A Quote by Lynn Nottage
I always describe race as the final taboo in American theatre. There's a real reluctance to have that conversation in an open, honest way on the stage.
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Class is the most taboo subject in America. The American media would rather talk about race or perversion or anything else considered taboo before class.
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I always made my songs very conversational, and if anyone ever has a conversation with me, they know I'm a very open guy, very open and honest.
When you think Tink, you should just think of me as that around-the-way girl - relatable and honest. Even in my lifestyle, my entire aura is real. I don't sugarcoat anything, whether I'm on stage or home in Chicago or just behind the scenes just chilling. I'm the same person you see on stage, always.
I talk about race a lot. It's been my work ever since I came out of acting school. But it's true that in a way talking about race is a taboo. Because so many of our debates about race have to do not with race but with what we are willing to see, what we will not see and what we don't want to see.
I mean there’s a certain finality about a movie, when it’s done it’s done – that raised eyebrow in that moment will always be that raised eyebrow. Whereas a play only lives as a blueprint for a performance on any given night. There’s a reason you can eat popcorn and watch a movie and you can’t do that in the theatre. Theatre you have to lean in, you have to tune your ear to the stage and participateI respond to heat. And blood. And humanity. The cold experience is not for me. I’ve always enjoyed all the real people in a room together in the theatre.
There's no better way of learning from your experiences than having an open and honest conversation with yourself about why you fell short.
The Iranian leaders describe the American government exactly the way American analysts describe the Iranian one, as an opaque, factionalized system with competing power centers, over which the president exercises very limited authority.
In the final analysis this congressional race is always going to be a close race, whether there's a presidential race or governor's race or not. But is this a better year? Yes, this would probably be a better year.
Theatre within theatre, when characters sees themselves on stage, always raises philosophical questions of choice and free will.
Being asked to describe what 'post-racial' means is a bit like being asked to describe a leprechaun, cold fusion or unicorns: we know what is meant, but, if we are willing to be honest, we also know that none of the four describe something real, something tangible, something true.
We always have a basic structure for a piece of music, but we encourage the musicians to elaborate on whatever they feel at that particular moment. There's a definite conversation happening on stage. I think it is very important for us as creative musicians, to instantaneously describe any energy that is visible at that time.
To be honest, I was never expecting to be in a World Cup final, a Euro final, a Champions League final, a Europa League final. I've done much more than I dreamt, and that's incredible.
It's the culture, not the blood. If you can go anywhere in the world and adopt these babies and put them into households that were already assimilated in America, those babies will grow up as American as any other baby with as much patriotism and love of country as any other baby. It's not about race. It's never been about race. In fact the struggles across this planet, we describe them as race, they're not race. They're culture based. It's a clash of culture, not the race. Sometimes that race is used as an identifier.
With theatre, we are always trying to engage in a conversation with people and to bring people into that conversation, but I was disappointed the audiences were not as mixed as I hoped they would become.
I thought if I was open and honest, it would help the reader to get open and honest, and they also would realize sometimes when you write a book, people think you're an expert and that's not always true.
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