August Wilson Quotes
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If you want to participate in life, you have to deny your identity.
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I dropped out of school when I was 15 years old. I dropped out because I guess I wasn't getting anything out of my investment in the school.
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Once I started to value and respect my characters, I could really hear them. I just let them start talking.
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Keep your hands moving. Writing is rewriting.
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I do - very specifically, I remember Bessie Smith; I used to collect 78 records that I would buy from the St Vincent de Paul store at five cents apiece, and I did this indiscriminately. I would just take whatever was there. And I listened to Patti Page and Walter Huston, 'September Song.'
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I work as an artist, and I think the audience of one, which is the self, and I have to satisfy myself as an artist. So I always say that I write for the same people that Picasso painted for. I think he painted for himself.
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I think the blues is the best literature that we as blacks have created since we've been here. I call it our 'sacred book.' What I've attempted to do is to mine that field, to mine those cultural ideas and attitudes and give them to my characters.
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Part of what our problem as blacks in America is that we don't claim that. Partly, you see, because of the linguistic environment in which we live.
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I haven't read Ibsen, Shaw, Shakespeare - except 'The Merchant of Venice' in ninth grade. I'm not familiar with 'Death of a Salesman.' I haven't read Tennessee Williams.
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We were what you would call a poor family, but we were rich in so many things. We did family things together. We always had dessert, even if it was just Jell-O. So, I never knew I was poor.
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I've seen some terrible plays, but I generally enjoy myself. One play I walked out of, I have a tremendous respect for the author. That was Robert Wilson, something called 'Network,' which consisted of Wilson sitting on a bunk, the dialogue of the movie 'Network' looped in while a chair on a rope went up and down.
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From Romare Bearden I learned that the fullness and richness of everyday life can be rendered without compromise or sentimentality.
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Blues is the bedrock of everything I do. All the characters in my plays, their ideas and attitudes, the stance they adopt in the world, are all ideas and attitudes that are expressed in the blues.
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I write the black experience in America, and contained within that experience, because it is a human experience, are all the universalities.
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Like most people, I have this sort of love-hate relationship with Pittsburgh. This is my home, and at times I miss it and find it tremendously exciting, and other times I want to catch the first thing out that has wheels.
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Pittsburgh is a very hard city, especially if you're black.
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My influences have been what I call my four Bs - the primary one being the blues, then Borges, Baraka, and Bearden.
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The blues are important primarily because they contain the cultural expression and the cultural response to blacks in America and to the situation that they find themselves in. And contained in the blues is a philosophical system at work. And as part of the oral tradition, this is a way of passing along information.
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With my good friend Rob Penny, I founded the Black Horizons Theater in Pittsburgh with the idea of using the theater to politicize the community or, as we said in those days, to raise the consciousness of the people.
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I know some things when I start. I know, let's say, that the play is going to be a 1970s or a 1930s play, and it's going to be about a piano, but that's it. I slowly discover who the characters are as I go along.
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Blacks in America want to forget about slavery - the stigma, the shame. If you can't be who you are, who can you be? How can you know what to do? We have our history. We have our book, and that is the blues.
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Suffice it to say, I'm not poor.
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All art is political in the sense that it serves someone's politics.
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My plays are ultimately about love, honor, duty, betrayal.