Quotes of All Topics . Occasions . Authors
I very much write from characters. Those people start speaking, and then I have them in the house with me and I live with them. Then at some point, it's time to get them out of the house. You can only live with someone like Dr. Georgeous Teitelbaum from THE SISTERS ROSENSWEIG for so long, and then it's time for her to go. But it is very like having the company of these people and trying to craft them in some way into a story.
The law is equal before all of us; but we are not all equal before the law. Virtually there is one law for the rich and another for the poor, one law for the cunning and another for the simple, one law for the forceful and another for the feeble, one law for the ignorant and another for the learned, one law for the brave and another for the timid, and within family limits one law for the parent and no law at all for the child.
For me, on every project, I realize that I've boxed myself into a corner, or that the play necessitates some sort of theatrical convention that I realize I hate while I'm making it. So then the next play is always a rebellion. Or like, the thing I didn't even realize I was doing last time I will make sure I don't do this time. But there's always some other blind spot. And then that blind spot inspires the play that comes after.
They know your name, address, telephone number, credit card numbers, who ELSE is driving the car "for insurance", ... your driver's license number. In the state of Massachusetts, this is the same number as that used for Social Security, unless you object to such use. In THAT case, you are ASSIGNED a number and you reside forever more on the list of "weird people who don't give out their Social Security Number in Massachusetts."
As a man has no right to kill one of his children if it is diseased or insane, so a man who has made the gradual and conscious expression of his personality in literature the aim of his life, has no right to suppress himself any carefully considered work which seemed good enough when it was written. Suppression, if it is deserved, will come rapidly enough from the same causes that suppress the unworthy members of a man's family.
There's no reason why you can't say "August Wilson, playwright" even though all of my work, every single play, is about black Americans, about black American culture, about the black experience in America. I write about the black experience of men, or I write about black folks. That's who I am. In the same manner that Chekhov wrote about the Russians, I write about blacks. I couldn't do anything else. I wouldn't do anything else.
Rock-and-roll was an example of change in the body of the culture. I think it's really what helped bring the anti-war movement to its peak and moved people into the streets to seize the day - the movement was the embodiment of what was happening in the music. This is what taught me that it was possible to bring art and activism together. Without that piece, that energetic embodiment piece, the rest is just intellectual construct.
The schoolmaster is the person who takes the children off the parents' hands for a consideration. That is to say, he establishes a child prison, engages a number of employee schoolmasters as turnkeys, and covers up the essential cruelty and unnaturalness of the situation by torturing the children if they do not learn, and calling this process, which is within the capacity of any fool or blackguard, by the sacred name of Teaching.
People ask me when I decided to become a playwright, and I tell them I decide to do it every day. Most days it's very hard because I'm frightened - not frightened of writing a bad play, although that happens often with me. I'm frightened of encountering the wilderness of my own spirit, which is always , no matter how many plays I write, a new and uncharted place. Every day when I sit down to write, I can't remember how it's done.
A rather ugly thing starts happening: the playwright finds himself knocked down for works that quite often are just as good or better than the works he's been praised for previously. And a lot of playwrights become confused by this and they start doing imitations of what they've done before, or they try to do something entirely different, in which case they get accused by the same critics of not doing what they used to do so well.
I dare say it is rather hard to be a rat,” she mused. “Nobody likes you. People jump and run away and scream out: ‘Oh, a horrid rat!’ I shouldn’t like people to scream and jump and say: ‘Oh, a horrid Sara!’ the moment they saw me, and set traps for me, and pretend they were dinner. It’s so different to be a sparrow. But nobody asked this rat if he wanted to be a rat when he was made. Nobody said: ‘Wouldn’t you rather be a sparrow?
A writer's life is a highly vulnerable, almost naked activity. We don't have to weep about that. The writer makes his choice and is stuck with it. But it is true to say that you are open to all the winds, some of them icy indeed. You are out on your own, out on a limb. You find no shelter, no protection - unless you lie - in which case of course you have constructed your own protection and, it could be argued, become a politician.
Poetical feelings are a peril to scholarship. There are always poetical people ready to protest that a corrupt line is exquisite. Exquisite to whom? The Romans were foreigners writing for foreigners two millenniums ago; and for people whose gods we find quaint, whose savagery we abominate, whose private habits we don't like to talk about, but whose idea of what is exquisite is, we flatter ourselves, mysteriously identical to ours.
For me, so much of my life has been this attempt to find my way back into my body. I tried various forms, from promiscuity, to eating disorders, to performance art. And I think it wasn't until I got cancer, where I was suddenly being pricked and ported and chemoed and operated on, that I suddenly just became body. I was just a body. And it was in that, in that finally landing in myself that I really discovered the world in my body.
The apparent multiplication of gods is bewildering at the first glance, but you soon discover that they are the same GOD. There is always one uttermost God who defies personification. This makes Hinduism the most tolerant religion in the world, because its one transcendent God includes all possible gods. In fact Hinduism is so elastic and so subtle that the most profound Methodist, and crudest idolater, are equally at home with it.
I dread the loss of her I've never touched love keeps me a slave in a cage of tears I gnaw my tongue with which to her I can never speak I miss a woman who was never born I kiss a woman across the years that say we shall never meet Everything passes Everything perishes Everything palls my thought walks away with a killing smile leaving discordant anxiety which roars in my soul No hope No hope No hope No hope No hope No hope No hope
What, or who, led you to take up photography, and about what date ? George Bernard Shaw – I always wanted to draw and paint. I had no literary ambition. I aspired to be a Michelangelo, not a Shakespeare. But I could not draw well enough to satisfy myself; and the instruction I could get was worse than useless. So when dry plates and push buttons came into the market I bought a box camera and began pushing the button. It was in 1898.
There's very little in the substance of [THE LADY IN THE VAN] which is not fact though some adjustments have had to be made. Over the years Miss Shepherd was visited by a succession of social workers so the character in the play is a composite figure. . . . A composite too are the neighbours, Pauline and Rufus, though I have made Rufus a publisher in remembrance of my neighbour, the late Colin Haycraft, the proprietor of Duckworth's.
If I get clear of my debts, I care not though men call me bold, glib of tongue, audacious, impudent, shameless, a fabricator of falsehoods, inventor of words, practised in lawsuits, a pettifogger, a rattle, a fox, a sharper, a knave, a dissembler, a slippery fellow, an imposter, a rogue that deserves the cat-o-nine-tails, a blackguard, a twister, a licker-up of hashes; they call all this when they meet me, if they please, I care not.
People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That's the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it's just coincidence, because what they're trying to do is accomplish an objective.
I also made it quite clear that Socialism means equality of income or nothing, and that under socialism you would not be allowed to be poor. You would be forcibly feed, clothed, lodged, taught, and employed whether you like it or not. If it were discovered that you had not character enough to be worth all this trouble, you might possibly be executed in a kindly manner; but whilst you were permitted to live you would have to live well.
For the pre-Darwinian age had come to be regarded as a Dark Age in which men still believed that the book of Genesis was a standard scientific treatise, and that the only additions to it were Galileo'a demonstration of Leonardo da Vinci's simple remark that the earth is a moon of the sun, Sir Humphrey Davy's invention of the safety lamp, the discovery of electricity, the application of steam to industrial purposes, and the penny post.
My religious convictions and scientific views cannot at present be more specifically defined than as those of a believer in creative revolution. I desire that no public monument or work of art or inscription or sermon or ritual service commemorating me shall suggest that I accepted the tenets peculiar to any established church or denomination nor take the form of a cross or any other instrument of torture or symbol of blood sacrifice.
A scholar's business is to add to what is known. That is all. But it is capable of giving the very greatest satisfaction, because knowledge is good. It does not have to look good or even sound good or even do good. It is good just by being knowledge. And the only thing that makes it knowledge is that it is true. You can't have too much of it and there is no little too little to be worth having. There is truth and falsehood in a comma.
Choosing a director is like choosing a therapist - you want somebody who is going to be a step or two ahead of you, who can interpret and articulate your intentions better than you can, with the benefit of objectivity. I look for a collaborator who is going to help bring to life, on stage, in three dimensions, what is on the page. I wouldn't want a director who imposes conceits or distrusts the text or who has prejudged the characters.
We are compelled by the theory of God's already achieved perfection to make Him a devil as well as a god, because of the existenceof evil. The god of love, if omnipotent and omniscient, must be the god of cancer and epilepsy as well.... Whoever admits that anything living is evil must either believe that God is malignantly capable of creating evil, or else believe that God has made many mistakes in His attempts to make a perfect being.
He loved telling stories. He had been everywhere in the world. The northwest frontier, the landscape of the Hindu Kush, was one of the great landscapes of my childhood because he used to evoke it with his stories. He taught me the sequence of ranks in the British army when I was about eight. I was in the bed with him while he told me everything about his life - except, probably, the real things, because of course you couldn't go there.
I don't think I've ever written anything even remotely naturalistic. The closest probably would be seen as 'Frankie and Johnny,' and that's only 'cause they eat a sandwich and make an omelet in act two. But it's a romantic fairy tale, and I'm very aware of that. I don't think it helps the actors in my plays to lose themselves in the reality of talking to another person. A good McNally actor always knows he's in a play with an audience.
Remember. You are a physician. You are not a policeman nor are you a minister of religion. You must take people as they come. Remember, too that though you will generally know more about the condition than the patient, it is the patient who has the condition and this if nothing else bestows on him or her a kind of wisdom. You have the knowledge but that does not entitle you to be superior. Knowledge makes you the servant not the master.
If you complain of people being shot down in the streets, of the absence of communication or social responsibility, of the rise of everyday violence which people have become accustomed to, and the dehumanization of feelings, then the ultimate development on an organized social level is the concentration camp... The concentration camp is the final expression of human separateness and its ultimate consequence. It is organized abandonment.
Have you ever been to a picnic? And someone blows up a balloon, and everyone starts tossing it around, and it's always just about to touch the ground, but someone always gets there just in time to tap it back up? That balloon, that's God, the very best in all of us, the kindness, the heavy petting, Funny Girl! ...Evil bores me. It's just one note. It doesn't sing! Oh, of course life sucks! It always will. So why not make the most of it?
I didn't marry you because you were perfect. I didn't even marry you because I loved you. I married you because you gave me a promise. That promise made up for your faults. And the promise I gave you made up for mine. Two imperfect people got married and it was the promise that made the marriage. And when our children were growing up, it wasn't a house that protected them; and it wasn't our love that protected them--it was that promise.
I love musicals but it's very, very different. It's really just a different form than serious drama, and has very different rules and a completely different set of characters and requirements and ambitions. It maybe shouldn't be as separate as it is, but it's got a different history. In terms of serious drama, I think you'd have to say that you could break it down essentially into the narrative realist tradition and experimental theater.
Some people read for instruction, which is praiseworthy, and some for pleasure, which is innocent, but not a few read from habit, and I suppose that this is neither innocent or praiseworthy. Of that lamentable company am I. Conversation after a time bores me, games tire me and my own thoughts, which we are told are the unfailing resource of a sensible man, have a tendency to run dry. Then I fly to my book as the opium-smoker to his pipe.
As a writer you're holding a dog. You let the dog run about. But you finally can pull him back. Finally, I'm in control. But the great excitement is to see what happens if you let the whole thing go. And the dog or the character really runs about, bites everyone in sight, jumps up trees, falls into lakes, gets wet, and you let that happen. That's the excitement of writing plays-to allow the thing to be free but still hold the final leash.
Lady of silences Calm and distressed Torn and most whole Rose of memory Rose of forgetfulness Exhausted and life-giving Worried reposeful The single Rose Is now the Garden Where all loves end Terminate torment Of love unsatisfied The greater torment Of love satisfied End of the endless Journey to no end Conclusion of all that Is inconclusible Speech without word and Word of no speech Grace to the Mother For the Garden Where all love ends.
That's our mirror. Every dip, every crash, every bubble that's burst, a testament to our brilliant stupidity. This one gave us the railroads. This one the Internet. This one the slave trade. And if we hope to do anything about saving the environment, or getting to other worlds, we'll need a bubble for that too. Everything I've ever done in my life worth anything has been done in a bubble: in a state of extreme hope and trust and stupidity.
Today, when death and old age are increasingly concealed behind euphemisms and comforting baby talk, and life is threatened with being smothered in the mass consumption of hypnotic mechanized vulgarity, the need to confront man with the reality of his situation is greater than ever. For the dignity of man lies in his ability to face reality in all its senselessness; to accept it freely, without fear, without illusions - and to laugh at it.
In the Middle Ages people believed that the earth was flat, for which they had at least the evidence of their senses: we believe it to be round, not because as many as 1 percent of us could give physical reasons for so quaint a belief, but because modern science has convinced us that nothing that is obvious is true, and that everything that is magical, improbable, extraordinary, gigantic, microscopic, heartless, or outrageous is scientific.
The old terms must be invented with new meaning and given new explanations. Liberty, equality, and fraternity are no longer what they were in the days of the late-lamented guillotine. This is what the politicians will not understand; and that is why I hate them. They want only their own special revolutions- external revolutions, political revolutions, etc. But that is only dabbling. What is really needed is a revolution of the human spirit.
somebody/ anybody sing a black girl's song bring her out to know herself to know you but sing her rhythms carin/ struggle/ hard times sing her song of life she's been dead so long closed in silence so long she doesn't know the sound of her own voice her infinite beauty she's half-notes scattered without rhythm/ no tune sing her sighs sing the song of her possibilities sing a righteous gospel let her be born let her be born & handled warmly.
The culture of the United States has flooded the world. It's the inevitable result of a powerful culture, art. We've got an instinctive touch when it comes to the popular mind because we've had no aristocracy. It is a democratic country. And we know without knowing it, without bothering to understand it, how to reach ordinary people, sometimes with the most vulgar, worthless junk on the face of the earth, but we know how to do it [laughter].
We're human beings we are - all of us - and that's what people are liable to forget. Human beings don't like peace and goodwill and everybody loving everybody else. However much they may think they do, they don't really because they're not made like that. Human beings love eating and drinking and loving and hating. They also like showing off, grabbing all they can, fighting for their rights and bossing anybody who'll give them half a chance.
It's that moon again, slung so fat and low in the tropical night, calling out across a curdled sky and into the quivering ears of that dear old voice in the shadows, the Dark Passenger, nestled snug in the backseat of the Dodge K-car of Dexter's hypothetical soul. That rascal moon, that loudmouthed leering Lucifer, calling down across the empty sky to the dark hearts of the night monsters below, calling them away to their joyful playgrounds.
Of course, the age-old tradition that a star must appear even if he or she is practically dying is an excellent one, but it can be carried too far. I one played a performance of The Knight of the Burning Pestle with a temperature of 103 and gave sixteen members of the company mumps, thereby closing the play and throwing everybody out of work. There may be a moral lurking somewhere in this, but I cannot for the life of me discover what it is.
It is my considered opinion that the human race (soi disant) is cruel, idiotic, sentimental, predatory, ungrateful, ugly, conceited and egocentric to the last ditch and that the occasional discovery of an isolated exception is as deliciously surprising as finding a sudden brazil nut in what you know to be five pounds of vanilla creams. These glorious moments, although not making life actually worth living, perhaps, at least make it pleasanter.
I do not invent characters. There they are. That's who they are. That's their nature. They talk and they behave the way they want to behave. I don't have a character behaving one way, then a point comes in the play where the person has to either stay or leave. If I had it plotted that the person leaves, then the person leaves. If that's what the person wants to do. I let the person do what the person wants or has to do at the time of the event.
The world has done that already - possessed the Congo and pillaged her and dominated her and robbed her of agency and occupation. Love is something else, something rising and contagious and surprising. It isn't aware of itself. It isn't keeping track. It isn't something you sign for. It's endless and generous and enveloping. It's in the drums, in the voices, in the bodies of the wounded made suddenly whole, by the music, by each other, dancing.
The Greeks used to use the same stories, the same mythology, time after time, different authors. There was no premium placed upon an original story, and indeed, Shakespeare likewise. A lot of people wrote plays about great kings. They didn't expect a brand-new story. It was what that new author made of the old story. It is probably the same now. We disguise it by inventing what seem to be new stories, but they're basically the same story anyway.
Characters on stage should be flat, like clothes in a fashion show: what you get should be no more than what you see. Psychological realism is repulsive, because it allows us to escape unpalatable reality by taking shelter in the “luxuriousness” of personality, losing ourselves in the depth of individual character. The writer's task is to block this manoeuvre, to chase us off to a point from which we can view the horror with a dispassionate eye.