A Quote by Lee Hall
The theatre has always been voraciously omnivorous. Dramatists have always raided every medium to find grist to their mill: myths, folk tales, newspapers, novels, films, works of art of all kinds.
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I think that Shakespeare himself raided fairy tales and chronicle writers, and he always looked to people who worked in the mythic genres, whether it was folk tales or popular novels.
Myths, as compared with folk tales, are usually in a special category of seriousness: they are believed to have "really happened,"or to have some exceptional significance in explaining certain features of life, such as ritual. Again, whereas folk tales simply interchange motifs and develop variants, myths show an odd tendency to stick together and build up bigger structures. We have creation myths, fall and flood myths, metamorphose and dying-god myths.
Art has been hijacked by nonartists. It's been taken over by bookkeeping. The whole thing is so corrupt. But I suppose that's okay. For artists, everything is grist for the mill. Artists are like cockroaches; we can't be stamped out.
Belonging to the Dramatists Guild Council where, with my fellow dramatists, I can directly affect (and protect) the professional lives of all American Playwrights has always made me feel that I am returning as much to the theatre as I withdraw. Because only playwrights can ensure the well-being of playwrights. No one else will do it for us.
Fairy tales and folk tales have always played a role in my writing in one way or another.
Over the centuries we have transformed the ancient myths and folk tales and made them into the fabric of our lives. Consciously and unconsciously we weave the narratives of myth and folk tale into our daily existence.
I have always been fascinated by the supernatural elements in stories, whether fairy tales, myths, film or literature.
We know from myths and fairy tales that there are many different kinds of powers in this world. One child is given a light saber, another a wizard's education. The trick is not to amass all the different kinds of power, but to use well the kind you've been granted.
Theatre is an actor's medium. An actor has little control over a film. Which is why most actors who have done theatre, and then come to films find the former more creatively satisfying.
Wendy Doniger has spent decades collecting not only myths from ancient texts but stories of all kinds from novels, movies, newspapers about an old mystery: what has or hasn't happened in bed for centuries. Rich in insights about sex, lies, and personal identity, the result is entertaining, enthralling, and, yes, sexy.
There's always been an incredible amount of junk music, and junk everything. Marshall McLuhan said that a medium surrounds a previous medium, and turns the previous medium into an art form. So, what was once a junk culture, like film, television surrounded it and turned it into an art form.
I've always been an actor who works in every medium - I've worked in theater and film and television - I've never seen any difference between the three.
I've always loved musical theatre. I've always been a big kind of closeted musical theatre nerd. I really have always dreamed about being able to do musical theatre.
After college, I spent a decade working the kinds of jobs that I write about - bartender, shoe salesman, kitchen man - while voraciously reading novels.
The tricky or boastful gods of ancient myths and primitive folk tales are characters of the same kind that turn up in Faulkner or Tennessee Williams.
There is not a history of black intellectuals being allied with dominant forces to hold white people in social and cultural subordination for a few centuries. Second, the "our" of black folk has always been far more inclusive that the "our" of white folk. For instance, there would have hardly been a need for "black" churches if "white" churches had meant their "our" for everybody - and not just white folk. But "our" black churches have always been open to all who would join. The same with white society at every level.
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