37 ordspråk av Richard Foreman

Richard Foreman

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I used to go to theater a lot with my grandmother. She had a subscription to the Theater Guild; I used to go with her every Saturday afternoon.

There is no work of art that has ever been made that is absolutely truthful about life.

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.

I wrote an outline. I wrote a rough draft. And then I rewrote and rewrote and rewrote. And that's the way you were supposed to write plays.

I realized that I had to be honest about where I was, where I was coming from, and what I was trying to do.

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.

One does not devote one's life in art to shock an audience.

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 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.

Now we speak in telegram form, we write little e-mails, and we have everything at our fingertips, so we don't train ourselves to keep anything inside.

Because at Yale, each year I was writing a play in a different style. Not that they demanded that, but I was searching as any young artist would be.

You know, actually, I went to Yale because I wanted to stay out of the army.

From the seventh through the twelfth grades, I probably designed and did a lot of the building for twenty or thirty productions.

I make theater for myself, and if someone else can derive some value from it, fine.

Quite the opposite. I might fall on my face, but I feel born again.

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