There are many good, practical reasons for the inclusion of the arts in our lives. It teaches, as nothing else can, the sort of creative, synthetic thinking that is needed in the 21st century work force. It is a major economic driver, generating substantial direct revenue and supporting dozens of other industries. Where arts go, jobs follow.
These are important arguments, and should be shouted from the rooftops. But they’re not what I want to talk about. I want to propose another reason why the arts can and should be a part of our lives, every day. The arts make life worth living. They generate in equal measure the two things most necessary for life on earth: Wonder and wisdom. Food, water, shelter, these things are important, but they'll only get you so far. Without wonder at the possibilities of this world and wisdom to put it into action, one may exist, but cannot be said to truly live.
The arts provide these things in a concentrated dose. An oil-painting or a pas-de-deux may connect images in ways we never expected, and will never be able to ignore again. A perfect turn of phrase may reveal a truth so succinctly that our paradigms shift at that moment for the rest of our lives. That potent combination of insight and revelation, compressed into a single work of art, can and does change lives.
I’m not talking about “entertainment,” which is so often considered a synonym for art. There is overlap, but not all entertainment is art, and not all art “entertains” us. Few audiences leave King Lear whistling a happy tune. What art does ultimately is dazzle us, move us, and teach us.
And while all great art can do this, playwriting has a special place. While much of art is a direct conversation between the artist and the audience, through the medium of their work, drama is always an act of translation. The playwright gives the script not to the audience, but to another group of artists, designers, directors, actors, who create the final work. Drama then is inherently collaborative, formed through interaction and inviting diverse audiences to discuss, debate, and act. Having worked in computer game design, I’ve been involved in long talks about the role of interactivity in art. Drama proves that we have had “interactive art” for thousands of years.
As a teacher, I have encountered diverse attitudes towards drama and art in general: that it is a luxury to enjoy, a chore to endure, or an obstacle to fear. It is none of these. Instead, it is a fundamental tool. It is the crowbar we use to escape the prison of the self and understand others. It is the hammer that builds up communities and the bridges between them. It is the light that gives us direction and hope. Art is not for “someone else.” It can, and must, empower all of us, no matter our background or current position. This is the belief that motivates me, and which I hope to promote as Piedmont Laureate.
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