A Quote by Lynn Nottage

I think that when you're first shaping the play and trying to find a character, the initial actors that develop it end up imprinting on it - you hear their voices, you hear their rhythms. You can't help but to begin to write toward them during the rehearsal process.
People probably have different philosophies about this, but I think that when you're first shaping the play and trying to find a character, the initial actors that develop it end up imprinting on it - you hear their voices; you hear their rhythms. You can't help but to begin to write toward them during the rehearsal process.
I think right now is when we need to hear different voices coming out of all parts of the world. You can't just hear the politicians and the military leaders. You have to hear from the taxi drivers. You have to hear from the painters. You have to hear from the poets. You have to hear from the school teachers and the filmmakers and musicians.
Do we not hear voices, gentle and great, and some of them like the voices of departed friends,— do we not hear them saying to us, Come up hither?
Rhythms and sounds are often the first thing I hear and want in a poem, so I can't imagine trying to translate something without at least being able to hear what it sounds like.
I think, first and foremost, showing up, making sure that Democrats focus not just on elections, not just on presidential elections, but we begin the process of rebuilding the infrastructure of the party at the grassroots. We begin going out to all those rural counties and begin having a conversation with rural voters and making sure that we hear their concerns, hear their complaints, and also educate them about what we are doing, making sure that we focus on state legislative races, not just congressional, Senate, governor, and presidential races.
By manipulating what you hear and how you hear it - and what other things you don't hear - you can not only help tell the story, you can help the audience get into the mind of the character.
The first thing that happens is the cleansing of the former character. I don't think a lot of actors talk about it, but there is usually a process where you essentially purge yourself of the character played prior to the movie. Then you want to think about what the character represents, and you write down all of the elements about this character and then take the time to find some synchronicity and start breathing the character.
One of the rules of the road is that if you want to create the sense of silence, it frequently has more pungency if you include the tiniest of sounds. By manipulating what you hear and how you hear it and what other things you don't hear, you can not only help tell the story, you can help the audience get into the mind of the character.
You hear as many things as you would imagine. I hear voices of people I loved once. I hear moments that took place. I hear silences.
I don't want to say I hear voices; well, actually I do hear voices, but I don't think it's supernatural. I think it's just that when characters are given enough texture and backbone, then lo and behold, they stand on their own.
Nothing compares to when you are in coma and you hear voices and think you are dying. Then you come out of the coma and hear more voices saying you will not walk, not play sports, not be normal. And all the time your mind is fighting back saying, you will be strong, you will fight.
It's exciting to do something like this because usually what happens in theater is that, after the first or second reading of a play, it falls apart completely and the rehearsal process is such that you begin to pick up the pieces and put it back together again.
Jazz is so difficult. A lot of people think once they've learned these licks they can get up and play them for the rest of their life. But that's not being truthful to the music 'cause it's not developing. Cats you hear that don't make no mistakes? They ain't trying to do nothing. everything they hear is on the mark, but they've played it so many times... I've built a whole career out of making mistakes!
When you write for a show that's not yours, your job is to hear the voices of the characters and write as best you can for those voices.
If you want anybody to have a different voice, you really have to visualize and hear the voices of all these people. Sometimes when I write with specific actors in mind, it helps.
It was nice to hear the voices of little children at play, provided you took care to be far enough away not to hear what they were actually saying.
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