Quotes by: Terry Teachout
Charles Ives was writing radically innovative music, but nobody performed it, and nobody knew about it.
I'm not rigid about directorial changes: I judge them on a case-by-case basis. In the case of a play whose text is widely familiar, I'm open to drastic changes that may alter the author's meaning, perhaps even considerably. If the results don't work, then I say so.
Just as most of us prefer to watch a trapeze artist work without a net, we like to be absolutely sure that a virtuoso is giving us our money's worth, and a seemingly effortless performance, no matter how spectacular it may be, deprives us of that slightly sadistic thrill.
The digital apocalypse continues to blight the lives of television producers, music-industry executives and newspaper publishers, all of whom are scrambling to figure out how to reconfigure their business models in such a way as to allow them to make an honest buck.
David Cromer, from Chicago, I think is the most gifted young director in America.
Direction is the most invisible part of the theatrical art. You don't see it.
Maine likes to call itself 'America's Vacationland.' For many artists, though, it's the office. Since the 19th century, painters from all over the country - including Edward Hopper, Alex Katz, John Marin, Fairfield Porter, Neil Welliver and Andrew Wyeth - have spent large chunks of time there.
A playwright who limits himself - or is limited - to a handful of characters is forced to concentrate on the essentials of the situation that he has chosen to portray.
To me, an intellectual is a person who is primarily interested in ideas. What I am is an aesthete, a person who is primarily interested in beauty. That's why I write about art.
All history, and most especially the history of the 20th century, argues against placing ideas in the saddle and allowing them to ride mankind. Too often, they end up riding individual men and women into mass graves.
The wonderful thing about theater as an art form is it's a purely empirical art form. It's all about what works. And every show, every production, is created anew right from the moment you go into the rehearsal hall.
Tom Stoppard, the English-speaking world's brainiest playwright, thinks that British audiences have grown too dumb to understand his plays.
Yes, translation is by definition an inadequate substitute for being able to read a masterpiece in the original.
For my part, I like live theater best when it's taut, concentrated and intimate.
The good news is that 'High School Musical' seems to be getting a lot of youngsters excited about theater.
The contemporary notion that it's somehow inherently bad for a film to be 'talky' has done grave damage to the culture of American movie-making, enough so that a growing number of people, myself among them, have all but given up on Hollywood.
Life usually tells the best stories - but sometimes it takes an artist to show us what they mean.
There's a playwright named S.M. Berryman, Sam Berryman, who wrote these kinds of social comedies. They are actually extremely sharp and still quite provocative.
I don't know anybody in the opera business who isn't worried sick about how best to reach out to underpaid millennials who were suckled on the new on-demand pop culture, which supplies them with cheap, unchallenging amusement around the clock.
I feel quite confident that audiences on both sides of the Atlantic are growing 'dumber,' if what you really mean to say is 'less culturally literate.'
The setting of 'Billy Elliot' is the British miners' strike of 1984-85, about which the average American playgoer knows absolutely nothing.
Needless to say, anybody who can stumble through a C-major scale knows that Art Tatum always gave his audiences 10 times their money's worth.
In the early days of jazz, it was ensemble music: everybody playing all together. Nobody really stood out.
Even if I could, I wouldn't want to undo the transformation of jazz into a sophisticated art music.