Points of View
If everyone chose from their heart's dictates, theater would flourish and everyone would love it. There would not be writers writing plays by formula. Nor would audiences think that they know the ropes and look for signposts to help them pretend they understand something that is only a signpost. This pretending gives but a shallow satisfaction and ultimately creates a distaste for the theater.
If theater is to be successful it must be loved like one loves an animal that one wonders at. Not like one loves a formula. If people would love the theater like they love an animal, they would enjoy the theater and they would want to go to the theater. And if you asked them, "What is utopia?" they would say, "Theater is utopia."
MARIA IRENE FORNES
"The concept of hegemony means political leadership is based on consent of the led, a consent which is secured by the diffusion and popularization of the world view of the ruling class."
"Properly understood the theatre critic's intent is to mediate between the play and those who produce it, not between the play and the audience.Her/His work is rewarded by more informed productions, not by more enlightened audiences. The audience should learn from the play they see."
"For Greenaway: in a society dominated by vulgarity and the God of Money, filmmaking and the making of every art are profoundly political acts."
Beckett is dealing with emotions, however abstractly, and there is a progress from one emotion to the next that feels inevitable. Not only are his plays narrative but, as Joe Chaikin once observed, Beckett has actually discovered a new dramatic subject. Normally people on stage reflect on the macrostructure of action. What am I going to do this year? Tomorrow? Tonight? They ask: Am I going mad? Will I ever get to Moscow? Should I leave my husband? Do I have to murder my Uncle? My Mother? These are the sorts of large projects that have traditionally concerned a play’s leading characters. Beckett is the first writer to dramatize the microstructure of action. What am I going to do one minute from now? In the next second? Weep? Take out my comb? Stand-up? Sigh? Sit? Be silent? Tell a joke? Understand something? His plays are built on reflections leading to decisions, which imparts to his dramas a real narrative push.
"My work is a matter of fundamental sounds made
as fully as possible, and I accept responsibility for nothing else.
If people want to have headaches among the overtones,