Actors Life Quotes

There is no means of testing which decision is better, because there is no basis for comparison. We live everything as it comes, without warning, like an actor going on cold. And what can life be worth if the first rehearsal for life is life itself? That is why life is always like a sketch. No, "sketch" is not quite a word, because a sketch is an outline of something, the groundwork for a picture, whereas the sketch that is our life is a sketch for nothing, an outline with no picture.

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.

Like most others, I was a seeker, a mover, a malcontent, and at times a stupid hell-raiser. I was never idle long enough to do much thinking, but I felt somehow that some of us were making real progress, that we had taken an honest road, and that the best of us would inevitably make it over the top. At the same time, I shared a dark suspicion that the life we were leading was a lost cause, that we were all actors, kidding ourselves along on a senseless odyssey. It was the tension between these two poles - a restless idealism on one hand and a sense of impending doom on the other - that kept me going.

We are not nouns, we are verbs. I am not a thing - an actor, a writer - I am a person who does things - I write, I act - and I never know what I'm going to do next. I think you can be imprisoned if you think of yourself as a noun.

There's nothing I want. There's nothing I can't do. I don't care about anything. No matter what, I am an imposter. An actor in my own life.

We do on stage things that are supposed to happen off. Which is a kind of integrity, if you look on every exit as being an entrance somewhere else.

Because to influence a person is to give him one's own soul. He does not think his natural thoughts, or burn with his natural passions. His virtues are not real to him. His sins, if there are such things as sins, are borrowed. He becomes an echo of some one else's music, an actor of a part that has not been written for him. The aim of life is self-development. To realize one's nature perfectly -- that is what each of us is here for. People are afraid of themselves, nowadays. They have forgotten the highest of all duties, the duty that one owes to oneself. Of course they are charitable. They feed the hungry, and clothe the beggar. But their own souls starve, and are naked. Courage has gone out of our race. Perhaps we never really had it. The terror of society, which is the basis of morals, the terror of God, which is the secret of religion -- these are the two things that govern us.

Actors are so fortunate. They can choose whether they will appear in tragedy or in comedy, whether they will suffer or make merry, laugh or shed tears. But in real life it is different. Most men and women are forced to perform parts for which they have no qualifications. Our Guildensterns play Hamlet for us, and our Hamlets have to jest like Prince Hal. The world is a stage, but the play is badly cast.

You know what your problem is, it's that you haven't seen enough movies - all of life's riddles are answered in the movies." Steve Martin

Life is an intricate play with actors waiting for an explanation. Each added act confers a new interpretation of the story. ( "Waiting for the pieces to fall into place" )

Actors in any capacity, artists of any stripe, are inspired by their curiosity, by their desire to explore all quarters of life, in light and in dark, and reflect what they find in their work. Artists instinctively want to reflect humanity, their own and each other's, in all its intermittent virtue and vitality, frailty and fallibility.

It often happens that the real tragedies of life occur in such an inartistic manner that they hurt us by their crude violence, their absolute incoherence, their absurd want of meaning, their entire lack of style. They affect us just as vulgarity affects us. They give us an impression of sheer brute force, and we revolt against that. Sometimes, however, a tragedy that possesses artistic elements of beauty crosses our lives. If these elements of beauty are real, the whole thing simply appeals to our sense of dramatic effect. Suddenly we find that we are no longer the actors, but the spectators of the play. Or rather we are both. We watch ourselves, and the mere wonder of the spectacle enthralls us.

An actor must interpret life, and in order to do so must be willing to accept all the experiences life has to offer. In fact, he must seek out more of life than life puts at his feet.

I shared a vagrant optimism that some of us were making real progress, that we had taken an honest road, and that the best of us would inevitably make it over the top. At the same time, I felt that the life we were leading was a lost cause, that we were all actor, kidding ourselves on a senseless odyssey. It was the tension between those two poles - a restless idealism on one hand and a sense of impending doom on the other - that kept me going.

What's important about an actor is his acting, not his life.

Result of self-consciousness: audience and actor are the same. I live my life as a spectacle for myself, for my own edification. I live my life but I don't live in it. The hoarding instinct in human relations.

You know, fame is a funny thing, man, especially, you know, actors, musicians, rappers, rock singers, it's kind of a lifestyle and it's easy to get caught up in it - you go to bars, you go to clubs, everyone's doing a certain thing... It's tough.

Now what else is the whole life of mortals, but a sort of comedy in which the various actors, disguised by various costumes and masks, walk on and play each ones part until the manager walks them off the stage?

How can people decide who they want to spend the rest of their life with at this age? I can’t even decide what to have for dinner! I can’t decide if I want to be an actor, even though I’ve already got 35,000 dollars in student loans telling me I sure as hell better want to be an actor.

You must become the producer, director and actor in the unfolding story of your life.

Even I don’t know myself... In fact, I don’t know if I really have a self at all, as I’m constantly playing different roles and pretending – not so much on stage as in real life...

Emotions don’t interfere in my acting, nor in my life.

All life is theatre,' he said. 'We are all actors, you and I, in a play which nobody wrote and which nobody will see. We have no audience but ourselves....

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.

Are we not all actors playing parts in another person's play?

He`s quite extraordinary with his moves and spins. I think he was a baton girl in a past life [on his co-star Hayden Christensen].

There is a theory that watching unbearable stories about other people lost in grief and rage is good for you—may cleanse you of your darkness. Do you want to go down to the pits of yourself all alone? Not much. What if an actor could do it for you? Isn’t that why they are called actors? They act for you. You sacrifice them to action. And this sacrifice is a mode of deepest intimacy of you with your own life. Within it you watch [yourself] act out the present or possible organization of your nature. You can be aware of your own awareness of this nature as you never are at the moment of experience. The actor, by reiterating you, sacrifices a moment of his own life in order to give you a story of yours.

I don’t discount a magical hand of fate. I am an actor, after all, and a Shakespearian, no less. But it can’t be the ruling force of your life. You have to be the driver.

Without writers, stories would not be written, Without actors, stories could not be brought to life.

In all aspects of life, we take on a part and an appearance to seem to be what we wish to be--and thus the world is merely composed of actors.

On his early decision to become an actor: "I was very small, about 3 or 4 I think, and just wanted to be the people on telly telling these wonderful stories. Obviously the idea grew and matured with me but I can't ever remember wanting to do anything else. I've just sort of taken it for granted all my life that that was what I would do.

Create your world around your work. Create your work around your life. Let other people help you shape it.

Nobody is the author or producer of his own life story ... somebody began it and is its subject in the twofold sense, namely, its actor and sufferer ... but nobody is the author ...

Because the world is so corrupted, misspoken, unstable, exaggerated and unfair, one should trust only what one can experience with one's own senses, and THIS makes the senses stronger in Italy than anywhere in Europe. This is why, Barzini says, Italians will tolerate hideously incompetent generals, presidents, tyrants, professors, bureaucrats, journalists and captain of industry, but will never tolerate incompetent opera singers, conductors, ballerinas, courtesans, actors, film directors, cooks, tailors... In a world of disorder and disaster and fraud, sometimes only beauty can be trusted. Only artistic excellence is incorruptible. Pleasure cannot be bargained down. And sometimes the meal is the only currency that is real.

We think our actions express our decisions. But in nearly all of our life, willing decides nothing. We cannot wake up or fall asleep, remember or forget our dreams, summon or banish our thoughts, by deciding to do so. When we greet someone on the street we just act, and there is no actor standing behind what we do. Our acts are end points in long sequences of unconscious responses. They arise from a structure of habits and skills that is almost infinitely complicated. Most of our life in enacted without conscious awareness. Nor can it be made conscious. No degree of self-awareness can make us self-transparent.

In Hollywood, we're always looking for the next big thing that will help us feel fulfilled. As actors, we're always trying to be someone else. Things like therapy help us learn how to be ourselves. Sometimes.

It's only just beginning to occur to me that it's important to have something going on somewhere, at work or at home, otherwise you're just clinging on. [...] You need as much ballast as possible to stop you floating away; you need people around you, things going on, otherwise life is like some film where the money ran out, and there are no sets, or locations, or supporting actors, and it's just one guy on his own staring into the camera with nothing to do and nobody to speak to, and who'd believe in this character then? I've got to get more stuff, more clutter, more detail in here, because at the moment I'm in danger of falling off the edge.

The prospects were depressing: Adulthood meant that I'd have to stop having fun and do something I didn't really want to do for the rest of my life – which was apparently a considerable chunk of time.

Many of us go through life feeling as an actor might feel who does not like his part and does not believe in the play.

One's life is an act with no actor, and thus it has always been recognized that the insane man that has lost his mind is a parody of the sage who has transcended his ego. If one is paranoid, the other is metanoid.

Everyone at every minute of his life must feel something. Only the dead have no sensations.

The actor's life offers, on a daily basis, the simulacrum of love; a mask can be satisfied, or at least consoled, by the echo of what it seeks.

I started watching golf for the first time yesterday. I`m really worried about myself. I was actually enjoying it.

Any time an opportunity scares you that much, you should seriously consider saying yes.

Life is an act and we are all actors in the arena of life. We all do act each day from dawn to dusk. Some act well but some act to cover their acts

There are five stages in the life of an actor: Who's Mary Astor? Get me Mary Astor. Get me a Mary Astor Type. Get me a young Mary Astor. Who's Mary Astor?

My life had turned into a Raymond Chandler detective story and there seemed to be nothing I could do to stop its precipitous slide.

What was your first job title? Waiter. It was at a showy opera festival in a barn in Oxfordshire. I did it for a whole summer and people would be so extraordinarily rude that it made me decide that I would never be rude in my life, specifically to people who were kind enough to serve things.

We are all actors, set on the stage of the world, as the curtains open we put on our best performance to this audience of life.

Did this happen to all actors, this blurring of borders between performance and life?

We live everything as it comes, without warning, like an actor going on cold. And what can life be worth if the first rehearsal for life is life itself?

I believe you need to be educated on what you want to do in life, but I don't believe you necessarily need collage to get there.

The best place for this kind of training is Holland where people, convinced of their utter innocence, do not use curtains. After dusk the windows turn into little stages on which actors act out their evenings. Sequences of images bathed in yellow, warm light are the individual acts of the same production entitled 'Life'. Dutch painting. Moving lives.

...Speaking of, I've been playing with the letters - Lovers In a Very Enlightened Regard." "LIVER. Good one." "Also, how about Life Invasion Via Exceptional Respect?" "Life Invasion. Like it." "Or Lovelike Intensity Via Emotional Rapport." "Doesn't that spell OLIVER?

That is why it has been repeatedly noticed that the human life is a theatre where the mask show takes place, and we are merely the actors of that show, having entirely identified ourselves with the masks and fooling not only others, but first of all ourselves.

People are incredibly rude about it sometimes. Like, `What? You`re married?` Strange reaction to have. Proves what people`s ideas about marriage are. `We`re having a baby.` `What?` As if it`s the end of the world. Of course, it`s the start of a brilliant world.

You need as much ballast as possible to stop you from floating away; you need people around you, things going on, otherwise life is like some film where the money ran out, and there are no sets, or locations, or supporting actors, and it's just one bloke on his own staring into the camera with nothing to do and nobody to speak to, and who'd believe in this character then?

The young man, who does not know the future, sees life as a kind of epic adventure, an Odyssey through strange seas and unknown islands, where he will test and prove his powers, and thereby discover his immortality. The man of middle years, who has lived the future that he onced dreamed, sees life as a tragedy; for he has learned that his power, however great, will not prevail against those forces of accident and nature to which he gives the names of gods, and has learned that he is mortal. But the man of age, if he plays his assigned role properly, must see life as a comedy. For his triumphs and his failures merge, and one is no more the occasion for pride or shame than the other; and he is neither the hero who proves himself against those forces, nor the protagonist who is destroyed by them. Like any poor, pitiable shell of an actor, he comes to see that he has played so many parts that there no longer is himself.

I was never educated to be an actor. I went to a regular college. It was a great thing for me because I feel that the main thing to get out of college is a thirst for knowledge. College should teach you how to be curious. Most people think that college is the end of education, but it isn't. The ceremony of giving you the diploma is called commencement. And that means you are fit to commence learning because you have learned how to learn.

Throughout the entire history of philosophy, philosophers have sought to discover what man is - or what human nature is. But Sartre believed that man has no such eternal nature to fall back on. It is therefore useless to search for the meaning of life in general. We are condemned to improvise. We are like actors dragged onto the stage without having learned our lines, with no script and no prompter to whisper stage directions to us. We must decide for ourselves how to live.

I offer you a second way of approaching the moment where everything in your life just stops, this one from the actor Robert Duvall: "I exist very nicely between the words 'action' and 'cut.'" And even a third way: "It doesn't present as pain," I once heard an oncological surgeon say of cancer.

I feel I have walked onto a stage. The people around me are absorbed in their parts, putting on this great show, but nothing seems real. Every object looks like a prop. Since I have no part I am reduced to the role of a spectator, but there is nowhere to sit, so I have to mingle with the actors on stage. It is a terrible feeling.

Actors, painters, dancers, comedians, even just ordinary people doing ordinary things, what are they without an audience of some sort? See, that's what I do. I am the audience. I am the witness, I am the great appreciator that's what I do and that's all I want to do. I worked for a lot of years. I did a lot of things for a lot of years. Now, here I am in the rocking chair, and I don't mind it, Lucille. I don't feel useless. I feel lucky.

We may seem to forget a person, a place, a state of being, a past life, but meanwhile what we are doing is selecting new actors, seeking the closest reproduction to the friend, the lover, the husband we are trying to forget, in order to re-enact the drama with understudies. And one day we open our eyes and there we are, repeating the same story. How could it be otherwise? The design comes from within us. It is internal. It is what the old mystics described as karma, repeated until the spiritual or emotional experience was understood, liquidated, achieved.

Strange, how such a small realization can affect everyone's life forever. In movies there is always a carefully staged moment - a big crescendo of music, close- ups of the actors' faces, the camera slowly pulling away to let all this sink in for the viewer...but, in real life, most all of the extraordinary things happen with no more loudness than a whisper.

There is no such thing as a good influence, Mr. Gray. All influence is immoral - immoral from the scientific point of view.' 'Why?' 'Because to influence a person is to give him one's own soul. He does not think his natural thoughts, or burn with his natural passions. His virtues are not real to him. His sins, if there are such things as sins, are borrowed. He becomes an echo of someone else's music, an actor of a part that has not been written for him. The aim of life is self-development. To realize one's nature perfectly - that is what each of us is here ofr. People are afraid of themselves, nowadays. They have forgotten the highest of all duties, the duty that one owes to one's self. Of course they are charitable. They feed the hungry, and clothe the beggar. But their own souls starve, and are naked. Courage has gone out of our race. Perhaps we never had it. The terror of society, which is the basis of morals, the terror of God, which is the secret of religion - these are the two things that govern us. And yet [...] I believe that if one man were to live out his life fully and completely, were to give form to every feeling, expression to every thought, reality to every dream - I believe that the world would gain such a fresh impulse of joy that we would forget all maladies of medievalism, and return to the Hellenic ideal - to something finer, richer, than the Hellenic ideal, it may be. [...] We are punished for our refusals. Every impulse that we strive to strangle broods in the mind, and poisons us. ... The only way to get rid of a temptation is to yield to it. Resist it, and your soul grows sick with longing for the things it has forbidden to itself, with desire for what its monstrous laws have made monstrous and unlawful.

Grief and rage--you need to contain that, to put a frame around it, where it can play itself out without you or your kin having to die. There is a theory that watching unbearable stories about other people lost in grief and rage is good for you--may cleanse you of your darkness. Do you want to go down to the pits of yourself all alone? Not much. What if an actor could do it for you? Isn't that why they are called actors? They act for you. You sacrifice them to action. And this sacrifice is a mode of deepest intimacy of you with your own life. Within it you watch [yourself] act out the present or possible organization of your nature. You can be aware of your own awareness of this nature as you never are at the moment of experience. The actor, by reiterating you, sacrifices a moment of his own life in order to give you a story of yours.

His overriding life necessity was not love, it was his profession…He had come to medicine not by coincidence or calculation but by a deep inner desire. Insofar as it is possible to divide people into categories, the surest criterion is the deep-seated desires that orient them to one or another lifelong activity. Every Frenchman is different. But all the actors the world over are similar.

In our every cell, furled at the nucleus, there is a ribbon two yards long and just ten atoms wide. Over a hundred million miles of DNA in very human individual, enough to wrap five million times around our world and make the Midgard serpent blush for shame, make even the Ourobouros worm swallow hard in disbelief. This snake-god, nucleotide, twice twisted, scaled in adenine and cytosine, in thymine and in guanine, is a one-man show, will be the actors, props and setting, be the apple and the garden both. The player bides his time, awaits his entrance to a drum-roll of igniting binaries. This is the only dance in town, this anaconda tango, this slow spiral up through time from witless dirt to paramecium, from blind mechanic organism to awareness. There, below the birthing stars, Life sways and improvises. Every poignant gesture drips with slapstick; pathos; an unbearably affecting bravery. To dare this stage, this huge and overwhelming venue. Squinting through the stellar footlights, hoping there's an audience, that there's someone out there, but dancing anyway. But dancing anyway.

Thought and language are to the artist instruments of an art. Vice and virtue are the artist’s materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feelings, the actor’s craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectators, and not life, that art really mirrors.

The audience had run to beards and magenta shirts and original ways of arranging its neckwear; and not content with the ravages produced in its over-excitable nervous system by the remorseless workings of its critical intelligence, it had sat through a film of Japanese life called 'Yes,' made by a Norwegian film company in 1915 with Japanese actors, which lasted an hour and three-quarters and contained twelve close-ups of water-lilies lying perfectly still on a scummy pond and four suicides, all done extremely slowly.

He had read much of things as they are, and talked with too many people. Well-meaning philosophers had taught him to look into the logical relations of things, and analyse the processes which shaped his thoughts and fancies. Wonder had gone away, and he had forgotten that all life is only a set of pictures in the brain, among which there is no difference betwixt those born of real things and those born of inward dreamings, and no cause to value the one above the other. Custom had dinned into his ears a superstitious reverence for that which tangibly and physically exists, and had made him secretly ashamed to dwell in visions. Wise men told him his simple fancies were inane and childish, and even more absurd because their actors persist in fancying them full of meaning and purpose as the blind cosmos grinds aimlessly on from nothing to something and from something back to nothing again, neither heeding nor knowing the wishes or existence of the minds that flicker for a second now and then in the darkness

Here is to all the brilliant minds that love deeply, for they write the stories that make us dream of true love. Here is to all the visionaries that create a miracle when others give up hope. Here is to all the artists, musicians, actors, singers, songwriters, dancers, screenwriters, philosophers, inventors and poetic hearts that create a perspective of heaven we can experience in this lifetime. But most of all, here is to the wild souls that the world calls broken, insane, abnormal, weird or different because they are the ones that renew our faith, by what they overcome and create, in a world that needs a sign that God doesn’t forget the least of us.

I was never idle long enough to do much thinking, but I felt somehow that my instincts were right. I shared a vagrant optimism that some of us were making real progress, that we had taken an honest road, and that the best of us would inevitably make it over the top. I shared a dark suspicion that the life we were leading was a lost cause, that we were all actors, kidding ourselves along on a senseless journey. It was the tension between these two poles--a restless idealism on one hand and a sense of impending doom on the other--that kept me going.

Thinking and talking about love leads to Love, which is the enemy. Do not consort with the enemy. Even if those hot-ass actors in the movies make it look cuddly and nice and tempting, don’t fall for it. It’s the biggest bad in the world, the worst villain ever created by hormone-pumped pubescent morons. It’s the Joker, Lex Luthor, that one overweight guy who’s always messing with the Scooby-Doo gang. It’s the final boss in the massive joke of a video game you call your life.

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.

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.

In order to deceive others, it is necessary also to deceive oneself. The actor playing Hamlet must indeed believe that he is the Prince of Denmark, though when he leaves the stage he will usually remember who he really is. On the other hand, when someone's entire life is based on pretense, they will seldom if ever return to reality. That is the secret of successful politicians, evangelists and confidence tricksters—they believe that they are telling the truth, even when they know that they have faked the evidence. Sincerity, my dear Julia, is a quality not to be trusted.

We are not consumers. For most of humanity’s existence, we were makers, not consumers: we made our clothes, shelter, and education, we hunted and gathered our food. We are not addicts. “I propose that most addictions come from our surrendering our real powers, that is, our powers of creativity.” We are not passive couch potatoes either. “It is not the essence of humans to be passive. We are players. We are actors on many stages…. We are curious, we are yearning to wonder, we are longing to be amazed… to be excited, to be enthusiastic, to be expressive. In short to be alive.” We are also not cogs in a machine. To be so would be to give up our personal freedoms so as to not upset The Machine, whatever that machine is. Creativity keeps us creating the life we wish to live and advancing humanity’s purpose as well.

With its passive and unobtrusive despotism, the camera governed the smallest spaces of our lives. Even in the privacy of our own homes we had all been recruited to play our parts in what were little more than real-life commercials. As we cooked in our kitchens we were careful to follow the manufacturer's instructions, as we made love in our bedrooms we embraced within a familiar repertoire of gestures and affections. The medium of film had turned us all into minor actors in an endlessly running daytime serial. In the future, airliners would crash and presidents would be assassinated within agreed conventions as formalised as the coronation of a tsar.

I bring you the dance. I bring you the idea that is going to revolutionise our entire epoch. Where have I discovered it? By the Pacific Ocean, but the waving pine-forests of Sierra Nevada. I have seen the ideal figure of youthful American dancing over the top of the Rockies. The supreme poet of our country is Walt Whitman. I have discovered the dance that is worthy of the poem of Walt Whitman. I am indeed the spiritual daughter of Walt Whitman. For the children of America I will create a new dance that will express America. I bring to your theatre the vital soul that it lacks, the soul of the dancer. For you know...that the birth of the theatre was the dance, that the first actor was the dancer. He danced and sang. That was the birth of the tragedy, and until the dancer in all his spontaneous great art returns to the theatre, your theatre will not live in its true expression!

Authenticity is closely related to the voice. The word personality has two different meanings. It is derived from the persona, a mask Greek actors wore to dramatize more clearly the role they were playing. On the other hand, the word persona means “by sound,” per sona. The authentic person can be recognized behind the mask by the sound of his voice. The voice is a major avenue of self-expression, and its quality reflects the richness and resonance of the inner being. When one's voice is limited because of neck and throat tensions, one's self-expression is restricted and one's being is reduced.

The biggest spur to my interest in art came when I played van Gogh in the biographical film Lust For Life. The role affected me deeply. I was haunted by this talented genius who took his own life, thinking he was a failure. How terrible to paint pictures and feel that no one wants them. How awful it would be to write music that no one wants to hear. Books that no one wants to read. And how would you like to be an actor with no part to play, and no audience to watch you. Poor Vincent—he wrestled with his soul in the wheat field of Auvers-sur-Oise, stacks of his unsold paintings collecting dust in his brother's house. It was all too much for him, and he pulled the trigger and ended it all. My heart ached for van Gogh the afternoon that I played that scene. As I write this, I look up at a poster of his "Irises"—a poster from the Getty Museum. It's a beautiful piece of art with one white iris sticking up among a field of blue ones. They paid a fortune for it, reportedly $53 million. And poor Vincent, in his lifetime, sold only one painting for 400 francs or $80 dollars today. This is what stimulated my interest in buying works of art from living artists. I want them to know while they are alive that I enjoy their paintings hanging on my walls, or their sculptures decorating my garden

William Shakespeare (baptised 26 April 1564 – died 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia

Charles's conversation was commonplace as a street pavement, and everyone's ideas trooped through it in their everyday garb, without exciting emotion, laughter, or thought. He had never had the curiosity, he said, while he lived at Rouen, to go to the theatre to see the actors from Paris. He could neither swim, nor fence, nor shoot, and one day he could not explain some term of horsemanship to her that she had come across in a novel. A man, on the contrary, should he not know everything, excel in manifold activities, initiate you into the energies of passion, the refinements of life, all mysteries? But this one taught nothing, knew nothing, wished nothing. He thought her happy; and she resented this easy calm, this serene heaviness, the very happiness she gave him.

All the world’s a stage, but actors aren’t the only ones who play roles. Even when you’re not following a script, you might as well be. You don’t behave the same way in front of everyone. You know what makes your friends laugh, and what makes your parents proud, and what makes your teachers respect you - and you have a different persona for each of them. Given all these performances … how do you ever know who you really are? Well, you have to find that rare someone for whom you’re not putting on a show. Someone who shines a spotlight in your direction - not because you’re who they need you to be, or who they want you to be … just because you’re you.

There is no such thing as a good influence, Mr. Gray. All influence is immoral—immoral from the scientific point of view." "Why?" "Because to influence a person is to give him one's own soul. He does not think his natural thoughts, or burn with his natural passions. His virtues are not real to him. His sins, if there are such things as sins, are borrowed. He becomes an echo of some one else's music, an actor of a part that has not been written for him. The aim of life is self-development. To realize one's nature perfectly—that is what each of us is here for. People are afraid of themselves, nowadays. They have forgotten the highest of all duties, the duty hat one owes to one's self. Of course, they are charitable. They feed the hungry and clothe the beggar. But their own souls starve, and are naked. Courage has gone out of our race. Perhaps we never really had it. The terror of society, which is the basis of morals, the terror of God, which is the secret of religion—these are the two things that govern us. And yet, I believe that if one man were to live out his life fully and completely, were to give form to every feeling, expression to every thought, reality to every dream—I believe that the world would gain such a fresh impulse of joy that we would forget all the maladies of mediaevalism, and return to the Hellenic ideal—to something finer, richer than the Hellenic ideal, it may be. But the bravest man amongst us is afraid of himself

I don’t have any regrets,” a famous movie actor said in an interview I recently witnessed. “I’d live everything over exactly the same way.” “That’s really pathetic,” the talk show host said. “Are you seeking help?” “Yeah. My shrink says we’re making progress. Before, I wouldn’t even admit that I would live it all over,” the actor said, starting to choke up. “I thought one life was satisfying enough.” “My God,” the host said, cupping his hand to his mouth. “The first breakthrough was when I said I would live it over, but only in my dreams. Nocturnal recurrence.” “You’re like the character in that one movie of yours. What’s it called? You know, the one where you eat yourself.” “The Silence of Sam.” “That’s it. Can you do the scene?” The actor lifts up his foot to stick it in his mouth. I reach over from my seat and help him to fit it into his bulging cheeks. The audience goes wild.

Within sixty-minute limits or one-hundred-yard limits or the limits of a game board, we can look for perfect moments or perfect structures. In my fiction I think this search sometimes turns out to be a cruel delusion. No optimism, no pessimism. No homesickness for lost values or for the way fiction used to be written. Everybody seems to know everything. Subjects surface and are totally exhausted in a matter of days or weeks, totally played out by the publishing industry and the broadcast industry. Nothing is too arcane to escape the treatment, the process. Making things difficult for the reader is less an attack on the reader than it is on the age and its facile knowledge-market. The writer is the person who stands outside society, independent of affiliation and independent of influence. The writer is the man or woman who automatically takes a stance against his or her government. There are so many temptations for American writers to become part of the system and part of the structure that now, more than ever, we have to resist. American writers ought to stand and live in the margins, and be more dangerous. Writers in repressive societies are considered dangerous. That’s why so many of them are in jail. Some people prefer to believe in conspiracy because they are made anxious by random acts. Believing in conspiracy is almost comforting because, in a sense, a conspiracy is a story we tell each other to ward off the dread of chaotic and random acts. Conspiracy offers coherence. I see contemporary violence as a kind of sardonic response to the promise of consumer fulfillment in America... I see this desperation against the backdrop of brightly colored packages and products and consumer happiness and every promise that American life makes day by day and minute by minute everywhere we go. Discarded pages mark the physical dimensions of a writer’s labor. Film allows us to examine ourselves in ways earlier societies could not—examine ourselves, imitate ourselves, extend ourselves, reshape our reality. It permeates our lives, this double vision, and also detaches us, turns some of us into actors doing walk-throughs. Every new novel stretches the term of the contract—let me live long enough to do one more book. You become a serious novelist by living long enough.

There should be a Stage IV of black identity—Unmitigated Blackness. I’m not sure what Unmitigated Blackness is, but whatever it is, it doesn’t sell. On the surface Unmitigated Blackness is a seeming unwillingness to succeed. It’s Donald Goines, Chester Himes, Abbey Lincoln, Marcus Garvey, Alfre Woodard, and the serious black actor. It’s Tiparillos, chitterlings, and a night in jail. It’s the crossover dribble and wearing house shoes outside. It’s “whereas” and “things of that nature.” It’s our beautiful hands and our fucked-up feet. Unmitigated Blackness is simply not giving a fuck. Clarence Cooper, Charlie Parker, Richard Pryor, Maya Deren, Sun Ra, Mizoguchi, Frida Kahlo, black-and-white Godard, Céline, Gong Li, David Hammons, Björk, and the Wu-Tang Clan in any of their hooded permutations. Unmitigated Blackness is essays passing for fiction. It’s the realization that there are no absolutes, except when there are. It’s the acceptance of contradiction not being a sin and a crime but a human frailty like split ends and libertarianism. Unmitigated Blackness is coming to the realization that as fucked up and meaningless as it all is, sometimes it’s the nihilism that makes life worth living. Sitting

The basic recurring theme in Hindu mythology is the creation of the world by the self-sacrifice of God—"sacrifice" in the original sense of "making sacred"—whereby God becomes the world which, in the end, becomes again God. This creative activity of the Divine is called lila, the play of God, and the world is seen as the stage of the divine play. Like most of Hindu mythology, the myth of lila has a strong magical flavour. Brahman is the great magician who transforms himself into the world and then performs this feat with his "magic creative power", which is the original meaning of maya in the Rig Veda. The word maya—one of the most important terms in Indian philosophy—has changed its meaning over the centuries. From the might, or power, of the divine actor and magician, it came to signify the psychological state of anybody under the spell of the magic play. As long as we confuse the myriad forms of the divine lila with reality, without perceiving the unity of Brahman underlying all these forms, we are under the spell of maya. (...) In the Hindu view of nature, then, all forms are relative, fluid and ever-changing maya, conjured up by the great magician of the divine play. The world of maya changes continuously, because the divine lila is a rhythmic, dynamic play. The dynamic force of the play is karma, important concept of Indian thought. Karma means "action". It is the active principle of the play, the total universe in action, where everything is dynamically connected with everything else. In the words of the Gita Karma is the force of creation, wherefrom all things have their life.

The other one, the one called Borges, is the one things happen to. I walk through the streets of Buenos Aires and stop for a moment, perhaps mechanically now, to look at the arch of an entrance hall and the grillwork on the gate. I know of Borges from the mail and see his name on a list of professors or in a biographical dictionary. I like hourglasses, maps, eighteenth-century typography, the taste of coffee and the prose of Stevenson; he shares these preferences, but in a vain way that turns them into the attributes of an actor. It would be an exaggeration to say that ours is a hostile relationship. I live, let myself go on living, so that Borges may contrive his literature, and this literature justifies me. It is no effort for me to confess that he has achieved some valid pages, but those pages cannot save me, perhaps because what is good belongs to no one, not even to him, but rather to the language and to tradition. Besides I am destined to perish, definitively, and only some instant of myself can survive in him. Little by little, I am giving over everything to him, though I am quite aware of his perverse custom of falsifying and magnifying things. Spinoza knew that all things long to persist in their being; the stone eternally wants to be a stone, and the tiger a tiger. I shall remain in Borges, not in myself (if it is true that I am someone), but I recognize myself less in his books than in many others or in the laborious strumming of a guitar. Years ago I tried to free myself from him and went from the mythologies of the suburbs to the games with time and infinity, but those games belong to Borges now and I shall have to imagine other things. Thus my life is a flight and I lose everything and everything belongs to oblivion, or to him. I do not know which of us has written this page.

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.

Glossa Time goes by, time comes along, All is old and all is new; What is right and what is wrong, You must think and ask of you; Have no hope and have no fear, Waves that rise can never hold; If they urge or if they cheer, You remain aloof and cold. To our sight a lot will glisten, Many sounds will reach our ear; Who could take the time to listen And remember all we hear? Keep aside from all that patter, Seek yourself, far from the throng When with loud and idle clatter Time goes by, time comes along. Nor forget the tongue of reason Or its even scales depress When the moment, changing season, Wears the mask of happiness - It is born of reason's slumber And may last a wink as true: For the one who knows its number All is old and all is new. Be as to a play, spectator, As the world unfolds before: You will know the heart of matter Should they act two parts or four; When they cry or tear asunder From your seat enjoy along And you'll learn from art to wonder What is right and what is wrong. Past and future, ever blending, Are the twin sides of same page: New start will begin with ending When you know to learn from age; All that was or be tomorrow We have in the present, too; But what's vain and futile sorrow You must think and ask of you; For the living cannot sever From the means we've always had: Now, as years ago, and ever, Men are happy or are sad: Other masks, same play repeated; Diff'rent tongues, same words to hear; Of your dreams so often cheated, Have no hope and have no fear. Hope not when the villains cluster By success and glory drawn: Fools with perfect lack of luster Will outshine Hyperion! Fear it not, they'll push each other To reach higher in the fold, Do not side with them as brother, Waves that rise can never hold. Sounds of siren songs call steady Toward golden nets, astray; Life attracts you into eddies To change actors in the play; Steal aside from crowd and bustle, Do not look, seem not to hear From your path, away from hustle, If they urge or if they cheer; If they reach for you, go faster, Hold your tongue when slanders yell; Your advice they cannot master, Don't you know their measure well? Let them talk and let them chatter, Let all go past, young and old; Unattached to man or matter, You remain aloof and cold. You remain aloof and cold If they urge or if they cheer; Waves that rise can never hold, Have no hope and have no fear; You must think and ask of you What is right and what is wrong; All is old and all is new, Time goes by, time comes along.

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 artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless. OSCAR WILDE

At its most elemental level the human organism, like crawling life, has a mouth, digestive tract, and anus, a skin to keep it intact, and appendages with which to acquire food. Existence, for all organismic life, is a constant struggle to feed-a struggle to incorporate whatever other organisms they can fit into their mouths and press down their gullets without choking. Seen in these stark terms, life on this planet is a gory spectacle, a science-fiction nightmare in which digestive tracts fitted with teeth at one end are tearing away at whatever flesh they can reach, and at the other end are piling up the fuming waste excrement as they move along in search of more flesh. I think this is why the epoch of the dinosaurs exerts such a strange fascination on us: it is an epic food orgy with king-size actors who convey unmistakably what organisms are dedicated to. Sensitive souls have reacted with shock to the elemental drama of life on this planet, and one of the reasons that Darwin so shocked his time-and still bothers ours-is that he showed this bone crushing, blood-drinking drama in all its elementality and necessity: Life cannot go on without the mutual devouring of organisms. If at the end of each person’s life he were to be presented with the living spectacle of all that he had organismically incorporated in order to stay alive, he might well feel horrified by the living energy he had ingested. The horizon of a gourmet, or even the average person, would be taken up with hundreds of chickens, flocks of lambs and sheep, a small herd of steers, sties full of pigs, and rivers of fish. The din alone would be deafening. To paraphrase Elias Canetti, each organism raises its head over a field of corpses, smiles into the sun, and declares life good.

Fear, hydra-headed fear, which is rampant in all of us, is a hang-over from lower forms of life. We are straddling two worlds, the one from which we have emerged and the one towards which we are heading. This is the deepest meaning of the word human, that we are a link, a bridge, a promise. It is in us that the life process is being carried to fulfillment. We have a tremendous responsibility, and it is the gravity of that which awakens our fears. We know that if we do not move forward, if we do not realize our potential being, we shall relapse, sputter out, and drag the world down with us. We carry Heaven and Hell within us; we are the cosmogonic builders. We have choice—and all creation is our range. For some it a terrifying prospect. It would be better, think they, if Heaven were above and Hell below—anywhere outside, but not within. But that comfort has been knocked from under us. There are no places to go to, either for reward or punishment. The place is always here and now, in your own person and according to your own fancy. The world is exactly what you picture it to be, always, every instant. It is impossible to shift the scenery about and pretend that you will enjoy another, a different act. The setting is permanent, changing with the mind and heart, not according to the dictates of an invisible stage director. You are the author, director and actor all in one: the drama is always going to be your own life, not some one else’s. A beautiful, terrible, ineluctable drama, like a suit made of your own skin. Would you want it otherwise? Could you invent a better drama?

Because this painting has never been restored there is a heightened poignance to it somehow; it doesn’t have the feeling of unassailable permanence that paintings in museums do. There is a small crack in the lower left, and a little of the priming between the wooden panel and the oil emulsions of paint has been bared. A bit of abrasion shows, at the rim of a bowl of berries, evidence of time’s power even over this—which, paradoxically, only seems to increase its poetry, its deep resonance. If you could see the notes of a cello, when the bow draws slowly and deeply across its strings, and those resonant reverberations which of all instruments’ are nearest to the sound of the human voice emerge—no, the wrong verb, they seem to come into being all at once, to surround us, suddenly, with presence—if that were made visible, that would be the poetry of Osias Beert. But the still life resides in absolute silence. Portraits often seem pregnant with speech, or as if their subjects have just finished saying something, or will soon speak the thoughts that inform their faces, the thoughts we’re invited to read. Landscapes are full of presences, visible or unseen; soon nymphs or a stag or a band of hikers will make themselves heard. But no word will ever be spoken here, among the flowers and snails, the solid and dependable apples, this heap of rumpled books, this pewter plate on which a few opened oysters lie, giving up their silver. These are resolutely still, immutable, poised for a forward movement that will never occur. The brink upon which still life rests is the brink of time, the edge of something about to happen. Everything that we know crosses this lip, over and over, like water over the edge of a fall, as what might happen does, as any of the endless variations of what might come true does so, and things fall into being, tumble through the progression of existing in time. Painting creates silence. You could examine the objects themselves, the actors in a Dutch still life—this knobbed beaker, this pewter salver, this knife—and, lovely as all antique utilitarian objects are, they are not, would not be, poised on the edge these same things inhabit when they are represented. These things exist—if indeed they are still around at all—in time. It is the act of painting them that makes them perennially poised, an emergent truth about to be articulated, a word waiting to be spoken. Single word that has been forming all these years in the light on the knife’s pearl handle, in the drops of moisture on nearly translucent grapes: At the end of time, will that word be said?

And then there was the sad sign that a young woman working at a Tim Hortons in Lethbridge, Alberta, taped to the drive-through window in 2007. It read, “No Drunk Natives.” Accusations of racism erupted, Tim Hortons assured everyone that their coffee shops were not centres for bigotry, but what was most interesting was the public response. For as many people who called in to radio shows or wrote letters to the Lethbridge Herald to voice their outrage over the sign, there were almost as many who expressed their support for the sentiment. The young woman who posted the sign said it had just been a joke. Now, I’ll be the first to say that drunks are a problem. But I lived in Lethbridge for ten years, and I can tell you with as much neutrality as I can muster that there were many more White drunks stumbling out of the bars on Friday and Saturday nights than there were Native drunks. It’s just that in North America, White drunks tend to be invisible, whereas people of colour who drink to excess are not. Actually, White drunks are not just invisible, they can also be amusing. Remember how much fun it was to watch Dean Martin, Red Skelton, W. C. Fields, John Wayne, John Barrymore, Ernie Kovacs, James Stewart, and Marilyn Monroe play drunks on the screen and sometimes in real life? Or Jodie Marsh, Paris Hilton, Cheryl Tweedy, Britney Spears, and the late Anna Nicole Smith, just to mention a few from my daughter’s generation. And let’s not forget some of our politicians and persons of power who control the fates of nations: Winston Churchill, John A. Macdonald, Boris Yeltsin, George Bush, Daniel Patrick Moynihan. Hard drinkers, every one. The somewhat uncomfortable point I’m making is that we don’t seem to mind our White drunks. They’re no big deal so long as they’re not driving. But if they are driving drunk, as have Canada’s coffee king Tim Horton, the ex-premier of Alberta Ralph Klein, actors Kiefer Sutherland and Mel Gibson, Super Bowl star Lawyer Milloy, or the Toronto Maple Leafs’ Mark Bell, we just hope that they don’t hurt themselves. Or others. More to the point, they get to make their mistakes as individuals and not as representatives of an entire race.