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
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.
Interpretation
Theater's collaborative nature brings both excitement and challenges.
George C. Wolfe highlights the dual-sided nature of theater, where the involvement of numerous people creates a vibrant and dynamic environment. This collaborative process can lead to both remarkable creativity and complex challenges, encapsulating the essence of theater as a thrilling yet demanding art form.
In practice
In a discussion about the complexities of putting on a play, you might reference this quote to underline the collaborative effort needed.
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.
I was raised to believe that other people's suffering was my responsibility.
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.
For me, writing [was] a question of survival...I could not trust anyone, even my family. The atmosphere was so poisoned. People even in your own family could turn you in.
If there's one theme in all my work, it's about authenticity and self-expression. It's the idea that some things are, in some real sense, really you - or express what you and others aren't.
The urge to destroy is also a creative urge.
I bid the chords sweet music make, And all must follow in my wake.
Every picture has its own demands, and every picture stimulates something within you to tell it a certain way. I don't know what that is; I don't think too much about that.
First we draw what we see; then we draw what we know; finally we see what we know.
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