a playwright. Each individual mentioned contributed uniquely to her understanding of the craft—Lorraine Hansberry introduced her to it, Tennessee Williams instilled a love for it, August Wilson demonstrated its power, and Arthur Miller revealed its political significance. This highlights how collaboration and learning from the masters can shape one’s artistic identity and responsibility.
In practice
This quote would be compelling to use in a speech at an arts education event to underline the influence of mentors.
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.
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.
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.
I started writing morning pages just to keep my hand in, you know, just because I was a writer and I didn't know what else to do but write. And then one day as I was writing, a character came sort of strolling in and I realized, Oh my God, I don't have to be just a screenwriter. I can write novels.
Poetry helps me understand who I am. It helps me understand the world around me. But above all, what poetry has taught me is the fact that I need to embrace mystery in order to be completely human.
Everyone says you have to be a specialist, and if you conduct Wagner you cannot conduct Mozart - this is nonsense.
And for the last three minutes on the wind of a windless day I have heard the sound of drums and flute.
As a composer at a point where I can absolutely pick and choose what I want to do, I don't want to write about anybody I don't care about.
I can hold a cup of sake on a full moon in Japan, and the reflection of the moon in that little cup can make me feel so enthusiastic about beauty. That one good, magical moment can give me enough to create other things like the teardrop earring or necklace.
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