John Guare
John Guare
John Guareis an Irish American playwright. He is best known as the author of The House of Blue Leaves, Six Degrees of Separation, and Landscape of the Body. His style, which mixes comic invention with an acute sense of the failure of human relations and aspirations, is at once cruel and deeply compassionate. In his foreword to a collection of Guare's plays, film director Louis Malle writes:...
NationalityAmerican
ProfessionPlaywright
Date of Birth5 February 1938
CountryUnited States of America
People go to see beautiful paintings to see how much they cost. Wow. The practical value is that it shows you what the human spirit can do.
I only do business with the people I do business with. The people I do business with find out I do business with the people I don't do business with.... I can't do business with you.
Does any art have a practical value? People love to talk about how expensive a painting is. That's the only way we can talk about paintings in this century.
The only riots were the people trying to get tickets.
Does the New York City Ballet affect other places? Yeah, it lets people know they should come to New York.
And we remember it as it was when we first saw Maria Tallchief or Suzanne Farrell in it. And now it's Wendy Whelan, it's tomorrow's dancer.
Mel said, 'Just make it your own.' And she said, 'I'll kiss each several paper for amends. Aye, mira, here is writ 'kind Julia.' Mel and I just looked at each other - 'There's the show.'
I believe that the New York City Ballet, its practical value is that it's about expansion of human possibilities. It's about healing. It's about food.
The New York City Ballet is always about the realm of possibilities, the realm of what the human body can do, what the human spirit can do. And it's about listening, it's about listening to remarkable music and how we respond to that.
The ballet makes us look at those bodies, it makes us listen to that music, it makes us wonder at the geometry, of the way they come together. The way that extraordinary space is controlled and given such emotional force.
That's why Puccini's work is so alive - because he creates such extraordinary pieces of theater. It's not dependent on personality.
The weirdest thing was that we rehearsed in the exact same room we rehearsed in 34 years ago, ... When I went into the washroom and looked in the mirror, I thought, 'Who is this white-haired guy?'
the little children that their favorite song is Taps.
You cannot write to resonate twenty or thirty or forty years from now. You only can write for that very day, but whatever happens is all gravy.