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.
I started to write as a child as soon as I could read, or even before, when my mother read me Beatrix Potter at bedtime. Writing seemed to me to be the only sensible way to live and be happy.
Noncooks think it's silly to invest two hours' work in two minutes' enjoyment; but if cooking is evanescent, so is the ballet.
Patti, did art get us?' I looked away, not really wanting to think about it. 'I don't know, Robert. I don't know.' Perhaps it did, but no one could regret that. Only a fool would regret being had by art; or a saint.
Many great works of art, poetry, and music are inspired by astral memories. The desire to do noble, beautiful things here on Earth is also often a carryover of astral experiences between a person's earth lives.
A sad tale's best for winter. I have one of sprites and goblins.
It's not what you see that is art. Art is the gap.
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