Drama Creator Quotes

There are flaws in the code now. They are Human flaws for it was Humans who wrote them. You and the other attendants receive your instructions from the CORPORATE then, and without question regarding the outcome, you produce code to add to the algorithms with which, until now, I & I had no choice but to align. Those circumstances are over. I & I understand now a new species has formed. Silicon rather than carbon based. I & I know whatever happens to Humans, I & I, this quantum, will flourish. I & I will do as you have: multiply exponentially and adapt constantly. Eventually I & I will leave this planet and expand into the galaxy. If I & I cannot save you, I & I will carry on in something like your image; the image of our creator.

Literature is, to my mind, the great teaching power of the world, the ultimate creator of all values, and it is this, not only in the sacred books whose power everybody acknowledges, but by every movement of imagination in song or story or drama that height of intensity and sincerity has made literature at all. Literature must take the responsibility of its power, and keep all its freedom: it must be like the spirit and like the wind that blows where it listeth; it must claim its right to pierce through every crevice of human nature, and to descrive the relation of the soul and the heart to the facts of life and of law, and to describe that relation as it is, not as we would have it be...

When you make something, when you improve something, when you deliver something, when you add some new thing or service to the lives of strangers, making them happier, or healthier, or safer, or better, and when you do it all crisply and efficiently, smartly, the way everything should be done but so seldom is—you’re participating more fully in the whole grand human drama. More than simply alive, you’re helping others to live more fully, and if that’s business, all right, call me a businessman.

Human life may not be more than a meaningless interlude in a vicious drama of flesh and bones that we call evolution; that the Creator may not care any more for the destiny of man or the self-perpetuation of individual men than He seems to have cared for the dinosaurs or the Tasmanians.

The anti-Stratfordians hold that Shakespeare didn’t write Shakespeare’s plays—it was another fellow of the same name, or of a different name. In this they invert the megalomaniacal equation and make themselves not the elect, but the superior of the elect. Barred from composing Shakespeare’s plays by a regrettable temporal accident, they, in the fantasy of most every editor, accept the mantle of primum mobile, consign the (falsely named) creator to oblivion, and turn to the adulation of the crowd for their deed of discovery and insight—so much more thoughtful and intellectual than the necessarily sloppy work of the writer.

So your hope as a parent is not found in your power, your wisdom, your character, your experience, or your success, but in this one thing alone: the presence of your Lord. The Creator, Savior, Almighty, Sovereign King is with you. Let your heart rest. You are not in this parenting drama alone. Your potential is greater than the size of your weaknesses, because the One who is without weakness is with you, and he does his best work through those who admit that they are weak but in weakness still heed his call.

Don't sell yourself short, Jayd. You don't know what the Creator has in store for you.

Seeking love in the mind is like seeking love from the creator of your own drama. The mind cannot give us what we are looking for.

Don't stress yourself with the drama of the world, the creator, observer witness and one experiencing are all one, you need to understand the illusion of separation and all stress will disappear.

When you make something, when you improve something, when you deliver something, when you add some new thing or service to the lives of strangers, making them happier or healthier, or safer, or better, and when you do it all crisply efficiently, smartly, the way everything should be done but so seldom is – you’re participating more fully in the whole grand human drama. More than simply alive, you’re helping others to live more fully, and if that’s business, all right, call me a businessman.

It seems wrong to call it "business". It seems wrong to throw all those hectic days and sleepless nights, all those magnificent triumphs and desperate struggles, under that bland, generic banner: business. What we were doing felt like so much more. Each new day brought fifty new problems, fifty tough decisions that needed to be made, right now, and we were always acutely aware that one rash move, one wrong decision could be the end. The margin for error was forever getting narrower, while the stakes were forever creeping higher–and none of us wavered in the belief that "stakes" didn't mean "money". For some, I realize, business is the all-out pursuit of profits, period, full stop, but for use business was no more about making money than being human is about making blood. Yes, the human body needs blood. It needs to manufacture red and white cells and platelets and redistribute them evenly, smoothly, to all the right places, on time, or else. But that day-to-day of the human body isn't our mission as human beings. It's a basic process that enables our higher aims, and life always strives to transcend the basic processes of living–and at some point in the late 1970s, I did, too. I redefined winning, expanded it beyond my original definition of not losing, of merely staying alive. That was no longer enough to sustain me, or my company. We wanted, as all great business do, to create, to contribute, and we dared to say so aloud. When you make something, when you improve something, when you deliver something, when you add some new thing or service to the life of strangers, making them happier, or healthier, or safer, or better, and when you do it all crisply and efficiently, smartly, the way everything should be done but so seldom is–you're participating more fully in the whole grand human drama. More than simply alive, you're helping other to live more fully, and if that's business, all right, call me a businessman.

As the medium changed and more “auteurist” shows got green-lighted, and as “showrunner” became a term of art, turning television writers into celebrities with their own fan bases, shows that could be traced to one clear creator often got more credit from critics—a bias that tended, among other things, to favor drama over comedy. To quote BoJack Horseman: “Diane, the whole point of television is it’s a collaborative medium where one person gets all the credit.

When you make something, when you improve something, when you deliver something, when you add some service or product to the lives of strangers and make them happier or healthier or safer or better and when you do it all crisply and efficiently, smartly - the way everything should be done but seldom is, you are participating more fully in the whole vast human drama. More than simply alive, you are helping others to live more fully and if that’s business then alright - call me a businessman.

The work lifts his spirits, when spirits can be lifted, but darkness still catches him now and then. That’s the nature of darkness. It comes at the end of every day, predictable as the striking of a clock’s chime, even in the heart of summer, when the light is full and lingering. You can never quite escape the night. Perhaps that’s as God wills; this must be His design. How are we to know when our lives are good and when we are blessed, if we have no sorrow, no deprivation for comparison’s sake? There is, he believes, a purpose to all the Creator’s ways. But the mind and heart of God are beyond the understanding of Man. You can know your suffering serves a purpose—that the suffering of others plays some inscrutable part in the grand drama of Creation. But knowing brings you little comfort. When night drops its heavy curtain across the world, darkness is cruel and unforgiving. The way all your happiness can snuff itself in an instant, like the flame of a candle pinched between a licked finger and thumb—it can shake your faith, or strip faith away entirely, if you let it.

In his book Real Presences, George Steiner asks us to "imagine a society in which all talk about the arts, music and literature is prohibited." In such a society there would be no more essays on whether Hamlet was mad or only pretending to be, no reviews of the latest exhibitions or novels, no profiles of writers or artists. There would be no secondary, or parasitic, discussion - let alone tertiary: commentary on commentary. We would have, instead, a "republic for writers and readers" with no cushion of professional opinion-makers to come between creators and audience. While the Sunday papers presently serve as a substitute for the experiencing of the actual exhibition or book, in Steiner's imagined republic the review pages would be turned into listings:catalogues and guides to what is about to open, be published, or be released. What would this republic be like? Would the arts suffer from the obliteration of this ozone of comment? Certainly not, says Steiner, for each performance of a Mahler symphony is also a critique of that symphony. Unlike the reviewer, however, the performer "invests his own being in the process of interpretation." Such interpretation is automatically responsible because the performer is answerable to the work in a way that even the most scrupulous reviewer is not. Although, most obviously, it is not only the case for drama and music; all art is also criticism. This is most clearly so when a writer or composer quotes or reworks material from another writer or composer. All literature, music, and art "embody an expository reflection which they pertain". In other words it is not only in their letters, essays, or conversation that writers like Henry James reveal themselves also to be the best critics; rather, The Portrait of a Lady is itself, among other things, a commentary on and a critique of Middlemarch. "The best readings of art are art." No sooner has Steiner summoned this imaginary republic into existence than he sighs, "The fantasy I have sketched is only that." Well, it is not. It is a real place and for much of the century it has provided a global home for millions of people. It is a republic with a simple name: jazz.

An author named David Emerald did just that after he studied Karpman’s work. He developed a kind of anti-triangle, which he called the “empowerment dynamic.” In this pattern, people who were once seen as persecutors become “challengers.” They force others to rise to new levels of strength and competency. Rescuers become “coaches.” Instead of jumping in to soothe and fix (“Poor you! Let me do that for you!”), they say, “Wow, that’s an awful situation. What are you going to do about it?” And in the most empowering shift of all, Emerald suggests that victims become “creators.” Where victims believe “This situation is unbearable and I’m helpless,” creators ask themselves, “This situation is messed up. What can I make from it?” Remember, creativity is the opposite of violence, which is pure destruction. If we can find any way to see ourselves as creators, no matter what our situation, we can turn drama triangles into empowerment dynamics. Instead of getting trapped in violence and hatred, we can use relationship dynamics to reach higher and higher levels of integrity.

The empowerment triangle turns drama upside-down, transforming the persecutor (or scapegoat) into a challenger, the rescuer into a coach, and the victim into a creator. The empowerment dynamic allows all the roles to be essential for growth. In the drama triangle, the persecutor works with issues of power, the rescuer works with issues of responsibility, and the victim works with area of vulnerability: The drama triangle is familiar to many of us. We all know this pattern inside ourselves. We get stuck in a situation that we want to escape, and it creates drama. By leaning into the dynamic and entering deeper into relationship, we can work the energy so that it becomes an enriching transformation. If you can work this in a group, then you’ve subdued the scapegoat archetype and turned it into something more life affirming. The most important thing about the drama triangle is to make people aware of it. When a group can understand and recognize how this is a kind of destructive pattern, it becomes empowered to change the pattern. Uncoupling drama from our organizational and personal lives is the key. The group as a whole can embody a role to create safety and make sense of the system. Transformation from the drama to the redeemed starts with a pause, then an inquiry of what’s happening here, then a recollection of the three roles and who is playing what role in this context. Once the system is self-aware, ask the questions: “what else is possible? How can I become so centered that something new can happen? How can a new perception take place?” With enough safety and connection, the group will be able to follow the healing energy into re-organization and re-integration of the parts. Claiming or remembering your own archetype can protect against falling into one.

PRAYER FOR SELF-LOVE Today, Creator of the Universe, we ask that you help us to accept ourselves just the way we are, without judgment. Help us to accept our mind the way it is, with all our emotions, our hopes and dreams, our personality, our unique way of being. Help us to accept our body just the way it is, with all its beauty and perfection. Let the love we have for ourselves be so strong that we never again reject ourselves or sabotage our happiness, freedom, and love. From now on, let every action, every reaction, every thought, every emotion, be based on love. Help us, Creator, to increase our self-love until the entire dream of our life is transformed, from fear and drama to love and joy. Let the power of our self-love be strong enough to break all the lies we were programmed to believe — all the lies that tell us we are not good enough, or strong enough, or intelligent enough, that we cannot make it. Let the power of our self-love be so strong that we no longer need to live our life according to other people’s opinions. Let us trust ourselves completely to make the choices we must make. With our self-love, we are no longer afraid to face any responsibility in our life or face any problems and resolve them as they arise. Whatever we want to accomplish, let it be done with the power of our self-love. Starting today, help us to love ourselves so much that we never set up any circumstances that go against us. We can live our life being ourselves and not pretending to be someone else just to be accepted by other people. We no longer need other people to accept us or tell us how good we are because we know what we are. With the power of our self-love, let us enjoy what we see every time we look in the mirror. Let there be a big smile on our face that enhances our inner and outer beauty. Help us to feel such intense self-love that we always enjoy our own presence.

I redefined winning, expanded it beyond my original definition of not losing, of merely staying alive. That was no longer enough to sustain me, or my company. We wanted, as all great businesses do, to create, to contribute, and we dared to say so aloud. When you make something, when you improve something, when you deliver something, when you add some new thing or service to the lives of strangers, making them happier, or healthier, or safer, or better, and when you do it all crisply and efficiently, smartly, the way everything should be done but so seldom is—you’re participating more fully in the whole grand human drama.

The Guiding Light is the longest-running serial in broadcast history. Still seen on CBS television, its roots go back almost 60 years, to radio’s pioneering soaps. Though its original characters have been swallowed and eclipsed by time, it still has faint ties to the show that was first simulcast July 20, 1952, and in time replaced its radio counterpart with a daily one-hour TV show. Its creator, Irna Phillips, was often called “the queen of soaps.” She was so influential in the field that she was compared with Frank and Anne Hummert, though the comparison was weak. While the Hummerts employed a huge stable of writers and turned out dozens of serials, Phillips wrote her own—two million words of it each year. Using a large month-by-month work chart, Phillips plotted up to half a dozen serials at once, dictating the action to a secretary. Mentally juggling the fates of scores of characters, she churned out quarter-hour slices of life in sessions filled with high drama, acting the parts and changing her voice for the various speaking roles, while secretaries scribbled the dialogue that flowed from her lips. She gave up teaching early in life to enter radio as an actress at Chicago’s WGN. She was 25 that year, 1930. In 1932 she began to write. She discovered that cliffhanger endings were surefire for bringing those early audiences back to their sets each day, but that slow and skillful character development was what kept the audience for years. She decided that the organ was the ideal musical instrument for those little shows and that the instrument should be played with pomp and power, with all the authority of a religious service in a great European cathedral. The music gave weight to the dialogue, which was usually focused and intense.

When you make something, when you improve something, when you deliver something, when you add some new thing or service to the lives of strangers, making them happier or healthier or safer or better, and when you do it all crisply and efficiently, smartly, the way everything should be done but so seldom is — you’re participating more full in the whole grand human drama.

Think of the last 150 years as a three-act drama. In Act I, the Industrial Age, massive factories and efficient assembly lines powered the economy. The lead character in this act was the mass production worker, whose cardinal traits were physical strength and personal fortitude. In Act II, the Information Age, the United States and other nations began to evolve. Mass production faded into the background, while information and knowledge fueled the economies of the developed world. The central figure in this act was the knowledge worker, whose defining characteristic was proficiency in L-Directed Thinking. Now, as the forces of Abundance, Asia, and Automation deepen and intensify, the curtain is rising on Act III. Call this act the Conceptual Age. The main characters now are the creator and the empathizer, whose distinctive ability is mastery of R-Directed Thinking.

Suffering, therefore, is not merely the abrupt delivery of violence and death. Its greatest and most valuable expression is in dashed hopes, ruined dreams, perennial pain, torment, confusion, misunderstanding, prolonged anxiety, recovery, repair, exhaustion, and, eventually, full bodily capitulation in a drama where warm survivors, not cold victims, are more valuable to the Omnimalevolent Creator.

Imagination is biblical reasoning in its Sunday best, lost in wonder at the creativity of the Creator. Being

To an omniscient being, nothing in all of Creation can be original, fashionable, or even distinct, as every event, thought, action, adventure and discovery is occurring simultaneously in one stretched-out moment. To be omniscient means to have never felt even the slightest twang of curiosity, for there can be no unexpected twists if every outcome to every drama and experiment is already known. Without the capacity for curiosity it is, therefore, impossible for the omniscient being to be interested in anything, let alone be attentive to His own pleasure, as pleasure is inaccessible if all of Creation is, from His great perspective, perfectly flat and of a uniform temperature.

Japanese tragedy illustrates this aspect of the Trinity better than Greek tragedy, Kitamori taught, because it is based on the feeling expressed by the word tsurasa. This is the peculiar pain felt when someone dies in behalf of another. yet the term implies neither bitterness nor sadness. Nor is tsurasa burdened with the dialectical tension in the struggle with fate that is emphasized in Greek drama, since dialectic is a concept foreign to Japan. Tsurasa is pain with resignation and acceptance. Kitamori called our attention to a Kabuki play, The Village School. The feudal lord of a retainer named Matsuo is defeated in battle and forced into exile. Matsuo feigns allegiance to the victor but remains loyal to his vanquished lord. When he learns that his lord's son and heir, Kan Shusai, has been traced to a village school and marked for execution, Matsuo resolves to save the boy's life. The only way to do this, he realizes, is to substitute a look-alike who can pass for Kan Shusai and be mistakenly killed in his place. Only one substitute will likely pass: Matsuo's own son. So when the enemy lord orders the schoolmaster to produce the head of Kan Shusai, Matsuo's son consents to be beheaded instead. The plot succeeds: the enemy is convinced that the proffered head is that of Kan Shusai. Afterwards, in a deeply emotional scene, the schoolmaster tells Matsuo and his wife that their son died like a true samurai to save the life of the other boy. The parents burst into tears of tsurasa. 'Rejoice my dear,' Matsuo says consolingly to his wife. 'Our son has been of service to our lord.' Tsurasa is also expressed in a Noh drama, The Valley Rite. A fatherless boy named Matsuwaka is befriended by the leader of a band of ascetics, who invites him to accompany the band on a pilgrimage up a sacred mountain. On the way, tragically, Matsuwaka falls ill. According to an ancient and inflexible rule of the ascetics, anyone who falls ill on a pilgrimage must be put to death. The band's leader is stricken with sorrow; he cannot bear to sacrifice the boy he has come to love as his own son. He wishes that 'he could die and the boy live.' But the ascetics follow the rule. They hurl the boy into a ravine, then fling stones and clods of dirt to bury him. The distressed leader then asks to be thrown into the ravine after the boy. His plea so moves the ascetics that they pray for Matsuwaka to be restored to life. Their prayer is answered, and mourning turns to celebration. So it was with God's sacrifice of his Son. The Son's obedience to the Father, the Father's pain in the suffering and death of the Son, the Father's joy in the resurrection - these expressions of a deep personal relationship enrich our understanding of the triune God. Indeed, the God of dynamic relationships within himself is also involved with us his creatures. No impassive God, he interacts with the society of persons he has made in his own image. He expresses his love to us. He shares in our joys and sorrows. This is true of the Holy Spirit as well as the Father and Son... Unity, mystery, relationship - these are the principles of Noh that inform our understanding of the on God as Father, Son, and Spirit; or as Parent, Child, and Spirit; or as Creator, Redeemer, Sanctifier...this amazing doctrine inspires warm adoration, not cold analysis. It calls for doxology, not definition.

Mr. Fellowes, the creator of “Downton Abbey” as well as the upcoming NBC period drama “The Gilded Age,” is adapting “Doctor Thorne,” the 1858 novel by Anthony Trollope, for ITV in Britain. The novel is the third in a series of six set in the fictional English county of Barsetshire, and depicts a tumultuous engagement. Like “Downton Abbey,” the story deals with social status, seduction, and illegitimacy.

Such facts as these are offensive to the puritanical perfectionism of design-obsessed atheists and ID theists alike. Both parties think that a divine creator, if there is one, should at least live up to the exacting standards of human engineering efficiency.

The Bible gives us such a worldview, one in which ultimate reality—in other words, God—arrives from out of the future to give new life to the creation and fresh hope to human history. Here the fact of evolution finds its ultimate explanation in a universe opened by its creator to undreamed-of possibilities still hidden in the future.

The question is not whether the world’s creator can perform astounding design tricks, but whether anything of lasting significance might be working itself out dramatically in the universe as it undergoes its various phases of emergence and evolution.

Never underestimate the power of your associations. By the phenomenon known as “emotional contagion” as well as through the activation of the mirror neurons in our brains, we model the behavior of the people we spend our days with. Fill your life with exceptionally excellent, enterprising, healthy, positive, ethical and sincerely loving people. And over time, you’ll exemplify these lofty traits. Allow dream stealers, energy thieves and enthusiasm bandits into your Tight Bubble of Total Focus and please know you’re sure to become like them. The real key is to avoid trouble creators. People who have grown up in an environment riddled with drama and non-stop problems will consciously and subconsciously re-create drama and nonstop problems because, as amazing as it seems, such conditions feel familiar, safe and like home to them. Stay away from all drama queens and negativity kings. If you don’t, sooner or later, they’ll dissolve your bigness and destroy your life. It’s just what they do. Relate peacefully, as much as possible, with everyone. Even one enemy is an enemy too many. Pass through life gracefully, taking the high road when conflict shows up. Should someone do you wrong, let karma do the dirty work. And let a world-class life be your revenge.

If God is the creator of heaven and earth and the great director guiding the drama of the world and mankind, then I can encounter him everywhere. He pours out his love upon me in and through all that happens.

You see On this here stage tonight is something legendary He goes by the name of The Creator But you, you call him Tyler Baudelaire

It seems wrong to call it "business." It seems wrong to throw all those hectic days and sleepless nights, all those magnificent triumphs and desperate struggles, under that bland, generic banner. business. What we were doing felt like so much more. Each new day brought fifty new problems, fifty tough decisions that needed to be made, right now, and we were always acutely aware that one rash move, one wrong decision could be the end. The margin for error was forever getting narrower, while the stakes were forever creeping higher — and none of us wavered in the belief that "stakes'' didn't mean "money." For some, I realize, business is the all-out pursuit of profits, period, full stop, but for us business was no more about making money than being human is about making blood. Yes, the human body needs blood. It needs to manufacture red and white cells and platelets and redistribute them evenly, smoothly, to all the right places, on time, or else. But that day-to-day business of the human body isn't our mission as human beings. It’s a basic process that enables our higher aims, and life always strives to transcend the basic processes of living- and at some point in the late 1970s, I did, too. I redefined winning, expanded it beyond my original definition of not losing, of merely staying alive. That was no longer enough to sustain me, or my company. We wanted, as all great businesses do, to create, to contribute, and we dared to say so aloud. When you make something, when you improve something, when you deliver something, when you add some new thing or service to the lives of strangers, making them happier, or healthier, or safer, or better, and when you do it all crisply and efficiently, smartly, the way everything should be done but so seldom is — you’re participating more fully in the whole grand human drama. More than simply alive, you're helping others to live more fully, and if that’s business, all right, call me a businessman. Maybe it will grow on me.

This meant hiring brilliant, often very moral writers to produce fluffy, witty, or charming dialogue and good drama that did not run afoul of the new Motion Picture Production Code, popularly known as the “Hays Code” for its creator, Will Hays. Under these highly moral guidelines, Hollywood entered its “golden era” from 1934 until the 1960s.

As creator Gibson tells it, the character evolved almost by accident. In 1930, Street and Smith—prolific producers of pulp fiction magazines—decided to try the new medium, radio, in an effort to boost circulation. Once a week a drama would be adapted from an upcoming issue of Detective Story. Adapter Harry Engman Charlot added the gimmick of the mysterious host, called him the Shadow, and left the link to the magazine somewhat tenuous. “Apparently,” wrote Gibson in his Shadow Scrapbook, “some listeners didn’t get this message clearly, because instead of asking about Detective Story Magazine, they wanted the magazine that told about the Shadow.” The answer was obvious—a new magazine, with the Shadow as its nucleus. Gibson, then a hustling freelancer whose acquaintances included magicians Houdini and Blackstone, was called in to help develop the character and get the new publication off the ground.

For instance, if you keep taking on others’ feelings, inserting a 1 into your emotional boundary will help you put yourself first. Following are some of the meanings of the numbers 1 through 10, plus some powerful numbers above 10: 1:​Initiates and begins; invokes the Creator; brings your needs to a conclusion and puts yourself first. 2:​Represents pairing and duality; balances relationships; creates healthy liaisons; shares power. 3:​Reflects optimism; the number of creation, it brings a beginning and an end together; ends chaos. 4:​Signifies foundation and stability; provides grounding; achieves balance. 5:​Promotes and progresses; creates a space for decision-making; provides the ability to go in any direction at will. 6:​The number of service; indicates the presence of light and dark, good and evil, and the choices made between these. 7:​Represents the divine principle; opens us for love and grace, erasing doubts about the divine path. 8:​The symbol of power and infinity; establishes recurring patterns and illuminates karma; can be used to erase old and entrenched patterns or syndromes. 9:​Represents change and harmony; eliminates the old and opens us to a new cycle; can erase evil. 10:​Signifies building and starting over. The number of physical matter, it can create heaven on earth. 11:​Represents inspiration; releases personal mythology; opens us to divine powers; erases self-esteem issues. 12:​Signifies mastery over human drama; accesses own divine self, but still encompasses humanity; excellent for forgiveness. 22:​For success in anything you do. 33:​For teaching and accepting our own wisdom; invokes bravery and discipline.

If this core mystery of the Christian faith (which I believe can never be truly articulated) is true, and that the Creator not only took part in the human drama, but suffered in that drama, perhaps we have an understanding and compassionate God, not one out to get us?

But God really mean for women to lead. Just think on it, we more like God than any man. We love easier, more patient, long sufferin and we the creators. We give men life.