Quotes of All Topics . Occasions . Authors
I do think, or rather I sense that there is a relationship - at least in my own work - between a dramatic structure, the form and sound and shape of a play, and the equivalent structure in music. Both deal with sound, of course, and also with idea, theme.
Be transparent as wind, be as possible and relentless and dangerous, be what moves things forward without needing to leave a mark, be part of this collection of molecules that begins somewhere unknown and can't help but keep rising. Rising.Rising. Rising.
No matter how you look at it, all the emotions connected with love are not really immortal; like all other passions in life, they are bound to fade at some point. The trick is to convert love into some lasting friendship that overcomes the fading passion.
The majority is never right. Never, I tell you! That's one of these lies in society that no free and intelligent man can help rebelling against. Who are the people that make up the biggest proportion of the population -- the intelligent ones or the fools?
Whatever made me the way I am left me hollow, empty inside, unable to feel. It doesn't seem like a big deal. I'm quite sure most people fake an awful lot of everyday human contact. I just fake it all. I fake it very well, and the feelings are never there.
Most of the time, when I'm writing, I'm writing for myself. I'm thinking, 'What will my character say at this time? What will come out of her mouth?' I create individuals so real to me, I sometimes start talking to them. Then I let them loose on the page.
Some people in this life think they're worth something, or that they have a right to things. I never thought I had a right to anything 'cause of the way I was broken as a child. And therefore I was sort of floating around and would get sucked into things.
Prosecution I have managed to avoid; but I have been arrested, charged in a police court, have refused to be bound over, and thereupon have been unconditionally released - to my great regret; for I have always wanted to know what going to prison was like.
I think as a writer you never have to flee from fame because you're not that visible in the first place, but, after the Broadway success of 'Beauty Queen,' people were coming up to me all the time, and I wasn't really prepared for that level of attention.
Here 's to the maiden of bashful fifteen; Here 's to the widow of fifty; Here 's to the flaunting, extravagant queen, And here 's to the housewife that 's thrifty! Let the toast pass; Drink to the lass; I 'll warrant she 'll prove an excuse for the glass.
Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.
No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead.
All that we know about those we have loved and lost is that they would wish us to remember them with a more intensified realization of their reality. What is essential does not die but clarifies. The highest tribute to the dead is not grief but gratitude.
The best of our theater is standing on tiptoe, striving to see over the shoulders of father and mother. The worst is exploiting and wallowing in the self-pity of adolescence and obsessive keyhole sexuality. The way out, as the poet says, is always through.
You can't legislate into existence an act of forgiveness and a true confession; those are mysteries of the human heart, and they occur between one individual and another individual, not a panel of judges sitting asking questions, trying to test your truth.
I'm not good at standing on platforms and persuading people to my political point of view. Nor would I seek to. My gift is completely different. It's for presenting an imaginative version of the world which I hope people would recognize and be affected by.
There are lots of young vital playwrights who are experimenting, and these are the plays that people who are interested in the theatre should see. They should go off Broadway. They should go to the cafe theatres and see the experiments that are being made.
What happened with cancer was that I just became a body. There was nothing else but body for a month. I was chemo'd and operated on and cut and poked. At first it was really horrifying and scary, and then it was just,Wow. You're in your body. This is body!
We live in a racist world. Everywhere there is racism. We say to White people, "You really have to examine how you behave in the world. You are responsible for deconstructing internalized racism and being part of a ongoing process of decolonizing yourself.
When a man is overcome by anger, he has a poisoned fever. He loses his strength, he loses his power over himself and over others. He throws away time in which he might have gained the end he desires. The is no time for anger in the world. - The Ancient One
I'm afraid for all those who'll have the bread snatched from their mouths by these machines. What business has science and capitalism got, bringing all these new inventions into the works, before society has produced a generation educated up to using them!
But I don't really write to honor the past. I write to investigate, to try to figure out what happened and why it happened, knowing I'll never really know. I think all the writers that I admire have this same desire, the desire to bring order out of chaos.
This is the Scroll of Thoth. Herein are set down the magic words by which Isis raised Osiris from the dead. Oh! Amon-Ra--Oh! God of Gods--Death is but the doorway to new life--We live today-we shall live again--In many forms shall we return-Oh, mighty one.
Little kids grow up discovering the world that's shown to them and then when you become a teenager, it kind of shrinks a little bit. I think when you get past that point, one of the important things is that you see there is more to the world than yourself.
Actors are very demanding because they have nowhere to hide. If I write a scene, it doesn't turn out very well, I don't ever have to show it to anyone; when you turn the camera on, or when you walk on stage, they have to feel like what's happening is real.
Can success change the human mechanism so completely between one dawn and another? Can it make one feel taller, more alive, handsomer, uncommonly gifted and indomitably secure with the certainty that this is the way life will always be? It can and it does!
I still haven't gotten over this thing of walking down the street and somebody recognizing you because you've been in a movie. There's this illusion that movie stars only exist in the movies. And to see one live is like seeing a leopard let out of the zoo.
. . . the cruel part is that, to let the play live, you have to surrender control and let your characters go. You have to let them stumble, fall into walls and be mute, let them drift and be lost. If you hold the reins too tight, they won't spring to life.
A man filled with meat turns his back on the dry bones of political doctrine. Fanatical devotion to the ruling party comes more readily from the materially deprived At a dinner party one should eat wisely but not too well, and talk well but not too wisely.
Written poetry is worth reading once, and then should be destroyed. Let the dead poets make way for others. Then we might even come to see that it is our veneration for what has already been created, however beautiful and valid it may be, that petrifies us.
The so-called assault weapons ban is a hoax. It is a political appeal to the ignorant. The guns it supposedly banned have been illegal for 78 years. Did the ban make them 'more' illegal? The ban addresses only the appearance of weapons, not their operation.
It seems to me there's this tyranny that's not accidental or incidental, to make women feel compelled to look like somebody they're not. I think the effort is being made to get us to turn our time and attention to this instead of important political issues.
Life at its noblest leaves mere happiness far behind; and indeed cannot endure it. Happiness is not the object of life: life has no object: it is an end in itself; and courage consists in the readiness to sacrifice happiness for an intenser quality of life.
Nietzche . . . he was a confirmed Life Force worshipper. It was he who raked up the Superman, who is as old as Prometheus; and the 20th century will run after this newest of the old crazes when it gets tired of the world, the flesh, and your humble servant.
Each actor, every single time you work with an actor, you have to come up with the language that's going to serve them. And that's what allows them to give the performance that you want to nurture inside of them and what you think they're capable of giving.
The wonderful thing about theater is that it has so many people involved in the creation of it. The worst thing about theater is that it has so many people involved in the creation of it. That dynamic is thrilling and challenging every time you make a show.
I started writing because there's an absence of things I was familiar with or that I dreamed about. One of my senses of anger is related to this vacancy - a yearning I had as a teenager. . .and when I get ready to write, I think I'm trying to fill that. . .
All Coolidge had to do in 1924 was to keep his mean trap shut, to be elected. All Harding had to do in 1920 was repeat Avoid foreign entanglements. All Hoover had to do in 1928 was to endorse Coolidge. All Roosevelt had to do in 1932 was to point to Hoover.
Art serves us best precisely at that point where it can shift our sense of what is possible, when we know more than we knew before, when we feel we have - by some manner of a leap - encountered the truth. That, by the logic of art, is always worth the pain.
When we read of human beings behaving in certain ways, with the approval of the author, who gives his benediction to this behavior by his attitude towards the result of the behavior arranged by himself, we can be influenced towards behaving in the same way.
Actors! The mechanics of cheap melodrama! That isn't death! You scream and choke and sink to your knees but it doesn't bring death home to anyone- it doesn't catch them unawares and start the whisper in their skulls that says- 'One day you are going to die.
Plays can outlast even the opinions of the chief film critic of The New York Times and that reviews, although they feel devastating in the immediate moment, are not remotely as significant as the significance you endow them with on the day that they appear.
An avant-garde man is like an enemy inside a city he is bent on destroying, against which he rebels; for like any system of government, an established form of expression is also a form of oppression. The avant-garde man is the opponent of an existing system.
What happens when someone throws you against a wall or tells you you're a jackass or puts you down or calls you bad names? It goes into your body. We hold it in our body. If we don't have a way to let that go and release that, it becomes sickness eventually.
I wouldn't say I see my work as having a political ideology. Lynn Nottage certainly has a political ideology. I think that the work is an extension of who I am, but I don't think that when I write the play I'm looking to push the audience one way or another.
A tale of scandal is as fatal to the credit of a prudent lady as a fever is generally to those of the strongest constitutions. But there is a sort of puny, sickly reputation, that is always ailing, yet will wither the robuster characters of a hundred prudes.
I think theatre is a democratic act and I think writing a play is not a democratic act. I think we should give writers more leeway and space to write the thing they want to write, and then we should produce the play, multiple times, and let them re-write it.
We might remind ourselves that criticism is as inevitable as breathing, and that we should be none the worse for articulating what passes in our minds when we read a book and feel an emotion about it, for criticizing our own minds in their work of criticism.
Love is - OK, it's 20 things, but it isn't 19. And I think that love reaches for something which is very, very deep in us and is very easily obscured, and is also very easily denied, which is the instinct towards the other person, other than toward the self.
But then books, as I'm sure you know, seldom prompt a course of action. Books generally just confirm you in what you have, perhaps unwittingly, decided to do already. You go to a book to have your convictions corroborated. A book, as it were, closes the book.