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
At the end of the day, 'Shuffle Along' is about people coming together and making something extraordinary - and history not necessarily being kind to them. It's about the love of necessarily being kind to them. It's about the love of doing, regardless of the consequences.
Interpretation
The quote highlights the importance of collaboration and creativity, regardless of the outcome or historical judgment.
In this quote, George C. Wolfe reflects on the essence of the musical 'Shuffle Along', emphasizing that it represents a collective effort by individuals to create something remarkable. He suggests that while history may not always remember their contributions kindly, the true value lies in the passion and love for the act of creation itself, independent of potential consequences.
In practice
In a speech about teamwork, you might say, 'As George C. Wolfe noted, it's about people coming together to create something extraordinary.'
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 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.
"But that's the price we have to pay for stability. You've got to choose between happiness and what people used to call high art. We've sacrificed the high art.
The constant fear of a performer is to become what is reflected back at you.
Graffiti ultimately wins out over proper art because it becomes part of your city, it' s a tool; "I'll meet you in that pub, you know, the one opposite that wall with a picture of a monkey holding a chainsaw". I mean, how much more useful can a painting be than that?
If a Million People See My Movie, I Hope They See a Million Different Movies.
The great thing about the arts, and especially popular music, is that it really does cut across genres and races and classes.
Nothing, of course, will ever take the place of the good old fashion of 'liking' a work of art or not liking it; the more improved criticism will not abolish that primitive, that ultimate, test.
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