Tweet July 14, 2010, 3:58AM https://twitter.com/basselsafadi/status/18511089938 at Twitter.com
Quoted in "The trickster," http://www.guardian.co.uk/film/2004/apr/23/guesteditors2 The Guardian (2004-04-23)
Source: The Practice of Natural Movement: Reclaim Power, Health, and Freedom (2019), p. 79
Greenwich Village as It Is, in Pearson’s Magazine (October 1916)
Theater Games for the Classroom: A Teacher's Handbook (1986) Northwestern University Press, page 2
“Theatre is almost the last place in the world of culture where living people meet living people.”
Source: [Interview with Joshua Sobol In Residence at Israeli Stage, Israeli Stage, 6 April 2017, https://www.youtube.com/watch?v=mUAhlp2yLZ8] (quote at 11:17 of 18:14)
“The garden suggests there might be a place where we can meet nature halfway.”
Toward an Activist Spirituality (2003)
Context: Much of our magic and our community work is about creating spaces of refuge from a harsh and often hostile world, safe places where people can heal and regenerate, renew our energies and learn new skills. In that work, we try to release guilt, rage, and frustration, and generally turn them into positive emotions.
Safety and refuge and healing are important aspects of spiritual community. But they are not the whole of spirituality. Feeling good is not the measure by which we should judge our spiritual work. Ritual is more than self-soothing activity.
Spirituality is also about challenge and disturbance, about pushing our edges and giving us the support we need to take great risks. The Goddess is not just a light, happy maiden or a nurturing mother. She is death as well as birth, dark as well as light, rage as well as compassion — and if we shy away from her fiercer embrace we undercut both her own power and our own growth.
On his blog, talking about genre http://www.danielabraham.com/?p=160
Context: I think that the successful genres of a particular period are reflections of the needs and thoughts and social struggles of that time. When you see a bunch of similar projects meeting with success, you’ve found a place in the social landscape where a particular story (or moral or scenario) speaks to readers. You’ve found a place where the things that stories offer are most needed.
And since the thing that stories most often offer is comfort, you’ve found someplace rich with anxiety and uncertainty. (That’s what I meant when I said to Melinda Snodgrass that genre is where fears pool.)
