A Quote by Jenny Hval

I've always been a fan of reading art catalogues from exhibitions, and plays, and I've worked with a surrealist German playwright, Heiner Müller. — © Jenny Hval
I've always been a fan of reading art catalogues from exhibitions, and plays, and I've worked with a surrealist German playwright, Heiner Müller.
By some curious mischance, a couple of my plays managed to hit an area where commercial success was feasible. But it's wrong to think I'm a commercial playwright who has somehow ceased his proper function. I have always been the same thing - which is not a commercial playwright. I'm not after the brass ring.
One is just an interpreter of what the playwright thinks, and therefore the greater the playwright, the more satisfying it is to act in the plays.
I do come from a theater background, where the playwright is optimal and king and you have to serve the playwright. So I am, of course, a huge fan of scripted everything.
Though German art can never be Bavarian, but simply German, yet Munich is the capital of this German Art; here, under shelter of a Prince who kindles my enthusiasm, to feel myself a native and member of the people was, to me, the homeless wanderer, a deep, a genuine need.
For me, it was pretty hard to go into the studio and sing English for the first time, because I always sung in German, and we've been making music for seven years and it's always been in German.
Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books.
It's always been easy with Mark, he's a rock fan and we speak the same language. He's a big Beatles fan too. We worked a lot via CLI calls, though only meeting up once every couple of months.
For me, the making of exhibitions has always had to do with dialogue: a concentrated, in-depth, focused dialogue with artists, who keep teaching me that exhibitions should always invent new rules for the game.
I guess we all feel like underdogs. I remember being a freshman at Brown University and not knowing what a WASP was. We were reading an Edward Albee play, and - it was just a moment of accepting, certainly that I wasn't very worldly, but also that a lot of the plays that I'd been reading, let's say other kinds of family plays, were speaking a foreign language.
I have a publishing company of books by me and books of others. It drew people to poetry readings and photo exhibitions and painting exhibitions that I've been doing for years before that.
My family always encouraged my drawing ability. Kids in school who teased me about my reading would get out of their seats and stand behind my desk as I worked and go, 'Wow, you can really draw.' Later, I earned a degree in Fine Art and got a Ph.D. in Art History.
swans ... always look as though they'd just been reading their own fan-mail.
One reason I've never been a fan of graphic novels is because a central aspect of literature for me has always been imagining what the things I'm reading about look like.
My parents have always given me whatever I wanted. Took me to the ballet, the opera, museum exhibitions. I was always surrounded by art. It's their fault I've become an actress.
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.
I used to go with my parents and loved it, I was in school plays, and I started reading plays before I started reading novels. I'll defend it to the hilt. When theatre is good it is fabulous.
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