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.
As a person of color, I was trained from very early on to see 'Leave It to Beaver,' 'Gilligan's Island,' or 'Hamlet' and look beyond the specifics of it - whether it be silly white people on an island or a family living in Nowheres or a Danish person - to leap past the specifics and find the human truths that have to do with me.
Interpretation
What this quote means
The quote emphasizes the ability to find universal truths in stories, regardless of cultural specifics.
George C. Wolfe's quote reflects the perspective of a person of color who has learned to transcend racial and cultural boundaries when engaging with media and literature. Instead of focusing solely on the superficial details of characters and situations that may not represent his own experience, he prioritizes the deeper human truths that resonate with his life and identity, advocating for an understanding that connects diverse narratives to shared human experiences.
Themes
In practice
Example use cases
In a speech about diversity in media, you can use this quote to emphasize the importance of seeing beyond race and culture.
More from George C. Wolfe
All quotes βOne 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.
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Sometimes he could almost forget that it was there, the way you forget about the sky or the earth underfoot, but there were other times when it seemed as if there was nothing else in the world.
We must be free for the truth; and conversely, to be able to be open toward the truth may be our deepest freedom as human creatures.
People inside of belonging systems are very threatened by those who are not within that group. They are threatened by anyone who has found their citizenship in places they cannot control.
I am much inclined to live from my rucksack, and let my trousers fray as they like.
No 'we' should be taken for granted when the subject is looking at other people's pain.
Men write many fine and plausible arguments in support of monarchy, but the fact remains that where every man has a voice, brutal laws are impossible