A Quote by David Henry Hwang

. . . I felt I was finally in a position to affect not only the artistic content of the American theatre, but also its institutional structures. This has been an important goal of mine, as there have always been a variety of issues - artistic freedom, author's rights, access by minority groups - which have concerned me and even influenced my decision to become a playwright in the first place.
I'm very excited about dance and love it with a deep passion. I also struggle, tire and become discouraged. But what has always revived me...has been the rebirth of energy each time the creative process is awakened and artistic activity begins to unfold even in some infinitesimal measure.
For most of modern life, our strong talents and desires for group effort have been filtered through relatively rigid institutional structures because of the complexity of managing groups. We haven't had all the groups we've wanted, we've simply had the groups we could afford. The old limits of what unmanaged and unpaid groups can do are no longer in operation.
In the commercial theater, I've been pretty fortunate. The producers that I've worked with have allowed me to define the artistic integrity, the artistic limits of the work.
My own sense as an American is that we have begun to experience the disadvantages of framing virtually all moral issues in terms of individual rights. American history has consisted of swings back and forth between rights talk on the one hand and talk of duties, responsibilities, and the common good on the other hand. Recent decades have seen a big swing toward rights, and conceived in very individualistic terms, which hasn't always been the case even with rights.
Civil libertarian activists are found overwhelmingly on the left. Their right-wing brethren have been concerned with issues more important than civil rights, voting rights, abuses by police and the military, and the subordination of politics to religion - issues like the campaign to expand human freedom by turning highways over to toll-extracting private corporations and the crusade to funnel money from Social Security to Wall Street brokerage firms.
The architect represents neither a Dionysian nor an Apollinian condition: here it is the mighty act of will, the will which moves mountains, the intoxication of the strong will, which demands artistic expression. The most powerful men have always inspired the architects; the architect has always been influenced by power.
I'm six foot four and a half and I have a temper. It's reserved for very important issues. If someone is asking me to make an artistic concession, then I'll become a madman.
A creative and artistic home is what I've been looking for in the theatre.
I wore a uniform to stand up for all rights and that means I don't pick or choose which I defend, whether it's for equality rights or women's rights. I've been consistent on that in my public life. I've also stood up for religious freedom, conscience rights of freedom of speech.
Striking a balance in favor of individual rights has always been the right decision for us and that it remains so even when technology gives us new ways to exercise those rights. Individual liberty has never weakened us; freedom of speech, enhanced by the Net, will only make us stronger.
There is also an artistic element which is lead by the film maker. Issues of what is reality and objectivity are as always relevant as someone is going to edit the film.
Initially I started in theatre as a Shakespearean actress before film and television. I've always been an artistic child growing up and I knew I wanted to act for as long as I can remember.
I think, for me, personally, I try to be sensitive to issues as I learn about them. And I also try to constantly become not only a certain type of person but also become more in tune to the issues I'm covering. As I get older, I think that things just affect me more.
It was a particularly interesting and exciting time, and the European political and artistic establishment was turned on by the Civil Rights Movement and the artistic revolution that was becoming a part of jazz.
First and foremost, I'd say my father, Bert Lahr ... gave me a love of theatre--its kinetic and emotional potential and its raffish backstage fun--and also set an artistic example of the importance of corrupting an audience with pleasure.
By the time I was seven, I did a sonnet at Shakespeare's Globe theatre for Shakespeare's birthday because my dad had been at the first season of the Globe and was friends with the artistic director. Somehow, that lead to me doing a sonnet!
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