Actor Death Quotes

Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air: And, like the baseless fabric of this vision, The cloud-capp’d towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep.

Plants are more courageous than almost all human beings: an orange tree would rather die than produce lemons, whereas instead of dying the average person would rather be someone they are not.

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.

I was with a friend of mine recently who was dying and while he was lying there with his family around his bed, I just knew that was it, that was the best you can hope for in life - to have your family and the people who love you around you at the end.

Actors are all about entrances, but writers are all about exits.

He would never be any different and now Scarlett realize the truth and accepted it without emotion—that until he died Gerald would always be waiting for Ellen, always listening for her. Her was in some dim borderline country where time was standing still and Ellen was always in the next room. The mainspring of his existence was taken away when she died and with it has gone his bounding assurance, his impudence and his restless vitality. Ellen was the audience before which the blustering drama of Gerald O'Hara had been played Now the curtain had been rung down forever, the footlights dimmed and the audience suddenly vanished, while the stunned old actor remained on his empty stage, waiting for his cues.

I`ve got a black woolen hat and it`s got Pervert written across the front of it. It`s the name of the clothing label. And I was with my wife and my baby at the supermarket and I didn`t think. I just put my hat on Clara`s head, because it was cold. And the looks. I couldn`t figure out why I was getting death looks. And then I realized my 10-month old baby`s wearing a hat with the word Pervert written on it and these people were like, `There`s Satan! There`s Satan out with his kid!` And then I made a point of her wearing it every time we went there.

That's what I love most about writers--they're such lousy actors.

...actors today think that being true is being nice, or being some other "set" thing. That is not the truth. That is your miserable habit of boring everybody to death.

Sitting for a picture is morbid business. A portrait doesn’t begin to mean anything until the subject is dead. This is the whole point. We’re doing this to create a kind of sentimental past for people in decades to come. It’s their past, their history we’re inventing here. And it’s not how I look now that matters. It’s how I’ll look in twenty-five years as clothing and faces change, as photographs change. The deeper I pass into death, the more powerful my picture becomes. Isn’t this why picture-taking is so ceremonial? It’s like a wake. And I’m the actor made up for the laying-out.

There are many causes for a suicide, and generally the most obvious ones were not the most powerful. Rarely is suicide committed (yet the hypothesis is not excluded) through reflection. What sets off the crisis is almost always unverifiable. Newspapers often speak of "personal sorrows" or of "incurable illness." These explanations are plausible. But one would have to know whether a friend of the desperate man had not that very day addressed him indifferently. He is the guilty one. For that is enough to precipitate all the rancors and all the boredom still in suspension. But if it is hard to fix the precise instant, the subtle step when the mind opted for death, it is easier to deduce from the act itself the consequences it implies. In a sense, and as in melodrama, killing yourself amounts to confessing. It is confessing that life is too much for you or that you do not understand it. Let's not go too far in such analogies, however, but rather return to everyday words. It is merely confessing that that "is not worth the trouble." Living, naturally, is never easy. You continue making the gestures commanded by existence for many reasons, the first of which is habit. Dying voluntarily implies that you have recognized, even instinctively, the ridiculous character of that habit, the absence of any profound reason for living, the insane character of that daily agitation, and the uselessness of suffering. What, then, is that incalculable feeling that deprives the mind of the sleep necessary to life? A world that can be explained even with bad reasons is a familiar world. But, on the other hand, in a universe suddenly divested of illusions and lights, man feels an alien, a stranger. His exile is without remedy since he is deprived of the memory of a lost home or the hope of a promised land. This divorce between man and his life, the actor and his setting, is properly the feeling of absurdity.

We know the original relation of the theater and the cult of the Dead: the first actors separated themselves from the community by playing the role of the Dead: to make oneself up was to designate oneself as a body simultaneously living and dead: the whitened bust of the totemic theater, the man with the painted face in the Chinese theater, the rice-paste makeup of the Indian Katha-Kali, the Japanese No mask ... Now it is this same relation which I find in the Photograph; however 'lifelike' we strive to make it (and this frenzy to be lifelike can only be our mythic denial of an apprehension of death), Photography is a kind of primitive theater, a kind of Tableau Vivant, a figuration of the motionless and made-up face beneath which we see the dead.

Allowed to cast themselves for great tragic roles, they were experiencing the exhilaration felt by great tragic actors. It was not lack of control, lack of taste, lack of knowledge that accounted for permission of what was not permitted in the West. Rather was it the reverse. Our people could not have handled patients full of the dangerous thoughts of death and love; these people had such resources that they did not need to empty their patients of such freight.

They used a hard vocabulary to contain the terrible softness. Greased they'd say. Offed, lit up, zapped while zipping. It wasn't cruelty, just stage presence. They were actors. When someone died, it wasn't quite dying, because in a curious way it seemed scripted, and because they had their lives mostly memorized, irony mixed with tragedy, and because they called it by other names, as if to encyst and destroy the reality of death itself.

Though Stalin was no more to be trusted than was Hitler, and though he was responsible for the deaths of more citizens of his own country than Hitler in Germany, he was a much more cautious actor on the international stage.

Death is a stage where no actor can act.

The theatre is a tragic place, full of endings and partings and heartbreak. You dedicate yourself passionately to something, to a project, to people, to a family, you think of nothing else for weeks and months, then suddenly it's over, it's perpetual destruction, perpetual divorce, perpetual adieu. It's like éternel retour, it's a koan. It's like falling in love and being smashed over and over again.’ 'You do, then, fall in love.’ 'Only with fictions, I love players, but actors are so ephemeral. And then there’s waiting for the perfect part, and being offered it the day after you've committed yourself to something utterly rotten. The remorse, and the envy and the jealousy. An old actor told me if I wanted to stay in the trade I had better kill off envy and jealousy at the start.

Each person fears death in his or her own way. For some people, death anxiety is the background music of life, and any activity evokes the thought that a particular moment will never come again. Even an old movie feels poignant to those who cannot stop thinking that all the actors are now only dust.

Acha alama katika dunia baada ya kuondoka.

The friend I can trust is the one who will let me have my death. The rest are actors who want me to stay and further the plot.

As I write, the President of the United States is a former Hollywood movie actor.

[Marilyn] Monroe, the consummate sexual doll, is empowered to act but afraid to act, perhaps because no amount of acting, however inspired, can convince the actor herself that her ideal female life is not a dreadful form of dying. She grinned, she posed, she pretended, she had affairs with famous and powerful men. A friend of hers claimed that she had so many illegal abortions wrongly performed that her reproductive organs were severely injured. She died alone, possibly acting on her own behalf for the first time. Death, one imagines, numbs pain that barbiturates and alcohol cannot touch.

I am a bad actor." "Not for me or my camera. I see the person, not some idea he wants to make himself into." "I'm all idea today." "I definitely don't see it." "I'm playing the idea of death. Look closely," he said.

Like an actor he had a sense of approaching anti-climax before the curtain went up, a sense of great things dwindling to a small, mean end; as death itself seemed small and mean to him after the struggles of his life.

Something about the occasion makes me think I'm at my own wake. Sitting for a picture is morbid business. A portrait doesn't begin to mean anything until the subject is dead. This is the whole point. We're doing this to create a kind of sentimental past for people in the decades to come. It's their past, their history we're inventing here. And it's not how I look now that matters. It's how I'll look in twenty-five years as clothing and faces change, as photographs change. The deeper I pass into death, the more powerful my picture becomes. Isn't this why picture-taking is so ceremonial? It's like a wake. And I'm the actor made up for the laying-out.

It was the poem that explained the nature of courage and turned the mystery of death into a heroic couplet. Ultimately, it was the poem that banished fear from the heart and transformed us from actors into participants.

It seemed like it was always autumn in this field - it was fitting really. Everything was shaded with the bronzes and yellows of faded pictures from an old photo album, it was a realm where uncomfortable nostalgia reigned. I noticed it more after my experience in the dream. There I was an actor in the play, here I was a spectator.

Globally, traffic injuries are the greatest killer of ten- to twenty-four-year-olds.* A rational actor would be terrified of suburban roads. A rational policy maker would wage war, not on other nations, but on traffic deaths.

The light was crude. It made Artaud's eyes shrink into darkness, as they are deep-set. This brought into relief the intensity of his gestures. He looked tormented. His hair, rather long, fell at times over his forehead. He has the actor's nimbleness and quickness of gestures. His face is lean, as if ravaged by fevers. His eyes do not seem to see the people. They are the eyes of a visionary. His hands are long, long-fingered. Beside him Allendy looks earthy, heavy, gray. He sits at the desk, massive, brooding. Artaud steps out on the platform, and begins to talk about " The Theatre and the Plague." He asked me to sit in the front row. It seems to me that all he is asking for is intensity, a more heightened form of feeling and living. Is he trying to remind us that it was during the Plague that so many marvelous works of art and theater came to be, because, whipped by the fear of death, man seeks immortality, or to escape, or to surpass himself? But then, imperceptibly almost, he let go of the thread we were following and began to act out dying by plague. No one quite knew when it began. To illustrate his conference, he was acting out an agony. "La Peste" in French is so much more terrible than "The Plague" in English. But no word could describe what Artaud acted out on the platform of the Sorbonne. He forgot about his conference, the theatre, his ideas, Dr. Allendy sitting there, the public, the young students, his wife, professors, and directors. His face was contorted with anguish, one could see the perspiration dampening his hair. His eyes dilated, his muscles became cramped, his fingers struggled to retain their flexibility. He made one feel the parched and burning throat, the pains, the fever, the fire in the guts. He was in agony. He was screaming. He was delirious. He was enacting his own death, his own crucifixion. At first people gasped. And then they began to laugh. Everyone was laughing! They hissed. Then, one by one, they began to leave, noisily, talking, protesting. They banged the door as they left. The only ones who did not move were Allendy, his wife, the Lalous, Marguerite. More protestations. More jeering. But Artaud went on, until the last gasp. And stayed on the floor. Then when the hall had emptied of all but his small group of friends, he walked straight up to me and kissed my hand. He asked me to go to the cafe with him.

Many people in this room have an Etsy store where they create unique, unreplicable artifacts or useful items to be sold on a small scale, in a common marketplace where their friends meet and barter. I and many of my friends own more than one spinning wheel. We grow our food again. We make pickles and jams on private, individual scales, when many of our mothers forgot those skills if they ever knew them. We come to conventions, we create small communities of support and distributed skills--when one of us needs help, our village steps in. It’s only that our village is no longer physical, but connected by DSL instead of roads. But look at how we organize our tribes--bloggers preside over large estates, kings and queens whose spouses’ virtues are oft-lauded but whose faces are rarely seen. They have moderators to protect them, to be their knights, a nobility of active commenters and big name fans, a peasantry of regular readers, and vandals starting the occasional flame war just to watch the fields burn. Other villages are more commune-like, sharing out resources on forums or aggregate sites, providing wise women to be consulted, rabbis or priests to explain the world, makers and smiths to fashion magical objects. Groups of performers, acrobats and actors and singers of songs are traveling the roads once more, entertaining for a brief evening in a living room or a wheatfield, known by word of mouth and secret signal. Separate from official government, we create our own hierarchies, laws, and mores, as well as our own folklore and secret history. Even my own guilt about having failed as an academic is quite the crisis of filial piety--you see, my mother is a professor. I have not carried on the family trade. We dwell within a system so large and widespread, so disorganized and unconcerned for anyone but its most privileged and luxurious members, that our powerlessness, when we can summon up the courage to actually face it, is staggering. So we do not face it. We tell ourselves we are Achilles when we have much more in common with the cathedral-worker, laboring anonymously so that the next generation can see some incremental progress. We lack, of course, a Great Work to point to and say: my grandmother made that window; I worked upon the door. Though, I would submit that perhaps the Internet, as an object, as an aggregate entity, is the cathedral we build word by word and image by image, window by window and portal by portal, to stand taller for our children, if only by a little, than it does for us. For most of us are Lancelots, not Galahads. We may see the Grail of a good Classical life, but never touch it. That is for our sons, or their daughters, or further off. And if our villages are online, the real world becomes that dark wood on the edge of civilization, a place of danger and experience, of magic and blood, a place to make one’s name or find death by bear. And here, there be monsters.

Scarlett, I don't know just when it was that the bleak realization came over me that my own private shadow show was over. Perhaps in the first five minutes at Bull Run when I saw the first man I killed drop to the ground. But I knew it was over and I could no longer be a spectator. No, I suddenly found myself on the curtain, an actor, posturing and making futile gestures. My little inner world was gone, invaded by people whose thoughts were not my thoughts, whose actions were as alien as a Hottentot's. They'd tramped through my world with slimy feet and there was no place left where I could take refuge when things became too bad to stand. When I was in prison, I thought: When the war is over, I can go back to the old life and the old dreams and watch the shadow show again. But, Scarlett, there's no going back. And this which is facing all of us now is worse than war and worse than prison—and, to me, worse than death.... So, you see, Scarlett, I'm being punished for being afraid.

It is the custom on the stage: in all good, murderous melodramas: to present the tragic and the comic scenes, in as regular alternation, as the layers of red and white in a side of streaky, well-cured bacon. The hero sinks upon his straw bed, weighed down by fetters and misfortunes; and, in the next scene, his faithful but unconscious squire regales the audience with a comic song. We behold, with throbbing bosoms, the heroine in the grasp of a proud and ruthless baron: her virtue and her life alike in danger; drawing forth a dagger to preserve the one at the cost of the other; and, just as our expectations are wrought up to the highest pitch, a whistle is heard: and we are straightway transported to the great hall of the castle: where a grey-headed seneschal sings a funny chorus with a funnier body of vassals, who are free of all sorts of places from church vaults to palaces, and roam about in company, carolling perpetually. Such changes appear absurd; but they are not so unnatural as they would seem at first sight. The transitions in real life from well-spread boards to death-beds, and from mourning weeds to holiday garments, are not a whit less startling; only, there, we are busy actors, instead of passive lookers-on; which makes a vast difference. The actors in the mimic life of the theatre, are blind to violent transitions and abrupt impulses of passion or feeling, which, presented before the eyes of mere spectators, are at once condemned as outrageous and preposterous.

The life of such a man, death can never surprise as imperfect; like an actor, who had to die before the end, or the play itself was over, a man could speak.

It's not who you are that holds you back, it's the unproductive thoughts you focus on and act upon by ignorance.

You don't find time, you make time. Prioritize relative to importance.

I don’t think readers will give a damn about a divorce lawyer,’ she said. ‘Can’t you make him something more interesting … like an actor or a musician?

We lunge together, two actors in a story so old that its rhythms are recorded in marrow, retold with every new birth, repeated with every fresh death.

Beyond the unacknowledged mental gate imprisoned deeply within the gloomy unknown of the ignorant mind lies your answer.

Death is a monster which turns away from the great theatre an attentive hearer before the end of the play which deeply interests him, and this is reason enough to hate it. All

Though floating on the water, I was not part of it. I thought that if I died at that moment, I would have died as I was born — without any volition of mine. All my life I had not chosen, had not decided. Now I am making a decision. I choose life. I shall live because there are a few people I want to stay with for the longest possible time and because I have duties to discharge. It is not my concern whether or not life has meaning. If I am unable to forgive, then I shall try to forget. I shall live by force and cunning. I moved my feet and arms, violently and with difficulty until the upper part of my body was above water. Like a comic actor shouting on a stage, I screamed with all my remaining strength, ‘Help! Help!

He recited from memory, with the stylishness and verve of a polished Shakespearean actor, “Listen to me, people, hear these words: ‘So live, that when thy summons comes to join the innumerable caravan, which moves to that mysterious realm where each shall take his chambers in the silent halls of death, thou go not, like the miserable quarry slave at night, confined to his deep dark dungeon, but soothed and sustained by an unfaltering trust, approach thy grave, like one who wraps the drapery of his own couch about him, and lies down to pleasant dreams.’” 

A man who swears before the world to love a woman till death part him and her is sane neither in the opinion of the philosopher who understands what mutability is nor in the opinion of the man of the world who understands that it is safer to be a witness than an actor in such affairs. A man who swears to do something which it is not in his power to do is not accounted a sane man.

The quantum death of Philip Seymour Hoffman. 24 hours before he was “officially” declared dead it was announced on the internet that he had already died. Many people were shocked to hear of his “official” death, especially those who had believed he was already dead. Philip Seymour Hoffman was both dead and alive in the minds of millions simultaneously. A rare death for a rare actor.

The actors fell to the floor and acted out dramatic death scenes. Tootles’s performance was much simpler than Robin Hood’s, who convulsed around the stage for almost five minutes before he lay still.

For me to accept baptism, I had to believe in Christ’s reality—in the reality not just of his life but also of his miracles and death and resurrection. But how could I? Such things don’t happen. Look around you. There are no miracles. There can be no resurrection. The clockwork world is all in all. But such things don’t happen, I knew now, was the ultimate irrational prejudice of the human mind: the belief that the symbols of reality are more real than the reality they symbolize. That’s us all over. We believe that money is more valuable than the work it represents, that sex is more essential than the love it expresses, that an actor is more admirable than the hero he portrays, that flesh is more alive than spirit. That’s the whole nature of our deluded lives, the cause of so much of our misery.

Tancredi and Angelica were passing in front of them at that moment, his gloved right hand on her waist, their outspread arms interlaced, their eyes gazing into each other's. The black of his tail coat, the pink of her dress, combining formed a kind of strange jewel. They were the most moving sight there, two young people in love dancing together, blind to each other's defects, deaf to the warnings of fate, deluding themselves that the whole course of their lives would be as smooth as the ballroom floor, unknowning actors made to play the parts of Juliet and Romeo by a director who had concealed the fact that tomb and poison were already in the script. Neither of them was good, each full of self-interest, swollen with secret aims; yet there was something sweet and touching about them both; those murky but ingenuous ambitions of theirs were obliterated by the words of jesting tenderness he was murmuring in her ear, by the scent of her hair, by the mutual clasp of those bodies of theirs destined to die. . . For them death was purely an intellectual concept, a fact of knowledge as it were and no more, not an experience which pierced the marrow of their bones. Death, oh yes, it existed of course, but it was something that happened to others. The thought occurred to Don Fabrizio that it was ignorance of this supreme consolation that made the young feel sorrows much more sharply than the old; the latter are nearer the safety exit.

The stony actors poise and pause for breath. I brought my love to bear, and then you died. It was the gangrene ate you to the bone My mother said; you died like any man. How shall I age into that state of mind? I am the ghost of an infamous suicide, My own blue razor rusting in my throat. O pardon the one who knocks for pardon at Your gate, father—your hound-bitch, daughter, friend. It was my love that did us both to death.

The pain breached through the indolence of mind. But the dizziness made reactions very slow and stretched, like a novice stage actor stretching his death scene for missing queue of actors, leaving audience in splits.

Adam Kuambiana umerudi nyumbani ulikotoka, ukiongozwa na imani na mwanga wa wale uliowapenda na kuwapoteza. Hatuwezi kukumbuka kwamba umetutoka bila kukumbuka kwamba uliishi, na kwamba maisha yako yalitupa kumbukumbu nzuri tusizoweza kuzisahau haraka. Jumanne, siku ya kuuaga mwili uliokuwa ukitumiwa na wewe, wengine watasema Kwa heri lakini mimi nitasema Asante! Asante kwa sababu ya kipaji chako. Asante kwa sababu ya kujitahidi kwa kadiri ya uwezo wako wote, kutoa sauti kwa wale wote waliokuwa hawawezi kusikika. Asante kwa sababu ya kuacha dunia katika hali nzuri kuliko ulivyoikuta wakati ukiingia, na Asante kwa sababu ya maisha yako. Tukiendelea kuomboleza kifo cha Adam Kuambiana hapa duniani, wengine wanasherehekea kukutana naye huko mbinguni. Mchungaji wa uhai wa wote Mungu wa mbinguni ailaze roho yake mahali pema peponi: Yeye ni mwandishi wa hadithi ya maisha yetu na ndiye aliyeandika ukurasa wa mwisho wa hadithi ya Adam.

Moderation does not mean that truth is always found equidistant between two extreme positions, nor does it mean that bold steps aren’t necessary to advance moral ends, nor that political actors eschew strong and principled convictions.

It infuriates him, this killing, this death. Infuriating that this is what we’re known for now, drug cartels and slaughter. This my city of Avenida 16 Septembre, the Victoria Theater, cobblestone streets, the bullring, La Central, La Fogata, more bookstores than El Paso, the university, the ballet, garapiñados, pan dulce, the mission, the plaza, the Kentucky Bar, Fred’s—now it’s known for these idiotic thugs. And my country, Mexico—the land of writers and poets—of Octavio Paz, Juan Rulfo, Carlos Fuentes, Elena Garro, Jorge Volpi, Rosario Castellanos, Luis Urrea, Elmer Mendoza, Alfonso Reyes—the land of painters and sculptors—Diego Rivera, Frida Kahlo, Gabriel Orozco, Pablo O’Higgins, Juan Soriano, Francisco Goitia—of dancers like Guillermina Bravo, Gloria and Nellie Campobello, Josefina Lavalle, Ana Mérida, and composers—Carlos Chávez, Silvestre Revueltas, Agustín Lara, Blas Galindo—architects—Luis Barragán, Juan O’Gorman, Tatiana Bilbao, Michel Rojkind, Pedro Vásquez—wonderful filmmakers—Fernando de Fuentes, Alejandro Iñárritu, Luis Buñuel, Alfonso Cuarón, Guillermo del Toro—actors like Dolores del Río, “La Doña” María Félix, Pedro Infante, Jorge Negrete, Salma Hayek—now the names are “famous” narcos—no more than sociopathic murderers whose sole contribution to the culture has been the narcocorridas sung by no-talent sycophants. Mexico, the land of pyramids and palaces, deserts and jungles, mountains and beaches, markets and gardens, boulevards and cobblestoned streets, broad plazas and hidden courtyards, is now known as a slaughter ground. And for what? So North Americans can get high.

I did not pay much attention, and since it seemed to prolong itself I began to meditate upon the writer’s life. It is full of tribulation. First he must endure poverty and the world’s indifference; then, having achieved a measure of success, he must submit with a good grace to its hazards. He depends upon a fickle public. He is at the mercy of journalists who want to interview him and photographers who want to take his picture, of editors who harry him for copy and tax gatherers who harry him for income tax, of persons of quality who ask him to lunch and secretaries of institutes who ask him to lecture, of women who want to marry him and women who want to divorce him, of youths who want his autograph, actors who want parts and strangers who want a loan, of gushing ladies who want advice on their matrimonial affairs and earnest young men who want advice on their compositions, of agents, publishers, managers, bores, admirers, critics, and his own conscience. But he has one compensation. Whenever he has anything on his mind, whether it be a harassing reflection, grief at the death of a friend, unrequited love, wounded pride, anger at the treachery of someone to whom he has shown kindness, in short any emotion or any perplexing thought, he has only to put it down in black and white, using it as the theme of a story or the decoration of an essay, to forget all about it. He is the only free man.

It's like Romeo & Juliet,' I say. 'You can't separate them. Otherwise, there would be no Shakespeare.' Silence. I decide to be more straightforward. I tell him, 'Nothing frightens me anymore. I am not even afraid to die.' Bussey's eyes, already wide open, grow even wider. My death is the last thing he needs. I have the strange feeling that there are two of me. One observes the conversation while the other does the talking. Everything is abnormal, especially this extreme calm that has taken me over. I try to explain to Bussey that if I decide to die, it will be without bitterness. I know I did everything I possibly could, so it will be respectful farewell. I will bow to life like an actor, who, having delivered his lines, bends deeply to his audience & retires. I tell Bussey that this decision has nothing to do with him, that it is entirely mine. I will choose either to live or to die, but I cannot allow myself to live in the in-between. I do not want to go through life like a ghost. 'Do you think you'll find Danny this way?' Bussey asks. My mind sifts through all available theories on the afterlife. It is as if this metaphysical question has become as real as the air we breathe. Buddhism teaches that life is an eternal cycle without beginning or end. I recall the metaphor: "Our individual lives are like waves produced from the great ocean that is the universe. The emergence of a wave is life, and its abatement is death. This rhythm repeats eternally." Finally I answer Bussey, 'No, I don't think so.' Bussey seems relieved, but I'm more panicky, because I had never thought that I could wind up alone. In my mind, whatever the odds, Danny & I were & would be together forever.

And romance is just the place for creating mythic figures doing mythic things. Like carving 'civilzation' out of the wilderness. Like showing us what a hero looks life, a real, American, sprung-from-the soil, lethal-weapon-with-leggings, bona fide hero. And for a guy who never marries, he has a lot of offspring. Shane. The Virginian. The Ringo Kid. The Man with No Name. Just think how many actors would have had no careers without Natty Bumppo. Gary Cooper. John Wayne. Alan Ladd. Tom Mix. Clint Eastwood. Silent. Laconic. More committed to their horse or buddy than to a lady. Professional. Deadly. In his Studies in Classic American Literature, D.H. Lawrence waxes prolix on Natty's most salient feature: he's a killer. And so are his offspring. This heros can talk, stiltedly to be sure, but he prefers silence. He appreciates female beauty but is way more committed to his canoe or his business partner (his business being death and war) or, most disturbingly, his long rifle, Killdeer. Dr. Freud, your three-o'clock is here. Like those later avatars, he is a wilderness god, part backwoods sage, part cold-blooded killer, part unwilling Prince Charming, part jack-of-all-trades, but all man. Here's how his creator describes him: 'a philosopher of the wilderness, simple-minded, faithful, utterly without fear, yet prudent.' A great character, no doubt, but hardly a person. A paragon. An archetype. A miracle. But a potentially real person--not so much.

It is frightening to think that this may be so, that the perception of the truth of a report rests heavily on the acceptability of the newscaster . . . television provides a new (or, possibly, restores an old) definition of truth; The credibility of the teller is the ultimate test of the truth of a proposition. "Credibility" here does not refer to the past record of the teller for making statements that have survived the rigors of reality-testing. It refers only to the impression of sincerity, authenticity, vulnerability or attractiveness (choose one or more) conveyed by the actor/reporter.

I hate death; for, happy or miserable, life is the only blessing which man possesses, and those who do not love it are unworthy of it. If we prefer honour to life, it is because life is blighted by infamy; and if, in the alternative, man sometimes throws away his life, philosophy must remain silent. Oh,

Whence are we, and why are we? of what scene The actors or spectators? Great and mean Meet massed in death, who lends what life must borrow. As long as skies are blue and fields are green, Evening must usher night, night urge the morrow, Month follow month with woe, and year wake year to sorrow. - Adonais

When I’m given a role, the first thing I do is read the play over and over again. I scour the script and write down everything the character says about himself and everything that everyone else says about him. I immerse myself in my character and imagine what it might be like to be that person. When I played Cassio in Othello I imagined what it would be like to be a lieutenant in the Venetian navy in 1604. I sat down with Ewan McGregor and Chiwetel Ejiofor and together we decided that Othello, Iago and Cassio had soldiery in their bones. I took from the script that Cassio was talented and ambitious, with no emotional or physical guard - and that’s how I played the part. For me, acting is about recreating the circumstances that would make me feel how my character is feeling. In the dressing room, I practise recreating those circumstances in my head and I try to not get in the way of myself. For example, in act two of Othello, when Cassio is manipulated to fight Roderigo and loses his rank, some nights I would burst into tears; other nights I wouldn’t but I would still feel the same emotion, night after night. Just as in life, the way we respond to catastrophe or death will be different every time because the process is unconscious. By comparison, in Chekhov’s Ivanov I played the young doctor, Lvov. Lvov was described as “a prig and a bigot … uprightness in boots … tiresome … completely sincere”. His emotions were locked away. I worked around the key phrase: “Forgive me, I’m going to tell you plainly.” I practised speaking gravely and sincerely without emotion and I actually noticed how that carried over into my personal life: when I played the open-hearted Cassio, I felt really free; when I played the pent-up Lvov, I felt a real need to release myself from the shackles of that character. It’s exhilarating to act out the emotions of a character - it’s a bit like being a child again. You flex the same muscles that you did when you pretended to be a cowboy or a policeman: acting is a grown-up version of that with more subtlety and detail. You’re responding with real emotions to imaginary situations. When I’m in a production I never have a day when I haven’t laughed, cried or screamed. There are times when I wake up stiff from emotional exhaustion. Film is a much more intimate and thoughtful medium than theatre because of the proximity of the camera. The camera can read your thoughts. On stage, if you have a moment of vulnerability you can hide it from the other actors; on film, the camera will see you feel that emotion and try to suppress it. Similarly, if you’re pretending to feel something that isn’t there, it won’t be believable.

Thus the terrible insurrection was crushed. Tantia Topee, betrayed by his lieutenant Man-Singh, and condemned to death, was executed on the 15th of April, at Sipfee. This rebel, “this truly remarkable actor in the great drama of the Indian insurrection,” says M. de Valbezen, “and one who gave proofs of a political genius full of resources and daring,” died courageously on the scaffold.   This

I felt as though my wish for death contained a kind of logic that I couldn’t access with my usual overly protective thoughts. That, prior to then, I’d been a kind of actor or self-hypnotist, not just when I socialized with other people but when I even thought of other people, which, put together, constituted almost always. That my wish had been completely understanding because it knew me, unlike my friends.

To this period of Modeste’s eager rage for reading succeeded the exercise of a strange faculty given to vigorous imaginations, — the power, namely, of making herself an actor in a dream-existence; of representing to her own mind the things desired, with so vivid a conception that they seemed actually to attain reality; in short, to enjoy by thought, — to live out her years within her mind; to marry; to grow old; to attend her own funeral like Charles V.; to play within herself the comedy of life and, if need be, that of death.

Such changes appear absurd; but they are not so unnatural as they would seem at first sight. The transitions in real life from well-spread boards to death-beds, and from mourning-weeds to holiday garments, are not a whit less startling; only, there, we are busy actors, instead of passive lookers-on, which makes a vast difference. The actors in the mimic life of the theatre, are blind to violent transitions and abrupt impulses of passion or feeling, which, presented before the eyes of mere spectators, are at once condemned as outrageous and preposterous.

Each season the people of Canterbury re-enact Becket’s death: it is the monkish version, because till now no other kind of history has been available. Crowds line the streets—excited, as if the tale might come out different this year. Hot pasties are sold. There are processions with drummers and pipes, and then the show begins. The knights get tuppence and some beer, but the lad who plays the saint gets a shilling, for the knights make him suffer, smashing him on the flags as the old archbishop was smashed. As Becket calls on Christ, a child crouching behind the altar squirts the scene with pig’s blood. The actor is carried away. Then everybody gets drunk.

I began to meditate upon the writer’s life. It is full of tribulation. First he must endure poverty and the world’s indifference; then, having achieved a measure of success, he must submit with a good grace to its hazards. He depends upon a fickle public. He is at the mercy of journalists who want to interview him and photographers who want to take his picture, of editors who harry him for copy and tax gatherers who harry him for income tax, of persons of quality who ask him to lunch and secretaries of institutes who ask him to lecture, of women who want to marry him and women who want to divorce him, of youths who want his autograph, actors who want parts and strangers who want a loan, of gushing ladies who want advice on their matrimonial affairs and earnest young men who want advice on their compositions, of agents, publishers, managers, bores, admirers, critics, and his own conscience. But he has one compensation. Whenever he has anything on his mind, whether it be a harassing reflection, grief at the death of a friend, unrequited love, wounded pride, anger at the treachery of someone to whom he has shown kindness, in short any emotion or any perplexing thought, he has only to put it down in black and white, using it as the theme of a story or the decoration of an essay, to forget all about it. He is the only free man.

What, then, is that incalculable feeling that deprives the mind of the sleep necessary to life? A world that can be explained even with bad reasons is a familiar world. But, on the other hand, in a universe suddenly divested of illusions and lights, man feels an alien, a stranger. His exile is without remedy since he is deprived of the memory of a lost home or the hope of a promised land. This divorce between man and his life, the actor and his setting, is properly the feeling of absurdity. All healthy men having thought of their own suicide, it can be seen, without further explanation, that there is a direct connection between this feeling and the longing for death.

I haven’t said it yet, but it seemed implied, that cinema for me was the American one, current Hollywood productions. “My” period goes roughly from The Lives of a Bengal Lancer (Henry Hathaway, 1935) with Gary Cooper and Mutiny on the Bounty (Frank Lloyd, 1935) with Charles Laughton and Clark Gable, to the death of Jean Harlow (which I relived many years later like the death of Marilyn Monroe, in an era more aware of the neurotic power of every symbol), with lots of comedies in between, the mystery-romances with Myrna Loy and William Powell and the dog Asta, the musicals of Fred Astaire and Ginger Rogers, the crime pictures of Chinese detective Charlie Chan and the horror films of Boris Karloff. I didn’t remember the names of the directors as well as the names of the actors, except for a few like Frank Capra, Gregory La Cava, and Frank Borzage, who represented the poor rather than the millionaires, usually with Spencer Tracy: they were the good-natured directors from the Roosevelt era; I learned this later; back then I consumed everything without distinguishing between them too much. American cinema in that moment consisted of a collection of actors’ faces without equal before or after (at least it seemed that way to me) and the adventures were simple mechanisms to get these faces together (sweethearts, character actors, extras) in different combinations.

have you ever seen a play that presents kings, emperors, and pontiffs, knights, ladies, and many other characters? One plays the scoundrel, another the liar, this one the merchant, that one the soldier, another the wise fool, yet another the foolish lover, but when the play is over and they have taken off their costumes, all the actors are equal.” “Yes, I have seen that,” responded Sancho. “Well, the same thing happens in the drama and business of this world, where some play emperors, others pontiffs, in short, all the figures that can be presented in a play, but at the end, which is when life is over, death removes all the clothing that differentiated them, and all are equal in the grave.

Grigoryevich...Not that he had any real talent himself—but what a lot of deaths of talented people he had witnessed. Young physicists and historians, specialists in ancient languages, philosophers, musicians, young Russian Swifts and Erasmuses—how many of them he had seen put on their “wooden jackets.” Prerevolutionary literature had often lamented the fate of serf actors, musicians, and painters. But who was there today to write about the young men and women who had never had the chance to write their books and paint their paintings? The Russian earth is indeed fertile and generous. She gives birth to her own Platos, to her own quick-witted Newtons—but how casually and terribly she devours these children of hers.

But my cognitive brain fought back hard, telling me that I knew these scenarios were unlikely, that whatever rationalizations she might have for the staging of the four deaths we knew of, to say nothing of her manipulations of other people, including me, would prove inadequate. I even tried the habit that Mike and I consistently warned our students against, listening to my gut; but all my gut told me was that I had fallen in love with a girl who had brought me out of years of torment, however briefly, yet who was still involved in something beyond shady. Had it not been me, had it been just another actor in a different case, I would have called the behavior common enough. But it didn’t feel common; not from the inside…

In the film Death and the Maiden, there is a point during which Sigourney Weaver has duct-taped Ben Kingsley to a chair in her living room. The characters are re-enacting a reverse torture scene. To move the plot of a woman tortured toward its desire: to torture the torturer. To extract a confession. The chair is a prop. A prop is a stage object that supports the drama. If the audience suspends their disbelief the chair transforms itself in time and space. If the audience is left unconvinced the chair is silly and imaginable in anyone’s living room. In the film Romeo is Bleeding Lena Olin sits in a chair and spreads her legs so that her cunt can be seen/scene. Her nationality keeps slipping; she is what we want her to be in a million ways. Her severed arm our severed arms. Her mouth opening like a country. In the film Exotica Atom Egoyan has the male lead (primary actor, financial draw) sit in a chair immobile while a child-stripper dances excruciatingly close to his body. His hands on his thighs. His mouth open. His mind seated. Torture. In the film Barbarella Jane Fonda is trapped inside of a science fiction sexual orgasm chair. This is before her politics come. In the film Breaker Morant two men mutated soldiers lost are executed—shot through the chest—while seated in chairs. In my kitchen I jack my father off while he sits in a chair, my hand smally domestic, the back of the chair holding his back, the legs of the chair forgiving his weight, the wood of the chair blonde, the hair of the girl blonde, the room magnified to cinematic proportions.

Anyone who has lived here for long enough has seen it all before: opposing sides of the political spectrum ferociously criticising each other, getting hot under the collar about this and that, bringing up all sorts of allegations and innuendos. Then just as it looks as if the argument is about to get physical, harmony breaks out. A dialogue is opened, an accord or a compromise is found. And suddenly, just as quickly as it came, all that fiery rhetoric subsides and everyone realizes it was all synthetic, put on for show when all along some deal was imminent anyway. It's as if every politician is merely an actor in a little theatre, and as soon as the curtain falls and the public can't see them any more they all slap each other on the back, tot up the takings and go out for an expensive meal.

Whites generally are unable or unwilling to acknowledge how structural patterning generates white bias and responsibility for that structural patterning. Perhaps it is Mumia Abu-Jamal who again has deftly and complexly summarized the phenomenon of viciously racist bias in relation to African American experience of “criminal justice.” Contemplating Pennsylvania’s death row population which was 60 percent black at the time of his writing in a state where blacks make up only 11 percent of the population, Abu-Jamal reflects: Does this mean that African-Americans are somehow innocents, subjected to a set up by state officials? Not especially. What it does suggest is that state actors, at all stages of the criminal justice system, including slating at the police station, arraignment at the judicial office, pretrial, trial and sentencing stage before a court, treat African-American defendants with a special vengeance not experienced by white defendants.[94] Hence, we have the prison house and criminal justice structures as a bastion of white racism, displaying severe racial disparities, unequally disseminating terror and group loss for racialized groups in the US. It is a bitter fruit of the nation’s legacy of four centuries of slavery in North America, of the Jim Crow rollback of Reconstruction that often was reinforced by lynching practices. Some of today’s prisons are, in fact, built on sites of former slave plantations.[95] More importantly, prisons today are institutions that preserve a white society marked by white dominance and the confinement of nonwhite bodies, especially black bodies, exposing those bodies to commodification, immobilization, and disintegration.

The great political, artistic and religious project of modernity has been to find a meaning to life that is not rooted in some great cosmic plan. We are not actors in a divine drama, and nobody cares about us and our deeds, so nobody sets limits to our power – but we are still convinced our lives have meaning. As of 2016, humankind has indeed managed to have it both ways. Not only do we possess far more power than ever before, but, against all expectations, God’s death did not lead to social collapse. Throughout history prophets and philosophers have argued that if humans stopped believing in a great cosmic plan, all law and order would vanish. Yet today, those who pose the greatest threat to global law and order are precisely those people who continue to believe in God and His all-encompassing plans. God-fearing Syria is a far more violent place than the secular Netherlands.

Five actors playing allotted parts on a set stage; and now he, for whom no part had been written, had walked onto the stage unexpectedly, because one of the players had turned rebel, as she had once before. He threw everything out of focus, and them into a fever. The heat and intensity of these flying questions was enough to make a man with even partially trained clairvoyant faculties feel as if he sat in a room filled with flashing fireflies. He took warning and withdrew himself to a cold inner isolation, as he knew how to do, even while laughing and talking with surface ease. It would not do to let his mind become clouded with emotion; or open any door of his imagination. But the impressions that came across that safer inner distance did not make his companions seem less dramatic, more normal: they were still out of focus. Something about the picture was distorted, even to a clear vision. The sense of evil was as strong as ever although the lurking Presence seemed to have retreated into a far background. He saw presently what the distortion was. Their modern figures were somehow incongruous in the old house, not at home. Like actors who had somehow got onto the wrong stage, onto sets with which their voices and costumes clashed. Interlopers. Or else-actors of an old school dressed up in an unbecoming masquerade. Witch House was an old house. Not old as other houses are old, that remain beds of the continuous stream of life, of marriages and births and deaths, of children crying and children laughing, where the past is only part of the pattern, root of the present and the future. Joseph de Quincy, dead nearly a quarter of a thousand years, was still its master: he had been strong, so strong that no later personality could dim or efface him here where he had set his seal. "He left his evil here when he could no longer stay himself," Carew thought. "As a man with diphtheria leaves germs on the things he has handled, the bed he has lain in. Thoughts are tangible things; on their own plane they breed like germs and, unlike germs, they do not die. He may have forgotten; he may even walk the earth in other flesh, but what he has left here lives." As probably it had been meant to do. For the man whose malignance, swollen with the contributions of the centuries, still ensouled these walls would not have cared to build a house or found a family except as a means to an end. Witch House was set like a mold, steeped in ritual atmosphere as a temple. Dangerous business, for who could say that such a temple would not find a god? There are low, non-human beings that coalesce with and feed on such leftover forces: lair in them.

Where shall we find words more adapted to express joy, than what are contained in the Psalms of thanksgiving and of praise? We see here the hearts of saints. Our thoughts are like the flowers of a beautiful and well-cultivated garden, and our gratification consists in a grateful adoration of divine goodness. Again, where do you find more profound expressions of melancholy and of sorrow than are contained in the Psalms of affliction and of mourning? You look, I say, into the very hearts of holy men; you become familiar with death, and the interior of the tomb is opened to you. We see it dead and dark, under a consciousness of the just wrath of God, and we perceive that His countenance is, as it were, turned away from us. In the two great passions of fear and hope, we find them depicted in language which no painter can embody, and which the greatest human actor would ineffectually attempt to transcend.

The life of man is a story; an adventure story; and in our vision the same is true even of the story of God. The Catholic faith is the reconciliation because it is the realisation both of mythology and philosophy. It is a story and in that sense one of a hundred stories; only it is a true story. It is a philosophy and in that sense one of a hundred philosophies; only it is a philosophy that is like life. But above all, it is a reconciliation because it is something that can only be called the philosophy of stories. That normal narrative instinct which produced all the fairy tales is something that is neglected by all the philosophies—except one. The Faith is the justification of that popular instinct; the finding of a philosophy for it or the analysis of the philosophy in it. Exactly as a man in an adventure story has to pass various tests to save his life, so the man in this philosophy has to pass several tests and save his soul. In both there is an idea of free will operating under conditions of design; in other words, there is an aim and it is the business of a man to aim at it; we therefore watch to see whether he will hit it. Now this deep and democratic and dramatic instinct is derided and dismissed in all the other philosophies. For all the other philosophies avowedly end where they begin; and it is the definition of a story that it ends differently; that it begins in one place and ends in another. From Buddha and his wheel to Akhen Aten and his disc, from Pythagoras with his abstraction of number to Confucius with his religion of routine, there is not one of them that does not in some way sin against the soul of a story. There is none of them that really grasps this human notion of the tale, the test, the adventure; the ordeal of the free man. Each of them starves the story-telling instinct, so to speak, and does something to spoil human life considered as a romance; either by fatalism (pessimist or optimist) and that destiny that is the death of adventure; or by indifference and that detachment that is the death of drama; or by a fundamental scepticism that dissolves the actors into atoms; or by a materialistic limitation blocking the vista of moral consequences; or a mechanical recurrence making even moral tests monotonous; or a bottomless relativity making even practical tests insecure. There is such a thing as a human story; and there is such a thing as the divine story which is also a human story; but there is no such thing as a Hegelian story or a Monist story or a relativist story or a determinist story; for every story, yes, even a penny dreadful or a cheap novelette, has something in it that belongs to our universe and not theirs. Every short story does truly begin with creation and end with a last judgement.

Ever since I had ceased to see actors solely as the depositories, in their diction and acting ability, of an artistic truth, they had begun to interest me in their own right; with the feeling that I was watching the characters from some old comic novel, I was amused to see the naïve heroine of a play, her attention drawn to the new face of some young duke who had just taken his seat in the theatre, listen abstractedly to the declaration of love the juvenile lead was addressing to her, while he, through the rolling passion of this declaration, was in turn directing an enamoured eye at an old lady seated in a stage box, whose magnificent pearls had caught his interest; and in this way, largely owing to what Saint-Loup had told me about the private lives of actors, I saw another drama, silent but telling, being played out beneath the words of the play that was being performed, yet the play itself, however uninspired, was still something that interested me too; for within it I could feel germinating and blossoming for an hour in the glare of the footlights, created out of the agglutination on the face of an actor of another face of grease-paint and pasteboard, and on his individual soul the words of a part, the ephemeral and spirited personalities, captivating too, who form the cast of a play, whom one loves, admires, pities, whom one would like to meet again after the play is over, but who by that time have already disintegrated into the actors who are no longer what they were in their roles, into a script which no longer shows the actors’ faces, into a coloured powder that can be wiped off by a handkerchief, who have reverted, in a word, to elements that contain nothing of them, because their dissolution is complete as soon as the play has ended, and this, like the dissolution of a loved one, causes one to doubt the reality of the self and to meditate on the mystery of death.

Both Cooper and Brennan got their start as extras. Like Brennan, Cooper had learned his craft by roaming around movie lots, absorbing the atmosphere and watching how things were done—especially the subtle interplay between actors, and between the best actors and the camera lens, which always picked up details that not even the most perceptive directors could spot before they were projected onto a screen. And like Brennan, when Cooper got his first two minutes of screen time, he was prepared. Watch him in Wings, playing an aviator about to go to his death, enter a tent and converse with the film’s two stars, Buddy Rogers and Richard Arlen, who are immediately fascinated by his bluff allure. He is a hero without bravado. He is for those two minutes the picture’s star, the very embodiment of what Hemingway called grace under pressure. Cooper’s ability to convey composure just before a dogfight, to act with such quiet courtesy and aplomb, stuns Rogers and Arlen—and just that quickly Cooper takes the picture away from them.

My intention, this time, was to transfer a play to the screen while keeping its theatrical character. It was in some senses a matter of walking, invisibly, around the stage and catching the different aspects and nuances in the play, the urgency and the facial expressions that escape a spectator who cannot follow them in detail from a seat in the stalls. Apart from that, I had noticed how effective a play becomes when you have a bird's-eye view from it, for example from the flies, that is to say from the viewpoint of a voyeur. The Audience is enclosed with the characters in a room lacking its fourth wall and listens to them on equal terms, without the element of my story conferred on scenes of intimacy by the whimsical shape of a keyhole.” “L'aigle à deux têtes is not History. It is a story, an invented story lived out by imaginary heroes, and I should never have dared venture into the realistic world of cinema without being able to rely on the help of Christian Bérard. He has a genius for situating whatever he touches, for giving it a depth in time and space and an appearance of truth that are literally inimitable.” (...) “A drama of this kind would be unacceptable, and almost impossible to tell, unless it was interpreted by superb actors who could instill grandeur and life into it. Edwige Feuillère and Jean Marais, applauded evening after evening in their parts in the play, surpass themselves on the screen and give of themselves, as I suggested above, everything that they cannot give us on the stage.” “George Auric's music and the Strauss waltzes at the krantz ball make up the liquid in this drama of love and death is immersed.” (...) “In L'aigle à deux têtes, I wanted to make a theatrical film.” (...) “I know the faults of the film, but unfortunately the expense of the medium and the constraints of time that it imposes on us, prevent us from correcting our faults, Cinematography costs too much.” (...) “In Les parents terribles (1948), what I determined to do was the opposite of what I did in L'aigle à deux têtes; to de-theatricalize a play, to film it in chronological order and to catch the characters by surprise from the indiscreet angle of the camera. In short, I wanted to watch a family through the keyhole instead of observing its life from a seat in the stalls.

The people we find truly anathema are the ones who reduce the past to caricature and distort it to fit their own bigoted stereotypes. We’ve gone to events that claimed to be historic fashion shows but turned out to be gaudy polyester parades with no shadow of reality behind them. As we heard our ancestors mocked and bigoted stereotypes presented as facts, we felt like we had gone to an event advertised as an NAACP convention only to discover it was actually a minstrel show featuring actors in blackface. Some so-called “living history” events really are that bigoted. When we object to history being degraded this way, the guilty parties shout that they are “just having fun.” What they are really doing is attacking a past that cannot defend itself. Perhaps they are having fun, but it is the sort of fun a schoolyard brute has at the expense of a child who goes home bruised and weeping. It’s time someone stood up for the past. I have always hated bullies. The instinct to attack difference can be seen in every social species, but if humans truly desire to rise above barbarism, then we must cease acting like beasts. The human race may have been born in mud and ignorance, but we are blessed with minds sufficiently powerful to shape our behavior. Personal choices form the lives of individuals; the sum of all interactions determine the nature of societies. At present, it is politically fashionable in America to tolerate limited diversity based around race, religion, and sexual orientation, yet following a trend does not equate with being truly open-minded. There are people who proudly proclaim they support women’s rights, yet have an appallingly limited definition of what those rights entail. (Currently, fashionable privileges are voting, working outside the home, and easy divorce; some people would be dumbfounded at the idea that creating beautiful things, working inside the home, and marriage are equally desirable rights for many women.) In the eighteenth century, Voltaire declared, “I disagree with what you say but I will fight to the death for your right to say it.”3 Many modern Americans seem to have perverted this to, “I will fight to the death for your right to agree with what I say.” When we stand up for history, we are in our way standing up for all true diversity. When we question stereotypes and fight ignorance about the past, we force people to question ignorance in general.

It is therefore worth noting, and indeed wonderful to see, how man, besides his life in the concrete, always lives a second life in the abstract. In the former he is abandoned to all the storms of reality and to the influence of the present; he must struggle, suffer, and die like the animal. But his life in the abstract, as it stands before his rational consciousness, is the calm reflection of his life in the concrete, and of the world in which he lives; it is precisely that reduced chart or plan previously mentioned. Here in the sphere of calm deliberation, what previously possessed him completely and moved him intensely appears to him cold, colourless, and, for the moment, foreign and strange; he is a mere spectator and observer. In respect of this withdrawal into reflection, he is like an actor who has played his part in one scene, and takes his place in the audience until he must appear again. In the audience he quietly looks on at whatever may happen, even though it be the preparation of his own death (in the play); but then he again goes on the stage, and acts and suffers as he must. From this double life proceeds that composure in man, so very different from the thoughtlessness of the animal.

The 1890s were apprentice years for Yeats. Though he played with Indian and Irish mythology, his symbolism really developed later. The decade was for him, as a poet, the years of lyric, of the Rhymers’ Club, of those contemporaries whom he dubbed the ‘tragic generation’. ‘I have known twelve men who killed themselves,’ Arthur Symons looked back from his middle-aged madness, reflecting on the decade of which he was the doyen. The writers and artists of the period lived hectically and recklessly. Ernest Dowson (1867–1900) (one of the best lyricists of them all – ‘I cried for madder music and for stronger wine’) died from consumption at thirty-two; Lionel Johnson (1867–1902), a dipsomaniac, died aged thirty-five from a stroke. John Davidson committed suicide at fifty-two; Oscar Wilde, disgraced and broken by prison and exile, died at forty-six; Aubrey Beardsley died at twenty-six. This is not to mention the minor figures of the Nineties literary scene: William Theodore Peters, actor and poet, who starved to death in Paris; Hubert Crankanthorpe, who threw himself in the Thames; Henry Harland, editor of The Yellow Book, who died of consumption aged forty-three, or Francis Thompson, who fled the Hound of Heaven ‘down the nights and down the days’ and who died of the same disease aged forty-eight. Charles Conder (1868–1909), water-colourist and rococo fan-painter, died in an asylum aged forty-one.

Modern culture rejects this belief in a great cosmic plan. We are not actors in any larger-than-life drama. Life has no script, no playwright, no director, no producer – and no meaning. To the best of our scientific understanding, the universe is a blind and purposeless process, full of sound and fury but signifying nothing. During our infinitesimally brief stay on our tiny speck of a planet, we fret and strut this way and that, and then are heard of no more. Since there is no script, and since humans fulfil no role in any great drama, terrible things might befall us and no power will come to save us or give meaning to our suffering. There won’t be a happy ending, or a bad ending, or any ending at all. Things just happen, one after the other. The modern world does not believe in purpose, only in cause. If modernity has a motto, it is ‘shit happens’. On the other hand, if shit just happens, without any binding script or purpose, then humans too are not confined to any predetermined role. We can do anything we want – provided we can find a way. We are constrained by nothing except our own ignorance. Plagues and droughts have no cosmic meaning – but we can eradicate them. Wars are not a necessary evil on the way to a better future – but we can make peace. No paradise awaits us after death – but we can create paradise here on earth and live in it for ever, if we just manage to overcome some technical difficulties.

The toy is the lodestar of the child’s survival. The consequences of his failure to get his toy are disastrous. That Hoffman’s—and anyone else’s—pursuit of glory operates in the same way is why one man’s fear of failure and striving for perfection is significant, why it is not a matter of bourgeois decadence, in a world where a million Syrian children are in exile and starving. The Syrian child, the child lacking his toy, and the actor fear for their survival. How will they survive? And how will they medicate their fear? I suppose this is the moment where I am supposed to say that fear can be conquered by trusting in the risen Lord or whatever. But I would just as well save the reflex. I would just as well not waste meaningless words to counter the assertion about which Hoffman was exactly right: this world is damn terrifying. It is easy enough to say that fear is an illusion or something trumped-up when you don’t read the newspaper or have a frank conversation with your friend. How could one not be scared in a world where your birth is the beginning of your preparation for death? This is a world of cancer and hunger and beheadings and layoffs and heartbreak and stabbings and innumerable and head-spinning and creative forms of violence and lovelessness. This is a world where people are still burnt alive. That is, in this world there are people who must endure, for several hundred seconds, the sensation of a hot iron enveloping the body until they die of bleeding, inhalation, or organ failure. What sane person would not be terrified in such a world?

We cannot provide a definition of those products from which the age takes it name, the feuilletons. They seem to have formed an uncommonly popular section of the daily newspapers, were produced by the millions, and were a major source of mental pabulum for the reader in want of culture. They reported on, or rather "chatted" about, a thousand-and-one items of knowledge. The cleverer writers poked fun at their own work. Many such pieces are so incomprehensible that they can only be viewed as self-persiflage on the part of the authors. In some periods interviews with well-known personalities on current problems were particularly popular. Noted chemists or piano virtuosos would be queried about politics, for example, or popular actors, dancers, gymnasts, aviators, or even poets would be drawn out on the benefits and drawbacks of being a bachelor, or on the presumptive causes of financial crises, and so on. All that mattered in these pieces was to link a well-known name with a subject of current topical interest. It is very hard indeed for us to put ourselves in the place of those people so that we can truly understand them. But the great majority, who seem to have been strikingly fond of reading, must have accepted all these grotesque things with credulous earnestness. If a famous painting changed owners, if a precious manuscript was sold at auction, if an old palace burned down, the readers of many thousands of feature articles at once learned the facts. What is more, on that same day or by the next day at the latest they received an additional dose of anecdotal, historical, psychological, erotic, and other stuff on the catchword of the moment. A torrent of zealous scribbling poured out over every ephemeral incident, and in quality, assortment, and phraseology all this material bore the mark of mass goods rapidly and irresponsibly turned out. Incidentally, there appear to have been certain games which were regular concomitants of the feature article. The readers themselves took the active role in these games, which put to use some of their glut of information fodder. Thousands upon thousands spent their leisure hours sitting over squares and crosses made of letters of the alphabet, filling in the gaps according to certain rules. But let us be wary of seeing only the absurd or insane aspect of this, and let us abstain from ridiculing it. For these people with their childish puzzle games and their cultural feature articles were by no means innocuous children or playful Phaeacians. Rather, they dwelt anxiously among political, economic, and moral ferments and earthquakes, waged a number of frightful wars and civil wars, and their little cultural games were not just charming, meaningless childishness. These games sprang from their deep need to close their eyes and flee from unsolved problems and anxious forebodings of doom into an imaginary world as innocuous as possible. They assiduously learned to drive automobiles, to play difficult card games and lose themselves in crossword puzzles--for they faced death, fear, pain, and hunger almost without defenses, could no longer accept the consolations of the churches, and could obtain no useful advice from Reason. These people who read so many articles and listened to so many lectures did not take the time and trouble to strengthen themselves against fear, to combat the dread of death within themselves; they moved spasmodically on through life and had no belief in a tomorrow.

He closes his eyes. What does God see? Cromwell in the fifty-fourth year of his age, in all his weight and gravitas, his bulk wrapped in wool and fur? Or a mere flicker, an illusion, a spark beneath a shoe, a spit in the ocean, a feather in a desert, a wisp, a phantom, a needle in a haystack? If Henry is the mirror, he is the pale actor who sheds no lustre of his own, but spins in a reflected light. If the light moves he is gone. When I was in Italy, he thinks, I saw Virgins painted on every wall, I saw in every fresco the sponged blood-colour of Christ's robe. I saw the sinuous tempter that winds from a branch, and Adam's face as he was tempted. I saw that the serpent was a woman, and about her face were curls of silver-gilt; I saw her writhe about the green bough, saw it sway under her coils. I saw the lamentation of Heaven over Christ crucified, angels flying and crying at the same time. I saw torturers nimble as dancers hurling stones at St Stephen, and I saw the martyr's bored face as he waited for death. I saw a dead child cast in bronze, standing over its own corpse: and all these pictures, images, I took into myself, as some kind of prophecy or sign. But I have known men and women, better than me and closer to grace, who have meditated on every splinter of the cross, till they forget who and what they are, and observe the Saviour's blood, running in the soaked fibres of the wood. Till they believe themselves no longer captive to misfortune nor crime, nor in thrall to a useless sacrifice in an alien land. Till they see Christ's cross is the tree of life, and the truth breaks inside them, and they are saved. He sands his paper. Puts down his pen. I believe, but I do not believe enough. I said to Lambert, my prayers are with you, but in the end I only prayed for myself, that I might not suffer the same death.

The driver, whose name was Chase, pulled up in a silver Honda. He was cute, with a gap in his front two teeth—maybe age twenty-six at most. He looked like he was trying to grow a mustache, and his brown hair was past his ears under a baseball cap that read FML. He babbled that he was an actor, or was trying to become one. His favorite philosophy about acting was Uta Hagen’s, something about being a student of humanity. Well, for a student of humanity he was shitty at reading people. In my head I just kept saying, Shut up, shut up! I wanted to say, Don’t you know I am dying? But even in my dying I couldn’t be mean to him for fear that he would think I was a bitch. Why did I even care what he thought? Was my death unimportant? How could I prioritize the feelings of this vacant, mustached kid over my own—me, who was probably dying? I repeated, “That’s nice” and “Oh, interesting,” and lay down in the backseat. I didn’t announce that I would be laying down, I just did it. He wasn’t paying any attention to what I was doing, instead going on about an upcoming audition for a prescription allergy medication where he would play the son-in-law of a woman with adult allergies. He said he had mixed feelings about it, because he didn’t want to limit his range to pharmaceuticals. The part he really wanted was an audition for Samsung next week. He was trying out to play the phone. “It’s not easy to make it in this town. I’m going up against two hundred other potential phones, at least,” he said, looking in the mirror at the traffic behind him. I noticed he had green eyes. He really was cute. I waited for him to comment on me lying supine in his backseat, but he didn’t ask if I was okay. I suppose this was normal behavior in California. I closed my eyes and concentrated on my breathing. I wasn’t dead. I was breathing in the back of this cute idiot’s car. When we pulled up at Annika’s house, he stopped and said, “Okay, we’re here. Wish me luck at Samsung!” I opened my eyes and squinted at him. I wanted to tell him that I hoped he never got a part.

#1 of 2 Leah munched another chip as she watched a couple on-screen race madly away from men with guns who were intent on killing them. She and Seth sat shoulder to shoulder on the sofa, both slumped down until they were practically lying on their backs. Seth had pulled the matching ottoman up against the sofa, so it really did feel as if they were lying in bed together, watching a movie. She slid him a covert glance. He had donned black cargo pants and a black T-shirt after his shower but had left his big feet bare. He had also left his hair loose. It now spilled over the back of the sofa in a glossy curtain, the thick wavy tresses still drying. He chuckled at something the male protagonist said. Leah smiled. She loved seeing him laugh. She didn’t think he did so as often as he should. Every once in a while, she noticed his gaze would slide to her legs. Her feet were propped on the ottoman close to his. The robe she had borrowed had parted just above her knees and fallen back, leaving most of her legs bare. And that pale flesh repeatedly drew Seth’s attention. She held the bag of chips out to him. Smiling, unaware that the faint golden light of desire illuminated his eyes, he poked his hand in and drew out a couple of chips. She smiled back, then returned her attention to the screen. The protagonists had at last made it to safety. They checked each other over for wounds, something both had miraculously escaped incurring in true Hollywood fashion. Then they fell into each other’s arms, finally giving in to the lust that had sparked between them ever since their first contentious meeting. Leah sighed as she watched them peel each other’s clothes off with eager hands. It made her want to do the same with Seth. Her body even began to respond as her imagination kicked in. “I miss sex.” The words were out of her mouth before she could question the wisdom of speaking them. “I do, too,” Seth confessed. She glanced over at him and found his eyes glued to the screen. More so since I met you. Her eyes widened when his voice sounded in her head. “Really?” “Yes.” The actors on-screen fell naked onto the bed and began to simulate sex, their moans and groans and cries of passion filling the room. “It’s natural to miss it,” he said matter-of-factly. “Nothing to feel guilty about.” “No. I mean, you really miss it more since you met me?” He froze. A look of dismay crossed his features as he cut her a glance. “I said that out loud?” “No. I heard it in my head.” Sh**. She grinned. “I heard that, too.” F**k.

The universal survey of life as a whole, an advantage which man has over the animal through his faculty of reason, is also comparable to a geometrical, colourless, abstract, reduced plan of his way of life. He is therefore related to the animal as the navigator, who by means of chart, compass, and quadrant knows accurately at any moment his course and position on the sea, is related to the uneducated crew who see only the waves and skies. It is therefore worth noting, and indeed wonderful to see, how man, besides his life in the concrete, always lives a second life in the abstract. In the former he is abandoned to all the storms of reality and to the influence of the present; he must struggle, suffer, and die like the animal. But his life in the abstract, as it stands before his rational consciousness, is the calm reflection of his life in the concrete, and of the world in which he lives; it is precisely that reduced chart or plan previously mentioned. Here in the sphere of calm deliberation, what previously possessed him completely and moved him intensely appears to him cold, colourless, and, for the moment, foreign and strange; he is a mere spectator and observer. In respect of this withdrawal into reflection, he is like an actor who has played his part in one scene, and takes his place in the audience until he must appear again. In the audience he quietly looks on at whatever may happen, even though it be the preparation of his own death (in the play); but then he again goes on the stage, and acts and suffers as he must. From this double life proceeds that composure in man, so very different from the thoughtlessness of the animal. According to previous reflection, to a mind made up, or to a recognized necessity, a man with such composure suffers or carries out in cold blood what is of the greatest, and often most terrible, importance to him, such as suicide, execution, duels, hazardous enterprises of every kind fraught with danger to life, and generally things against which his whole animal nature rebels. We then see to what extent reason is master of the animal nature, and we exclaim to the strong: ferreum certe tibi cor! (Truly hast thou a heart of iron!) [Iliad, xxiv, 521.] Here it can really be said that the faculty of reason manifests itself practically, and thus practical reason shows itself, wherever action is guided by reason, where motives are abstract concepts, wherever the determining factors are not individual representations of perception, or the impression of the moment which guides the animal.

The Pakistani film International Gorillay (International guerillas), produced by Sajjad Gul, told the story of a group of local heroes - of the type that would, in the language of a later age, come to be known as jihadis, or terrorists - who vowed to find and kill an author called "Salman Rushdie" . The quest for "Rushdie" formed the main action of the film and "his" death was the film's version of happy ending. "Rushdie" himself was depicted as a drunk, constantly swigging from a bottle, and a sadist. He lived in what looked very like a palace on what looked very like an island in the Philippines (clearly all novelists had second homes of this kind), being protected by what looked very like the Israeli Army (this presumably being a service offered by Israel to all novelists), and he was plotting the overthrow of Pakistan by the fiendish means of opening chains of discotheques and gambling dens across that pure and virtuous land, a perfidious notion for which, as the British Muslim "leader" Iqbal Sacranie might have said, death was too light a punishment. "Rushdie" was dressed exclusively in a series of hideously coloured safari suits - vermilion safari suits, aubergine safari suits, cerise safari suits - and the camera, whenever it fell upon the figure of this vile personage, invariably started at his feet and then panned [sic] with slow menace up to his face. So the safari suits got a lot of screen time, and when he saw a videotape of the film the fashion insult wounded him deeply. It was, however, oddly satisfying to read that one result of the film's popularity in Pakistan was that the actor playing "Rushdie" became so hated by the film-going public that he had to go into hiding. At a certain point in the film one of the international gorillay was captured by the Israeli Army and tied to a tree in the garden of the palace in the Philippines so that "Rushdie" could have his evil way with him. Once "Rushdie" had finished drinking form his bottle and lashing the poor terrorist with a whip, once he had slaked his filthy lust for violence upon the young man's body, he handed the innocent would-be murderer over to the Israeli soldiers and uttered the only genuinely funny line in the film. "Take him away," he cried, "and read to him from The Satanic Verses all night!" Well, of course, the poor fellow cracked completely. Not that, anything but that, he blubbered as the Israelis led him away. At the end of the film "Rushdie" was indeed killed - not by the international gorillay, but by the Word itself, by thunderbolts unleashed by three large Qurans hanging in the sky over his head, which reduced the monster to ash. Personally fried by the Book of the Almighty: there was dignity in that.

A few years ago, a couple of young men from my church came to our home for dinner. During the course of the dinner, the conversation turned from religion to various world mythologies and we began to play the game of ‘Name That Character.” To play this game, you pick a category such as famous actors, superheroes or historical characters. In turn, each person describes events in a famous character’s life while everyone else tries to guess who the character is. Strategically you try to describe the deeds of a character in such a way that it might fit any number of characters in that category. After three guesses, if no one knows who your character is, then you win. Choosing the category of Bible Characters, we played a couple of fairly easy rounds with the typical figures, then it was my turn. Now, knowing these well meaning young men had very little religious experience or understanding outside of their own religion, I posed a trick question. I said, “Now my character may seem obvious, but please wait until the end of my description to answer.” I took a long breath for dramatic effect, and began, “My character was the son of the King of Heaven and a mortal woman.” Immediately both young men smiled knowingly, but I raised a finger asking them to wait to give their responses. I continued, “While he was just a baby, a jealous rival attempted to kill him and he was forced into hiding for several years. As he grew older, he developed amazing powers. Among these were the ability to turn water into wine and to control the mental health of other people. He became a great leader and inspired an entire religious movement. Eventually he ascended into heaven and sat with his father as a ruler in heaven.” Certain they knew who I was describing, my two guests were eager to give the winning answer. However, I held them off and continued, “Now I know adding these last parts will seem like overkill, but I simply cannot describe this character without mentioning them. This person’s birthday is celebrated on December 25th and he is worshipped in a spring festival. He defied death, journeyed to the underworld to raise his loved ones from the dead and was resurrected. He was granted immortality by his Father, the king of the gods, and was worshipped as a savior god by entire cultures.” The two young men were practically climbing out of their seats, their faces beaming with the kind of smile only supreme confidence can produce. Deciding to end the charade I said, “I think we all know the answer, but to make it fair, on the count of three just yell out the answer. One. Two. Three.” “Jesus Christ” they both exclaimed in unison – was that your answer as well? Both young men sat back completely satisfied with their answer, confident it was the right one…, but I remained silent. Five seconds ticked away without a response, then ten. The confidence of my two young friends clearly began to drain away. It was about this time that my wife began to shake her head and smile to herself. Finally, one of them asked, “It is Jesus Christ, right? It has to be!” Shaking my head, I said, “Actually, I was describing the Greek god Dionysus.

Needless to say, what whites now think and say about race has undergone a revolution. In fact, it would be hard to find other opinions broadly held by Americans that have changed so radically. What whites are now expected to think about race can be summarized as follows: Race is an insignificant matter and not a valid criterion for any purpose—except perhaps for redressing wrongs done to non-whites. The races are equal in every respect and are therefore interchangeable. It thus makes no difference if a neighborhood or nation becomes non-white or if white children marry outside their race. Whites have no valid group interests, so it is illegitimate for them to attempt to organize as whites. Given the past crimes of whites, any expression of racial pride is wrong. The displacement of whites by non-whites through immigration will strengthen the United States. These are matters on which there is little ground for disagreement; anyone who holds differing views is not merely mistaken but morally suspect. By these standards, of course, most of the great men of America’s past are morally suspect, and many Americans are embarrassed to discover what our traditional heroes actually said. Some people deliberately conceal this part of our history. For example, the Jefferson Memorial has the following quotation from the third president inscribed on the marble interior: “Nothing is more certainly written in the book of fate than that these people [the Negroes] shall be free.” Jefferson did not end those words with a period, but with a semicolon, after which he wrote: “nor is it less certain that the two races equally free, cannot live under the same government.” The Jefferson Memorial was completed in 1942. A more contemporary approach to the past is to bring out all the facts and then repudiate historical figures. This is what author Conor Cruise O’Brien did in a 1996 cover story for The Atlantic Monthly. After detailing Jefferson’s views, he concluded: “It follows that there can be no room for a cult of Thomas Jefferson in the civil religion of an effectively multiracial America . . . . Once the facts are known, Jefferson is of necessity abhorrent to people who would not be in America at all if he could have had his way.” Columnist Richard Grenier likened Jefferson to Nazi SS and Gestapo chief Heinrich Himmler, and called for the demolition of the Jefferson Memorial “stone by stone.” It is all very well to wax indignant over Jefferson’s views 170 years after his death, but if we expel Jefferson from the pantheon where do we stop? Clearly Lincoln must go, so his memorial must come down too. Washington owned slaves, so his monument is next. If we repudiate Jefferson, we do not just change the skyline of the nation’s capital, we repudiate practically our entire history. This, in effect, is what some people wish to do. American colonists and Victorian Englishmen saw the expansion of their race as an inspiring triumph. Now it is cause for shame. “The white race is the cancer of human history,” wrote Susan Sontag. The wealth of America used to be attributed to courage, hard work, and even divine providence. Now, it is common to describe it as stolen property. Robin Morgan, a former child actor and feminist, has written, “My white skin disgusts me. My passport disgusts me. They are the marks of an insufferable privilege bought at the price of others’ agony.

The whole encounter was surreal. No one had mentioned cancer. I hadn’t requested special treatment for Jacob. Yet he’d just nabbed a private meeting with an actor from his favorite movie. I would later ask Mike, the comic book store owner, what had prompted him to invite Jacob to the supper and a private meeting with Mr. Bulloch. “It was Jeremy at the door. He recognized something in Jacob. Jeremy is a cancer survivor.

Home before the leaves fall' the soldiers all shouted to their families in August 1914 as they marched toward an enemy who felt the same way. Both sides prayed to the same god for victory, with the equal assurance that that god was on their side. Like helpless actors in a play the script of which they seemed to have no role in writing, the leaders of the nations in 1914 helplessly played their parts as hourly Europe lurched toward war until all the major countries on the continent were sucked into a gigantic maelstrom that lasted for a horrendous 1,561 days, toppled four monarchies, destroyed a centuries-old social structure, decimated thousands of towns and villages, and left a number of dead that God alone could count. As for the misery the war caused, it cannot begin to be calculated. The dead can be buried and forgotten and the villages rebuilt, but for the survivors the mental scars could not be erased except by death.

People Magazine recently paid a movie star $4.1 million dollars. To make a movie? No, $4.1 million dollars was paid for the right to publish pictures of the actor’s new baby. America’s media covered the unfortunate death of singer Michael Jackson non-stop for days on end. We are “mad upon our idols.

For Penina Mezei petrify motive in folk literature stems from ancient, mythical layers of culture that has undergone multiple transformations lost the original meaning. Therefore, the origin of this motif in the narrative folklore can be interpreted depending on the assumptions that you are the primary elements of faith in Petrify preserved , lost or replaced elements that blur the idea of integrity , authenticity and functionality of the old ones . Motif Petrify in different genres varies by type of actor’s individuality, time and space, properties and actions of its outcome, the relationship of the narrator and singers from the text. The particularity of Petrify in particular genres testifies about different possibilities and intentions of using the same folk beliefs about transforming, says Penina Mezei. In moralized ballads Petrify is temporary or eternal punishment for naughty usually ungrateful children. In the oral tradition, demonic beings are permanently Petrifying humans and animals. Petrify in fairy tales is temporary, since the victims, after entering into the forbidden demonic time and space or breaches of prescribed behavior in it, frees the hero who overcomes the demonic creature, emphasizes Mezei. Faith in the power of magical evocation of death petrifaction exists in curses in which the slanderer or ungrateful traitor wants to convert into stone. In search of the magical meaning of fatal events in fairy tales, however, it should be borne in mind that they concealed before, but they reveal the origin of the ritual. The work of stone - bedrock Penina Mezei pointed to the belief that binds the soul stone dead or alive beings. Penina speaks of stone medial position between earth and sky, earth and the underworld. Temporary or permanent attachment of the soul to stone represents a state between life and death will be punished its powers cannot be changed. Rescue petrified can only bring someone else whose power has not yet subjugated the demonic forces. While the various traditions demons Petrifying humans and animals, as long as in fairy tales, mostly babe, demon- old woman. Traditions brought by Penina Mezei , which describe Petrify people or animals suggest specific place events , while in fairy tales , of course , no luck specific place names . Still Penina spotted chthonic qualities babe, and Mezei’s with plenty of examples of comparative method confirmed that they were witches. Some elements of procedures for the protection of the witch could be found in oral stories and poems. Fairy tales keep track of violations few taboos - the hero , despite the ban on the entry of demonic place , comes in the woods , on top of a hill , in a demonic time - at night , and does not respect the behaviors that would protect him from demons . Interpreting the motives Petrify as punishment for the offense in the demon time and space depends on the choice of interpretive method is applied. In the book of fairy tales Penina Mezei writes: Petrify occurs as a result of unsuccessful contact with supernatural beings Petrify is presented as a metaphor for death (Penina Mezei West Bank Fairytales: 150). Psychoanalytic interpretation sees in the form of witches character, and the petrification of erotic seizure of power. Female demon seized fertilizing power of the masculine principle. By interpreting the archetypal witch would chthonic anima, anabaptized a devastating part unindividualized man. Ritual access to the motive of converting living beings into stone figure narrated narrative transfigured magical procedures some male initiation ceremonies in which the hero enters into a community of dedicated, or tracker sacrificial rites. Compelling witches to release a previously petrified could be interpreted as the initiation mark the conquest of certain healing powers and to encourage life force, highlights the Penina.

When we are confronted with death, we become great actors. Great actors, nothing more.

Bernie never questioned occurrences that had already happened. It was a pointless waste of time. She didn’t read fiction. She no longer went to movies. Art and music did nothing for her. She existed in reality, a place she liked to be. She’d wasted a lot of time filtering movies, TV, through everyone else’s eyes, trying to understand her fellow humans. Fake. All of it fake. Especially the portrayal of death. Death was the total absence of spirit—something that no one could emulate, no matter how good the actor.

Nicholas, who had never seen the willingness to embrace septicemia as one of the more obvious qualities a young actor might find useful, jibbed at this robust assertion. “There.

I’ve never liked the term ‘actor’.” Barron spoke slowly, joining hands with the cast members to his left and right. The rest of them formed a circle, also holding hands, and he continued. “Seriously now, is anyone here ‘acting’? Is anyone here pretending? “Me, I’m a theater director. One hundred percent, all the time. I’m not pretending, or acting, or trying to fool anyone. This is what I do, and I give it my all—just like you. I look around me, and I don’t see a single phony. I see people who give their hearts, their minds, and their very lives to being serious performers on the stage. In the last weeks I’ve watched every one of you give up the easy life to come here and bust a gut to make this show a reality. “That’s why I call you performers. Not actors—performers. Because when it’s time to prepare, you work out every nuance of a role. When it’s time to step in front of the crowd, you reach out and pull them in with both hands. When it’s time to say your lines, you deliver them with skill and meaning. That’s performance. And there’s nothing phony about that. There’s nothing pretend about that. There’s no acting that will take the place of that. “And so that’s my wish for you tonight: Have a great performance. You’ve done the work, you’re ready, and now it’s time to show off. Have fun out there, gang. Perform.