Don't take shadows too seriously. Reality is your only safety. Continue to reject illusion.
Wole SoyinkaRead
When I write plays, I'm already seeing the shapes on stage, of the actors and their interaction, and so on and so forth. I don't think I've ever written one play as an abstract piece, as a literary piece, floating in the air somewhere, to be flushed out later on.
Interpretation
The quote expresses the author's immersive and visual approach to playwriting, emphasizing the importance of staging and character interaction.
Wole Soyinka describes his unique process of playwriting, where he envisions the overall production in its entirety rather than just focusing on the text. For him, each play comes to life through the interactions of actors and the visual elements of the stage, highlighting that the performance is integral to the writing process rather than an afterthought.
In practice
In a theater workshop, one might quote this to emphasize the importance of visualizing a scene before writing it.
Don't take shadows too seriously. Reality is your only safety. Continue to reject illusion.
Trading and religion have always been aligned together in the history of the world, and especially on the African continent.
A war, with its attendant human suffering, must, when that evil is unavoidable, be made to fragment more than buildings: It must shatter the foundations of thought and re-create. Only in this way does every individual share in the cataclysm and understand the purpose of sacrifice.
Rwanda, which is one of the younger independent states in Africa, must be regarded as a model of how great human trauma can be transformed to commence true reconstruction of people. Human trauma can lead to stunted growth and mass withdrawal.
I have a kind of magnetic attraction to situations of violence.
Art is solace; art is vision, and when I pick up a literary work, I am a consumer of literature for its own sake.
Colours shone with exceptional clarity in the rain. The ground was a deep black, the pine branches a brilliant green, the people wrapped in yellow looking like special spirits that were allowed to wander over the earth on rainy mornings only.
The camera need not be a cold mechanical device. Like the pen, it is as good as the man who uses it. It can be the extension of mind and heart.
How do you project a character if you don't have a sense of where she is from? I've always just gotten on a plane to go to the area to get a sense of what it is like, to smell it, feel the earth, hear people talk, go to the marketplaces.
Because I direct films, I have to live in a major English-speaking production center. That narrows it down to three places: Los Angeles, New York and London. I like New York, but it's inferior to London as a production center. Hollywood is best, but I don't like living there.
There's so much chaos in life, I think I make music to make things feel calm and sane, to define something, to bring some meaning into it - it's a real peaceful thing to me.
It has always seemed to me that so long as you produce your dramatic effect, accuracy of detail matters little. I have never striven for it and I have made some bad mistakes in consequence. What matter if I hold my readers?
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