A Quote by George C. Wolfe

Theater should address the stories of its communities, or I don't know why it's here. — © George C. Wolfe
Theater should address the stories of its communities, or I don't know why it's here.
In my writing, I want to address all communities, you know. I've spent many years talking about Chicano culture, Chicano history, and at the same time, I've also been in many communities and presented my work in many communities, in many classrooms, and that's where my vision is and my delight is and my heart is.
Historically during the years of the White minority regimes, the State, the national Government held this land in trust for these communities. We said, but no, why should we do that ( return the land to the communities). We didn't say return the land to particular traditional leaders, but to the communities.
In 2012 President Obama didn't go anywhere near African-American communities. Why? Because unemployment was so high there, he didn't want to address it.
People tend to think of overweight and obesity as strictly a personal matter, but there is much that communities can and should do to address these problems.
Why should workers agree to be slaves in a basically authoritarian structure? They should have control over it themselves. Why shouldn't communities have a dominant voice in running the institutions that affect their lives?
We should not be living in human communities that enclose tiny preserved ecosystems within them. Human communities should be maintained in small population enclaves within linked wilderness ecosystems. No human community should be larger than 20,000 people and separated from other communities by wilderness areas. Communication systems can link the communities.
Arkansas families need to feel safe in their homes and communities, which is why we need a U.S. Senator who will address threats - both at home and abroad - head on.
A great presidential address - Lincoln's Gettysburg Address, Truman's Farewell Address, Kennedy's Inaugural Address - has the power to inspire.
If you've got communities that feel they've been left behind, if you've got - as you do in Britain at the moment, you have communities that believe they're being changed by immigration, that they don't have job opportunities, and that they're disregarded and that they don't - they've got no stake in a future which embraces globalization, you've got to address that issue.
("Let's stand under a tree," she said. "Why?" "Because it's nicer." "Maybe you should sit on a chair, and I'll stand above you, like they always do with husbands and wives." "That's stupid." "Why's it stupid?" "Because we're not married." "Should we hold hands?" "We can't." "But why?" "Because, people will know." "Know what?" "About us." "So what if they know?" "It's better when it's a secret." "Why?" "So no one can take it from us.")
It's wrong to make a living off the theater. Theater should be supported, like redwood trees. You should make your living - whether you're a writer or an actor or a director - in movies or commercials. But you do theater out of love.
The anarchist philosophy is that the new social order is to be built up by groupings of men together in communities - whether in communities of work or communities of culture or communities of artists - but in communities.
We should address the issues for nonprofits and pensions and why they need to invest in these offshore funds.
We should have stories in common, I found myself thinking. We should have stories, and jokes no one understands, and memories that we know will stay alive because neither of us will let the other forget.
I don't think we should stop emphasizing race because I think, you know, race is still very, very important, and we have to recognize that and continue to introduce programs to address racial inequities. But we have to widen our vision and also address the growing problems of economic class.
I would rather work in the theater than anywhere else, and it does seem to be a place where stories can and should be told purely.
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