When we took Shakespeare’s ‘Measure for Measure’ into a maximum security woman’s prison on the West Side…there’s a scene there where a young woman is told by a very powerful official that ‘If you sleep with me, I will pardon your brother. And if you don’t sleep with me, I’ll execute him.’ And he leaves the stage. And this character, Isabel, turned out to the audience and said: ‘To whom should I complain?’ And a woman in the audience shouted: ‘The Police!’ And then she looked right at that woman and said: ‘If I did relate this, who would believe me?’ And the woman answered back, ‘No one, girl.’ And it was astonishing because not only was it an amazing sense of connection between the audience and the actress, but you also realized that this was a kind of an historical lesson in theater reception. That’s what must have happened at The Globe. These soliloquies were not simply monologues that people spoke, they were call and response to the audience. And you realized that vibrancy, that that sense of connectedness is not only what makes theatre great in prisons, it’s what makes theatre great, period.

Oskar Eustis on ArtBeat Nation (he told the same story on Charlie Rose)

(via leslieeknopes)

perfectly-imperfect-lovely:

solarsisterss:

U know how in winter it gets so cold and u think u will never be hot again and in summer it gets so hot u think u will never be cold again I think that is how it is with ur feelings like when u r sad u think u will never be happy and when u r happy u think u will never be sad. But u will be hot again and u will be cold again and u will be sad again but most of all u will be happy again

This is so relevant

(via rutilare)