Quotes of All Topics . Occasions . Authors
Political change and academic change and intellectual change are obviously crucial, but they don't necessarily change society. They can change a particular class and give everybody in that class great arguments, but that doesn't necessarily translate into the body of the culture.
At present, intelligent people do not have their children vaccinated, nor does the law now compel them to. The result is not, as the Jennerians prophesied, the extermination of the human race by smallpox; on the contrary more people are now killed by vaccination than by smallpox.
A lot of the public responses are based on the prejudices and ignorance, they've been inherited from previous generations. California has always been a multicultural state, but the thing is, you've got to open your eyes and people in general need to get over their own prejudices.
In many ways, I consider those to be my formative years, because when you're in school, you have a distant relationship to the world in that most of what you're learning is from books and lectures. But at Amnesty, I came face to face with realities in a very direct and harsh way.
There is no point in trying to remember your dreams ... There is only the unspeakable joy of eavesdropping on your spirit, catching tiny glimpses of its independent life, resting for a moment in its wisdom, puzzling, laughing sometimes, over what it's up to, what it makes of you.
I feel like the writers that I'm drawn to, the writers that I really cling to, are the writers who seem to be writing out of a desperate act. It's like their writing is part of a survival kit. Those are the writers that I just absolutely cherish and carry with me everywhere I go.
Write plays that matter. Raise the stakes. Shout, yell, holler, but make yourself heard. It's time for playwrights to reclaim the theatre. We do that by speaking from the heart about the things that matter most to us. If a play isn't worth dying for, maybe it isn't worth writing.
Obviously, a theatrical masterpiece needs more than a plot; many television shows are nothing but plot, and it is doubtful that they will stand the test of time. But I also don't think that making fun of plot or acting like we're all somehow 'above' structure is such a good idea.
Plays are the marathon of scriptwriting. You fix on a point somewhere in the middle distance, and you start running, and you don't stop until you get to the end. The theory is that you have something you cannot not say: this is the engine that propels you through to the last page.
My plays are always involved with society, but I'm writing about people, too, and it's clear over the years that audiences understand them and care about them. The political landscape changes, the issues change, but the people are still there. People don't really change that much.
What comes forth from you as an artist cannot be controlled. But you have responsibilities as a global citizen. Your history dictates your duty. And by writing about black people, you are not limiting yourself. The experiences of African-Americans are as wide open as God's closet.
Realism falls short of reality. It shrinks it, attenuates it, falsifies it; it does not take into account our basic truths and our fundamental obsessions: love, death, astonishment. It presents man in a reduced and estranged perspective. Truth is in our dreams, in the imagination.
The old - like children - talk to themselves, for they have reached that hopeless wisdom of experience which knows that though one were to cry it in the streets to multitudes, or whisper it in the kiss to one's beloved, the only ears that can ever hear one's secrets are one's own!
Every child has a right to its own bent. . . . It has a right to find its own way and go its own way, whether that way seems wise or foolish to others, exactly as an adult has. It has a right to privacy as to its own doings and its own affairs as much as if it were its own father.
I lay my eternal curse on whomsoever shall now or at any time hereafter make schoolbooks of my works and make me hated as Shakespeare is hated. My plays were not designed as instruments of torture. All the schools that lust after them get this answer, and will never get any other.
Tragedy is the greatest art form of all. It gives us the courage to continue with our life by exposing us to the pain of life. It is unsentimental, it takes us seriously as human beings, it is not condescending. Paradoxically, by seeing pain we are made greater, it becomes a need.
In that tremendous flash of freedom, on my way to do The Thing for the first time, sanctioned by Almighty Harry, I receded, faded back into the scenery of my own dark self, whole the other me crouched and growled. I would do It at last, do what I had been created to do. And I did.
I know a lot of law officers, and every single one of them faces a moment - usually after about three hours on the job - when they realise that there's no connection between law and justice. The law, as an institution, avoids justice, subverts it, just as often as it sees it done.
Mr. Do-Nothing Obama will say today, 'Lets think of all the poor dead people' - or 'let's honor all the dead' instead of fighting for the living. He has been really useless in terms of both HIV and gay issues. He is simply not a leader. He may be president, but he is not a leader.
I think a part of the reason that those early plays were short was that I just kept having these ideas, and I'd just go off and write them. I wasn't trying to write one-act plays - it's just how the ideas would be expressed. Every condition I was in seemed like it could be a play.
'American Playhouse' is very supportive of writers. That's really why writers like to write for 'American Playhouse' for very little money. They care about making your play, your script, not some network production. We're treated like playwrights, not like fodder for some machine.
I feel there's a power in theatre, but it's an indirect power. It's like the relationship of the sleeper to the unconscious. You discover things you can't afford to countenance in waking life. You can forget them, remember them a day later or not have any idea what they are about.
Perhaps the most important use of money - It saves time. Life is so short, and there's so much to do, one can't afford to waste a minute; and just think how much you waste, for instance, in walking from place to place instead of going by bus and in going by bus instead of by taxi.
I can only guess that it made the world he went back to...strangely without meaning. Though he lived in it, though he even enjoyed it, it remained utterly remote. I think it had lost sense for him. In his heart was the reflection of a lovely dream that he could never quite recall.
There's no theme, no moral to be learned, except for the knowledge that lightning can strike from a clear blue sky one morning and take away everything you've built, everything you've counted on, leaving wreckage and no meaning behind. It can happen to anyone, it can happen to you.
One [of the two ideas for PROOF] was to write about two sisters who are quarreling over the legacy of something left behind by their father. The other was about someone who knew that her parent had had problems of mental illness [and that] she might be going through the same thing.
For a long time, it was hard for me to get my work done in Chicago. Silk Road gave me opportunities to do shows like 'Golden Child' - shows that nobody else seemed interested in. And they bring an artistic integrity to the work that matches anything you'll find at a bigger theatre.
People are sad. People are broke. People are worried about money, people are worried that they're not enough and not amounting to anything and they don't feel good about themselves. People have rough times, and everybody's pretending it's not true, and we need to break that veneer.
It has taken me nearly twenty years of studied self-restraint, aided by the natural decay of my faculties, to make myself dull enough to be accepted as a serious person by the British public; and I am not sure that I am not still regarded as a suspicious character in some quarters.
Socialism, reduced to its simplest legal and practical expression, means the complete discarding of the institution of private property by transforming it into public property, and the division of the resultant public income equally and indiscriminately among the entire population.
There have to be moments when you glimpse something decent, something life-affirming even in the most twisted character. That's where the real art lies. See, I always suspect characters who are painted as lovely, decent human beings. I would always question where the darkness lies.
We live in an age of reproduction. Most of what makes up our personal picture of the world we have never seen with our own eyes--or rather, we've seen it with our own eyes, but not on the spot: our knowledge comes to us from a distance, we are televiewers, telehearers, teleknowers.
one thing I don’t need is any more apologies i got sorry greetin me at my front door you can keep yrs i don’t know what to do wit em they don’t open doors or bring the sun back they don’t make me happy or get a mornin paper didn’t nobody stop usin my tears to wash cars cuz a sorry.
Hillary Clinton, told a reporter that she and Bill aren't truly well-off, even though they're incredibly rich because they pay income taxes like everybody else. In fact, she says, they were so poor when they left the White House, they could hardly afford Bill's website memberships.
After I saw a couple of pictures put out by my fellow comedy-directors, which seemed to have abandoned the fun in favor of the message, I wrote Sullivan's Travels to satisfy an urge to tell them that they were getting a little too deep-dish, to leave the preaching to the preachers.
At the drabber moments of my life (swilling some excrement from the steps, for instance, or rooting with a bent coat-hanger down a blocked sink) thoughts occur like 'I bet Tom Stoppard doesn't have to do this' or There is no doubt David Hare would have deputed this to an underling.'
Unless you are terribly, terribly careful, you run the danger-- without even knowing it is happening to you-- of slipping into the fatal error of reflecting the public taste instead of creating it. Your responsibility is to the public consciousness, not to the public view of itself.
A play is a parenthesis that contains all the material you think has to be contained for the action of the play. Where do you end that? Where the characters seem to come to a pause... where they seem to want to stop - rather like, I would think, the construction of a piece of music.
Good is towing the line, being behaved, being quiet, being passive, fitting in, being liked, and great is being messy, having a belly, speaking your mind, standing up for what you believe in, fighting for another paradigm, not letting people talk you out of what you know to be true.
I was thinking that I should be content to kiss him until the break of day. Bertrand ran out of kisses too soon; desire made them superfluous in his eyes. They were only a stage on the road to pleasure, not something inexhaustible and self-sufficient, as Luc had revealed them to me.
All the sweetness of religion is conveyed to the world by the hands of storytellers and image-makers. Without their fictions the truths of religion would for the multitude be neither intelligible nor even apprehensible; and the prophets would prophesy and the teachers teach in vain.
Many theaters are tackling the multifaceted work of black writers - established and emerging. Now the next step is for them to bring in audiences of color and continue to go out to our community and create a continuous connection that extends beyond the one black show in the season.
In many ways, theatre is more rewarding for a writer. I used to think it was like painting a wall - that when the play is finished, it's done - but now I realise it's more like gardening; you plant the thing, then you have to constantly tend it. You're part of a thing that's living.
What! Would you make no distinction between hypocrisy and devotion? Would you give them the same names, and respect the mask as you do the face? Would you equate artifice and sincerity? Confound appearance with truth? Regard the phantom as the very person? Value counterfeit as cash?
Excess on occasion is exhilarating. It prevents moderation from acquiring the deadening effect of a habit. It's a funny thing about life; if you refuse to accept anything but the best, you very often get it. Like all weak men he laid an exaggerated stress on not changing one's mind.
However fiercely opposed one may be to the present order, an old respect for the idea of order itself often prevents people from distinguishing between order and those who stand for order, and leads them in practice to respect individuals under the pretext of respecting order itself.
Every show is unique, some shows have the master plan and have everything figured out and that's just the way they do things. It's like high school. Some people write their papers the second they get their assignments, and some people write it the day after it's due. I am the latter.
It was a great mistake, my being born a man, I would have been much more successful as a seagull or a fish. As it is, I will always be a stranger who never feels at home, who does not really want and is not really wanted, who can never belong, who must be a little in love with death!
Girls, like men, want to be petted, pitied, and made much of, when they are diffident, in low spirits, or in unrequited love. These are services which the weak cannot render to the strong and which the strong will not render to the weak, except when there is also a difference of sex.
Do not mistake your objection to defeat for an objection to fighting, your objection to being a slave for an objection to slavery, your objection to not being as rich as your neighbor for an objection to poverty. The cowardly, the insubordinate, and the envious share your objections.