Musical Theater Quotes

We've searched our database for all the quotes and captions related to Musical Theater. Here they are! All 100 of them:

I never liked jazz music because jazz music doesn't resolve. But I was outside the Bagdad Theater in Portland one night when I saw a man playing the saxophone. I stood there for fifteen minutes, and he never opened his eyes. After that I liked jazz music. Sometimes you have to watch somebody love something before you can love it yourself. It is as if they are showing you the way. I used to not like God because God didn't resolve. But that was before any of this happened.
Donald Miller (Blue Like Jazz: Nonreligious Thoughts on Christian Spirituality (Paperback))
I’m afraid I’ll be a book that no one reads. Music that no one listens to anymore. I’m afraid I’ll be abandoned like a movie playing in an empty theater.
Tablo
C’est moi, c’est moi,’tis I,' I told him. It seemed appropriately melodramatic, though I didn’t know if he’d catch the reference. I shouldn’t have worried. Unexpectedly, he laughed. “Trust you to quote Lancelot rather than Guinevere.
Patricia Briggs (Moon Called (Mercy Thompson, #1))
Even so, there were times I saw freshness and beauty. I could smell the air, and I really loved rock 'n' roll. Tears were warm, and girls were beautiful, like dreams. I liked movie theaters, the darkness and intimacy, and I liked the deep, sad summer nights.
Haruki Murakami (Dance Dance Dance)
The streets of Prague were a fantasia scarcely touched by the twenty-first century—or the twentieth or nineteenth, for that matter. It was a city of alchemists and dreamers, its medieval cobbles once trod by golems, mystics, invading armies. Tall houses glowed goldenrod and carmine and eggshell blue, embellished with Rococo plasterwork and capped in roofs of uniform red. Baroque cupolas were the soft green of antique copper, and Gothic steeples stood ready to impale fallen angels. The wind carried the memory of magic, revolution, violins, and the cobbled lanes meandered like creeks. Thugs wore Motzart wigs and pushed chamber music on street corners, and marionettes hung in windows, making the whole city seem like a theater with unseen puppeteers crouched behind velvet.
Laini Taylor (Daughter of Smoke & Bone (Daughter of Smoke & Bone, #1))
The man who has many answers is often found in the theaters of information where he offers, graciously, his deep findings. While the man who has only questions, to comfort himself, makes music.
Mary Oliver (A Thousand Mornings: Poems)
It is the part of a wise man, I say, to refresh and restore himself in moderation with pleasant food and drink, with scents, with the beauty of green plants, with decoration, music, sports, the theater, and other things of this kind, which anyone can use without injury to another.
Baruch Spinoza (Ethics)
So I kept reading, just to stay alive. In fact, I'd read two or three books at the same time, so I wouldn't finish one without being in the middle of another -- anything to stop me from falling into the big, gaping void. You see, books fill the empty spaces. If I'm waiting for a bus, or am eating alone, I can always rely on a book to keep me company. Sometimes I think I like them even more than people. People will let you down in life. They'll disappoint you and hurt you and betray you. But not books. They're better than life.
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
What grinds me the most is we're sending kids out into the world who don't know how to balance a checkbook, don't know how to apply for a loan, don't even know how to properly fill out a job application, but because they know the quadratic formula we consider them prepared for the world` With that said, I'll admit even I can see how looking at the equation x -3 = 19 and knowing x =22 can be useful. I'll even say knowing x =7 and y= 8 in a problem like 9x - 6y= 15 can be helpful. But seriously, do we all need to know how to simplify (x-3)(x-3i)?? And the joke is, no one can continue their education unless they do. A student living in California cannot get into a four-year college unless they pass Algebra 2 in high school. A future psychologist can't become a psychologist, a future lawyer can't become a lawyer, and I can't become a journalist unless each of us has a basic understanding of engineering. Of course, engineers and scientists use this shit all the time, and I applaud them! But they don't take years of theater arts appreciation courses, because a scientist or an engineer doesn't need to know that 'The Phantom of the Opoera' was the longest-running Broadway musical of all time. Get my point?
Chris Colfer (Struck By Lightning: The Carson Phillips Journal (The Land of Stories))
But as they rode out of Rifthold, that city that had been her home and her hell and her salvation, as she memorized each street and building and face and shop, each smell and the coolness of the river breeze, she didn't see one slave. Didn't hear one whip. And as they passed by the domed Royal Theater, there was music - beautiful, exquisite music - playing within.
Sarah J. Maas (Queen of Shadows (Throne of Glass, #4))
Music blows lyrics up very quickly, and suddenly they become more than art. They become pompous and they become self-conscious ... I firmly believe that lyrics have to breathe and give the audience's ear a chance to understand what's going on. Particularly in the theater, where you not only have the music, but you've got costume, story, acting, orchestra. There's a lot to take in.
Stephen Sondheim
There are moments in your life when you see yourself through someone else’s eyes, when your only hope of believing you’re capable of doing something is because someone else believes it for you.
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
I never liked jazz music because jazz music doesn't resolve. But I was outside the Bagdad Theater in Portland one night when I saw a man playing the saxophone. I stood there for fifteen minutes, and he never opened his eyes.
Donald Miller (Blue Like Jazz: Nonreligious Thoughts on Christian Spirituality (Paperback))
I envy the music lovers hear. I see them walking hand in hand, standing close to each other in a queue at a theater or subway station, heads touching while they sit on a park bench, and I ache to hear the song that plays between them: The stirring chords of romance's first bloom, the stately airs that whisper between a couple long in love. You can see it in the way they look at each other... you can almost hear it. Almost, but not quite, because the music belongs to them and all you can have of it is a vague echo that rises up from the bittersweet murmur and shuffle of your own memories.
Charles de Lint (Moonlight and Vines (Newford, #6))
It is central to Christian living that we should celebrate the goodness of creation, ponder its present brokenness, and, insofar as we can, celebrate in advance the healing of the world, the new creation itself. Art, music, literature, dance, theater, and many other expressions of human delight and wisdom, can all be explored in new ways.
N.T. Wright (Simply Christian)
When a show ends, for a few days, my body sizzles with leftover energy, like a tree in the wake of a lightning strike.
S.M. Stevens
I'm a sucker for a guy with a big organ.
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
Musical theater can save you, even if only for two or three hours at a time.
Michelle Knudsen (Evil Librarian)
Radicalism usually prospers in the gap between rising expectations and declining opportunities. This is especially true where the population is young, idle, and bored; where the art is impoverished; where entertainment—movies, theater, music—is policed or absent altogether; and where young men are set apart from the consoling and socializing presence of women.
Lawrence Wright (The Looming Tower)
Because proximity breeds empathy. And with empathy, humanity has a fighting chance.
Tyler Merritt (I Take My Coffee Black: Reflections on Tupac, Musical Theater, Faith, and Being Black in America)
When you're in a show, all through rehearsals Tech Week hovers out there like a magical holy grail. In reality, Tech Week is always a train wreck of missed cues, forgotten lines, malfunctioning set pieces and short tempers.
S.M. Stevens
Hard work may pay off in the long run, but the benefits of laziness are immediate.
Marc Acito (How I Paid for College: A Novel of Sex, Theft, Friendship & Musical Theater (Edward Zanni, #1))
Actors are agents of change. A film, a piece of theater, a piece of music, or a book can make a difference. It can change the world.
Alan Rickman
Anything really is possible in musical theater.
Michelle Knudsen (Evil Librarian)
Every paragraph, every sentence, seemed written in a musical key. The narrative drew her eyes through a cadence of timbres and colors that sketched a theater of shadows in her mind. She read without pause for two hours, relishing every sentence and dreading the moment she would reach the end.
Carlos Ruiz Zafón (The Labyrinth of the Spirits (The Cemetery of Forgotten Books, #4))
The best literature is always a take [in the musical sense]; there is an implicit risk in its execution, a margin of danger that is the pleasure of the flight, of the love, carrying with it a tangible loss but also a total engagement that, on another level, lends the theater its unparalleled imperfection faced with the perfection of film. I don’t want to write anything but takes.
Julio Cortázar (Around the Day in Eighty Worlds)
I spent most of my life trying to specialize myself. I went to theater school, film school, music school, mime school ... Finally, I was able to gather enough knowledge to build the confidence to create my own work, that goes utterly against the sense of specialization.
Nuno Roque
Children do not need half a dozen sports, music, art, or theater activities. Kids actually need more free playtime without adult instruction.
Laura Schlessinger
Along the way [Mozart] got married; fathered seven children (two of whom survived into adulthood); performed as a pianist; violinist; and conductor; maintained a successful teaching studio; wrote thousands of letters; traveled widely; attended the theater religiously; played cards, billiards, and bocce; and rode horseback for exercise. Not bad for someone portrayed as a giggling idiot in the movies.
Robert Greenberg (How to Listen to and Understand Great Music)
Distance breeds suspicion. But proximity breeds empathy.
Tyler Merritt (I Take My Coffee Black: Reflections on Tupac, Musical Theater, Faith, and Being Black in America)
There is no such thing as hell, of course, but if there was, then the sound track to the screaming, the pitchfork action and the infernal wailing of damned souls would be a looped medley of “show tunes” drawn from the annals of musical theater.
Gail Honeyman (Eleanor Oliphant Is Completely Fine)
A non-religious man today ignores what he considers sacred but, in the structure of his consciousness, could not be without the ideas of being and the meaningful. He may consider these purely human aspects of the structure of consciousness. What we see today is that man considers himself to have nothing sacred, no god; but still his life has a meaning, because without it he could not live; he would be in chaos. He looks for being and does not immediately call it being, but meaning or goals; he behaves in his existence as if he had a kind of center. He is going somewhere, he is doing something. We do not see anything religious here; we just see man behaving as a human being. But as a historian of religion, I am not certain that there is nothing religious here… I cannot consider exclusively what that man tells me when he consciously says, ‘I don’t believe in God; I believe in history,’ and so on. For example, I do not think that Jean-Paul Sartre gives all of himself in his philosophy, because I know that Sartre sleeps and dreams and likes music and goes to the theater. And in the theater he gets into a temporal dimension in which he no longer lives his ‘moment historique.’ There he lives in quite another dimension. We live in another dimension when we listen to Bach. Another experience of time is given in drama. We spend two hours at a play, and yet the time represented in the play occupies years and years. We also dream. This is the complete man. I cannot cut this complete man off and believe someone immediately when he consciously says that he is not a religious man. I think that unconsciously, this man still behaves as the ‘homo religiosus,’ has some source of value and meaning, some images, is nourished by his unconscious, by the imaginary universe of the poems he reads, of the plays he sees; he still lives in different universes. I cannot limit his universe to that purely self-conscious, rationalistic universe which he pretends to inhabit, since that universe is not human.
Mircea Eliade
Operating theaters are not nearly as popular as dramatic theaters, musical theaters, and movie theaters, and it is easy to see why. A dramatic theater is a large, dark room in which actors perform a play, and if you are in the audience, you can enjoy yourself by listening to the dialog and looking at the costumes. A musical theater is a large, dark room in which musicians preform a symphony, and if you are in the audience you can enjoy yourself by listening to the melodies and watching the conductor wave his little stick around. And a movie theater is a large, dark room in which a projectionist shows a film, and if you are in the audience, you can enjoy yourself by eating popcorn and gossiping about movie stars. But an operating theater is a large, dark room in which doctors preform medical procedures, and if you are in the audience, the best thing to do is to leave at once because there is never anything on display in an operating theater but pain, suffering and discomfort, and for this reason most operating theaters have been closed down or have been turned into restaurants.
Lemony Snicket (The Hostile Hospital (A Series of Unfortunate Events, #8))
That´s the problem with planning a late night supper after the opera, not only does the hero or the heroine die singing, but you end up famished after the last notes of the finale.
E.A. Bucchianeri (Brushstrokes of a Gadfly, (Gadfly Saga, #1))
Music is constructed in notes. Language in words. Both are communicating. Music is a language of feeling, the heart. Words are the music of the mind. Theater is their marriage.
Ethan Hawke (A Bright Ray of Darkness)
If Patti Lupone was born to play Evita then Madonna was born to play Patti Lupone playing Evita.
Buck Bannister
I have built a city from the books I've read. A good book sings a a timeless music that is heard in the choir lofts, and balconies, and theaters that thrived within that secret city inside me.
Pat Conroy (My Reading Life)
It was not the sorrowful, lovely piece she had once played for Dorian, and it was not the light, dancing melodies she'd played for sport; it was not the complex and clever pieces she had played for Nehemia and Chaol. This piece was a celebration—a reaffirmation of life, of glory, of the pain and beauty in breathing. Perhaps that was why she'd gone to hear it performed every year, after so much killing and torture and punishment: as a reminder of that she was, of what she struggled to keep. Up and up it built, the sound breaking from the pianoforte like the heart-song of a god, until Rowan drifted over to stand beside the instrument, until she whispered to him, “Now,” and the crescendo shattered into the world, note after note after note. The music crashed around them, roaring through the emptiness of the theater. The hollow silence that had been inside her for so many months now overflowed with sound. She brought the piece home to its final explosive, triumphant chord. When she looked up, panting slightly, Rowan's eyes were lined with silver, his throat bobbing. Somehow, after all this time, her warrior-prince still managed to surprise her. He seemed to struggle for words, but he finally breathed, “Show me—show me how you did that.” So she obliged him.
Sarah J. Maas (Queen of Shadows (Throne of Glass, #4))
The public considers all women on stage to be of questionable morals, if not outright whores. But the serious Shakespearean actresses console themselves that at least they aren’t involved in the vulgarity of musical theater. And those of us in musical theater congratulate ourselves on not being involved in the pornographic nonsense that is the burlesque. I don’t know to whom the burlesque performers compare themselves, but I’m sure they feel superior to someone.
Sherry Thomas (A Study in Scarlet Women (Lady Sherlock, #1))
What liberals must conserve is the middle class: the stable family who can afford to enjoy music and theater and take the kids to Europe someday and put money in the collection plate and save for college and keep up the home and be secure against catastrophe. This family has taken big hits in payroll taxes and loss of buying power and a certain suppressed panic about job security.
Garrison Keillor (Homegrown Democrat: A Few Plain Thoughts from the Heart of America)
Communication is not only about words and numbers. Some thoughts can’t be properly expressed in these ways at all. We also think in sounds and images, in movement and gesture, which gives rise to our capacities for music, visual arts, dance, and theater in all their variations.
Ken Robinson (Creative Schools: The Grassroots Revolution That's Transforming Education)
To speak of creativity is to speak of profound intimacy. It is also to speak of our connecting to the Divine in us and of our bringing the Divine back to the community. This is true whether we understand our creativity to be begetting and nourishing our children, making music, doing theater, gardening, writing, teaching, running a business, painting, constructing houses, or sharing the healing arts of medicine and therapy.
Matthew Fox (Creativity)
I forget every single thing in the world, every heartache, every tear, every pain as I watch that performance. The dancers, the music, the lights, the people in the theater are all so beautiful that I want to wear them on my skin for the rest of my life.
Ibi Zoboi (American Street)
Making music, dancing, the theater, conversation, proper and urbane deportment, these were cultivated here as particular arts. It was not the military, nor the political, nor the commercial, that was predominant in the life of the individual and of the masses.
Stefan Zweig (The World of Yesterday)
My favorite term for a new kind of performance is "security theater." In this genre, we watch as ritualized inspections and patdowns create the illusion of security. It's a form that has become common since 9/11, and even the government agencies that participate in this activity acknowledge,off the record, that it is indeed a species of theater.
David Byrne (How Music Works)
When we play an unaccompanied Bach suite we may compare ourselves to an actor in Shakespeare's day, creating scenery which did not exist at all, through the power of declamation and suggestion. So in Bach. There is but one voice -- and many voices have to be suggested.
Pablo Casals
There is something for you, something that the world really needs, and that only you can do. Only you. And it’s not too late to do it.
Tyler Merritt (I Take My Coffee Black: Reflections on Tupac, Musical Theater, Faith, and Being Black in America)
If you don't deal with your stuff, your stuff will deal with you.
Tyler Merritt (I Take My Coffee Black: Reflections on Tupac, Musical Theater, Faith, and Being Black in America)
Wave after wave of glass and debris slammed into her wildfire. But she kept that wall of flame burning—for the Royal Theater. And the flower girls at the market. For the slaves and the courtesans and the Faliq family. For the city that had offered her joy and pain, death and rebirth, for the city that had given her music, Aelin kept that wall of fire burning bright.
Sarah J. Maas (Queen of Shadows (Throne of Glass, #4))
This is who Shakespeare was meant for: not The New York Times! Not intellectuals. Just plain folks. You play Shakespeare’s music right for a real house and that shit goes up all by itself.
Ethan Hawke (A Bright Ray of Darkness)
And the more I think about it, the more frustrated I get by the entire concept of a backup plan. Because it only ever seems to pertain to people who are interested in art, music, theater--and yes, the circus. Nobody would ever dream of going up to someone in medical school and telling them, 'Gee, I really think you should have a backup plan. You know, just in case this doesn't work out for you.
Akemi Dawn Bowman (Harley in the Sky)
Rarely offstage, rarely on hiatus, Fiddler on the Roof has already been back on Broadway for four revivals, played London's West End four times, and remains among Broadway's longest-running shows ever.
Barbara Isenberg (Tradition!: The Highly Improbable, Ultimately Triumphant Broadway-to-Hollywood Story of Fiddler on the Roof, the World's Most Beloved Musical)
I’ve been labeled before. I’m supposed to be a jock and then a brain and then one of those music/theater people. I guess I like to keep surprising people. But what kind of life can you live in a tiny square box? My personality is less narrow. I like a lot of different things. But still, people like to be able to put you in a category, to be able to place you in even rows and put a sign at the front. They think the best you can achieve is being at the front of your row…but why not form your own row? Isn’t that the definition of being a leader? Maybe taking charge means something different nowadays. How come lately people think you’re a leader just because you happen to be at the front of the line? A good leader need only point the way and watch as others follow a direction, not a figure. A great leader can lead without anyone ever knowing it. A spectacular leader can lead without ever knowing it themselves. The person at the front of the line is the puppet of someone that you couldn’t name because someone else pointed the way. I must have missed something. I thought being a follower was letting other people shape your life. I thought it meant letting other people decide who you were going to be. I won’t conform. I won’t let people class me. Because once you’re there you’re stuck. I will be whoever I want to be, and no one can stop me. I have something they don’t have, which is nothing to lose. I have my entire life to live and I intend to live it the way I would like to live. I will form my own row. I will point in a new direction. If that means going against other peoples’ opinion of normal, then so be it. Who says normal is right? Normal certainly strikes me as a boring way to live my life.
K.D. Enos
For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day.... To me, it's all art, inside the studio and out. At least it is if we approach our lives that way.
Terri Windling
I also realized that there were lots of unacknowledged theater forms going on all around. Our lives are filled with performances that have been so woven into our daily routine that the artificial and performative aspect has slipped into invisibility.
David Byrne (How Music Works)
There is no such thing as hell, of course, but if there was, then the sound track to the screaming, the pitchfork action and the infernal wailing of damned souls would be a looped medley of “show tunes” drawn from the annals of musical theater. The complete oeuvre of Lloyd Webber and Rice would be performed, without breaks, on a stage inside the fiery pit, and an audience of sinners would be forced to watch—and listen—for eternity. The very worst among them, the child molesters and the murderous dictators, would have to perform them.
Gail Honeyman (Eleanor Oliphant Is Completely Fine)
I was hungry when I left Pyongyang. I wasn't hungry just for a bookshop that sold books that weren't about Fat Man and Little Boy. I wasn't ravenous just for a newspaper that had no pictures of F.M. and L.B. I wasn't starving just for a TV program or a piece of music or theater or cinema that wasn't cultist and hero-worshiping. I was hungry. I got off the North Korean plane in Shenyang, one of the provincial capitals of Manchuria, and the airport buffet looked like a cornucopia. I fell on the food, only to find that I couldn't do it justice, because my stomach had shrunk. And as a foreign tourist in North Korea, under the care of vigilant minders who wanted me to see only the best, I had enjoyed the finest fare available.
Christopher Hitchens (Love, Poverty, and War: Journeys and Essays)
Libby, not all the gays have an encyclopedic knowledge of the American musical theater. It's not like they hand you a DVD box set of of the Rodgers and Hammerstein Collection in a Liza Minnelli souvenir tote bag when you come out.' 'Well, they should. I'd totally be gay for a Liza Minnelli tote bag.
Stephanie Kate Strohm (Pilgrims Don't Wear Pink (Pilgrims, #1))
Contemporary art, like contemporary literature, theater, music, everything, is almost always completely atrocious.
A.D. Aliwat (In Limbo)
And more than that, I valued Miguel. My legitimate value and love for him as a human being trumped any issues I was supposed to have with him. I
Tyler Merritt (I Take My Coffee Black: Reflections on Tupac, Musical Theater, Faith, and Being Black in America)
Proximity (which breeds empathy) + Honesty (vulnerable dialogue) + Value (seeing each other as having inherent worth) + A Common Goal (seeing that we’re all in this
Tyler Merritt (I Take My Coffee Black: Reflections on Tupac, Musical Theater, Faith, and Being Black in America)
Shame is really easily understood as the fear of disconnection: Is there something about me that, if other people know it or see it, that I won’t be worthy of connection?”2
Tyler Merritt (I Take My Coffee Black: Reflections on Tupac, Musical Theater, Faith, and Being Black in America)
In America, music was the first sphere of social interaction in which racial barriers were challenged and overturned. And the challenge went both ways: by the mid-1920s, white bands were playing for all-black audiences at Lincoln Theater and elsewhere. These intermediate steps between segregation and integration represented, for all their problems, progress of sorts.
Ted Gioia (The History of Jazz)
The students tend to stick close to campus. There is nothing for them to do in Blacksmith proper, no natural haunt or attraction. They have their own food, movies, music, theater, sports, conversation and sex. This is a town of dry cleaning shops and opticians. Photos of looming Victorian homes decorate the windows of real estate firms. These pictures have not changed in years. The homes are sold or gone or stand in other towns in other states. This is a town of tag sales and yard sales, the failed possessions arrayed in driveways and tended by kids.
Don DeLillo (White Noise)
Buenos Aires, sophisticated and fascinating, is the Paris of Latin America; with a vibrant cultural scene, the best theater and live music, it is the birthplace of many world-famous writers.
Isabel Allende (Violeta)
The man who has many answers is often found in the theaters of information, where he offers graciously his deep findings. While the man who has only questions to comfort himself makes music.
Mary Oliver (Dog Songs)
Sunday “Well then, as I have just told you, they devoted each day of the week to productions in one or another special branch of knowledge—either works of their hands, or some other form of consciously designed being-manifestation “Thus, Monday was devoted to the first group, and this day was called the ‘day of religious and civil ceremonies’, “Tuesday was allotted to the second group, and was called the ‘day of architecture’, “Wednesday was called the ‘day of painting’, “Thursday, the ‘day of religious and popular dances’, “Friday, the ‘day of sculpture’, “Saturday, the ‘day of the mysteries’ or, as it was also called, the ‘day of the theater’, “Sunday, the ‘day of music and song
G.I. Gurdjieff (Beelzebub's Tales to His Grandson)
I thought about that, about this town, about what it has done to him. Spoon wasn’t so much actively bullied or picked on as he was ignored. Week after week, month after month, year after year—ignored or worse. He had found an escape by pouring himself into things that don’t turn away from you—musical theater, books, random facts, his imagination. He was like a sponge, absorbing all of this information and goodness, but he didn’t really have anyone to wring himself out on, as it were. Except
Harlan Coben (Seconds Away (Mickey Bolitar, #2))
When an artist is asked to speak about form, you expect something different than when a critic talks about it. Because you think that somewhere between sentences and words, the secret will slip out. I am trying to give you that secret; it isn't a secret at all, but it is building solidly, not using secrets. I had been trying to extend into metaphysical extension; that film is changing, metamorphic; that is, infinite; the idea that the movement of life is totally important rather than a single life. My films were built on an incline, an increase in intensity. I hoped to make a form which was infinite, the changingness of things. I thought I would want to find a total form which conveyed that sense, particularly in reference to an Oriental subject. My impression was: one is walking down a corridor of a hotel. One hears a sound, opens a door and a man is playing; one listens for three minutes and closes the door. The music went on before you opened the door and it continues after you close the door. There was neither beginning nor end. Western music increases in intensity to a climax and then resolves itself. Oriental music is infinite; it goes on and on. The Chinese theater goes on for hours and hours with time for lunch moving scenery, etc.
Maya Deren
 It’s weird being alone in the museum. It’s dark and eerily quiet: Only the after-hours lights are on—just enough to illuminate the hallways and stop you from tripping over your own feet—and the background music that normally plays all the time is shut off. I quickly organize the flashlights and check their batteries, and when I don’t hear Porter walking around, I stare at the phone sitting at the information desk. How many chances come along like this? I pick up the receiver, press the little red button next to the word ALL, and speak into the phone in a low voice. “Paging Porter Roth to the information desk,” I say formally, my voice crackling through the entire lobby and echoing down the corridors. Then I press the button again and add, “While you’re at it, check your shoes to make sure they’re a match, you bastard. By the way, I still haven’t quite forgiven you for humiliating me. It’s going to take a lot more than a kiss and a cookie to make me forget both that and the time you provoked me in the Hotbox.” I’m only teasing, which I hope he knows. I feel a little drunk on all my megaphone power, so I page one more thing: “PS—You look totally hot in those tight-fitting security guard pants tonight, and I plan to get very handsy with you at the movies, so we better sit in the back row.” I hang up the phone and cover my mouth, silently laughing at myself. Two seconds later, Porter’s footfalls pound down Jay’s corridor—Boom! Boom! Boom! Boom! He sounds like a T. rex running from Godzilla. He races into the lobby and slides in front of the information desk, grabbing onto the edge to stop himself, wild curls flying everywhere. His grin is enormous. “Whadidya say ’bout where you want to be puttin’ your hands on me?” he asks breathlessly. “I think you have me confused with someone else,” I tease. His head sags against the desk. I push his hair away from one of his eyes. He looks up at me and asks, “You really still haven’t forgiven me?” “Maybe if you put your hands onme, I might.” “Don’t go getting my hopes up like that.” “Oh, your hopes should be up. Way up.” “Dear God, woman,” he murmurs. “And here I was, thinking you were a classy dame.” “Pfft. You don’t know me at all.” “I aim to find out. What are we still doing here? Let’s blow this place and get to the theater, fast.
Jenn Bennett (Alex, Approximately)
Awkward. \ˈȯ-kwərd\. Adjective. A feeling of embarrassment, discomfort, or abnormality. If music is the universal language, then awkward is the universal feeling. Awkward works in mysterious ways. Sometimes it’s a handshake that was meant to be a high-five. Other times it’s telling the guy who works at the movie theater to enjoy the movie, too. Awkward comes in so many forms: meeting your girlfriend’s parents, getting socks as a birthday present, a friend request that turned out to be a computer virus, on and on and on.
Michael McCreary (Funny, You Don't Look Autistic: A Comedian's Guide to Life on the Spectrum)
He had seen the banning of books, music and films, the closure of theaters and cinemas, the outlawing of football, and all the other countless ways in which the Libyan dictatorship, like a crazed jealous lover, infiltrated every aspect of public and private life.
Hisham Matar (The Return: Fathers, Sons and the Land in Between)
It is not just bookstores and libraries that are disappearing but museums, theaters, performing arts centers, art and music schools— all those places where I felt at home have joined the list of endangered species. The San Francisco Chronicle, the Los Angeles Times, the Boston Globe and my own hometown paper, The Washington Post, have all closed their weekend book review sections, leaving books orphaned and stranded, poor cousins to television and the movies. In a sign of the times, the Bloomberg News website recently transferred its book coverage to the Luxury section, alongside yachts, sports clubs and wine, as if to signal that books are an idle indulgence of the super-rich. But if there is one thing that should not be denied to anyone rich or poor it is the opportunity to dream.
Azar Nafisi (Things I've Been Silent About)
Don’t be afraid of aging. As the saying goes, don’t be afraid of anything but fear itself. Find “your” perfume before you turn thirty. Wear it for the next thirty years. No one should ever see your gums when you talk or laugh. If you own only one sweater, make sure it’s cashmere. Wear a black bra under your white blouse, like two notes on a sheet of music. One must live with the opposite sex, not against them. Except when making love. Be unfaithful: cheat on your perfume, but only on cold days. Go to the theater, to museums, and to concerts as often as possible: it gives you a healthy glow. Be aware of your qualities and your faults. Cultivate them in private but don’t obsess. Make it look easy. Everything you do should seem effortless and graceful. Not too much makeup, too many colors, too many accessories …  Take a deep breath and keep it simple. Your look should always have one thing left undone—the devil is in the details. Be your own knight in shining armor. Cut your own hair or ask your sister to do it for you. Of course you know celebrity hairdressers, but only as friends. Always be fuckable: when standing in line at the bakery on a Sunday morning, buying champagne in the middle of the night, or even picking the kids up from school. You never know. Either go all gray or no gray hair. Salt and pepper is for the table.
Anne Berest (How to Be Parisian Wherever You Are: Love, Style, and Bad Habits)
A show in progress. A story unfolding. The theater goes dark for a scene change. The orchestra, though, continues to play. A riff on the show’s dominant melody fills the house—somber or suspenseful or sweepingly romantic—and the tone of the next scene starts there, with the music.
Julia Drake (The Last True Poets of the Sea)
That day and night, the bleeding and the screaming, had knocked something askew for Esme, like a picture swinging crooked on a wall. She loved the life she lived with her mother. It was beautiful. It was, she sometimes thought, a sweet emulation of the fairy tales they cherished in their lovely, gold-edged books. They sewed their own clothes from bolts of velvet and silk, ate all their meals as picnics, indoors or out, and danced on the rooftop, cutting passageways through the fog with their bodies. They embroidered tapestries of their own design, wove endless melodies on their violins, charted the course of the moon each month, and went to the theater and the ballet as often as they liked--every night last week to see Swan Lake again and again. Esme herself could dance like a faerie, climb trees like a squirrel, and sit so still in the park that birds would come to perch on her. Her mother had taught her all that, and for years it had been enough. But she wasn't a little girl anymore, and she had begun to catch hints and glints of another world outside her pretty little life, one filled with spice and poetry and strangers.
Laini Taylor (Lips Touch: Three Times)
It is said that physicians sometimes ask patients, “Do you really wish to get well?” And, to be perfectly realistic in this matter, we must put the question of whether modern civilization wishes to survive. One can detect signs of suicidal impulse; one feels at times that the modern world is calling for madder music and for stronger wine, is craving some delirium which will take it completely away from reality. One is made to think of Kierkegaard’s figure of spectators in the theater, who applaud the announcement and repeated announcement that the building is on fire. I
Ted j. Smith III (Ideas Have Consequences)
How is she already asleep?” Sully whispers. “At home she stays up until like two a.m.” “She probably was tired,” Church whispers back. “What, from climbing a hill?” Church doesn’t respond. They get into their sleeping bags and whisper for half an hour about the outdoor soccer season about to start. I hadn’t even realized the indoor season was over—Mom and Dad just told me when I needed to take them to practice or pick them up. I didn’t know how they’d done. Were there any tournaments? Trophies? After a long stretch of silence, Sully says, “So did you really try out for the spring musical?” Church doesn’t respond for a second. “Yes. Why?” “Just wondering. Why didn’t you tell me?” “Because you would have made it about Macy Garrison.” “It—it’s not?” “No.” “Oh. But you’re not going to try out forchoir?” “Maybe.” “Why?” Just the smallest bit of mocking enters Sully’s tone. “Because I like it,” Church snaps back. “We don’t have to do all the same things. Try out for mathletes or something. You like math. You’d be good at it.” “Mathletes is for nerds.” “Sull, there’s something you should know.” “Don’t say it.” “You are a nerd.” “I’m not a nerd. Eliza’s a nerd.” “Actually, I think Eliza’s a geek. I’ve seen her grades. Compared to us, she’s horrible at school.” “You’re a nerd for knowing the difference.” “That’s fine.” Sully makes no sound, but I can feel him fuming in the darkness. I didn’t know Church could get under Sully’s skin so easily. I didn’t know Sully liked math. I didn’t know either of them were that good at school. I didn’t know Church already knew he was good at singing . . . or that he was interested in musical theater. I’ve been living with them their whole lives, but until right now, they’ve felt like strangers
Francesca Zappia (Eliza and Her Monsters)
Her description of a perfect day sounds perfectly ordinary: “I will sleep long, have a relaxed breakfast. Then I’ll go out for some fresh air, chat with my husband or with friends. I might go to the theater, to the opera, or listen to a concert. If I’m rested, I might read a good book. And I would cook dinner. I like cooking!” These are the dreams of a person who had not been truly free for the last sixteen years. Though no longer young, Merkel is spry enough to enjoy the simplest of pleasures: country rambles, leisurely meals with (nonpolitical) friends, and music and books instead of charts, polls, and position papers. These pleasures will not replace the satisfaction of outsmarting a foe with her legendary stamina and command of facts. But, never one to ruminate over feelings, she will observe her own reaction to this new life with a scientist’s curiosity. In the short term, she is likely to spend time near her childhood home in the province of Brandenburg, where she first learned to love nature and which she still regards as her Heimat, or spiritual home. She’ll travel, too. Among her stated dreams is to fly over the Andes Mountains—an idealized destination; a metaphor for freedom.
Kati Marton (The Chancellor: The Remarkable Odyssey of Angela Merkel)
Destroyed, that is, were not only men, women and thousands of children but also restaurants and inns, laundries, theater groups, sports clubs, sewing clubs, boys’ clubs, girls’ clubs, love affairs, trees and gardens, grass, gates, gravestones, temples and shrines, family heirlooms, radios, classmates, books, courts of law, clothes, pets, groceries and markets, telephones, personal letters, automobiles, bicycles, horses—120 war-horses—musical instruments, medicines and medical equipment, life savings, eyeglasses, city records, sidewalks, family scrapbooks, monuments, engagements, marriages, employees, clocks and watches, public transportation, street signs, parents, works of art. “The whole of society,” concludes the Japanese study, “was laid waste to its very foundations.”2698 Lifton’s history professor saw not even foundations left. “Such a weapon,” he told the American psychiatrist, “has the power to make everything into nothing.
Richard Rhodes (The Making of the Atomic Bomb: 25th Anniversary Edition)
Flore and I were very different people, but that is what made me so enchanted with her. I was very sensible, and methodical and I like to work with machines and numbers. She loved meeting new people, to listen to music, cook good food and go to the theater. When we went to a show together she would know the works off by heart and could whisper the lines of the same time the actors did! But this is what made us such a good pair. You don't want to fall in love with the reflection of yourself! A strong partnership is with a man or a woman who is different from you, who challenges you to try new things, to become a better person.
Eddie Jaku
Before we go any further, can we all just admit that junior high sucks eggs? I have never met a person who said, “Man. Seventh grade was the best.” And if I did, I would not want them in my life. Like a person who wears Crocs on purpose, or prefers Pepsi over Coke, I don’t need that kind of delusional idiocy in my life.
Tyler Merritt (I Take My Coffee Black: Reflections on Tupac, Musical Theater, Faith, and Being Black in America)
The role of cinema here is not that of a servant nor is it to betray the painting. Rather it is to provide it with a new form of existence. The film of a painting is an aesthetic symbiosis of screen and painting, as is the lichen of the algae and mushroom. To be annoyed by this is as ridiculous as to condemn the opera on behalf of theater and music.
André Bazin (What is Cinema? Volume I)
Empowered by the Enabling Law, Hitler launched a political blitzkrieg, destroying what remained of German democracy. He began by abolishing local assemblies and replacing provincial governors with Nazis. He sent SA thugs to brutalize political opponents and, when necessary, cart them off to newly opened concentration camps. He disposed of the unions by declaring May 1, 1933, a paid national holiday, then occupying union offices throughout the country on May 2. He purged the civil service of disloyal elements and issued a decree banning Jews from the professions. He placed theater, music, and radio productions under the control of Joseph Goebbels and barred unsympathetic journalists from doing their jobs. To ensure order, he consolidated political, intelligence, and police functions in a new organization, the Gestapo.
Madeleine K. Albright (Fascism: A Warning)
held on to Edward’s hand, gave him some of the best eye contact I’d given anyone in a while, and Dr. Fields tried to stitch me up ahead of my body’s healing. Even with the ardeur days from being fed I was healing too fast for normal medical help. Fuck. Edward talked low to me. He whispered about the case, tried to get me to think about work. It worked for a while, and then the painkiller was all gone and I was still being stitched up. I couldn’t think about work. He talked about his family, about what Donna was doing with her metaphysical shop, about Peter in school and in martial arts. He was working on his second black belt. Becca and her musical theater, and the fact that he was still taking her to dance class twice a week, that amused me enough for me to say, “I want to see you sitting with all the suburban moms in the waiting area.
Laurell K. Hamilton (Hit List (Anita Blake, Vampire Hunter, #20))
Q. Which is my favorite country? A. The United States of America. Not because I'm chauvinistic or xenophobic, but because I believe that we alone have it all, even if not to perfection. The U.S. has the widest possible diversity of spectacular scenery and depth of natural resources; relatively clean air and water; a fascinatingly heterogeneous population living in relative harmony; safe streets; few deadly communicable diseases; a functioning democracy; a superlative Constitution; equal opportunity in most spheres of life; an increasing tolerance of different races, religions, and sexual preferences; equal justice under the law; a free and vibrant press; a world-class culture in books,films, theater, museums, dance, and popular music; the cuisines of every nation; an increasing attention to health and good diet; an abiding entrepreneurial spirit; and peace at home.
Albert Podell (Around the World in 50 Years: My Adventure to Every Country on Earth)
all television news programs begin, end, and are somewhere in between punctuated with music...It is there, I assume, for the same reason music is used in theater and films - to create a mood and provide a leitmotif for the entertainment...as long as the music is there as a frame for the program, the viewer is comforted to believe that there is nothing to be greatly alarmed about; that, in fact, the events that are reported have as much relation to reality as do scenes in a play.
Neil Postman (Amusing Ourselves to Death: Public Discourse in the Age of Show Business)
There is no such thing as hell, of course, but if there was, then the sound track to the screaming, the pitchfork action and the infernal wailing of damned souls would be a looped medley of “show tunes” drawn from the annals of musical theater. The complete oeuvre of Lloyd Webber and Rice would be performed, without breaks, on a stage inside the fiery pit, and an audience of sinners would be forced to watch—and listen—for eternity. The very worst among them, the child molesters and the murderous dictators, would have to perform them. Save for the exquisite oeuvre of a certain Mr. Lomond, I have yet to find a genre of music I enjoy; it’s basically audible physics, waves and energized particles, and, like most sane people, I have no interest in physics. It therefore struck me as bizarre that I was humming a tune from Oliver! I mentally added the exclamation mark, which, for the first time ever, was appropriate. Who will buy this wonderful evening? Who indeed?
Gail Honeyman (Eleanor Oliphant Is Completely Fine)
Everybody works according to his ability, some doing more, some doing less, but everyone ought to know whether he is doing good or harm. Artists are not released from that obligation, especially as there are no works of art which do neither harm nor good. If a book, a picture or a melody is accepted by a reader, a spectator or a listener, it means that the reader, spectator or listener has had his emotions stirred; and emotions must be either harmful or useful. They cannot be neutral.
Sergei Obraztsov (My Profession)
A few days after Camelot, Roz calls me and asks if she might use my ticket for The Mystery of Edwin Drood. Her sister is coming to town, and wouldn’t it be nice for the three of them to go together? I say yes, because who wants to see a musical version of The Mystery of Edwin Drood? Whenever you subscribe to a regional theater season, there’re always a few duds. She says she’ll pay me for the ticket, and I say your money’s no good here, Roz Horowitz. It’s a mitzvah to not have to go to Edwin Drood.
Gabrielle Zevin (Young Jane Young)
Most people seem to resent the controversial in music; they don't want their listening habits disturbed. They use music as a couch; they want to be pillowed on it, relaxed and consoled for the stress of daily living. But serious music was never meant to be used as a soporific. Contemporary music, especially, is created to wake you up, not put you to sleep. It is meant to stir and excite you, to move you--it may even exhaust you. But isn't that the kind of stimulation you go to the theater for or read a book for? Why make an exception for music?
Aaron Copland
Sir Magnus Donners himself appeared to greet his guests at exactly the same moment. I wondered whether he had been watching at a peephole. It was like the stage entrance of a famous actor, the conscious modesty of which is designed, by its absolute ease and lack of emphasis, both to prevent the performance from being disturbed at some anti-climax of the play by too deafening a round of applause, at the same time to confirm--what everyone in the theater knows already--the complete mastery he possesses of his art. The manner in which Sir Magnus held out his hand also suggested brilliant miming of a distinguished man feeling a little uncomfortable about something.
Anthony Powell (The Kindly Ones (A Dance to the Music of Time, #6))
Bowl? The Getty pavilions? LACMA? The Theatricum Botanicum? The Bob Baker Marionette Theater? The Watts Towers? The Museum of Jurassic Technology? Did Sadie have magic friends and had she been to the Magic Castle? Had she tried green juice? Had she ever gone to the donut place that looked like a donut? Hot dogs were gross, but had she been to Pink’s? Had she taken one of those tours of celebrity homes on the double-decker buses? Had she been to the restaurant that was built around a tree? What was her favorite place to hear live music? The Whisky a Go Go? The Palladium? The Troubadour? What was her favorite part of town? Which canyon was her favorite for hiking? The sun was always out and it never rained, wasn’t that so great?
Gabrielle Zevin (Tomorrow, and Tomorrow, and Tomorrow)
Music centers you,” I whispered to an empty car, staring at his front door. “You listened to your iPod between classes and while you sat on the bleachers before school every morning.” I smiled, letting more tears run down my cheeks and thinking back to him and his black hoodies, looking so dark. “You love popcorn. Almost every kind and flavor but especially with Tabasco sauce,” I said, remembering the times he would come into the theater where I worked. “You hold the door open for women—students, teachers, and even old ladies coming out of Baskin-Robbins. You love movies about natural disasters, but they have to have some comedy in them. Your favorite one is Armageddon.” I swallowed and thought about how little I’d ever seen Jax truly smile. “And while you love computers, it’s not your passion,” I concluded. “You love being outdoors. You love having space.” My whole face hurt, the last words barely audible. “And you deserve someone who makes you happy. I’m just not that person.
Penelope Douglas (Falling Away (Fall Away, #3))
My mom worked as a hairdresser at the Village Mall in Horsham Township when I was a little kid. There was a movie theater in the mall that showed second-run features, and I have clear memories of being around five years old and walking through the mall by myself to go watch Star Wars. I believe I saw it in that theater twenty-one times. The research definitely began then. Actually, it began even earlier. Before I was born, my father conspired with my uncle to name me Wyatt, after Wyatt Earp. There was an election held by putting names into a hat, and whatever name was drawn would be the winner. Uncle Billy distracted the people in attendance while my dad rigged the hat so that every name inside read Wyatt. My mom was horrified at the result, but eventually uncovered their ruse. The research was really just me referring to things I already knew from the life I’ve lived. You either hear the music of the open range and a man with two six-shooters or you don’t. You either look out at the stars and wonder what lies beyond them or…I don’t know what you are…someone who loves Nicholas Sparks books.
Bernard Schaffer
Question 2: How Do You Want to Grow? When you watch how young children soak up information, you realize how deeply wired we are to learn and grow. Personal growth can and should happen throughout life, not just when we’re children. In this section, you’re essentially asking yourself: In order to have the experiences above, how do I have to grow? What sort of man or woman do I need to evolve into? Notice how this question ties to the previous one? Now, consider these four categories from the Twelve Areas of Balance: 5.​YOUR HEALTH AND FITNESS. Describe how you want to feel and look every day. What about five, ten, or twenty years from now? What eating and fitness systems would you like to have? What health or fitness systems would you like to explore, not because you think you ought to but because you’re curious and want to? Are there fitness goals you’d like to achieve purely for the thrill of knowing you accomplished them (whether it’s hiking a mountain, learning to tap dance, or getting in a routine of going to the gym)? 6.​YOUR INTELLECTUAL LIFE. What do you need to learn in order to have the experiences you listed above? What would you love to learn? What books and movies would stretch your mind and tastes? What kinds of art, music, or theater would you like to know more about? Are there languages you want to master? Remember to focus on end goals—choosing learning opportunities where the joy is in the learning itself, and the learning is not merely a means to an end, such as a diploma. 7.​YOUR SKILLS. What skills would help you thrive at your job and would you enjoy mastering? If you’d love to switch gears professionally, what skills would it take to do that? What are some skills you want to learn just for fun? What would make you happy and proud to know how to do? If you could go back to school to learn anything you wanted just for the joy of it, what would that be? 8.​YOUR SPIRITUAL LIFE. Where are you now spiritually, and where would you like to be? Would you like to move deeper into the spiritual practice you already have or try out others? What is your highest aspiration for your spiritual practice? Would you like to learn things like lucid dreaming, deep states of meditation, or ways to overcome fear, worry, or stress?
Vishen Lakhiani (The Code of the Extraordinary Mind: 10 Unconventional Laws to Redefine Your Life and Succeed On Your Own Terms)
FOLKSBIENE, an impoverished, frail Yiddish theater company in constant danger of annihilation, had outlasted all the giants. The year of Schwartz's death the little troupe moved into the Forward building, guaranteeing it a permanent home with four walls and a roof, plus heat in the winter, fans in the summer, and best of all, continuing subsidies from the newspaper and the Workmen's Circle. Sporadically, other Yiddish productions would take place in New York, but they were one-shots, musicals, and charity fund-raisers. Ensconced in their new place, Folksbiene managers claimed that theirs was the oldest continuously operating Yiddish theater in the world. As proof, all past productions were listed year by year, ranging all the way back to 1915. It was an impressive roster. Among the authors included were Sholem Aleichem, Leon Kobrin, and both Singer brothers, Israel Joshua and Isaac Bashevis; also the Russians Alexander Pushkin and Maxim Gorki; and such American authors as Theodore Dreiser, Eugene O'Neill, Sherwood Anderson, and Clifford Odets. It didn't matter how well attended those shows were, or how well acted, or the duration of their runs. The point was that the Folksbiene had survived, just as the Jewish people had survived. Together, they were the keepers of the flame. It was a very small candle in a very big city.
Stefan Kanfer (Stardust Lost: The Triumph, Tragedy, and Meshugas of the Yiddish Theater in America)
Early in a career that began in 1912 when he was 19 years old, Romain de Tirtoff, the Russian-born artists who called himself Erté after the french pronunciation of his initials, was regarded as a 'miraculous magician,' whose spectacular fashions transformed the ordinary into the outstanding, whose period costumes made the present vanish mystically into the past, and whose décors converted bare stages into sparkling wonderlands of fun and fancy. When his career ended with his death in 1990, Erté was considered as 'one of the twentieth-century's single most important influences on fashion,' 'a mirror of fashion for 75 years,' and the unchallenged 'prince of the music hall,' who had been accorded the most significant international honors in the field of design and whose work was represented in major museums and private collections throughout the world. It is not surprising that Erté's imaginative designs for fashion, theater, opera, ballet, music hall, film and commerce achieved such renown, for they are as crisp and innovative in their color and design as they are elegant and extravagant in character, and redolent of the romance of the pre- and post-Great War era, the period when Erté's hand became mature, fully developed and representative of its time. Art historians and scholars define Ertés unique style as transitional Art Deco, because it bridges the visual gab between fin-de-siècle schools of Symbolism, with its ethereal quality, Art Nouveau, with its high ornament, and the mid-1920s movement of Art Deco, with its inspirational sources and concise execution.
Jean Tibbetts (Erte)
It was a gorgeous evening, with a breeze shimmering through the trees, people strolling hand in hand through the quaint streets and the plaza. The shops, bistros and restaurants were abuzz with patrons. She showed him where the farmer's market took place every Saturday, and pointed out her favorite spots- the town library, a tasting room co-op run by the area vintners, the Brew Ha-Ha and the Rose, a vintage community theater. On a night like this, she took a special pride in Archangel, with its cheerful spirit and colorful sights. She refused to let the Calvin sighting drag her down. He had ruined many things for her, but he was not going to ruin the way she felt about her hometown. After some deliberation, she chose Andaluz, her favorite spot for Spanish-style wines and tapas. The bar spilled out onto the sidewalk, brightened by twinkling lights strung under the big canvas umbrellas. The tables were small, encouraging quiet intimacy and insuring that their knees would bump as they scooted their chairs close. She ordered a carafe of local Mataro, a deep, strong red from some of the oldest vines in the county, and a plancha of tapas- deviled dates, warm, marinated olives, a spicy seared tuna with smoked paprika. Across the way in the plaza garden, the musician strummed a few chords on his guitar. The food was delicious, the wine even better, as elemental and earthy as the wild hills where the grapes grew. They finished with sips of chocolate-infused port and cinnamon churros. The guitar player was singing "The Keeper," his gentle voice seeming to float with the breeze.
Susan Wiggs (The Beekeeper's Ball (Bella Vista Chronicles, #2))
On a break from the tour, I went south to Bali, a place the choreographer Toni Basil, whom Eno and I had met during the Bush Of Ghosts sessions, had recommended as being transporting and all about performance. I rented a small motorcycle and headed up into the hills, away from the beach resort. I soon discovered that if one saw offerings of flowers and fruit being brought to a village temple compound in the afternoon, one could be pretty certain that some sort of ritual performance would follow there at night. Sure enough, night after night I would catch dances accompanied by gamelan orchestras and shadow-puppet excerpts from the Hindu Ramayana--epic and sometimes ritual performances that blended religious and theatrical elements. (A gamelan is a small orchestra made up mainly of tuned metallic gongs and xylophone-like instruments--the interplay between the parts is beautiful and intricate.) In these latter events some participants would often fall into a trance, but even in trance there were prescribed procedures. It wasn't all thrashing chaos, as a Westerner might expect, but a deeper kind of dance. As In Japanese theater, the performers often wore masks and extreme makeup; their movements, too, were stylized and "unnatural." It began to sink in that this kind of "presentational" theater has more in common with certain kinds of pop-music performance that traditional Western theater did. I was struck by other peripheral aspects of these performances. The audiences, mostly local villagers of all ages, weren't paying attention half the time. People would wander in and out, go get a snack from a cart or leave to smoke a bidi cigarette, and then return to watch some more. This was more like the behavior of audiences in music clubs than in Western theaters, where they were expected to sit quietly and only leave or converse once the show was over. The Balinese "shows" were completely integrated into people's daily lives, or so it seemed to me. There was no attempt to formally separate the ritual and the show from the audience. Everything seemed to flow into everything else. The food, the music, and the dance were all just another part of daily activity. I remembered a story about John Cage, who, when in Japan, asked someone what their religion was. The reply was that they didn't have a strict religion--they danced. Japanese do, of course, have Buddhist and Shinto rituals for weddings, funerals, and marriages, but a weekly thing like going to church or temple doesn't exist. The "religion" is so integrated into the culture that it appears in daily gestures and routines, unsegregated for ordinary life. I was beginning to see that theatricality wasn't necessarily a bad thing. It was part of life in much of the world, and not necessarily phony either.
David Byrne (How Music Works)