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Dramaturgy in a Time of Terror The acts of terrorism of September 11, 2001 have become a marker for "before" and "after" in American life. Before the destruction, we saw the world one way; after, everything is changed. We are awakened to values and ideology different and opposed to our own, and to the dangers of extremist fervor which seek to compel adherence to an unyielding orthodoxy. We hold for the arts a dual and sometimes contradictory requirement: We seek a timelessness in beauty and a universality in themes, but simultaneously ask for relevance, for ideas, inspiration, insights, and succor to help us through the now. And the arts fulfill our needs. Poetry memorializes and inspires, songs are requiem and also protest, and films, plays, and novels depict social norms and also critique them. InterAct's plays are political because they explore the actions individuals take in relation to their communities, based on their values and beliefs. Our plays are universal because of the specificity of their characters' struggles. They are timeless because of the beauty and complexity of their language and the intricacy of their structure. And they argue, in the aggregate, against extremist orthodoxy in favor of the widest diversity of ideas. We believe there is no more fitting memorial to those whose voices have been stifled or stilled, nor more salient statement of our ideals, than to continue to do the work we do, and to avow by doing it our belief in the power of the arts - and specifically in the power of theatre - to challenge the imaginative and empathetic spirit in all of us. -- Larry Loebell | ||||||
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