Quotes of All Topics . Occasions . Authors
It's true, I don't like the real world.
If I wasn't in the theater, I would be a hermit.
So I decided to start writing plays, and went to Yale.
One does not devote one's life in art to shock an audience.
Quite the opposite. I might fall on my face, but I feel born again.
What really happened was one day I decided to write a new kind of play.
You know, actually, I went to Yale because I wanted to stay out of the army.
There is no work of art that has ever been made that is absolutely truthful about life.
My play is the ultimate expression of my feeling of the twilight of Western civilization.
Now, when I started my theater, the modus operandi was having the actors stare right into the audience.
I realized that I had to be honest about where I was, where I was coming from, and what I was trying to do.
I've been trying to figure out for at least the last 10 years how to force myself into something more risky.
Understand--it ALWAYS makes sense. Sense can't be avoided. If it first seems to be non-sense, wait: roots will reveal themselves.
I acted in junior high in the junior high school group, and then when I got into senior high I was, you know, the main actor of the senior high school.
I was enchanted by the escape into that meticulous world that seemed real yet not... well, it seemed not real, but very detailed and meticulous, bizarre.
From that time through the time I was a New Dramatist, when I was something like twenty-two, I saw absolutely everything in New York. Absolutely everything.
As I told you, from the time I was fifteen, I thought the theater was too much involved with actors trying to make the audience love them, being over emotional.
I'm there to make a kind of theatrical music that is desperately missing in my life. And if other people don't like it, I'm very unhappy, but I can't do anything about that.
I see within us all (myself included) the replacement of complex inner density with a new kind of self—evolving under the pressure of information overload and the technology of the ‘instantly available’.
All the dialogue on tape, and we'd play the tape in performance. Then I thought it'd be interesting if the actor's repeated what they heard on the tape, but at a slower speed, so we'd get a web of language.
Because even at the age of fifteen, I used to go see all the Broadway shows and feel that they were sentimental, that they were pandering to the audience and trying to manipulate the audience. I had no use for practically any of the shows that were hits.
Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.
I come from a tradition of Western culture, in which the ideal (my ideal) was the complex, dense, and 'cathedral-like' structure of the highly educated and articulate personality--a man or woman who carried inside themselves a personally constructed and unique version of the entire heritage of the West. [But now] I see within us all (myself included) there placement of complex inner density with a new kind of self--evolving under the pressure of information overload and the technology of the 'instantly available.'
Everything Brecht wrote—plays, dialogues, and poetry—was his attempt to clarify the inner contradictions not only of the capitalism and fascism of his times, but also of the communism that was always disappointing his deepest hopes. In a book that makes Brecht’s struggle to reveal these hidden contradictions its central theme, Glahn issues, by implication, a call to arms to today’s artists—who are faced with a world that seems to defy attempts to treat the global crisis with an art that is rarely more than notes on ‘local’ angst.