George C Wolfe Quotes

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.
Every single wave, when I was overwhelmed and poor and struggling in New York, there were these extraordinary people in New York who said, 'Come this way.'
Everybody wants to be remembered for the best of who they are.
Generally, the realm in which black playwrights have been allowed to achieve success has been social realism or musicals.
Growing up in the South, I was raised to be a Negro boy. I was acutely aware how other people perceived me, and that informed my behavior. That worked for a period of time, but it could also be suffocating.
I absolutely love working on musicals, but anytime I finish a project, I want to move on to something completely different.
I came to New York to write and direct, and when I got here, a lot of my rage came out.
I could program a 'fabulous, I love it' kind of hit season right now. I'm more interested in breaking boundaries, telling a story, defying a truth that has been accepted.
I don't go, like, 'Hmm, I'm now going to create something for the black community.' I just feel this compelling urge. I just feel myself drawn to stories that I feel have a potency and immediacy.
I feel like I'm edgy and I'm funny and I got this bite, this outrageousness.
I feel like I've been very blessed in the sense that I've had the veracity of spirit to not be stopped and, at the same time, the protective energy and the generosity of those who have come before me, who saw something inside of me and, therefore, invited me into rooms that I would not have been inside of otherwise.
I like to knock down walls and allow others to enter.
I love and I'm intrigued by what history does to people and to subjects that matter.
I love Kabuki, Noh theater and bunraku.
I love working with a set designer because, in many respects, you meet the set designer before you meet the actors. So it's a chance for me as a director to figure out what I'm thinking and to explore how the space is going to actually be activated.
I love working with actors who will just go, 'Oh O.K., let's try it and see where it goes,' and 'Let's see what we can discover.'
I personally am a very big fan of 'Romeo + Juliet.' It had a visceral power to it that I thought was just exhilarating. It was a very arresting and very disturbing and deeply compelling version of the play.
I pride myself on being available to as many people's stories as I possibly can.
I really don't find revivals very interesting because I like new work a lot. I feel like if you're going to pay me, then let me do what I do and let me try to solve some problems. Let me try to make something fly. Why would I do something that everybody has already done the hard work on? But that's me. Tons of people do revivals really well.
I think all creative people are operating from the fear that, of the best of what they did, will anybody remember it? Will anybody tell stories about them? Will anybody keep those pictures on the mantle long after they are gone? It's why people write stories. It's peoples' grave markers.
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AuthorName
George C. Wolfe
Profession
Playwright
BirthDate
23 September, 1954
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