"A play is a passion"
About this Quote
A stage is a furnace; a play burns only when conviction fuels it. Jerome Lawrence, the dramatist behind Inherit the Wind and The Night Thoreau Spent in Jail, wrote with the sense that theater is not a pastime but a cause. Calling a play a passion insists that drama is more than printed dialogue. It is an embodied urgency that compels writers, actors, directors, and audiences to gather in a room and risk something together.
Passion is the engine of dramatic action. Characters do not move without desire, fear, belief, or love, and conflict heats those elements into story. Aristotle pointed to pathos and catharsis; Lawrence leans on that lineage to say that the stakes must be high enough to matter. A lukewarm play is not a play at all; it is a premise. The heat arrives when the work insists on meaning and demands response.
There is also the older sense of passion as suffering, from the Latin pati, to endure. Theater requires that endurance. Rehearsals shape a script into a living body; artists sacrifice time, certainty, and often comfort to make the imagined visible. The act is public and ephemeral, vanishing the moment it is done, which is why it must be charged with feeling and purpose. That sacrifice is inseparable from the thrill.
For Lawrence the word carries civic weight. Inherit the Wind used the Scopes trial to challenge intellectual repression during the McCarthy era. He and his collaborator Robert E. Lee wrote plays that argued for civil liberties and independent thought. A play, then, is a passion not only because it throbs with emotion but because it stands for something beyond itself. It is advocacy in human form, an argument made with breath and bodies.
Theater that matters is personal and public at once. It consoles, provokes, and galvanizes. To call a play a passion is to demand that it ignite, that it cost something, and that it leave the world a shade less indifferent.
Passion is the engine of dramatic action. Characters do not move without desire, fear, belief, or love, and conflict heats those elements into story. Aristotle pointed to pathos and catharsis; Lawrence leans on that lineage to say that the stakes must be high enough to matter. A lukewarm play is not a play at all; it is a premise. The heat arrives when the work insists on meaning and demands response.
There is also the older sense of passion as suffering, from the Latin pati, to endure. Theater requires that endurance. Rehearsals shape a script into a living body; artists sacrifice time, certainty, and often comfort to make the imagined visible. The act is public and ephemeral, vanishing the moment it is done, which is why it must be charged with feeling and purpose. That sacrifice is inseparable from the thrill.
For Lawrence the word carries civic weight. Inherit the Wind used the Scopes trial to challenge intellectual repression during the McCarthy era. He and his collaborator Robert E. Lee wrote plays that argued for civil liberties and independent thought. A play, then, is a passion not only because it throbs with emotion but because it stands for something beyond itself. It is advocacy in human form, an argument made with breath and bodies.
Theater that matters is personal and public at once. It consoles, provokes, and galvanizes. To call a play a passion is to demand that it ignite, that it cost something, and that it leave the world a shade less indifferent.
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| Topic | Art |
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