A Quote by Rita Dove
I was not interested in doing the plot of Oedipus in blackface. I did wonder, what would these people have been like if they hadn't been in that situation?... One could look at Oedipus, or at my character Augustus, as a cynical schemer who did everything because he was hungry for power. But that's just too easy. I'm more interested in how humans can embody conflicting goals and emotions.
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My husband, who's the greatest actor in the world, can do anything. Look at what he did in The Critic and Oedipus. In every role he gets-he did this in Richard the Third-there's nothing he can't do, nothing. Just nothing.
What interested me the most was that when I [traveled to Europe] I knew what Joseph Beuys was doing, he knew what I was doing, and we both, we just started to talk. How did I know what Daniel Buren was doing, and to an extent, he knew exactly what I was doing? How did everybody know? It's an interesting thing. I'm still fascinated by it because, why is it now, with the Internet and everything else, you get whole groups of artists who have chosen to be regional? They really are only with the people they went to school with.
My first job was actually as a social worker. And then later, I got my PhD in anthropology. And I've always been interested in humans as well as primates. We are all kind of have the same emotions, the same goals and lives really. But to me, when I first got to Madagascar I realized that the lemurs lives are very closely related to what the humans are doing; partially because they've got both looking for natural resources. And if we can make some way that both humans and lemurs can live together peaceably and happily, that would be my goal for Madagascar.
I think I'm fascinated with history and - just in general. And I'm always interested in how did - how did this come to be? Why is this the way it is? And even singing classical voice, I quickly became more and more interested with early music, baroque voice. And that became an obsession to me - just figuring out how - who are the ancestors of whatever it is.
Also, as an author, character has always been what I'm most interested in - much more so than plot or setting, although those are good things too.
Trump is a businessman, but he is such a creature of the entertainment world. It feels that the entertainment industry is more entwined with politics than ever before.
I just think he is who he is. You can't blame him for being who he is. He's always been like that. He's our fault - that's how I see it. We let him come to where he is. I'm not so interested in blaming him; that's being done enough by others. I'm more interested in: How did this happen?
I've just been more interested in doing film right now and I don't want to go away from my family for six months, which was what I would have had to have done if I did the play on Broadway.
This simple thing has not been that easy to learn. it certainly went against everything I had been taught since I was very young. I thought people listened only because they were too timid to speak or did not know the answer. A loving silence often has far more power to heal and to connect than the most well intentioned words.
Samoa culture demonstrates how much the tragic or the easy solution of the Oedipus situation depends upon the inter-relationship between parents and children, and is not created out of whole cloth by the young child's biological impulses.
I don't care how much people understand what it is that I'm doing, except if they're players in my ensemble or other ensembles. I just want people to be moved by the music. If you're not moved by the music, then everything else falls away. You're not interested in the text, you're not interested in how it was done, and you're not interested in interviewing the composer and all the rest of it.
I'm more interested in talking about what I do. And I don't think people are interested in my personal life. I've never had a Hollywood life. I've always been a worker. But it's true: If you know something about a person outside of the movie that is really repulsive to you, it's hard to shake. So I prefer to do my speaking through the work. I don't want people to know anything about me, because that's not important. I'm more interested in the me that takes shape through these characters. The other stuff is personal and too easy to trivialize out of context.
The first step to get people interested in history is to wonder how things could have been different.
Plato did claim that the unexamined life was not worth living. Oedipus Rex was not so sure.
I wonder if he really could rationalize what I did to him, really treat betrayal like the slight transgression of a recalcitrant business partner. I wonder if I hurt him. If he can rationalize what I did to him, it’s easy to imagine how he rationalized what he did to me.
It's so easy to get into the same routine. A novel every two years; perhaps, improving technique. But I'm not interested in that. I'm interested in doing something fundamentally important--and therefore, it needs time. And what I've been doing, really, is avoiding this pressure to get into the habit of one novel a year. This is what is expected of novelists. And I have never been really too much concerned with doing what is expected of novelists, or writers, or artists. I want to do what I believe is important.
Well, yeah, I wanted to resist the urge to thicken everything up with instrumentation, because I just felt like I was interested in seeing how the songs did on their own.
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