A Quote by George C. Wolfe

Generally, the realm in which black playwrights have been allowed to achieve success has been social realism or musicals. — © George C. Wolfe
Generally, the realm in which black playwrights have been allowed to achieve success has been social realism or musicals.
Bodybuilding has been the tool that single-handedly taught a little black boy from the projects to use his mind to achieve success. it taught me to see things for what they can be. I had 17-inch arms; I imagined them to be 24 inches. The power of my mind allowed me to achieve what I imagined.
It has generally been assumed that of two opposing systems of philosophy, e.g., realism and idealism, one only can be true and one must be false; and so philosophers have been hopelessly divided on the question, which is the true one.
Stories in which the destruction of society occurs are explorations of social fears and issues that filmmakers, novelists, playwrights, painters have been examining for a long time.
I know too many playwrights, or would-be playwrights, or would-have-been playwrights, that are around my age, who were bitter or have gone to something else because they got such a raw deal from critics, and some are quite wonderful writers.
About four years ago I made a list, for my own amusement, of the playwrights, the contemporary playwrights, by whom critics said I'd been influenced. I listed twenty-five. It included five playwrights whose work I didn't know, so I read these five playwrights and indeed now I suppose I can say I have been influenced by them. The problem is that the people who write these articles find the inevitable similarities of people writing in the same generation, in the same century, and on the same planet, and they put them together in a group.
"Black culture" is ready for whatever. I sense some momentum and excitement around black artists (especially in comedy, which is where most of my own art resides), really pushing the bounds of what has generally been expected as black. I don't think it's a revolution so much as an exposure of what has always been there, and now that the production and distribution means are more accessible, people can more easily find each other.
There's always been this strand of filmmaking in Britain which is like socialist neo-realism. That's always been there. I've never been part of that, really; I've been much closer to fantasy.
I've been fortunate in my career to have performed in revivals of great musicals and to have originated roles in musicals that have in turn been revived. And I'm not dead!
L.A. has brought so many opportunities and allowed me to reach the level of success I've been blessed to achieve thus far. L.A. can definitely open a lot of doors for anyone focused on achieving their passion and dreams.
Malcolm X is a person who has inspired - he has been the muse of several generations of black cultural workers, artists, poets, playwrights.
The transition to WWE has been an incredible road. It's been great, it's been difficult, it's been motivating, and it has allowed me as a person to just completely see myself differently and allowed me to grow in a different perspective with their input.
The musicals on Broadway have not necessarily been true musical theater. I'm speaking generally, of course: I saw 'Spring Awakening,' and I was completely inspired by that.
Two attempts have been made in the world to found social life: the one was upon religion, and the other was upon social necessity. The one was founded upon spirituality, the other upon materialism; the one upon transcendentalism, the other upon realism.
I was a big fan of John Cassavetes, his wife, Gena Rowlands, and that era of filmmaking which was about realism and which represented the antithesis of the dreamy escapism you found in musicals.
There could be no more powerful argument against mixing religion and government than the success of independent African American churches in placing racial segregation and discrimination on a reluctant nation's social agenda. Would black churches have been able to take the lead in the struggle had they been dependent on funds doled out for 'faith-based initiatives' . . . ?
I'd been brought up on musicals. Instead of cartoons, we watched videocassettes of musicals at home.
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