A Quote by Moses Mendelssohn
Socrates didn't care to visit the theater, as a rule, except when the plays of Euripides (which some think, he himself had helped to compose), were performed.
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There was a Socratic style of life (which the Cynics were to imitate), and the Socratic dialogue was an exercise which brought Socrates' interlocutor to put himself in question, to take care of himself, and to make his soul as beautiful and wise as possible.
What could be more fitting - or more exciting - than to restage Shakespeare's plays on the very spot where they were first performed, in the shape and style of theater for which they were written?
Socrates splits himself into two, so that there are two Socrates: the Socrates who knows in advance how the discussion is going to end, and the Socrates who travels the entire dialectical path along with his interlocutor.
The Globe is a missing monument. There's no existing example of a theater from Shakespeare's time. You have Roman theaters, Greek theaters, all kinds of theaters, but none in which the plays of Shakespeare, Ben Jonson and Marlowe were performed. Scholars feel that it would be of immense value to have one.
The shortest way to arrive at glory should be to do that for conscience which we do for glory. And the virtue of Alexander appears to me with much less vigor in his theater than that of Socrates in his mean and obscure. I can easily conceive Socrates in the place of Alexander, but Alexander in that of Socrates I cannot.
Suddenly we saw that you could do plays about real life, and people had been doing them for some time, but they weren't always getting to the audiences. They were performed in little, tiny, theatres.
The difference between Socrates and Jesus is that no one had ever been put to death in Socrates' name. And that is because Socrates' ideas were never made law. Law, in whatever name, protects privilege.
My taste comes from when I was 12 years old and saw Genesis or Laurie Anderson or some performance artist who had put paint on himself. I've seen a lot of theater, but that's not what woke up my taste to become a director; nontheatrical things were much more theatrical than the theater I was seeing.
My '60s plays were as good as most of the other plays I've written ... except I wasn't in a condition to refine them, to help in the rehearsal, or do anything. I was hardly conscious of what was going on except during the hours of the day when I was actually writing ... and that was with the aid of speed.
Prior to joining NSD, I was briefly associated with a small theater group in Delhi called Sakshi. Saurabh Shukla, Manoj Bapayee were my seniors in that group. I performed a few supporting roles in Sakshi plays.
I love film scores and opera, and I wanted to work in those forms. But theater was more accessible. And no one was doing this in the late 1970s, when I began working in the theater. So, I have written scores for thirteen plays, which are not musicals, but straight plays.
I think that there's a particular type of person who goes into children's theater, and then goes into theater in high school. There was something about the guys I knew in theater, we were all very vulnerable. You could tell that at some point we were made fun of.
I was my class playwright and I wrote plays set in villages with kings and chiefs.My plays were about treason and betrayals. If they were influenced by Macbeth, they were also influenced by Nigerian plays I had seen and Village Headmaster, a television drama series I had watched as a child.
It is madness and a contradiction to expect that things which were never yet performed should be effected, except by means hitherto untried.
I really wanted to go to a city and get involved in a theater scene and a theater community. I had some friends who had moved out to Chicago and had said really good things about it and about the work. I didn't care at that time about making money.
The kind of theater that I do is sort of 'narrative realism,' which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.
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