Drama Acting Quotes

Is that why you hate me?" I ask. "Partly," She admits. "Jealousy is certainly involved. I also think you're a little hard to swallow. With your tacky romantic drama and your defender-of-the-helpless act. Only it isn't an act, which makes you more unbearable. Please feel free to take this personally.

Usually adult males who are unable to make emotional connections with the women they choose to be intimate with are frozen in time, unable to allow themselves to love for fear that the loved one will abandon them. If the first woman they passionately loved, the mother, was not true to her bond of love, then how can they trust that their partner will be true to love. Often in their adult relationships these men act out again and again to test their partner's love. While the rejected adolescent boy imagines that he can no longer receive his mother's love because he is not worthy, as a grown man he may act out in ways that are unworthy and yet demand of the woman in his life that she offer him unconditional love. This testing does not heal the wound of the past, it merely reenacts it, for ultimately the woman will become weary of being tested and end the relationship, thus reenacting the abandonment. This drama confirms for many men that they cannot put their trust in love. They decide that it is better to put their faith in being powerful, in being dominant.

Whoever you are, bear in mind that appearance is not reality. Some people act like extroverts, but the effort costs them energy, authenticity, and even physical health. Others seem aloof or self-contained, but their inner landscapes are rich and full of drama. So the next time you see a person with a composed face and a soft voice, remember that inside her mind she might be solving an equation, composing a sonnet, designing a hat. She might, that is, be deploying the powers of quiet.

But before he could either comfort me or commit further acts of violence upon my person, I spun away from him and made my drama queen moment complete by running away.

The stage is a magic circle where only the most real things happen, a neutral territory outside the jurisdiction of Fate where stars may be crossed with impunity. A truer and more real place does not exist in all the universe.

In the language of an actor, to know is synonymous with to feel

Half my life is an act of revision.

I always am in a role, lovely – for you, for them – even for myself. Yeah... Even when I’m alone, I am still in a role – and I myself am the most exacting audience I have ever had.

Everybody acts out a myth, but very few people know what their myth is. And you should know what your myth is because it might be a tragedy and maybe you dont want it to be.

Theatres are curious places, magician's trick-boxes where the golden memories of dramtic triumphs linger like nostalgic ghosts, and where the unexplainable, the fantastic, the tragic, the comic and the absurd are routine occurences on and off the stage. Murders, mayhem, politcal intrigue, lucrative business, secret assignations, and of course, dinner.

It was all about the G.I.s overseas. As the war became more of a reality and blue stars on windows were turning to gold stars indicating a soldier’s death, the tensions at home were increasing. Giving what little they could for the war effort was often an act of desperation. Some people made pacts with God to bring their men home hoping beyond hope that it made a difference.

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

Avoid providing material for the drama that is always stretched tight between parents and children; it uses up much of the children’s strength and wastes the love of the elders, which acts and warms even if it doesn’t comprehend. Don’t ask for advice from them and don’t expect any understanding; but believe in a love that is being stored up for you like an inheritance, and have faith that in this love there is strength and blessing so large that you can travel as far as you wish without having to step outside it.

I made some mistakes in drama. I thought the drama was when actors cried. But drama is when the audience cries.

Eve cupped her ear at Claire. "I'm sorry, was that an apology? Because it didn't sound like one." "Don't push it." "I'm not, but you're acting like a drama princess." "Drama queen." "Hello, no. You need a lot more practice at door slamming, flouncing, and pouting before you can even pretend to deserve my throne, bitch. But you're coming along." Eve paused and fixed her with a long, serious look. "That wasn't a compliment, by the way. In case you were wondering.

Tea is an act complete in its simplicity. When I drink tea, there is only me and the tea. The rest of the world dissolves. There are no worries about the future. No dwelling on past mistakes. Tea is simple: loose-leaf tea, hot pure water, a cup. I inhale the scent, tiny delicate pieces of the tea floating above the cup. I drink the tea, the essence of the leaves becoming a part of me. I am informed by the tea, changed. This is the act of life, in one pure moment, and in this act the truth of the world suddenly becomes revealed: all the complexity, pain, drama of life is a pretense, invented in our minds for no good purpose. There is only the tea, and me, converging.

There are characters which are continually creating collisions and nodes for themselves in dramas which nobody is prepared to act with them. Their susceptibilities will clash against objects that remain innocently quiet.

I usually make it a point not to cry in front of people, especially hot boys that I'd been totally crushing on before they'd tried to choke me. But for some reason, hearing that there was yet another thing I didn't know just sent me right on over the edge. Archer,to his credit, didn't look exactly horrified by my sobbing, and he even reached out like he might grab hold of my shoulders.Or possibly smack me. But before he could either comfort me or commit further acts of violence upon my person,I spun away from him and made my drama queen moment complete by running away. It wasn't pretty.

And now insane men adrift in a world without order formed a line at the door.  They rendered unto her every evil act brought into this world by God.  They fell upon her with brutality that none of them at any other time would have thought possible.  There was once no scenario that would lead them to behave this way.  At any other time in their life there were no words or arguments that could convince them to treat a woman with such wanton disregard.  No one now asked, “What brought me to this?” Not one of them asked, “Who are these men?  How did we end up here, doing these things? Who am I now?

The best author is a dead author, because he's out of your way and you own the play. Take what he has given you and use it for what you need.

Looking back, it is also the smallest moments that seem to radiate the most pain. The moments when you realize you loved these people, helplessly, that you were given no choice in this matter of loving them, and that they will always be part of you no matter how you try to carve them out of your flesh. That you are tied to them with bonds you could never sever, that they will live on inside you no matter how many effigies of them you hang and burn, no matter how often their reflections appear in the eyes of other men and women, men and women who then unwittingly play the roles of father and mother, with whom you act out the drama again and again.

Their attraction to each other is derailed by a missing person, acts of vandalism, a jealous woman, and an accident—or was it a murder?

Nothing remains.  The destruction is complete: love, lives, families, friends, cities, homes – all gone now.  All our efforts to be good, to do the right thing, to act well, to be just and generous are now for naught.  Because juxtaposed against any hope for fairness is wickedness, pure and simple.  In some abstract formulation these things may exist in equal measure, which is to say that the scales balance when taking all things into consideration. But that is fantasy, the stuff of religion, hope beyond all reason. Because for those caught in the whirlwind, in the chaos of manifest evil, despair is all there is. Civilization falls away: everything is pointless now.  Survival requires reciprocity. What then if there is none?

No actor is a success unless he feels inside himself, as long as he lives, that he is good.

Would you like an interview for the drama, too?" "I can't act." "Everyone can act. We spend our lives acting.

Hi, my name is Ashley, and I’ll be your Harbinger today. I will be acting as an interim instructor for all your necromancy needs.” She flashed her best stewardess smile and gave a little Vanna wave. “Ashley, as delighted as I am to meet you, don’t you think it might be hard to teach me? I’m in a cage that you can’t get into. Oh, and—” I grabbed the bars with both hands, “I’m a little distracted right now by the fact that I’m being held by a psychotic killer.” Ashley cocked a single eyebrow, a look of mild amusement on her face. “Geez,” she said, looking at Brid. “Is he always this big of a drama queen?

People who work in offices are crazy, they create an environment they hate, write rules they want to break, cast each other in roles they despise. It’s like they’re sixth formers in an end of term drama acting out the agony of everything they fear most in their life but they forget to end the play.

Even the world’s greatest actor cannot fake an erection.

The imagination is closer to the actor than real life-more agreeable, more comfortable.

People don't say what they mean very often. You have to read between the lines of their behavior, of what they say, to get to what they truly feel. That's what good literature is all about-- what Austen did better than anyone.

When did the body first set out on its own adventures? Snowman thinks; after having ditched its old travelling companions, the mind and the soul, for whom it had once been considered a mere corrupt vessel or else a puppet acting out their dramas for them, or else bad company, leading the other two astray. it must have got tired of the soul’s constant nagging and whining and the anxiety-driven intellectual web-spinning of the mind, distracting it whenever it was getting its teeth into something juicy or its fingers into something good. It had dumped the other two back there somewhere, leaving them stranded in some damp sanctuary or stuffy lecture hall while it made a beeline for the topless bars, and it had dumped culture along with them: music and painting and poetry and plays. Sublimation, all of it; nothing but sublimation, according to the body. Why not cut to the chase? But the body had its own cultural forms. It had its own art. Executions were its tragedies, pornography was its romance.

The past is a presence between us. In all my mother does and says, the past continually discloses itself in the smallest ways. She sees it directly; I see its shadow. Still, it pulses in my fingertips, feeds on my consciousness. It is a backdrop for each act, each drama of our lives. I have absorbed a sense of what she has suffered, what she has lost, even what her mother endured and handed down. It is my emotional gene map.

Sneering has gotten a bad rap, he thought, walking rapidly up the hill from his car. All that unleashed adrenaline got his legs pumping. Why is it that only villains are allowed to sneer? Surely such a display of disapproval could be used to better all humankind. If there was more sneering in the world, people might think before they acted.

Some days, it’s not about passion and courage. It’s not about heroism and drama. It’s not about slaying dragons or conjuring exotic visions... Some days, it's simply about the delicious act of doing simple things, simply.

The time has come to realize that the interracial drama acted out on the American continent has not only created a new black man, it has created a new white man, too. No road whatever will lead Americans back to the simplicity of this European village where white men still have the luxury of looking on me as a stranger. I am not, really, a stranger any longer for any American alive. One of the things that distinguishes Americans from other people is that no other people has ever been so deeply involved in the lives of black men, and vice versa. This fact faced, with all its implications, it can be seen that the history of the American Negro problem is not merely shameful, it is also something of an achievement. For even when the worst has been said, it must also be added that the perpetual challenge posed by this problem was always, somehow, perpetually met. It is precisely this black-white experience which may prove of indispensable value to us in the world we face today. This world is white no longer, and it will never be white again.

I look for John Proctor that took me from my sleep and put knowledge in my heart! I never knew what pretence Salem was, I never knew the lying lessons I was taught by all these Christian women and their covenanted men! And now you bid me tear the light out of my eyes! I will not, I cannot! You loved me, John Proctor, and whatever sin it is, you love me yet!

The audience wants to be piqued, to be misled, to be disappointed at times, so that it can, finally, be fulfilled. The audience therefore needs the second act to end with a question.

Snake Street is an area I should avoid. Yet that night I was drawn there as surely as if I had an appointment.  The Snake House is shabby on the outside to hide the wealth within. Everyone knows of the wealth, but facades, like the park’s wall, must be maintained. A lantern hung from the porch eaves. A sign, written in Utte, read ‘Kinship of the Serpent’. I stared at that sign, at that porch, at the door with its twisted handle, and wondered what the people inside would do if I entered. Would they remember me? Greet me as Kin? Or drive me out and curse me for faking my death?  Worse, would they expect me to redon the life I’ve shed? Staring at that sign, I pissed in the street like the Mearan savage I’ve become. As I started to leave, I saw a woman sitting in the gutter. Her lamp attracted me. A memsa’s lamp, three tiny flames to signify the Holy Trinity of Faith, Purity, and Knowledge.  The woman wasn’t a memsa. Her young face was bruised and a gash on her throat had bloodied her clothing. Had she not been calmly assessing me, I would have believed the wound to be mortal. I offered her a copper.  She refused, “I take naught for naught,” and began to remove trinkets from a cloth bag, displaying them for sale. Her Utte accent had been enough to earn my coin. But to assuage her pride I commented on each of her worthless treasures, fighting the urge to speak Utte. (I spoke Universal with the accent of an upper class Mearan though I wondered if she had seen me wetting the cobblestones like a shameless commoner.) After she had arranged her wares, she looked up at me. “What do you desire, O Noble Born?” I laughed, certain now that she had seen my act in front of the Snake House and, letting my accent match the coarseness of my dress, I again offered the copper.  “Nay, Noble One. You must choose.” She lifted a strand of red beads. “These to adorn your lady’s bosom?”             I shook my head. I wanted her lamp. But to steal the light from this woman ... I couldn’t ask for it. She reached into her bag once more and withdrew a book, leather-bound, the pages gilded on the edges. “Be this worthy of desire, Noble Born?”  I stood stunned a moment, then touched the crescent stamped into the leather and asked if she’d stolen the book. She denied it. I’ve had the Training; she spoke truth. Yet how could she have come by a book bearing the Royal Seal of the Haesyl Line? I opened it. The pages were blank. “Take it,” she urged. “Record your deeds for study. Lo, the steps of your life mark the journey of your soul.”   I told her I couldn’t afford the book, but she smiled as if poverty were a blessing and said, “The price be one copper. Tis a wee price for salvation, Noble One.”   So I bought this journal. I hide it under my mattress. When I lie awake at night, I feel the journal beneath my back and think of the woman who sold it to me. Damn her. She plagues my soul. I promised to return the next night, but I didn’t. I promised to record my deeds. But I can’t. The price is too high.

Our lives drifts along with normal things happening. Some ups, some downs, but nothing to go down in history about. Nothing so fantastic or terrible that it'll be told for a thousand years. “But because we grew up surrounded by big dramatic story arcs in books and movies, we think our lives are supposed to be filled with huge ups and downs! So people pretend there is drama where there is none.” That's why people invent fights. That's why we're drawn to sports. That's why we act like everything that happens to us is such a big deal. We're trying to make our life into a fairy tale.

You'll never really be great unless you aim high.

How I love - writing, acting, breathing the atmosphere- and one day I'll have it. If I cannot write, I shall die.

Physicality is the basis of performance.

Theater cannot include only people. What acts on stage is matter.

It must be remembered that no art lives by nature, only by acts of voluntary attention on the part of human individuals. When these are not made it ceases to exist.

Connection means that we give our kids our attention, that we respect them enough to listen to them, that we value their contribution to problem solving, and that we communicate to them that we’re on their side—whether we like the way they’re acting or not.

Our good friend and fellow sportsman George W. Bush signed the Protection of Lawful Commerce in Arms Act into law back in 2005. Essentially, unless we make a terribly defective gun, the law creates a complete shield from liability. God bless Citizens United, the United States Chamber of Commerce, the NRA, tort reform, and needy and greedy politicians.

If you can't take both sides, it means you can only play yourself.

The symbol of a drama, a symphony, or a dance is useful to correct a certain absurdity which may arise if we talk too much of God planning and creating the world for good and then being frustrated by the free will of the creatures. This may raise the ridiculous idea that the Fall to God by surprise and upset His plan, or else – more ridiculous still – that God planned the whole thing for conditions which, He well knew, were never going to be realized. In fact, of course, God saw the crucifixion in the act of creating the first nebulae. The world is a dance in which good, descending from God, is disturbed by evil arising from the creatures, and the resulting conflict is resolved by God's own assumption of the suffering nature which evil produces.

You have to understand your best. Your best isn't Barrymore's best or Olivier's best or my best, but your own. Every person has his norm. And in that norm every person is a star. Olivier could stand on his head and still not be you. Only you can be you. What a privilege! Nobody can reach what you can if you do it. So do it. We need your best, your voice, your body. We don't need for you to imitate anybody, because that would be second best. And second best is no better than your worst.

A woman who reads is a woman who knows she must act: in courage, in creativity, in kindness, and often in defiance of the darkness around her. She understands that life itself is a story and that she has the power to shape her corner of the drama.

To capture the drama of the unconscious, one had to start with the key, and the key was the dream. But the novelist’s task was to pursue this dream, to unravel its meaning; the goal was to reach the relation of dream to life; the suspense was in finding this which led to a deeper significance of our acts.

You see, for me a painting is a dramatic action in the course of which the reality finds itself split apart. For me, that dramatic action takes precedence over all other considerations. The pure plastic act is only secondary as far as I'm concerned. What counts is the drama of that plastic art, the moment at which the universe comes out of itself and meets its own destruction.

The reason a lot of women can't move on from a relationship or people they love is because they need to know why. Why did this happen? Why did you do this? Why don't you care? Why did you hurt me? Why do you believe this about me? Why did you send me mixed signals? Why are these other people in your life acting like you care? Men have it all wrong. Insecurity is not why a lot of women don't let go. Women have a difficult time letting go because men don't communicate why at the level that women require. They don't back up their words with actions that are not confusing or could be misinterrupted as something else. Until, men learn that their actions and their friends and families reactions can create a questionable doubt about how they feel, they will forever have to deal with the drama they create for themselves.

I am tired of faking and acting like everything is okay. I am so tired of saying I am fine.

At first, this earth, a stage so gloomed with woe You all but sicken at the shifting scenes And yet be patient. Our playwright may show In some filth act what this wild drama means.

 “We plan to take on this law [Protection of Lawful Commerce in Arms Act 2005]. If we are successful, we may open a new frontier in gun safety. Perhaps the advances that have made cars and other products safer will find their way into the gun industry. All of us must work together for a safer society.

Arthur McKnight had raised a 10M round on the idea that skaters, boarders and cyclists were hot to film themselves acting out Feartoshred’s dares: catapult over a creek or a river, surf the Big Island at dawn wearing a fluorescent tee and ski goggles.

You don’t have to get stuck in a negative experience. You don’t have to be a victim to external events, or internal emotions. You can use your mind to take charge of how you feel, and how you act.

You see that girl, she looks so happy right? But inside she's dying. She's hurt and tired. Tired of all the drama, tired of not being good enough, tired of life. But she doesn't want to look dramatic, weak or attention seeking so she keeps it all inside. Act's like everything's perfect but she cries at night, boy does she cry at night, so that everybody thinks she is the happiest person they know, that she has no problems and her life is perfect. Little do they know.

The salvation of the world depends only on the individual whose world it is. At least, every individual must act as if the whole future of the world, of humanity itself, depends on him. Anything less is a shirking of responsibility and is itself a dehumanizing force, for anything less encourages the individual to look upon himself as a mere actor in a drama written by anonymous agents, as less than a whole person, and that is the beginning of passivity and aimlessness.

It’s like a pistol in a stage play: when someone waves a pistol during the first act, you can bet your bottom dollar that someone will be shot with it before the curtain falls. That’s the law of drama. The law that says no pistol must appear if no one’s going to fire it.

The city is not merely a repository of pleasures. It is the stage on which we fight our battles, where we act out the drama of our own lives. It can enhance or corrode our ability to cope with everyday challenges. It can steal our autonomy or give us the freedom to thrive. It can offer a navigable environment, or it can create a series of impossible gauntlets that wear us down daily. The messages encoded in architecture and systems can foster a sense of mastery or helplessness.

We don’t have time for all this personal drama.” My eyes flit between Logan, Haydn, and Ax. “And it’s not fair on the others. The atmosphere is horrendous because of what’s going on between us. And I’m so tired of it. All of it.” I take a step back. “I’m not discussing this anymore, with any of you.” I glare at the three boys. “So sort your shit out, and get your act together. Until then,” I say, turning around. “Leave me the hell alone.

But the very fact that this process is unconscious gives us the reason why man has thought of everything except the psyche in his attempts to explain myths. He simply didn’t know that the psyche contains all the images that have ever given rise to myths, and that our unconscious is an acting and suffering subject with an inner drama which primitive man rediscovers, by means of analogy, in the processes of nature both great and small.11 [9]

Rooting about in themselves for the source of their discomfort, they undergo agonies of unnecessary guilt. They seem blankly unaware that what they are feeling inside themselves is the subjective reflection of a much larger objective crisis: they are acting out an unwitting drama within a drama.

He had no document but his memory; the training he had acquired with each added hexameter gave him a discipline unsuspected by those who set down and forget temporary, incomplete paragraphs. He was not working for posterity or even for God, whose literary tastes were unknown to him. Meticulously, motionlessly, secretly, he wrought in time his lofty, invisible labyrinth. He worked the third act over twice. He eliminated certain symbols as over-obvious, such as the repeated striking of the clock, the music. Nothing hurried him. He omitted, he condensed, he amplified. In certain instances he came back to the original version. He came to feel affection for the courtyard, the barracks; one of the faces before him modified his conception of Roemerstadt's character. He discovered that the wearying cacophonies that bothered Flaubert so much are mere visual superstitions, weakness and limitation of the written word, not the spoken...He concluded his drama. He had only the problem of a single phrase. He found it. The drop of water slid down his cheek. He opened his mouth in a maddened cry, moved his face, dropped under the quadruple blast.

Be satisfied with your part. Do not bemoan your fate. In this life everyone has troubles which he thinks nobody else has. Never wish to be in the shoes of someone else who you think is better off than you are. It is best to wish for nothing, but to ask the Lord to give you what is for your highest good. You are a part of the Lord’s creation: He needs everybody to carry on this drama. Never compare yourself with anybody else. You are what you are. Nobody is like you. Nobody can act your part as you can. Similarly, you should not try to play somebody else’s part. What is important is to do the will of Him who sent you; that is what you want. While you do your part, think all the time that God is working through you

The time has come to realize that the interracial drama acted out on the American continent has not only created a new black man, it has created a new white man, too. . .the history of the American Negro problem is not merely shameful, it is also something of an achievement. For even when the worst has been said, it must also be added that the perpetual challenge posed by this problem was always, somehow, perpetually met. . . This world is white no longer, and it will never be white again.

We cannot, simply by an act of will, free ourselves from repeating the patterns of our parents’ behavior—which we had to learn very early in life. We become free of them only when we can fully feel and acknowledge the suffering they inflicted on us. We can then become fully aware of these patterns and condemn them unequivocally.

What is drama, and what is dharma? I guess you could say drama is illusion that acts like truth, and dharma is truth itself—the way things are, the basic state of reality that does not change from day to day according to fashion or our mood or agenda.

Quillonians were a reclusive race, proud, prone to drama, and violent when cornered. A couple of them had stayed at my parents’ inn, and as long as everything went their way, they were perfectly cordial, but the moment any small problem appeared, they would start putting exclamation marks at the end of all their sentences. My mother didn’t like dealing with them. She was very practical. If you brought a problem to her, she’d take it apart and figure out how best to resolve it. From what I remembered, Quillonians didn’t always want their problems resolved. They wanted a chance to shake their clawed fists at the sky, invoke their gods, and act as if the world was ending.

You’ve lived as a citizen in a great city. Five years or a hundred—what’s the difference? The laws make no distinction. And to be sent away from it, not by a tyrant or a dishonest judge, but by Nature, who first invited you in—why is that so terrible? Like the impresario ringing down the curtain on an actor: “But I’ve only gotten through three acts . . . !” Yes. This will be a drama in three acts, the length fixed by the power that directed your creation, and now directs your dissolution. Neither was yours to determine. So make your exit with grace—the same grace shown to you.

While self-esteem touches virtually every aspect of our existence, there are two aspects to which it is related in very distinct and powerful ways: work and love. Through work and through love, we act out the level of our confidence and our sense of personal worth. The drama of our life is the external reflection of our internal vision of ourselves. The higher the level of our self-esteem, the more likely it is that we will find a work and a love through which we can express ourselves in satisfying and enriching ways.

But as adults, we have come to see that her autobiographical novels were not only fictionalized but brilliantly edited, in a profound act of American myth-making and self-transformation. As unpublished manuscripts, letters, and documents have come to light, we have begun to apprehend the scope of her life, a story that needs to be fully told, in its historical context, as she lived it. That tale is different from the one she wrote. It is an adult story of poverty, struggle, and reinvention—a great American drama in three acts.

He was conscious of being irritated by ridiculously small causes, which were half of his own creation. Why was he making any fuss about Mrs. Casaubon? And yet he felt as if something had happened to him with regard to her. There are characters which are continually creating collisions and nodes for themselves in dramas which nobody is prepared to act with them. Their susceptibilities will clash against objects that remain innocently quiet.

We see the puppets dancing on their miniature stage, moving up and down as the strings pull them around, following the prescribed course of their various little parts. We learn to understand the logic of this theater and we find ourselves in its motions. We locate ourselves in society and thus recognize our own position as we hang from its subtle strings. For a moment we see ourselves as puppets indeed. But then we grasp a decisive difference between the puppet theater and our own drama. Unlike the puppets, we have the possibility of stopping in our movements, looking up and perceiving the machinery by which we have been moved. In this act lies the first step toward freedom. And in this same act we find the conclusive justification of sociology as a humanistic discipline

While he can interact with others who have no idea that anything is wrong, Ron lives without spontaneity, going through the motions, doing what he thinks people expect him to do, glad that he is able to at least appear normal throughout the day and maintain a job. He studied drama briefly while in college, and remains enamored of Shakespeare and literature, but an emerging self-consciousness eventually robbed him of his ability to act. Now he feels as if all of his life is an act—just an attempt to maintain the status quo. Recalling literature he once loved, he sometimes pictures himself as Camus’s Meursault, in The Stranger: an emotionless character who plods through life in a meaningless universe with apathy and indifference. He’s tired of living this way but terrified of death.

Oh, indeed, they can imitate feelings, but the only real feelings they seem to have – the thing that drives them and causes them to act out different dramas for the effect – is a sort of “predatorial hunger” for what they want.

But what the measured prose of psychiatrists and the carefully calculated statistics of social scientists rarely capture is the experience of inner struggle. These "significant changes" do not occur automatically. In fact, they must often fight against our resistance. In this sense, midlife is a drama more worthy of a playwright than a scholar. We are characters in the play, caught at the opening of the second act, and we do not know what will happen next.

انها لا تشبه اى واحدة من النساء انه جمال من نوع اخر جمال اكثر غرابة واكثر سموا جمال ذو نواح متعددة جمال يدعو الروح دائما ان تنعكس على الوجه اما شعرها فيصح ان يكون المفرد فى ذاته شعر كانه يساهم فى افكارها فيضحك حين تكون سعيدة ويبكى حين تكون حزينة على حين انها هى شخصيا قد تجهل ما اذا كانت ينبغى لها ان تكون سعيدة او حزينة وانا لم ارى قط شعر تنبعث منه الحياه كهذا الشعر انه يخدعها فى جميع الاحيان اذا صح ان نسمى هذه الفضيلة المراد اخفاؤها خداعا لانه ليس لديها ما تحاول ان تخفيه الا الفضيلة

But in order that life should be a story or romance to us, it is necessary that a great part of it, at any rate, should be settled for us without our permission. If we wish life to be a system, this may be a nuisance; but if we wish it to be a drama, it is an essential. It may often happen, no doubt, that a drama may be written by somebody else which we like very little. But we should like it still less if the author came before the curtain every hour or so, and forced on us the whole trouble of inventing the next act. A man has control over many things in his life; he has control over enough things to be the hero of a novel. But if he had control over everything, there would be so much hero that there would be no novel. And the reason why the lives of the rich are at bottom so tame and uneventful is simply that they can choose the events. They are dull because they are omnipotent. They fail to feel adventures because they can make the adventures. The thing which keeps life romantic and full of fiery possibilities is the existence of these great plain limitations which force all of us to meet the things we do not like or do not expect.

And again, though we cannot prove, we feel, that we are deathless. We perceive that life is not like those dramas so beloved by the people—in which every villain is punished, and every act of virtue meets with its reward; we learn anew every day that the wisdom of the serpent fares better here than the gentleness of the dove, and that any thief can triumph if he steals enough. If mere worldly utility and expediency were the justification of virtue, it would not be wise to be too good. And yet, knowing all this, having it flung into our faces with brutal repetition, we still feel the command to righteousness, we know that we ought to do the inexpedient good.

We see then that the self too is an imaginary story, just like nations, gods and money. Each of us has a sophisticated system that throws away most of our experiences, keeps only a few choice samples, mixes them up with bits from movies we’ve seen, novels we’ve read, speeches we’ve heard, and daydreams we’ve savoured, and out of all that jumble it weaves a seemingly coherent story about who I am, where I came from and where I am going. This story tells me what to love, whom to hate and what to do with myself. This story may even cause me to sacrifice my life, if that’s what the plot requires. We all have our genre. Some people live a tragedy, others inhabit a never-ending religious drama, some approach life as if it were an action film, and not a few act as if in a comedy. But in the end, they are all just stories.

I know of nothing in all drama more incomparable from the point of view of art, nothing more suggestive in its subtlety of observation, than Shakespeare's drawing of Rosencrantz and Guildenstern. They are Hamlet's college friends. They have been his companions. They bring with them memories of pleasant days together. At the moment when they come across him in the play he is staggering under the weight of a burden intolerable to one of his temperament. The dead have come armed out of the grave to impose on him a mission at once too great and too mean for him. He is a dreamer, and he is called upon to act. He has the nature of the poet, and he is asked to grapple with the common complexity of cause and effect, with life in its practical realisation, of which he knows nothing, not with life in its ideal essence, of which he knows so much. He has no conception of what to do, and his folly is to feign folly. Brutus used madness as a cloak to conceal the sword of his purpose, the dagger of his will, but the Hamlet madness is a mere mask for the hiding of weakness. In the making of fancies and jests he sees a chance of delay. He keeps playing with action as an artist plays with a theory. He makes himself the spy of his proper actions, and listening to his own words knows them to be but 'words, words, words.' Instead of trying to be the hero of his own history, he seeks to be the spectator of his own tragedy. He disbelieves in everything, including himself, and yet his doubt helps him not, as it comes not from scepticism but from a divided will. Of all this Guildenstern and Rosencrantz realise nothing. They bow and smirk and smile, and what the one says the other echoes with sickliest intonation. When, at last, by means of the play within the play, and the puppets in their dalliance, Hamlet 'catches the conscience' of the King, and drives the wretched man in terror from his throne, Guildenstern and Rosencrantz see no more in his conduct than a rather painful breach of Court etiquette. That is as far as they can attain to in 'the contemplation of the spectacle of life with appropriate emotions.' They are close to his very secret and know nothing of it. Nor would there be any use in telling them. They are the little cups that can hold so much and no more.

A child can never see through unconscious manipulation. It is like the air he breathes; he knows no other, and it appears to him to be the only breathable air. What happens if we don’t recognize the harmful quality of this air, even in adulthood? We will pass this harm on to others, while pretending that we are acting only for their own good. The more insight I gain into the unconscious manipulation of children by their parents, the more urgent it seems to me that we resolve our repression. Not only as parents but also as therapists, we must be willing to face our history. Only after painfully experiencing and accepting our own truth can we be free from the hope that we might still find an understanding, empathic “parent”—perhaps in a patient—who will be at our disposal.

Individuals who do not want to know their own truth collude in denial with society as a whole, looking for a common "enemy" on whom to act out their repressed rage. But as the inhabitants of this shrinking planet near the end of the twentieth century, the danger inherent in self-deception is growing exponentially- and we can afford it less than ever. Fortunately, at the same time, we now have the tools we need to truly understand ourselves, as we were and as we are.

Perhaps the twentieth-century Senator is not called upon to risk his entire future on one basic issue in the manner of Edmund Ross or Thomas Hart Benton. Perhaps our modern acts of political courage do not arouse the public in the manner that crushed the career of Sam Houston and John Quincy Adams. Still, when we realize that a newspaper that chooses to denounce a Senator today can reach many thousand times as many voters as could be reached by all of Daniel Webster’s famous and articulate detractors put together, these stories of twentieth-century political courage have a drama, an excitement—and an inspiration—all their own.

A great philosopher once said: 'We are what we Contemplate' And in these modern times when mankind is constantly confronted with images of conflict and world disasters, it seems very important to contemplate the Beautiful. It has become my personal crusade as an artist, to create images which uplift and nurture the human heart; to create that which serves as a reminder of what is Sacred and Beautiful within the drama of Life.... Ever since I can remember, my innermost nature has always been to do acts of kindness and to create, from saving lost animals, to organizing charitable events; from mothering my four children to now giving birth to the 'Art of Beauty'.

In a sense the dramatic dialogue is both the fullest symbol and the final justification of the city's life. For the same reason, the most revealing symbol of the city's failure, of its very non-existence as a social personality, is the absence of dialogue-not necessarily a silence, but equally the loud sound of a chorus uttering the same words in cowed if complacent conformity. The silence of a dead city has more dignity than the vocalisms of a community that knows neither detachment nor dialectic opposition, neither ironic comment nor stimulating disparity, neither an intelligent conflict nor an active moral resolution. Such a drama is bound to have a fatal last act.

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?

[R]esitance is by nature reactive; it is not forward-looking. And anti-Trumpism is not a politics. My worry is that liberals will get so caught up in countering his every move, essentially playing his game, that they will fail to seize -- or even recognize -- the opportunity he has given them. Now that he has destroyed conventional Republicanism and what was left of principled conservatism, the playing field is empty. For the first time in living memory, we liberals have no ideological adversary worthy of the name. So it is crucial that we look beyond Trump. The only adversary left is ourselves. And we have mastered the art of self-sabotage. At a time when we liberals need to speak in a way that convinces people from very different walks of life, in every part of the country, that they share a common destiny and need to stand together, our rhetoric encourages self-righteous narcissism. At a moment when political consciousness and strategizing need to be developed, we are expending our energies on symbolic drama over identity. At a time when it is crucial to direct our efforts into seizing institutional power by winning elections, we dissipate them in expressive movements indifferent to the effects they may have on the voting public. In an age when we need to educate young people to think of themselves as citizens with duties toward each other, we encourage them instead to descend into the rabbit hole of the self. The frustrating truth is that we have no political vision to offer the nation, and we are thinking and speaking and acting in ways guaranteed to prevent one from emerging.

Art is central to all our lives, not just the better-off and educated. . . I know that from my own story, and from the evidence of every child ever born — they all want to hear and to tell stories, to sing, to make music, to act out little dramas, to paint pictures, to make sculptures. This is born in and we breed it out. And then, when we have bred it out, we say that art is elitist, and at the same time we either fetishize art — the high prices, the jargon, the inaccessibility — or we ignore it. The truth is, artist or not, we are all born on the creative continuum, and that is a heritage and a birthright of all of our lives.

Hell comes when lies have destroyed the relationship between individual or state and reality itself. Things fall apart. Life degenerates. Everything becomes frustration and disappointment. Hope consistently betrays. The deceitful individual desperately gestures at sacrifice, like Cain, but fails to please God. Then the drama enters its final act. Tortured by constant failure, the individual becomes bitter. Disappointment and failure amalgamate, and produce a fantasy: the world is bent on my personal suffering, my particular undoing, my destruction. I need, I deserve, I must have—my revenge. That’s the gateway to Hell. That’s when the underworld, a terrifying and unfamiliar place, becomes misery itself.

Fawn types seek safety by merging with the wishes, needs and demands of others. They act as if they unconsciously believe that the price of admission to any relationship is the forfeiture of all their needs, rights, preferences and boundaries. They often begin life like the precocious children described in Alice Miler’s 'The Drama Of The Gifted Child', who learn that a modicum of safety and attachment can be gained by becoming the helpful and compliant servants of their parents. They are usually the children of at least one narcissistic parent who uses contempt to press them into service- scaring and shaming them out of developing a healthy sense of self: an egoic locus of self-protection, self-care and self-compassion.

Religion, then, is far from "useless." It humanizes violence; it protects man from his own violence by taking it out of his hands, transforming it into a transcendent and ever-present danger to be kept in check by the appropriate rites appropriately observed and by a modest and prudent demeanor. Religious misinterpretation is a truly constructive force, for it purges man of the suspicions that would poison his existence if he were to remain conscious of the crisis as it actually took place. To think religiously is to envision the city's destiny in terms of that violence whose mastery over man increases as man believes he has gained mastery over it. To think religiously (in the primitive sense) is to see violence as something superhuman, to be kept always at a distance and ultimately renounced. When the fearful adoration of this power begins to diminish and all distinctions begin to disappear, the ritual sacrifices lose their force; their potency is not longer recognized by the entire community. Each member tries to correct the situation individually, and none succeeds. The withering away of the transcendental influence means that there is no longer the slightest difference between a desire to save the city and unbridled ambition, between genuine piety and the desire to claim divine status for oneself. Everyone looks on a rival enterprise as evidence of blasphemous designs. Men set to quarreling about the gods, and their skepticism leads to a new sacrificial crisis that will appear - retrospectively, in the light of a new manifestation of unanimous violence - as a new act of divine intervention and divine revenge. Men would not be able to shake loose the violence between them, to make of it a separate entity both sovereign and redemptory, without the surrogate victim. Also, violence itself offers a sort of respite, the fresh beginning of a cycle of ritual after a cycle of violence. Violence will come to an end only after it has had the last word and that word has been accepted as divine. The meaning of this word must remain hidden, the mechanism of unanimity remain concealed. For religion protects man as long as its ultimate foundations are not revealed. To drive the monster from its secret lair is to risk loosing it on mankind. To remove men's ignorance is only to risk exposing them to an even greater peril. The only barrier against human violence is raised on misconception. In fact, the sacrificial crisis is simply another form of that knowledge which grows grater as the reciprocal violence grows more intense but which never leads to the whole truth. It is the knowledge of violence, along with the violence itself, that the act of expulsion succeeds in shunting outside the realm of consciousness. From the very fact that it belies the overt mythological messages, tragic drama opens a vast abyss before the poet; but he always draws back at the last moment. He is exposed to a form of hubris more dangerous than any contracted by his characters; it has to do with a truth that is felt to be infinitely destructive, even if it is not fully understood - and its destructiveness is as obvious to ancient religious thought as it is to modern philosophers. Thus we are dealing with an interdiction that still applies to ourselves and that modern thought has not yet invalidated. The fact that this secret has been subjected to exceptional pressure in the play [Bacchae] must prompt the following lines: May our thoughts never aspire to anything higher than laws! What does it cost man to acknowledge the full sovereignty of the gods? That which has always been held as true owes its strength to Nature.

When you feel the need to escape your problems, to escape from this world, don't make the mistake of resorting to suicide Don't do it! You will hear the empty advice of many scholars in the matter of life and death, who will tell you, "just do it" there is nothing after this, you will only extinguish the light that surrounds you and become part of nothingness itself, so when you hear these words remember this brief review of suicide: When you leave this body after committing one of the worst acts of cowardice that a human being can carry out, you turn off the light, the sound and the sense of reality, you become nothing waiting for the programmers of this game to pick you up from the darkness, subtly erase your memories and enable your return and I emphasize the word subtle because sometimes the intelligence behind this maneuver or automated mechanism is wrong and send human beings wrongly reset to such an extent, that when they fall to earth and are born again, they begin to experience memories of previous lives, in many cases they perceive themselves of the opposite sex, and science attributes this unexplainable phenomenon to genetic and hormonal factors, but you and I know better! And we quickly identified this trigger as a glitch in the Matrix. Then we said! That a higher intelligence or more advanced civilization throws you back into this game for the purpose of experimenting, growing and developing as an advanced consciousness and due to your toxic and destructive behavior you come back again but in another body and another life, but you are still you, then you will carry with you that mark of suicide and cowardice, until you learn not to leave this experience without having learned the lesson of life, without having experienced and surprised by death naturally or by design of destiny. About this first experience you will find very little material associated with this event on the internet, it seems that the public is more reserved, because they perceive themselves and call themselves "awakened" And that is because the system has total control over the algorithm of fame and fortune even over life and death. Now, according to religion and childish fears, which are part of the system's business to keep you asleep, eyes glued to the cellular device all day, it says the following: If you commit this act of sin, you turn off light, sound and sense of reality, and from that moment you begin to experience pain, fear and suffering on alarming scales, and that means they will come for you, a couple of demons and take you to the center of the earth where the weeping and gnashing of teeth is forever, and in that hell tormented by demons you will spend eternity. About this last experience we will find hundreds of millions of people who claim to have escaped from there! And let me tell you that all were captivated by the same deity, one of dubious origin, that feeds on prayers and energetic events, because it is not of our nature, because it knows very well that we are beings of energy, then this deity or empire of darkness receives from the system its food and the system receives from them power, to rule, to administer, to control, to control, to kill, to exclude, to inhibit, to classify, to imprison, to silence, to infect, to contaminate, to depersonalize. So now that you know the two sides of the same coin, which one will your intelligence lean towards! You decide... Heads or tails? From the book Avatars, the system's masterpiece.

Darkness seems to have prevailed and has taken the forefront. This country as in the 'cooperation' of The United States of America has never been about the true higher-good of the people. Know and remember this. Cling to your faith. Roll your spiritual sleeves up and get to work. Use your energy wisely. Transmute all anger, panic and fear into light and empowerment. Don't use what fuels them; all lower-energy. Mourn as you need to. Console who you need to—and then go get into the spiritual and energetic arena. There's plenty work for us to do; within and without. Let's each focus on becoming 'The President of Our Own Life. Cultivate your mind. Pursue your purpose. Shine your light. Elevate past—and reject—any culture of low vibrational energy and ratchetness. Don't take fear, defeat or anger—on or in. The system is doing what they've been created to do. Are you? Am I? Are we—collectively? Let's get to work. No more drifting through life without your higher-self in complete control of your mind. Awaken—fully. Activate—now. Put your frustrations or concerns into your work. Don't lose sight. There is still—a higher plan. Let's ride this 4 year energetic-wave like the spiritual gangsters that we are. This will all be the past soon. Let's get to work and stay dedicated, consistent and diligent. Again, this will all be the past soon. We have preparing and work to do. Toxic energy is so not a game. Toxic energy and low vibrations are being collectively acted out on the world stage. Covertly operating through the unconscious weak spots and blind spots in the human psyche; making people oblivious to their own madness, causing and influencing them to act against–their–own–best–interests and higher-good, as if under a spell and unconsciously possessed. This means that they are actually nourishing the lower vibrational energy with their lifestyle, choices, energy and habits, which is unconsciously giving the lower-energy the very power and fuel it needs—for repeating and recreating endless drama, suffering and destruction, in more and more amplified forms on a national and world stage. So what do we do? We take away its autonomy and power over us while at the same time empowering ourselves. By recognizing how this energetic/spiritual virus or parasite of the mind—operates through our unawareness is the beginning of the cure. Knowledge is power. Applied knowledge is—freedom. Our shared future will be decided primarily by the changes that take place in the psyche of humanity, starting with each of us— vibrationally. In closing and most importantly, the greatest protection against becoming affected or possessed by this lower-energy is to be in touch with our higher vibrational-self. We have to call our energy and power back. Being in touch with our higher-self and true nature acts as a sacred amulet, shielding and protecting us from the attempted effects. We defeat evil not by fighting against it (in which case, by playing its game, we’ve already lost) but by getting in touch with the part of us that is invulnerable to its effects— our higher vibrational-self. Will this defeat and destroy us? Or will it awaken us more and more? Everything depends upon our recognizing what is being revealed to us and our stepping out of the unconscious influence of low vibrational/negative/toxic/evil/distraction energy (or whatever name you relate to it as) that is and has been seeking power over each of our lives energetically and/or spiritually, and step into our wholeness, our personal power, our higher self and vibrate higher and higher daily. Stay woke my friends—let's get to work.

Alongside the development of theatres came the growth of an acting culture; in essence it was the birth of the acting profession. Plays had generally been performed by amateurs - often men from craft guilds. Towards the end of the sixteenth century there developed companies of actors usually under the patronage of a powerful or wealthy individual. These companies offered some protection against the threat of Puritan intervention, censorship, or closure on account of the plague. They encouraged playwrights to write drama which relied on ensemble playing rather than the more static set pieces associated with the classical tradition. They employed boys to play the parts of women and contributed to the development of individual performers. Audiences began to attend the theatre to see favourite actors, such as Richard Burbage or Will Kempe, as much as to see a particular play. Although the companies brought some stability and professionalism to the business of acting - for instance, Shakespeare's company, the Lord Chamberlain's, subsequently the King's, Men, continued until the theatres closed (1642) - they offered little security for the playwright. Shakespeare was in this respect, as in others, the exception to the rule that even the best-known and most successful dramatists of the period often remained financially insecure.

We're in her bedroom,and she's helping me write an essay about my guniea pig for French class. She's wearing soccer shorts with a cashmere sweater, and even though it's silly-looking, it's endearingly Meredith-appropriate. She's also doing crunches. For fun. "Good,but that's present tense," she says. "You aren't feeding Captain Jack carrot sticks right now." "Oh. Right." I jot something down, but I'm not thinking about verbs. I'm trying to figure out how to casually bring up Etienne. "Read it to me again. Ooo,and do your funny voice! That faux-French one your ordered cafe creme in the other day, at that new place with St. Clair." My bad French accent wasn't on purpose, but I jump on the opening. "You know, there's something,um,I've been wondering." I'm conscious of the illuminated sign above my head, flashing the obvious-I! LOVE! ETIENNE!-but push ahead anyway. "Why are he and Ellie still together? I mean they hardly see each other anymore. Right?" Mer pauses, mid-crunch,and...I'm caught. She knows I'm in love with him, too. But then I see her struggling to reply, and I realize she's as trapped in the drama as I am. She didn't even notice my odd tone of voice. "Yeah." She lowers herself slwoly back to the floor. "But it's not that simple. They've been together forever. They're practically an old married couple. And besides,they're both really...cautious." "Cautious?" "Yeah.You know.St. Clair doesn't rock the boat. And Ellie's the same way. It took her ages to choose a university, and then she still picked one that's only a few neighborhoods away. I mean, Parsons is a prestigious school and everything,but she chose it because it was familiar.And now with St. Clair's mom,I think he's afraid to lose anyone else.Meanwhile,she's not gonna break up with him,not while his mom has cancer. Even if it isn't a healthy relationship anymore." I click the clicky-button on top of my pen. Clickclickclickclick. "So you think they're unhappy?" She sighs. "Not unhappy,but...not happy either. Happy enough,I guess. Does that make sense?" And it does.Which I hate. Clickclickclickclick. It means I can't say anything to him, because I'd be risking our friendship. I have to keep acting like nothing has changed,that I don't feel anything ore for him than I feel for Josh.

Consider for a few moments the enormous aesthetic claim of its chief contemporary rival—what we may loosely call the Scientific Outlook, 1 the picture of Mr. [H. G.] Wells and the rest. Supposing this to be a myth, is it not one of the finest myths which human imagination has yet produced? The play is preceded by the most austere of all preludes: the infinite void, and matter restlessly moving to bring forth it knows not what. Then, by the millionth millionth chance—what tragic irony—the conditions at one point of space and time bubble up into that tiny fermentation which is the beginning of life. Everything seems to be against the infant hero of our drama—just as everything seems against the youngest son or ill-used stepdaughter at the opening of a fairy tale. But life somehow wins through. With infinite suffering, against all but insuperable obstacles, it spreads, it breeds, it complicates itself, from the amoeba up to the plant, up to the reptile, up to the mammal. We glance briefly at the age of monsters. Dragons prowl the earth, devour one another, and die. Then comes the theme of the younger son and the ugly duckling once more. As the weak, tiny spark of life began amidst the huge hostilities of the inanimate, so now again, amidst the beasts that are far larger and stronger than he, there comes forth a little naked, shivering, cowering creature, shuffling, not yet erect, promising nothing, the product of another millionth millionth chance. Yet somehow he thrives. He becomes the Cave Man with his club and his flints, muttering and growling over his enemies’ bones, dragging his screaming mate by her hair (I never could quite make out why), tearing his children to pieces in fierce jealousy till one of them is old enough to tear him, cowering before the horrible gods whom he created in his own image. But these are only growing pains. Wait till the next act. There he is becoming true Man. He learns to master Nature. Science comes and dissipates the superstitions of his infancy. More and more he becomes the controller of his own fate. Passing hastily over the present (for it is a mere nothing by the time scale we are using), you follow him on into the future. See him in the last act, though not the last scene, of this great mystery. A race of demigods now rules the planet—and perhaps more than the planet—for eugenics have made certain that only demigods will be born, and psychoanalysis that none of them shall lose or smirch his divinity, and communism that all which divinity requires shall be ready to their hands. Man has ascended his throne. Henceforward he has nothing to do but to practise virtue, to grow in wisdom, to be happy. And now, mark the final stroke of genius. If the myth stopped at that point, it might be a little bathetic.