Quotes about drama
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“Do you see that kitten chasing so prettily her own tail? If you could look with her eyes, you might see her surrounded with hundreds of figures performing complex dramas, with tragic and comic issues, long conversations, many characters, many ups and downs of fate, — and meantime it is only puss and her tail. How long before our masquerade will end its noise of tambourines, laughter, and shouting, and we shall find it was a solitary performance?”

Ralph Waldo Emerson book Experience

1840s, Essays: Second Series (1844), Experience

Fate, Laughter

“My first singing role was as Susanna in a school production in a shortened form of Mozart’s The Marriage of Figaro. I loved to sing and I was given lots of encouragement by a wonderful music teacher Mrs Ann Hill and by my parents who suggested I go to drama school.”

Elaine Paige (1948) English singer and actress

As quoted in "Angie Davidson Interviews Elaine Paige" by Angie Davidson in lupus.org.uk http://www.lupus.org.uk/article.php?i=159 (2005)

Love, Marriage, School, Music

“Longer than memory we have known that each animal has its power and place, each a skill, virtue, wisdom, innocence — a special access to the structure and flow of the world. Each surpasses ourselves in some way. Together, sacred, they help hold the cosmos together, making it a joy and beauty to behold, but above all a challenge to understand as story, drama, and sacred play.”

Paul Shepard (1925–1996) American human ecologist

The Others: How Animals Made Us Human (1996), Island Press, 1997, Part V, p. 173 https://books.google.it/books?id=dwq8BwAAQBAJ&pg=PA173.

Wisdom, World, Beauty, Way

“All things come to me in black and white like virtue and crime. Yes, black and white are the two elements which concern me. It is my fortune, or misfortune, that I can see neither all in black nor all in white... I cannot help realizing both, for only in the two, only in black and white, can I see God as a unity creating again and again a great and eternally changing terrestrial drama.”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

Source: 1930s, On my Painting (1938), pp. 13-14

God, Change, Help

“If the people wanted my head I would bow without demur. If I had lost the confidence or respect of the people I would not want to live. The tragedy of the drama is that the very opposite is true.”

Zulfikar Ali Bhutto (1928–1979) Fourth President and ninth Prime Minister of Pakistan

Letter to his attorney, Yahya Bakhtiar, after his death sentence, as quoted in My Dearest Daughter : A letter from the Death Cell (2007).

People, Confidence

“But it was drama, high drama: fires at night, the fires that burned people's houses away; bombs fell and left exotically shaped fragments in the form of shrapnel. And we collected it and traded it. As long as we were not hurt -- and I wasn't -- life seemed wonderful.”

Tom Baker (1934) English actor

Describing The Blitz

Life, People, Hurt, Housing

“We must become better at asking and do less telling in a culture that overvalues telling. It has always bothered me how even ordinary conversations tend to be defined by what we tell rather than by what we ask. Questions are taken for granted rather than given a starring role in the human drama. Yet all my teaching and consulting experience has taught me that what builds a relationship, what solves problems, what moves things forward is asking the right questions.”

Edgar H. Schein (1928) Psychologist

Edgar H. Schein (2013). Humble Inquiry; The Gentle Art of Asking Instead of Telling. p. 3-4

Star, Question, Problem

“I would not be standing here if it weren't for two very important men in my life, so… two that I haven't spoken with in awhile, but I had the pleasure of just the other evening. Mr. Rawley Farnsworth, who was my high school drama teacher, who taught me to act well the part, there all the glory lies. And one of my classmates under Mr. Farnsworth, Mr. John Gilkerson. I mention their names because they are two of the finest gay Americans, two wonderful men that I had the good fortune to be associated with, to fall under their inspiration at such a young age. I wish my babies could have the same sort of teacher, the same sort of friends.”

Tom Hanks (1956) American actor

66th Academy Award Speech (1994)

Life, Men, Pleasure, Age

“Every now and then its good to step back a little. When we let go a little and remove ourselves from the drama, we can see more clearly. So often we are caught up in the stress we fail to see what triggers our worries. When we are still and put distance between our problems we often discover the solutions”

Michael Elmore-Meegan (1959) British humanitarian

All Will be Well (2004)

Problem

“I seek the real stuff of life. Profound drama.”

Anaïs Nin (1903–1977) writer of novels, short stories, and erotica

February 5, 1934
Diary entries (1914 - 1974)

Life

“There is no greater drama in human record than the sight of a few Christians, scorned or oppressed by a succession of emperors, bearing all trials with a fierce tenacity, multiplying quietly, building order while their enemies generated chaos, fighting the sword with the word, brutality with hope, and at last defeating the strongest state that history has known. Caesar and Christ had met in the arena, and Christ had won.”

Will Durant book The Story of Civilization

Source: The Story of Civilization (1935–1975), III - Caesar and Christ (1944), Chapter 30, part 1, p. 652.

Hope, History, Success, Christ

“The magic of drama is infinitely more powerful than the magic of trickery. It is as available to the conjurer as it is to the actor. The only difference is that actors take it for granted, whereas few conjurers are even aware that it exists.”

Milbourne Christopher (1914–1984) American magician

Milbourne Christopher (Magic: A Picture History)

“The schools, having found the object of their long, blind searching, shall teach directness, simplicity, naturalness: they shall protect the young against palpable illusion. They shall teach that, while man once invented a process called composition, Nature has forever brought forth organisms. They shall encourage the love of Nature that wells up in every childish heart, and shall not suppress, shall not stifle, the teeming imagination of the young.
They shall teach, as the result of their own bitter experience, that conscious mental effort, that conscious emotionality, are poor mates to breed from, and that true parturition comes of a deep, instinctive, subconscious desire. That true art, springing fresh from Nature, must have in it, to live, much of the glance of an eye, much of the sound of a voice, much of the life of a life.
That Nature is strong, generous, comprehensive, fecund, subtile: that in growth and decadence she continually sets forth the drama of man's life.
That, thro' the rotating seasons, thro' the procession of the years, thro' the march of the centuries, permeating all, sustaining all, there murmurs the still, small voice of a power that holds us in the hollow of its hand.”

Louis Sullivan (1856–1924) American architect

Emotional Architecture as Compared to Intellectual (1894)

Love, Life, School, Art

“Each painting is linked to a fundamental drama.”

Bram van Velde (1895–1981) Dutch painter

1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

Painting

“There is hardly a pioneer's hut which does not contain a few odd volumes of Shakespeare. I remember reading the feudal drama of Henry V for the first time in a log cabin.”

Alexis De Tocqueville book Democracy in America

Book One, Chapter XIII.
Democracy in America, Volume II (1840), Book One

Time, Reading

“Live amongst no roses, only the drama, for real
A nickel-plate is my fate, my medicine is the ganja”

Nas (1973) American rapper, record producer and entrepreneur

Memory Lane (Sittin' in Da Park)
On Albums, Illmatic (1994)

Fate

“The life of Camillus, the death of Regulus; the expectation of the senators, in their godlike state, of the victorious Gauls; the refusal of the republic to make peace with Hannibal, after the battle of Cannae, were not the consequences of a refined calculation of the probable personal advantage to result from such a rhythm and order in the shows of life, to those who were at once the poets and the actors of these immortal dramas. The imagination beholding the beauty of this order, created it out of itself according to its own idea; the consequence was empire, and the reward everlasting fame. These things are not the less poetry, quia carent vate sacro [because they lack a sacred bard]. They are the episodes of that cyclic poem written by Time upon the memories of men.”

Percy Bysshe Shelley (1792–1822) English Romantic poet

This passage has sometimes been paraphrased as "History is a cyclic poem written by Time upon the memories of man". A Defence of Poetry http://www.bartleby.com/27/23.html (1821)

Life, Death, Men, Peace

“What Tim played tonight was just phenomenal, outstanding. He kept us in that game for a long time. We are proud to have him with us. It was an absolutely amazing match tonight and you can give him the biggest compliment in the world. It's a bummer for us ending on the losing side after a game of 120 minutes that gave everything to the fans, a real drama, a thriller. We had enough possession to equalize that game at the end, but a big compliment to Belgium and congratulations to them. I'm very proud of our team. Every player on the field made their country proud with this performance in this World Cup. All of the players just went beyond their capabilities and I told them they should take a lot of very positive stuff back home with them.”

Jürgen Klinsmann (1964) German footballer and manager

Post-game press conference http://www.dailymail.co.uk/sport/worldcup2014/article-2677190/Jurgen-Klinsmann-praises-phenomenal-Tim-Howard-admits-USA-loss-bummer.html (1 July 2014), 2014 FIFA World Cup, Brazil 2010s, 2014

World, Home, Game, Time

“On the movie Monster: "I confess I went into the movie ready to dislike Miss Theron. I'm sick of newspaper articles detailing the amount of time, talent and technical wizardry required to turn some silver-screen beauty into an average-looking woman. There are plenty of average-looking women out there — gritty Britty TV drama seems to be full of them — and it seems excessively unfair that they can't even get a shot at the frumpy roles because Nicole Kidman's hogging the false nose again."”

Mark Steyn (1959) Canadian writer

" Soured dream https://archive.is/20130710195125/archive.spectator.co.uk/article/3rd-april-2004/82/soured-dream", 2 April 2004

Women, Beauty, Time, Falseness

“This is going to sound really childish, but I've been intrigued by Romania ever since the 1976 Olympics, when Nadia Comăneci, the little gymnast, scored a perfect 10. And I thought any country that gave that to the world had to be wonderful, so I read up a lot on it. When the 1989 revolutions broke out, I remember cheering them on. They were the last ones to make a bid for freedom, and it was the bloodiest and the most spectacular of the revolutions. It was almost French in its drama, like the French Revolution.”

Mike McCormack (1965) Irish novelist and writer

McKeon, Belinda. Metaphysics gets a Mayo accent http://www.irishtimes.com/culture/metaphysics-gets-a-mayo-accent-1.441635, The Irish Times (13 May 2005)

World, Freedom, Reading, Perfection

“Whatever is felt upon the page without being specifically named there — that, one might say, is created. It is the inexplicable presence of the thing not named, of the overtone divined by the ear but not heard by it, the verbal mood, the emotional aura of the fact or the thing or the deed, that gives high quality to the novel or the drama, as well as to poetry itself.”

Willa Cather (1873–1947) American writer and novelist

"The Novel Démeublé"; originally published in The New Republic (1922)
Not Under Forty (1936)

Mood

“SPAN ID=In_the_case> In the case of drama (stage, movies, television ), there appear to be people in almost every audience who never quite fully realize that a play is a set of fictional, symbolic representations. An actor is one who symbolizes other people, real or imagined. […] Also some years ago it was reported that when Edward G. Robinson, who used to play gangster roles with extraordinary vividness, visited Chicago, local hoodlums would telephone him at his hotel to pay their professional respects.

S. I. Hayakawa book Language in Thought and Action

Source: Language in Thought and Action (1949), The Pitfalls of Drama, pp. 27-28

People, Imagination, Appearance

“In seeking victory, those who direct a war cannot overstep the limitations imposed by the objective conditions. Within these limitations, however, they can and must play a dynamic role in striving for victory. The stage of action for commanders in a war must be built upon objective possibilities, but on that stage they can direct the performance of many a drama, full of sound and color, power and grandeur.”

Mao Zedong (1893–1976) Chairman of the Central Committee of the Communist Party of China

On Protracted Warfare (1938)
Original: (zh-CN) 指导战争的人们不能超越客观条件许可的限度期求战争的胜利，然而可以而且必须在客观条件的限度之内，能动地争取战争的胜利。战争指挥员活动的舞台，必须建筑在客观条件的许可之上，然而他们凭借这个舞台，却可以导演出很多有声有色、威武雄壮的戏剧来。

War, Color, Victory

“After seeing me perform in the drama Montserrat on public TV, a critic in Philadelphia wrote, I didn't know he could act.”

Earl Holliman (1928) American actor

"Earl Holliman: actor with desire for variety" (1973)

“When sexuality is operating in the service of intimacy, it is the fact that it is the particular other who is responding to the vulnerability inherent in sustaining desire that generates intensity and meaning. It is precisely the physiological intensity of the sexual response that lends the sexual encounter its dramatic interpersonal significance. This suggests that it is a mistake to regard the role of sexuality in relation to needs for relatedness and attachment as a "sexualization," which implies that sex is carrying something that can and somehow should be attended to in other ways. (Although this is sometimes the case.) The distinction between preoedipal and oedipal developmental levels often implies such an artificial and misleading separation between sexual experience and issues of attachment and connection. There is perhaps nothing better suited for experiencing and deepening the drama of search and discovery than the mutual arousal, sustaining, and quenching of sexual desire.”

Stephen Mitchell (1946–2000) American psychologist

Relational Concepts in Psychoanalysis (Cambridge, Massachusetts: Harvard University Press, 1988), pp. 107-108

Sex, Way, Search

“The spectacle of human beings fighting each other for whatever reason, including, at certain well-publicized times, staggering sums of money, is enormously disturbing because it violates a taboo of our civilization. Many men and women, however they steel themselves, cannot watch a boxing match because they cannot allow themselves to see what it is they are seeing. One thinks helplessly, This can’t be happening, even as, and usually quite routinely, it is happening. In this way boxing as a public spectacle is akin to pornography: in each case the spectator is made a voyeur, distanced, yet presumably intimately involved, in an event that is not supposed to happening as it is happening. The pornographic "drama," though as fraudulent as professional wrestling, makes a claim for being about something absolutely serious, if not humanly profound: it is not so much about itself as about the violation of a taboo. That the taboo is spiritual rather than physical, or sexual — that our most valuable human experience, love, is being is being desecrated, parodied, mocked — is surely at the core of our culture’s fascination with pornography.”

Joyce Carol Oates (1938) American author

On Boxing (1987)

Love, Women, Men, Money

“I definitely think this is the best time to be in the industry. Earlier, films were made on a set pattern- love story, family drama, one is rich and other is poor type formulas. But today there are different kinds of films being made and accepted by the audience. I wish I was there in the industry today…I wish I was born in today's time.”

Waheeda Rehman (1938) Indian actress

Quote, Waheeda Rehman not in favour of biopics and remakes

Love, Family, Thinking, Time

“I am secretly a costume drama queen. Oo, I love me some Merchant Ivory films! I do! If there is a petticoat and Helena Bonham Carter, already I can feel the tears well up in my eyes. I love me some period films! And I know that I will never be in them. I will never be in any of these movies, unless I am laying down on my side smoking some opium. And I get offered movie roles all the time, but I say, "No! No! I don't want to play a manicurist. I don't want to play a really pissed-off liquor store owner. I don't want to go nowhere with a chicken under my arm. I don't want to play an exceptionally good student, I do not want to get off a tour bus and take numerous photographs, I do not ever want to utter the phrase, 'Welcome to Japan, Mr. Bond'! I don't want to write down all my memoirs about being a geisha!"”

Margaret Cho (1968) American stand-up comedian

What it is, is that I cannot run up a wall!!
From Her Tours and CDs, Revolution Tour

Love, Feeling, Tear, Time

“The drama of the sky dance is enacted nightly on hundreds of farms, the owners of which sigh for entertainment, but harbor the illusion that it is to be sought in theaters. They live on the land, but not by the land.”

Aldo Leopold book A Sand County Almanac

“April: Sky Dance”, p. 34.
A Sand County Almanac, 1949, "April: Come High Water," "April: Draba," "April: Bur Oak," & "April:Sky Dance"

Dance

“…The subjects we study at school can be divided roughly into two groups—the sciences and the arts. The sciences include mathematics, geography, chemistry, physics, and so on. Among the arts are drawing, painting, modelling, needlework, drama, music, literature. The purpose of education is to fit us for life in a civilised community, and it seems to follow from the subjects we study that the two most important things in civilised life are Art and Science.”

Anthony Burgess (1917–1993) English writer

Non-Fiction, English Literature: A Survey for Students (1958, revised 1974)

Life, Education, School, Art

“The novelist with a prudent prodigality may employ descriptions, dialogues, and episodes, which would be fatal in a drama. Characters may be introduced and dismissed without having any important connection with the plot; it is enough if they serve the purpose of the chapter in which they appear. Although as a matter of fine art no character should have a place in a novel unless it form an integral element of the story, and no episode should be introduced unless it reflects some strong light on the characters or incidents, this is a critical demand which only fine artists think of satisfying, and only delicate tastes appreciate. For the mass of readers it is enough if they are mused; and indeed all readers, no matter how critical their taste, would rather be pleased by a transgression of the law than wearied by prescription. Delight condones offence. The only question for the writer is, whether the offence is so trivial as to be submerged in the delight. And he will do well to remember that the greater flexibility belonging to the novel by no means removes the novel from the laws which rule the drama.”

George Henry Lewes (1817–1878) British philosopher

The Principles of Success in Literature (1865)

Law, Art, Question, Thinking

“I was dealing with a political story where much of the action took place on the floor of the U. S. Senate, and one of the edicts that came down from the Mt. Sinai of advertisers row was that at no time in a political drama must a speech or a character be equated with an existing political party or current political problems. So several million viewers were treated to an incredible display of senators shouting, gesticulating and talking in hieroglyphics, saying not a single thing germaine to the current political scene.”

Rod Serling (1924–1975) American screenwriter

Rod Serling on Arena, American Masters.
Other

Problem, Time

“The central drama of our age is how the Western nations and the Asian peoples are to find a tolerable basis of co-existence.”

Walter Lippmann (1889–1974) American journalist

"Asia and the West", New York Herald Tribune (European edition; September 15, 1965), p. 4

People, Age

“…soldierly simplicity of character that has always represented the military at its best. In the higher ranks it is different. The higher a man is placed, the broader his point of view. Different interests and a wide variety of passions, good and bad, will arise on all sides. Envy and generosity, pride and humility, wrath and compassion - all may appear as effective forces in this great drama.”

Carl von Clausewitz book On War

On War (1832), Book 2

Appearance, Passion, Envy

“If a single one of these gentlemen is correct, if a believer of any type is right, the essential truth for man, the real drama of life, in comparison with which the secular story of the race, is a puppet-show and the unfolding of the universe is a triviality, is the dialogue of the immortal soul and the eternal God. Yet it seems that there is nothing in the world so hard to discover as this. The theory refutes itself.”

Joseph McCabe (1867–1955) British writer

The Psychology of Religion (1927), p. 47.

Life, God, Truth, World

“Umpire Billy Bowden is decked by a Jones sweep! How marvellous…I mean what a choker…A sweetly-timed shot by the England batsman, which strikes Bowden on the hip, sending sunnies and walkie-talkie flying. Shame for Jones, that was going for four. Bowden will have secretly loved that, the old drama tart.”

Ben Dirs journalist

Cricket The Ashes First Test, day three as it happened, 2006-11-25, 2007-05-26, BBC http://news.bbc.co.uk/sport1/hi/cricket/england/6182630.stm,

Love, Time, Flying

“All the plays that have ever been written, from ancient Greece to the present day, have never really been anything but thrillers…
Drama's always been realistic and there's always been a detective about…
Every play's an investigation brought to a successful conclusion.”

Eugéne Ionesco (1909–1994) Romanian playwright

Victimes du Devoir [Victims of Duty] (1953)

Success

“Boundless compassion for all living beings is the surest and most certain guarantee of pure moral conduct, and needs no casuistry. Whoever is filled with it will assuredly injure no one, do harm to no one, encroach on no man's rights; he will rather have regard for every one, forgive every one, help every one as far as he can, and all his actions will bear the stamp of justice and loving-kindness. … In former times the English plays used to finish with a petition for the King. The old Indian dramas close with these words: "May all living beings be delivered from pain."”

Arthur Schopenhauer book On the Basis of Morality

Tastes differ; but in my opinion there is no more beautiful prayer than this. Part III, Ch. VIII, 4, pp. 213 https://archive.org/stream/basisofmorality00schoiala#page/213/mode/2up-214 First line often paraphrased as: Compassion is the basis of all morality. On the Basis of Morality (1840)

Love, Pain, Justice, Beauty

“When I began to write as a very young person in a rigidly racist and inhibited colonial society, I felt, as many others did, that I existed marginally on the edge of the world of ideas, of imagination and beauty. These, taking shape in poetry and fiction, drama, painting and sculpture, were exclusive to that distant realm known as 'overseas.”

Nadine Gordimer (1923–2014) South african Nobel-winning writer

Speech at the Nobel Banquet (1991)

World, Beauty, Imagination, Idea

“Courteous love was avowedly a form of drama, but not the less a force of society. Illusion for illusion, courteous love in Thibaut's hands, or in the hands of Dante and Petrarch, was as substantial as any other convention;— the balance of trade, the rights of man, the Athanasian Creed. In that sense the illusions alone were real; if the middle-ages had reflected only what was practical, nothing would have survived for us.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

Love, Age, Sense

“It's like the high school production of something you saw at Steppenwolf, with the most gifted students in drama class playing the John Malkovich and Joan Allen roles.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/the-pink-panther-2006 of The Pink Panther (10 February 2006) Reviews, One-and-a-half star reviews

School

“We really look for a story first and scares second. I think that ultimately makes the scares more effective. Most people look for the scares first and build the story around it, but that’s something that I’ve been lucky enough to learn while working with these great directors who have spent their lives making these kind of movies. So that’s what we look for: is there great drama? And then we go from there.”

Jason Blum (1969) American film producer

Interview: Jason Blum http://dorkshelf.com/2013/02/20/interview-jason-blum/ (February 20, 2013)

People, Thinking, Learning

“As the glossaries lengthen, as the footnotes become more elementary and didactic, the poem, the epic, the drama, move out of balance on the actual page. As even the more rudimentary of mythological, religious or historical references, which form the grammar of Western literature, have to be elucidated, the lines of Spenser, of Pope, of Shelley or of Sweeney Among the Nightingales, blur away from immediacy. Where it is necessary to annotate every proper name and classical allusion in the dialogue between Jessica and Lorenzo in the garden at Belmont, or in Iachimo's stealthy rhetoric when he emerges in Imogen's bedchamber, these marvellous spontaneities of enacted feeling become "literary" and twice-removed.”

George Steiner (1929–2020) American writer

"Tomorrow".
In Bluebeard's Castle (1971)

Feeling, Literature

“I was thrilled to find America so rich with so many new motives to be translated into a new art. Steel and electricity had created a new world. A new drama had surged from the unmerciful violation of darkness at night, by the violent blaze of electricity and a new polyphony was ringing all around with the scintillating, highly colored lights. The steel had leaped to hyperbolic altitudes and expanded to vast latitudes with the skyscrapers and with bridges made for the conjunction of worlds. A new architecture was created, a new perspective.”

Joseph Stella (1877–1946) American artist

Joseph Stella (1912); As cited in: Metropolitan Museum of Art (1965) American Painting in the Twentieth Century. p. 69

World, Art, Color, Motivation

“What the cinema can do better than literature or the spoken drama is to be fantastic.”

Aldous Huxley (1894–1963) English writer

"Where are the Movies Moving?" in Essays Old and New (1926)

Literature

“In fact, in the plantation areas conditions amounting to slavery were re‑established by the planters with the acquiescence of the Government. Some idea of the misery to which the population of these areas was reduced by this system of merciless exploitation in the interests of British capital may be gained from the Bengal Indigo Commission's Report and from some of the literature of the period. Nil Darpan or the Mirror of Indigo, a Bengali drama, created a sensation by throwing a little light on this dark corner of Britain's action in India, and the reaction in official circles was so great that a European missionary, Mr Long, who translated and published it in English, was fined and imprisoned. During the whole of this period, in fact till the rise of nationalism after the Great War, conditions in plantations were of a kind which showed the worst features of European relations with Asia.”

K. M. Panikkar (1895–1963) Indian diplomat, academic and historian

Asia and Western Dominance: a survey of the Vasco Da Gama epoch of Asian history, 1498–1945

War, Literature, Idea, Light

“The trope was eminently Oakeshottian. Politics was not a battle of interests, or a quest for truth, or a voyage of progress – it was an aesthetic performance, to captivate an audience. But it was not high theatre (Oakeshott had also insisted that politics was a second-rate activity). It was more like commercial theatre, the drama of the boulevards that plays to our emotions or embarrassments – Rattigan rather than Racine, he explained. On this stage, Mount has certainly given us a stylish production. We might call it the comedy of reform.”

Perry Anderson (1938) British historian

Source: Spectrum: From Right to Left in the World of Ideas (2005), Ch. 2. "Constitutional Theatre, Ferdinand Mount" (1992), p. 48

Truth

“There are epic impulses everywhere you look in There Will Be Blood; what's missing is character development, focused storytelling and, most significantly (apart from that terrific opening sequence), any sense of raw, intuitive drama.”

Stephanie Zacharek (1963) American film critic

Review http://www.salon.com/ent/movies/review/2007/12/26/blood/ of There Will Be Blood (2007)

Sense

“I was on the football team because I wanted to experience the different iconic social classes of high school. So football for me was an attempt to socially integrate in an interesting way. And then I didn’t like it anymore and stopped doing it and focused more on drama and science and other forms of art and music.”

Reggie Watts (1972) singer, musician and comedian

Cited in: " Comedy Bang! Bang! sidekick extraordinaire Reggie Watts sits down to talk at SXSW 2013 http://www.ifc.com/fix/2013/03/sxsw-2013-reggie-watts-on-music-high-school-and-hair" ifc.com. Posted March 10th, 2013, 8:03 PM by Melissa Locker: Watts reply to the question "You were on the football team!"

School, Art, Music, Way

“There is drama in the very air of the place, and I want to be there recording it for the Geographic.”

Maynard Owen Williams (1888–1963) American journalist

At the Tomb of Tutankhamen http://www.nationalgeographic.com/egypt (1923)

“Did you sleep well last night?” asked Glorian.
“Yes, I suppose,” said Dore, “although I was trouble by a strange dream.”
“Oh? Perhaps it was some sort of omen. Tell me of it.”
“Certainly,” said Dore. “I dreamed of a domino.”
“Just one?”
“Yes, just the one. All night. No people or sounds in the dream, just the domino. The five-three.”
“Wonderful!” cried Glorian. “The five-three is a lucky little devil. It presages victory after hardships. It confirms your inner ambition, but counsels you to avoid extremes, to temper pleasure with practicality. Advances in music, art, and drama are indicated. Rely on good manners and good taste. The five-three is a domino of hope and good news.”

George Alec Effinger (1947–2002) Novelist, short story writer

“Are you making that up?” said Dore suspiciously.
Source: What Entropy Means to Me (1972), Chapter 6 “A Perilous Scheme” (p. 111).

People, Pleasure, Dreams, Hope

“This used to be about sex. The literature of my people was pornography, filled with cries for mercy, drama enacted on people without prolonged negotiation, partners engaged in a dance in the middle of a bonfire. Now, it's 300-page manuals about how to make sure nothing bad will happen.”

Laura Antoniou (1963) American novelist

Source: "Unsafe at Any Speed or: Safe, Sane and Consensual, My Fanny", p. 13

People, Sex, Literature, Dance

“England is the country of the English… England is the stage on which the drama of English history was played and the setting within which the English became conscious of themselves as a people … when politicians and preachers attempt to frighten and cajole the English into pretending away the distinction between themselves and people of other nations and other origins, they are engaged in undermining the foundation upon which democratic government by consent and peaceable civilised society in this country are supported … those who at the end of the twentieth century wish to keep alive that consciousness of being English, which seemed so effortless and uncontroversial to our forefathers, will discover that they are called upon, if they take their purpose seriously, to confront the most arrogant and imposing prejudices of their time.”

Enoch Powell (1912–1998) British politician

Source: Speech to The Royal Society of St George (23 April 1988), from Simon Heffer, Like the Roman. The Life of Enoch Powell (Phoenix, 1999), p. 918-19

People, History, Support, Time

“I can imagine no man who will look with more horror on the End than a conscientious revolutionary who has, in a sense sincerely, been justifying cruelties and injustices inflicted on millions of his contemporaries by the benefits which he hopes to confer on future generations: generations who, as one terrible moment now reveals to him, were never going to exist. Then he will see the massacres, the faked trials, the deportations, to be all ineffaceably real, an essential part, his part, in the drama that has just ended: while the future Utopia had never been anything but a fantasy.”

Clive Staples Lewis (1898–1963) Christian apologist, novelist, and Medievalist

The World's Last Night (1952)

Hope, Imagination, Sense, Future

“[T]he train system is so chronic now, that any journey you undertake by train in Britain is identical to the one taken by Omar Sharif in Doctor Zhivago; that's what it's like - the same drama and misery. Ancient, knackered rolling-stock limping painfully across the land, shuddering to a halt for no apparent reason, with the lights flickering on and off; everyone running up and down - 'What's going on? What's up ahead? I don't know… Is it Rod Steiger with the White Guard?' - desperate women in headscarves running alongside the carriages, throwing their babies into the train, shouting 'I'LL NEVER SEE PURLEY OAKS, BUT MY CHILD MIGHT!' (Wrap Up Warm tour, May 2004)”

Linda Smith (1958–2006) comedian

Stand-up

Women, Light, Baby, Training

“How can you put out a meaningful drama when every fifteen minutes proceedings are interrupted by twelve dancing rabbits with toilet paper? No dramatic art form should be dictated and controlled by men whose training and instincts are cut of an entirely different cloth. The fact remains that these gentlemen sell consumer goods, not an art form.”

Rod Serling (1924–1975) American screenwriter

Rod Serling: Submitted for Your Approval (October 1997), American Masters (PBS: Thirteen/WNET).
Other

Men, Art, Dance, Training

“I've said the Romney scenario just because: Right about Putin, right about Obama, right about Trump. And he’s no drama; a nice boring presidency of competence.”

Mike Murphy (political consultant) (1962) American political consultant

2010s, 2018, Interview with Bill Kristol (2018)

“The cultural revolutionary wants to show how roles can be stretched, pulled apart, combined with other roles, and used incongruously. He acts out of a loosened sense of what it means to occupy a role. In this way he helps disrupt frozen connections among social stations, life experiences, and stereotyped forms of insight and sensibility. He thereby carries into the drama of everyday personal relations the effort to free sociability from its script and to make us available to one another more as the originals we all know ourselves to be and less as placeholders in a system of group contrasts.”

Roberto Mangabeira Unger (1947) Brazilian philosopher and politician

Source: False Necessityː Anti-Necessitarian Social Theory in the Service of Radical Democracy (1987), p. 564

Life, Way, Sense, Effort

“A good drama critic is one who perceives what is happening in the theatre of his time. A great drama critic also perceives what is not happening.”

Kenneth Tynan (1927–1980) English theatre critic and writer

Foreword
Tynan Right and Left (1967)

Time

“Where hunters and woodcutters once slept in their boots by the dying light of their thousand fires and went on, old teutonic forebears with eyes incandesced by the visionary light of a massive rapacity, wave on wave of the violent and the insane, their brains stoked with spoorless analogues of all that was, lean aryans with their abrogate semitic chapbook reenacting the dramas and parables therein and mindless and pale with a longing that nothing save dark's total restitution could appease.”

Cormac McCarthy book Suttree

page 4
Suttree (1979)

Light

“The problem with suicide is that it seems so flamboyant. It’s camp. You have to be a bit of a drama queen to ever seriously consider it.”

Craig Ferguson book Between the Bridge and the River

Between the Bridge and the River (2006)

Problem, Suicide

“So I was on the ship, with 800 lesbians. We can't get off. So much drama. "Were you looking at her or her or her or her or her or her or her or her or her or her or her or her? WELL, WERE YOU?!" We all got on the same cycle.”

Margaret Cho (1968) American stand-up comedian

From Her Tours and CDs, I'm The One That I Want Tour

“Rome has an ambiance, puerile yet unmatchable. Rome hints at the possibility of becoming the main actor in the drama of one’s own life. (The hint is false, of course; but the stolid northern cities do not even possess the hint.)”

Robert Sheckley (1928–2005) American writer

Source: The 10th Victim (1965), Chapter 2 (pp. 19-20)

Life, Falseness

“Christopher Columbus discovered the West Indies, and Alexander Graham Bell invented the telephone. We do not call their achievements creations because they are not personal enough. The West Indies were there all the time; and as for the telephone, we feel that Bell's ingenious thought was somehow not fundamental. The groundwork was there, and if not Bell then someone else would have stumbled on the telephone almost as accidently as on the West Indies.
By contrast, we feel that Othello is genuinely a creation. This is not because Othello came out of a clear sky; it did not. There were Elizabethan dramatists before William Shakespeare, and without them he could not have written as he did. Yet within their tradition Othello remains profoundly personal; and though every element in the play has been a theme of other poets, we know that the amalgam of these elements is Shakespeare's; we feel the presence of his single mind. The Elizabethan drama would have gone on without Shakespeare, but no one else would have written Othello…”

Jacob Bronowski (1908–1974) Polish-born British mathematician

Source: The Creative Process, 1958, p. 97-98: As quoted in: S.P. Sector (‎1997). A Study of Issues Relating to the Patentability of Biotechnological Subject Matter. Footnote 51. https://www.ic.gc.ca/eic/site/ippd-dppi.nsf/eng/ip00201.html

Feeling, Time, Personality

“Winter Light — suppose we discuss that now?… The film is closely connected with a particular piece of music: Stravinski's A Psalm Symphony. I heard it on the radio one morning during Easter, and it struck me I'd like to make a film about a solitary church on the plains of Uppland. Someone goes into the church, locks himself in, goes up to the altar, and says: 'God, I'm staying here until in one way or another You've proved to me You exist. This is going to be the end either of You or of me!' Originally the film was to have been about the days and nights lived through by this solitary person in the locked church, getting hungrier and hungrier, thirstier and thirstier, more and more expectant, more and more filled with his own experiences, his visions, his dreams, mixing up dream and reality, while he's involved in this strange, shadowy wrestling match with God.
We were staying out on Toro, in the Stockholm archipelago. It was the first summer I'd had the sea all around me. I wandered about on the shore and went indoors and wrote, and went out again. The drama turned into something else; into something altogether tangible, something perfectly real, elementary and self-evident.
The film is based on something I'd actually experienced. Something a clergyman up in Dalarna told me: the story of the suicide, the fisherman Persson. One day the clergyman had tried to talk to him; the next, Persson had hanged himself. For the clergyman it was a personal catastrophe.”

Ingmar Bergman (1918–2007) Swedish filmmaker

Jonas Sima interview 
Bergman on Bergman (1970)

God, Dreams, Music, Way

“Maybe it's low-wage work in general that has the effect of making you feel like a pariah. When I watch TV over my dinner at night, I see a world in which almost everyone makes $15 an hour or more, and I'm not just thinking of the anchor folks. The sitcoms and dramas are about fashion designers or schoolteachers or lawyers, so it's easy for a fast-food worker or nurse's aide to conclude that she is an anomaly — the only one, or almost the only one, who hasn't been invited to the party. And in a sense she would be right: the poor have disappeared from the culture at large, from its political rhetoric and intellectual endeavors as well as from its daily entertainment. Even religion seems to have little to say about the plight of the poor, if that tent revival was a fair sample. The moneylenders have finally gotten Jesus out of the temple.”

Barbara Ehrenreich (1941) American writer and journalist

Source: Nickel and Dimed: On (Not) Getting by in America (2001), Ch. 2: Scrubbing in Maine (pp. 117-118)

World, Religion, Food, Feeling

“My revenge is living well… I want to go get on a freighter and go through the Panama Canal. All I've ever wanted in my life is freedom and access. I like being backstage and watching the weird, human drama of all of these strange personalities that politics attracts.”

Mike Murphy (political consultant) (1962) American political consultant

As quoted in "Debriefing Mike Murphy" https://www.weeklystandard.com/matt-labash/debriefing-mike-murphy (18 March 2016), by Matt Labash, The Weekly Standard 2010s

Life, Revenge, Freedom, Personality

“It is no accident that propels people like us to Paris. Paris is simply an artificial stage, a revolving stage that permits the spectator to glimpse all phases of the conflict. Of itself Paris initiates no dramas. They are begun elsewhere. Paris is simply an obstetrical instrument that tears the living embryo from the womb and puts it in the incubator. Paris is the cradle of artificial births. Rocking here in the cradle each one slips back into his soil; one dreams back to Berlin, New York, Chicago, Vienna, Minsk,. Vienna is never more Vienna than Paris. Everything is raised to its apotheosis. The cradle gives up its babes and new ones take their place. You can real here on the walls Zola lived and Balzac and Dante and Strindberg and everybody who ever was anything. Everyone has lived here some time or other. Nobody dies here...”

Henry Miller book Tropic of Cancer

Source: Tropic of Cancer (1934), Chapter Two

People, Dreams, Birth, Tear

“The Book of Boz is neither a novel nor a poem nor a tale. Even less is it a drama or an essay.
It is nothing except the style that inspires it and haunts it, to excess.
No points of reference here.
No beacon.
You sail wherever the wind blows.
Stories are woven, end, are reborn, with the flow, before a storm comes up to carry us further away, to the threshold of a new vision.
For, that is The Book of Boz : a work outside of norms, indefinable, created by a wanderer for other wanderers.”

Julien Friedler (1950) artist, writer

The Book of Boz http://www.spiritofboz.org/en/spirit-of-boz/the-book-of-boz/ The Spirit of Boz

Books

“In a world of superintelligent humans, the account of a quest to prove a theorem may take on a universality in its drama that seems inconceivable to us now. I believe that rational adventure is fundamental to the human spirit, and that it won't go away. But it will evolve of necessity to take place in the increasingly abstract domains that characterize the boundaries and frontiers of an evolving and ever more complex and abstract world. As a result, it will evolve into forms that are difficult for us to even think about at this point in time.”

J. Doyne Farmer (1952) American physicist and entrepreneur (b.1952)

"The evolution of adventure in literature and life or Will there ever be a good adventure novel about an astronaut?"

World, Thinking, Universe, Time

“Drama moves us: conflict is an inherent pattern in reality. Harmony moves us too: faced as we are with ever imminent disorder. It is a powerful idea. Van Gogh's drama and Seurat's silent harmony were born in the same country and epoch: but they do not contradict one another; they refer to different patterns among those which constitute reality.”

Mark Rothko (1903–1970) American painter

Source: 1940's, Beyond the Aesthetics (1946), pp. 39-40

Idea, Reality, Country

“Drama assumes an order. If only so that it might have — by disrupting that order — a way of surprising.”

Václav Havel book Disturbing the Peace

Source: Disturbing the Peace (1986), Ch. 5

Way

“The Bible has come under fire for making woman the fall guy in man's cosmic drama. But in casting a male conspirator, the serpent, as God's enemy, Genesis hedges and does not take its misogyny far enough. The Bible defensively swerves from God's true opponent, chthonian nature. The serpent is not outside Eve but in her. She is the garden and the serpent.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 11

God, Guy, Nature

“Westward the course of empire takes its way;
The four first acts already past,
A fifth shall close the drama with the day:
Time's noblest offspring is the last.”

George Berkeley (1685–1753) Anglo-Irish philosopher

On the Prospect of Planting Arts and Learning in America (written in 1726), reported in Bartlett's Familiar Quotations, 10th ed. (1919). Compare: "Westward the star of empire takes its way", Epigraph to Bancroft's History of the United States; "What worlds in the yet unformed Occident / May come refin'd with th' accents that are ours?", Samuel Daniel, Musophilus (1599), Stanza 163.
According to W. Cleon Skousen, the first four empires are the Neo-Babylonian Empire, the Persian Empire, the Macedonian Empire, and the (Western, Eastern, and Holy) Roman Empire (Gospel Diamond Dust, Volume Two, Verity Publishing, 1998).

Way, Time, Past

“Ah! let not Censure term our fate our choice,
The stage but echoes back the public's voice;
The drama's laws the drama's patrons give,
For we that live to please must please to live.”

Samuel Johnson (1709–1784) English writer

Prologue at the Opening of Drury Lane Theatre (1747)

Fate, Law

“The story of Job shocks the heart of every good man. In this book there is some poetry, some pathos, and some philosophy, but the story of this drama called Job, is heartless to the last degree. The children of Job are murdered to settle a little wager between God and the Devil. Afterward, Job having remained firm, other children are given in the place of the murdered ones. Nothing, however, is done for the children who were murdered.”

Robert G. Ingersoll (1833–1899) Union United States Army officer

What Would You Substitute for the Bible as a Moral Guide? (1900)

God, Children, Books, Heart

“I cannot believe that our existence in this universe is a mere quirk of fate, an accident of history, an incidental blip in the great cosmic drama. Our involvement is too intimate.”

Paul Davies (1946) British physicist

Source: The Mind of God: The Scientific Basis for a Rational World (1992), Ch. 9: 'The Mystery at the End of the Universe', p. 232

Fate, History, Universe

“Mere talk makes drama and spectacle unlikely — unless the talk becomes heated and excessive. So it becomes excessive. Not every show features the Crossfire-style food-fight, but it is a tendency on all shows.”

Michael Crichton book State of Fear

State of Fear (2004)

Food, Fight

“After the commonplaces of everyday life, with their muffled dramas, all my organic expertise for dealing with physical injury had long been blunted or forgotten. The crash was the only real experience I had been through for years.”

J. G. Ballard book Crash

Crash (1973)

Life

“Don't Make Assumptions. Find the courage to ask questions and to express what you really want. Communicate with others as clearly as you can to avoid misunderstandings, sadness and drama. With just this one agreement, you can completely transform your life.”

Miguel Ángel Ruiz book The Four Agreements

The Four Agreements (1997)

Courageous, Life, Sadness, Communication

“It just seems like the most successful, iconic love stories are not so easy or escapist. I think the ones that stay with us and resonate are full of conflict, discord and misunderstandings 'cause that's what makes drama happen or tension even if it's a comedy. I think people who make movies and have invested a lot of money in them, get frightened that if they challenge an audience they are going to repel them. And I think the opposite, it's really true. It takes confidence and courage to know that and then commit to it.”

Claire Danes (1979) American actress

"Interview: Steve Martin and Claire Danes" by Jeff Otto at IGN.com (19 October 2005) http://movies.ign.com/articles/659/659752p1.html

Love, Money, People, Confidence

“The great Egyptian age is but a remnant of The Atlantian culture.
The antediluvian kings colonised the world
All the gods who play in the mythological dramas
In all legends from all lands were from fair Atlantis.
Knowing her fate, Atlantis sent out ships to all corners of the Earth.
On board were the Twelve:
The Poet, the Physician, the Farmer, the Scientist,
The Magician and the other so-called Gods of our legends.
Though gods they were”

Donovan (1946) Scottish singer, songwriter and guitarist

Spoken prelude (varies slightly among versions)
Atlantis (1968)

God, Fate, Age, World

“Hard to say whether personal immortality would be a good thing or not. Not for the masses, surely! Too many of them as it was. But a select few, like Terangi Maclaren—or was it worth the trouble? Even given boats, chess, music, the No Drama, beautiful women and beautiful spectroscopes, life could get heavy.”

Poul Anderson book The Enemy Stars

Source: The Enemy Stars (1959), Chapter 5 (p. 36)

Life, Women, Beauty, Music

“There can be no question of selecting in any direction, but of a penetrating the whole cosmic law of rhythms, forces and material that are the real world, from the ugliest to the most beautiful, everything that has character and expression, from the crudest and most brutal to the gentlest and most delicate; everything that speaks to us in its capacity as life. From this it follows that one must know all in order to be able to express all. It is the abolition of the aesthetic principle. We are not disillusioned because we have no illusions; we have never had any. What we have and what is our strength, is our joy in life; our interest in life, in all its amoral aspects. That is also the basis of our contemporary art. We do not even know the laws of aesthetics. That old idea of selection according to the beauty-principle Beautiful — Ugly, like to ethical Noble — Sinful, is dead for us, for whom the beautiful is also ugly and everything ugly is endowed with beauty. Behind the comedy and the tragedy we find only life's dramas uniting both; not in noble heroes and false villains, but people.”

Asger Jorn (1914–1973) Danish artist

Variant translations:
What we possess and what gives us strength is our joy in life, our interest in life in all its amoral facets. This is also the foundation for today's art. We do not even know the aesthetic laws.
We are not disillusioned because we have no illusions; we have never had any. What we have, and what constitutes our strength, is our joy in life, in all of its moral and amoral manifestations.
1940 - 1948, Intimate Banalities' (1941)

Life, People, World, Law

“"From the singular appearance of this place I called it the gates of the rocky mountains," Captain Lewis said in his journals. Its singular appearance makes it a fitting backdrop for early and everlasting drama in which nature plays the leading role.”

Norman Maclean book Young Men and Fire

Young Men and Fire (1992)

Mountain, Nature, Appearance

“It is clear that women who are feminists must gradually and ultimately dominate public and social institutions—so as to ensure that they are not used against women. I say "dominate" because I don't think that "equality" or "individuality" will be possible for women who have never experienced supremacy in public institutions as men have. … The point is to have our entire social drama played out as fully by women as by men. And it is revolutionary by definition to have women "out of the biological home," both psychologically and actually. Whatever happens after that is then a matter for... everyone.”

Phyllis Chesler (1940) Psychotherapist, college professor, and author

Women and Madness (2005), p. 347 (emphases & latter ellipsis in original), and see Women and Madness (1972), pp. 298–299 (similar text).
Women and Madness (1972, 2005)

Women, Men, Home, Thinking

“The first was the classical line, which could be traced back to my early childhood and the Beethoven sonatas I heard my mother play. This line takes sometimes a neo-classical form (sonatas, concertos), sometimes imitates the 18th century classics (gavottes, the Classical symphony, partly the Sinfonietta). The second line, the modern trend, begins with that meeting with Taneyev when he reproached me for the “crudeness” of my harmonies. At first this took the form of a search for my own harmonic language, developing later into a search for a language in which to express powerful emotions (The Phantom, Despair, Diabolical Suggestion, Sarcasms, Scythian Suite, a few of the songs, op. 23, The Gambler, Seven, They Were Seven, the Quintet and the Second Symphony). Although this line covers harmonic language mainly, it also includes new departures in melody, orchestration and drama. The third line is toccata or the “motor” line traceable perhaps to Schumann’s Toccata which made such a powerful impression on me when I first heard it (Etudes, op. 2, Toccata, op. 11, Scherzo, op. 12, the Scherzo of the Second Concerto, the Toccata in the Fifth Concerto, and also the repetitive intensity of the melodic figures in the Scythian Suite, Pas d’acier[The Age of Steel], or passages in the Third Concerto). This line is perhaps the least important. The fourth line is lyrical; it appears first as a thoughtful and meditative mood, not always associated with the melody, or, at any rate, with the long melody (The Fairy-tale, op. 3, Dreams, Autumnal Sketch[Osenneye], Songs, op. 9, The Legend, op. 12), sometimes partly contained in the long melody (choruses on Balmont texts, beginning of the First Violin Concerto, songs to Akhmatova’s poems, Old Granny’s Tales[Tales of an Old Grandmother]). This line was not noticed until much later. For a long time I was given no credit for any lyrical gift whatsoever, and for want of encouragement it developed slowly. But as time went on I gave more and more attention to this aspect of my work. I should like to limit myself to these four “lines,” and to regard the fifth, “grotesque” line which some wish to ascribe to me, as simply a deviation from the other lines. In any case I strenuously object to the very word “grotesque” which has become hackneyed to the point of nausea. As a matter of fact the use of the French word “grotesque” in this sense is a distortion of the meaning. I would prefer my music to be described as “Scherzo-ish” in quality, or else by three words describing the various degrees of the Scherzo—whimsicality, laughter, mockery.”

Sergei Prokofiev (1891–1953) Ukrainian & Russian Soviet pianist and composer

Page 36-37; from his fragmentary Autobiography.
Sergei Prokofiev: Autobiography, Articles, Reminiscences (1960)

Age, Dreams, Music, Search

“If Attila the Hun were alive today, he'd be a drama critic.”

Edward Albee (1928–2016) American playwright

As quoted in Theater Week (1988); also in The Book of Poisonous Quotes (1993) edited by Colin Jarman, p. 100

“I appreciated the sense of drama he wanted to inject into my existence and I was flattered that he thought I, or at least some essential if somewhat abstract principle within me, was worth saving.I also felt surging within me a fierce need to be independent. Of course I responded to the appeal of divine hydraulics, this system of souls damned or crowned or destroyed or held in suspense, these pulleys and platforms sinking and lifting on the great stage, and I recognized that my view of things seemed by contrast impoverished, lacking in degree and incident. But the charming intricacy of a myth is not sufficient to compel belief. I found no good reason to assume that the ultimate nature of reality happened to resemble the backstage of an opera house.”

Edmund White book A Boy's Own Story

Source: A Boy's Own Story (1982), Chapter Six (p. 203).

Soul, Nature, Reality, Sense

“[L]ife, individual or collective, personal or historic, is the one entity in the universe whose substance is compact of danger, of adventure. It is, in the strict sense of the word, drama. … [T]he primary, radical meaning of life appears when it is employed in the sense not of biology, but of biography. For the very strong reason that the whole of biology is quite definitely only a chapter in certain biographies, it is what biologists do in the portion of their lives open to biography.”

José Ortega Y Gasset book The Revolt of the Masses

Chap.IX: The Primitive and the Technical
The Revolt of the Masses (1929)

Life, Sense, Strong, Universe

“The Drama's altar isn't on the stage: it is candlesticked and flowered in the box office. There is the gold, though there be no frankincense nor myrrh; and the gospel for the day always The Play will Run for a Year. The Dove of Inspiration, of the desire for inspiration, has flown away from it; and on its roof, now, the commonplace crow caws candidly.”

Sean O`Casey (1880–1964) Irish writer

Sunset and Evening Star (New York: Macmillan, 1954) p. 322.

Flowers, Box

“Among the many senses that modern painters have lost, we must number the sense of architecture. The edifice accompanying the human figure, whether alone or in a group, whether in a scene from life or in an historical drama, was a great concern of the ancients. They applied themselves to it with loving and severe spirit, studying and perfecting the laws of perspective. A landscape enclosed in the arch of a portico or in the square or rectangle of a window acquires a greater metaphysical value, because it is solidified and isolated from the surrounding space. Architecture completes nature.”

Giorgio de Chirico (1888–1978) Italian artist

1920
as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 440-441
1908 - 1920, On Mystery and Creation, Paris 1913

Love, Life, Law, Nature