Wolf Trap National Park for the Performing Arts, known locally in the Washington, D.C. area as simply Wolf Trap, is a performing arts center located on 130 acres (53 ha) of national park land in Vienna, Virginia. Through a partnership and collaboration of the National Park Service and the non-profit Wolf Trap Foundation, Wolf Trap National Park for the Performing Arts offers both natural and cultural resources.
Wolf Trap National Park for the Performing Arts began as a donation from Catherine Filene Shouse. Encroaching roads and suburbs led Mrs. Shouse to preserve this former farm as a park. In 1966 Congress accepted Mrs. Shouse's gift and authorized Wolf Trap Farm Park (its original name) as the first national park for the performing arts. On August 21, 2002, the park's name was changed to its present one, thus reflecting its mission while keeping the historical significance of this area.
Read more about Wolf Trap National Park For The Performing Arts: Performing Arts Venues, Enabling Legislation, Artists With 15 or More Appearances
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“More than in any other performing arts the lack of respect for acting seems to spring from the fact that every layman considers himself a valid critic.”
—Uta Hagen (b. 1919)
“Wulf, my Wulf! Waiting for you
has made me ill, your seldom coming,
this sorrowing mood—not lack of meat.
Do you hear, Eadwacer? Our poor whelp
a wolf bears off to the wood.”
—Unknown. Eadwacer (l. 13–17)
“The little lifting helplessness, the queer
Whimper-whine; whose unridiculous
Lost softness softly makes a trap for us.
And makes a curse.”
—Gwendolyn Brooks (b. 1917)
“The national distrust of the contemplative temperament arises less from an innate Philistinism than from a suspicion of anything that cannot be counted, stuffed, framed or mounted over the fireplace in the den.”
—Lewis H. Lapham (b. 1935)
“The label of liberalism is hardly a sentence to public igominy: otherwise Bruce Springsteen would still be rehabilitating used Cadillacs in Asbury Park and Jane Fonda, for all we know, would be just another overweight housewife.”
—Barbara Ehrenreich (b. 1941)
“Bottom. What is Pyramus? A lover or a tyrant?
Quince. A lover that kills himself, most gallant, for love.
Bottom. That will ask some tears in the true performing of it. If I do it, let the audience look to their eyes.”
—William Shakespeare (1564–1616)
“I haven’t seen so much tippy-toeing around since the last time I went to the ballet. When members of the arts community were asked this week about one of their biggest benefactors, Philip Morris, and its requests that they lobby the New York City Council on the company’s behalf, the pas de deux of self- justification was so painstakingly choreographed that it constituted a performance all by itself.”
—Anna Quindlen (b. 1952)