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.
Interpretation
We must seek innovative methods to share art with the public, rather than relying solely on traditional institutions.
In this quote, Lynn Nottage emphasizes the responsibility of artists and art producers to transcend the limitations of established institutions, such as galleries and theaters, which may restrict access to art. She advocates for finding new approaches to deliver art directly to the people, thus fostering a broader appreciation and engagement with artistic expressions.
In practice
During an art symposium, to highlight the importance of community engagement in the arts.
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.
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.
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.
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 agree with Balzac and 19th-century writers, black and white, who say, 'I write for money.' Yes, I think everybody should be paid handsomely; I insist on it, and I pay people who work for me, or with me, handsomely.
Poets are never allowed to be mediocre by the gods, by men or by publishers.
What I notice is that every adult or child I give a new set of Crayolas to goes a little funny. The kids smile, get a glazed look on their faces, pour the crayons out, and just look at them for a while....The adults always get the most wonderful kind of sheepish smile on their faces--a mixture of delight and nostalgia and silliness. And they immediately start telling you about all their experiences with Crayolas.
I dreamed of having a book of my own, of writing one that I could put on a shelf.
At the time I started in ballet they were dancing 'The Spirit of Champagne' on pointe, in Paris. I thought, 'I don't want to dance the spirit of champagne, I want to drink it!
Sit down and put down everything that comes into your head and then you're a writer. But an author is one who can judge his own stuff's worth, without pity, and destroy most of it.
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