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.
Interpretation
This quote reflects on the transformative impact that influential writers and playwrights have on one's understanding and appreciation of art and its societal significance.
Lynn Nottage emphasizes the importance of mentorship and the cumulative influence of various notable figures in her journey as a playwright. Each individual mentioned contributed uniquely to her understanding of the craft—Lorraine Hansberry introduced her to it, Tennessee Williams instilled a love for it, August Wilson demonstrated its power, and Arthur Miller revealed its political significance. This highlights how collaboration and learning from the masters can shape one’s artistic identity and responsibility.
In practice
This quote would be compelling to use in a speech at an arts education event to underline the influence of mentors.
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.
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.
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.
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.
Architecture is really about well-being. I think that people want to feel good in a space ... On the one hand it's about shelter, but it's also about pleasure.
Authorship is not a trade, it is an inspiration; authorship does not keep an office, its habitation is all out under the sky, and everywhere the winds are blowing and the sun is shining and the creatures of God are free.
If you write for God you will reach many men and bring them joy. If you write for men--you may make some money and you may give someone a little joy and you may make a noise in the world, for a little while. If you write for yourself, you can read what you yourself have written and after ten minutes you will be so disgusted that you will wish that you were dead.
Man is made to create, from the poet to the potter.
And music has always been incredibly cathartic for me, whether it's writing my own stuff or singing other people's music; it's very freeing.
For those colours which you wish to be beautiful, always first prepare a pure white ground.
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