Begins Youth Drama Quotes

I will write in words of fire. I will write them on your skin. I will write about desire. Write beginnings, write of sin. You’re the book I love the best, your skin only holds my truth, you will be a palimpsest lines of age rewriting youth. You will not burn upon the pyre. Or be buried on the shelf. You’re my letter to desire: And you’ll never read yourself. I will trace each word and comma As the final dusk descends, You’re my tale of dreams and drama, Let us find out how it ends.

Yet the upcoming year was going to be a new phase of my life. I would get to follow my big   brother to the big house. I had reached that golden age of six. Finally, I was going to experience the real deal. This was no appetizer, or tater tots, or French fries. This was the whole Ore-Ida. I would be amongst thechaos like all the neighborhood kids. Everyone that knew Jerry would get to know me, too. Since we were at Aunt Kathy’s, I had to curtail my exuberance. We had nothing like the freedom at mom’s shack. So, I did my best to remain out of sight. But those efforts were futile. School was just hours away. I really couldn’t contain myself without medication or God forbid, a good old-fashioned ass beating. Well, Aunt Kathy implored me to settle down. She kept issuing threat after threat with such statements, “Boy, do I needto beat the black off of you,” or “Gorilla will be your name when I’m finish!” Yes, I got the message but beating my butt wasn’t going to be enough. Heck, I had been waiting for three long, long years just to join Jerry. Anything short of a bullet wasn’t going to stop me.

Zenosyne. It's actually just after you're born that life flashes before your eyes. Entire aeons are lived in those first few months when you feel inseparable from the world itself, with nothing to do but watch it passing by. At first, time is only felt vicariously, as something that happens to other people. You get used to living in the moment, because there's nowhere else to go. But soon enough, life begins to move, and you learn to move with it. And you take it for granted that you're a different person every year, Upgraded with a different body...a different future. You run around so fast, the world around you seems to stand still. Until a summer vacation can stretch on for an eternity. You feel time moving forward, learning its rhythm, but now and then it skips a beat, as if your birthday arrives one day earlier every year. We should consider the idea that youth is not actually wasted on the young. That their dramas are no more grand than they should be. That their emotions make perfect sense, once you adjust for inflation. For someone going through adolescence, life feels epic and tragic simply because it is: every kink in your day could easily warp the arc of your story. Because each year is worth a little less than the last. And with each birthday we circle back, and cross the same point around the sun. We wish each other many happy returns. But soon you feel the circle begin to tighten, and you realize it's a spiral, and you're already halfway through. As more of your day repeats itself, you begin to cast off deadweight, and feel the steady pull toward your center of gravity, the ballast of memories you hold onto, until it all seems to move under its own inertia. So even when you sit still, it feels like you're running somewhere. And even if tomorrow you will run a little faster, and stretch your arms a little farther, you'll still feel the seconds slipping away as you drift around the bend. Life is short. And life is long. But not in that order.

The artist especially, in whom the power of imitation is particularly strong, must fall prey to the feeble manysidedness of modern life as to a serious childhood illness; in his youth and childhood he will look more like an adult than his real self. The marvellously accurate archetypal youth who is the Siegfried of the Ring des Nibelungen could have been produced only by a man, and by a man moreover who had found his own youth late in life. And as Wagner's youth came late, so did his full maturity; so that in this respect at least he is the opposite of an anticipatory nature. As soon as his spiritual and moral maturity arrives, the drama of his life also begins. And how different he looks now! Below there rages the precipitate current of a vehement will which as it were strives to reach up to the light through every runway, cave and crevice, and desires power. Only a force wholly pure and free could direct this will on to the pathway to the good and benevolent; had it been united with a narrow spirit, such an unbridled tyrannical will could have become a fatality and a way out into the open, into air and sunlight, was in any event bound to be found soon.

Remember, every relationship is an opportunity to either discover more of your individuality and expand as a human being or do the pretzel dance and twist yourself into a smaller version of you based on who you think your partner wants you to be. Despite what your mind tells you, your partner is attracted to the real you—the authentic you that he first met—not the twisted version you think he wants. When you commit to being yourself from the start and to communicating your truth no matter what, you’ll avoid virtually all the drama, angst, and anxiety of not knowing where things stand that many other women experience on a daily basis. Most women are afraid to be real because they mistakenly believe that they’re not enough as they are. This “I’m not enough” mind-set not only is inaccurate but also destroys your well-being and ability to have a loving and satisfying relationship. Being yourself and speaking your truth from the moment you meet is the secret to having relationships unfold naturally and authentically. It is also the key to maintaining your irresistibility. Be yourself. Communicate what works you and what doesn’t. Do it from day one and never stop. This is the most powerful step you can take at the beginning of any relationship to set it up for long-term success. Speaking of relationship success, don’t confuse relationship longevity with relationship success. Just because a relationship lasts for many years does not mean it’s a success. Many couples cling to a lifeless and miserable existence they call a relationship because they are too afraid to be alone or to face the uncertainty of the unknown. Living a life of quiet desperation devoid of true love, passion, and spiritual partnership is not my idea of success. Relationships, again, are life’s grandest opportunity for spiritual growth and evolution. They exist so that we may discover ourselves, awaken our hearts, and heal our barriers to love. Every relationship you’ve ever had, or you ever will have, is designed to bring you closer to your divinity and ability to experience and express the very best of who you are.

During [Erté]’s childhood St. Petersburg was an elegant centre of theatrical and artistic life. At the same time, under its cultivated sophistication, ominous rumbles could be distinguished. The reign of the tough Alexander III ended in 1894 and his more gentle successor Nicholas was to be the last of the Tsars … St. Petersburg was a very French city. The Franco-Russian Pact of 1892 consolidated military and cultural ties, and later brought Russia into the First World war. Two activities that deeply influenced [Erté], fashion and art, were particularly dominated by France. The brilliant couturier Paul Poiret, for whom Erté was later to work in Paris, visited the city to display his creations. Modern art from abroad, principally French, was beginning to be show in Russia in the early years of the century … In St. Petersburg there were three Imperial theatres―the Maryinsky, devoted to opera and ballet, the Alexandrinsky, with its lovely classical façade, performing Russian and foreign classical drama, and the Michaelovsky with a French repertoire and company … It is not surprising that an artistic youth in St. Petersburg in the first decade of this century should have seen his future in the theatre. The theatre, especially opera and ballet, attracted the leading young painters of the day, including Mikhail Vrubel, possibly the greatest Russian painter of the pre-modernistic period. The father of modern theatrical design in Russia was Alexandre Benois, an offspring of the brilliant foreign colony in the imperial capital. Before 1890 he formed a club of fellow-pupils who were called ‘The Nevsky Pickwickians’. They were joined by the young Jew, Leon Rosenberg, who later took the name of one of his grandparents, Bakst. Another member introduced his cousin to the group―Serge Diaghilev. From these origins emerged the Mir Iskustva (World of Art) society, the forerunner of the whole modern movement in Russia. Soon after its foundation in 1899 both Benois and Bakst produced their first work in the theatre, The infiltration of the members of Mir Iskustva into the Imperial theatre was due to the patronage of its director Prince Volkonsky who appointed Diaghilev as an assistant. But under Volkonsky’s successor Diagilev lost his job and was barred from further state employment. He then devoted his energies and genius to editing the Mir Iskustva magazine and to a series of exhibitions which introduced Russia to work of foreign artists … These culminated in the remarkable exhibition of Russian portraiture held at the Taurida Palace in 1905, and the Russian section at the salon d'Autumne in Paris the following year. This was the most comprehensive Russian exhibition ever held, from early icons to the young Larionov and Gontcharova. Diagilev’s ban from Russian theatrical life also led to a series of concerts in Paris in 1907, at which he introduced contemporary Russian composers, the production Boris Godunov the following year with Chaliapin and costumes and décor by Benois and Golovin, and then in 1909, on May 19, the first season of the ballet Russes at the Châtelet Theatre.