Zitat des Tages von Lynn Nottage:
I don't think any of us could predict Trump. Trump is the stuff of nightmares. But in talking to people, I knew there was a tremendous level of disaffection and anger and sorrow. I know people felt misrepresented and voiceless.
The people sometimes who are closest to us are the ones who bear the brunt of our frustration.
I think that human beings were incredibly resilient; otherwise, we wouldn't keep going.
The essence of creativity is to look beyond where you can actually see. I don't want to dwell in same place too long.
I'm a contemporary playwright in a postmodern world.
It's much easier to conjure characters strictly from your imagination than to have to think about whether you're representing people in a truthful way.
Before I start, I create a set list that I listen to while I'm writing. For 'Intimate Apparel,' I loaded Erik Satie, Scott Joplin, klezmer music, and the American jazz performer and composer Reginald Robinson.
As a woman of color, slowly and with some coercing, the not-for-profit theaters around the country are beginning to recognize and embrace the power of our stories, but with regards to Broadway and other commercial venues, we remain very much marginalized and excluded from that larger creative conversation.
Who wants to see the same play again? I certainly don't want to write the same play again and again.
If the Tony Awards want to remain relevant in the American theater conversation, then they need to embrace the true diversity of voices that populate the American theater.
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.
Broadway's never my end goal because of the plays I write. These are tough plays. Of course there's a lot of humor, but my goal is just to reach as wide an audience as possible, however that happens.
Ultimately, we're incredibly resilient creatures. People really do get on with the business of living.
Silence is complicity. I believe that.
I am a Tony voter; it is an honor that I take seriously. Each season, I enter the process with a degree of enthusiasm and optimism, which dissipates as I slowly plow through show after show.
There is an enduring feeling that women can write domestic dramas but don't have the muscularity or the vision to write state-of-the-nation narratives.
The theatre should reflect America as it's lived in today. And that is a multicultural America.
When I sat in rooms with middle-aged white men, I heard them speaking like young black men in America. They had been solidly middle class for the majority of their working careers, but now they were feeling angry, disaffected, and in some cases, they actually had tears in their eyes.
Winning the second Pulitzer firmly places me in conversation with this culture.
When you begin a play, you're going to have to spend a lot of time with those characters, so those characters are going to have to be rich enough that you want to take a very long journey with them. That's how I begin thinking about what I want to write about and who I want to write about.
The great thing about 'Vera Stark' is that my research was watching movies, screwball comedies, so I could literally sit back and relax.
It's very important for me to have dialogues across racial lines.
What I often do when I'm writing, if I can't find that story, I go out and I hunt for it.
By the time I reached 50, I'd accumulated many unresolved fears and desires.
My parents are avid consumers of art, collectors of African American paintings, and have always gone to the theater. My mother has always been an activist, too. As long as I can remember, we were marching in lines.
I think sometimes you need distance to reflect.
It's very easy, when we're reading those articles on the 20th page of 'The New York Times,' to distance ourselves and say, 'It's someone else.'
I wonder: Would there be a black president if people hadn't already begun imagining, through film and television, that a black man is president? It's self-actualization.
The stage is the last bastion of segregation.
We live in a global society, and I don't think we can talk about, quote unquote, 'American themes' anymore.
I knew that there was a great deal of depth and life that was sitting just beyond my mother's gaze.
Like Alice Walker and Toni Morrison, I try to balance reality with how we'd like the world to be.
'Intimate Apparel' is a lyrical meditation on one woman's loneliness and desire. 'Fabulation' is a very fast-paced play of the MTV generation.
All of my plays are about people who have been marginalized... erased from the public record.
Replace judgment with curiosity.
I do see myself as an old-fashioned storyteller. But there's always a touch of the political in my plays.