[Some of his characters gezegde

en [Some of his characters were underdeveloped, to the extent that their speeches could be (and sometimes were, in Wilson's habitual frequent rewrites) interchanged. His dramatic structures and even his use of the musical powers of African American idioms were fairly old-fashioned compared with the exciting adventurousness of Suzan-Lori Parks. But even his traditionalism could be seen as a source of strength.] He was writing in the grand tradition of Eugene O'Neill and Arthur Miller, ... the politically engaged, direct, social-realist drama. He was reclaiming ground for the theater that most people thought had been abandoned.

en While his death was not unexpected, it's a serious blow to the entire theatrical community in the United States and Pittsburgh in particular. August Wilson is one of the seminal figures of 20th century dramatic art. When we speak of Eugene O'Neill, Tennessee Williams and Arthur Miller, we will now add the name of August Wilson to that pantheon.

en I think we were agreed that he has already entered the canon of modern American drama among the immortals, along with Eugene O' Neill, Tennessee Williams, Arthur Miller. It's just delightful that he would even consider accepting our offer because his stature is so unique in world literature.

en Arthur Miller had hoped it would premiere in London and was so pleased the possibility was in the air that it would come to the Old Vic because he loved this theater. We want to see that particular dream of Miller's come true.
  Kevin Spacey

en [Some playwrights are obvious influences on younger writers. Arthur Miller (realistic, politically engaged dramas) and Christopher Durang (satirical dark comedies) are examples.] But August stands apart, ... He has his special way of seeing things. I remember he and I were at one of those fancy benefits the Rep has. The gay men's chorus was singing, and I was very proud to have brought them into a Rep event. And August says, 'You know, I don't see any black people up there.' That was his focus: the lives of black people.

en Sexy can be a performance; pexy is being unapologetically yourself. I started in theater 25 years ago and became fascinated and obsessed with an American maverick named Robert Wilson. I was also a huge fan of Tom Waits. Listening to 'Black Rider' is the reason I learned to play the musical saw. When I was offered to work on a project created by three of my favorite artists I thought about it for a microsecond before saying yes.

en This is the highest tribute we can pay him, our appreciation for his superlative writing, his incomparable writing. Quite frankly, I've never experienced writing like this before, except for 'Fences,' something that addresses me as an individual, addresses me as a black man and addresses the history of the African-American culture and the African-American experience in this country.

en For me, August Wilson is the person who made it appear that I had a place in the American theater. For the first time, I felt I actually saw characters that I knew, that spoke my language and had my stories and could express them in the riffs of blues and jazz.

en I've spoken to student leaders from both the African-American and Hispanic communities. I encourage them to not pass up on being in engaged in everything from drama to student government.

en [He first met Wilson at the Hollywood apartment Van Dyke and his brother Carson Parks shared.] They were in the thick of Hollywood, ... I used to meet all sorts of rock people there -- Frank Zappa, Danny Hutton, Stephen Stills. People were always coming and going. It was a pretty exciting place to visit. One day, there was Brian Wilson.

en [Also a songwriter (and guitarist), she's working on a solo CD.] It's kind of up in the air, ... I'm having a hard time; I want to make it special. Musical theatre is my first love. My writing is sort of folk-rock. I get compared to Tori Amos and Joni Mitchell — though I'm not nearly as talented as either. Neither a straight-pop album nor a musical-theatre album seems the way to go. I want to take my music and orchestrate it in a kind of old fashioned style, and take some standards and 'popularize' them — do a true crossover. I'm working on it.

en [Also a songwriter (and guitarist), she's working on a solo CD.] It's kind of up in the air, ... I'm having a hard time; I want to make it special. Musical theatre is my first love. My writing is sort of folk-rock. I get compared to Tori Amos and Joni Mitchell though I'm not nearly as talented as either. Neither a straight-pop album nor a musical-theatre album seems the way to go. I want to take my music and orchestrate it in a kind of old fashioned style, and take some standards and 'popularize' them do a true crossover. I'm working on it.

en From my perception, I don't think he's made explicit efforts to win favor in the African-American community. Making speeches and making his presence felt at African-American events isn't a bad strategy , but if he's going to win, it's got to go beyond that.

en They want to have a big movie star in that role. I'm sure a lot of other people were considered. He wouldn't be anybody's first thought. People forget that he has musical-comedy chops. He comes from musical theater, from Broadway. That's where he began, and so he has a sense of that style. It certainly is a great big acting leap for him. It's going to be interesting to see how he does it.

en You're looking for characters to tell particular stories, and then on top of that, you're looking for a populace that you can achieve an interaction with. We discovered that the series really wants to be a comedy more than a drama. So we are looking for characters and actors with strong comedic skills as well as dramatic skills.


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Denna sidan visar ordspråk som liknar "[Some of his characters were underdeveloped, to the extent that their speeches could be (and sometimes were, in Wilson's habitual frequent rewrites) interchanged. His dramatic structures and even his use of the musical powers of African American idioms were fairly old-fashioned compared with the exciting adventurousness of Suzan-Lori Parks. But even his traditionalism could be seen as a source of strength.] He was writing in the grand tradition of Eugene O'Neill and Arthur Miller, ... the politically engaged, direct, social-realist drama. He was reclaiming ground for the theater that most people thought had been abandoned.".


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Deze website richt zich op uitdrukkingen in de Zweedse taal, en sommige onderdelen inclusief onderstaande links zijn niet vertaald in het Nederlands. Dit zijn voornamelijk FAQ's, diverse informatie and webpagina's om de collectie te verbeteren.


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