Stage Acting Quotes

All the world's a stage, And all the men and women merely players; They have their exits and their entrances; And one man in his time plays many parts, His acts being seven ages.

He is in a constant state of stage fright, he says, because he never knows what part of his life he is going to have to act in next

How could we explain that standing on a stage and speaking someone else's words as if they are your own is less an act of bravery than a desperate lunge at mutual understanding?

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

I have done this—made the sad prince laugh. Made his grieving parents smile. None but me. Think you only kings have power? Stand on a stage and hold the hearts of men in your hands. Make them laugh with a gesture, cry with a word. Make them love you. And you will know what power is.

Happiness was useless to me. It was heartache that filled my purse. What happy man has need of Shakespeare?

emotions really exist at the bottom of the personality or at the top. in the middle they are acted. this is why all the world is a stage.

I think on-stage nudity is disgusting, shameful and damaging to all things American. But if I were 22 with a great body, it would be artistic, tasteful, patriotic, and a progressive religious experience.

Above all, trust in the slow work of God. We are quite naturally impatient in everything to reach the end without delay. We should like to skip the intermediate stages. We are impatient of being on the way to something unknown, something new. And yet it is the law of all progress that it is made by passing through some stages of instability— and that it may take a very long time. And so I think it is with you; your ideas mature gradually—let them grow, let them shape themselves, without undue haste. Don’t try to force them on, as though you could be today what time (that is to say, grace and circumstances acting on your own good will) will make of you tomorrow. Only God could say what this new spirit gradually forming within you will be. Give Our Lord the benefit of believing that his hand is leading you, and accept the anxiety of feeling yourself in suspense and incomplete.

I wish the stage were as narrow as the wire of a tighrope dancer so that no incompetent would dare step upon it.

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

If you have a rifle, hanging on the wall in the first act, it should fire in the last act”.

I'm the empty stage where various actors act out various plays.

I also fear an attack directly upon us which shall be considerably aided by the French colonists! I therefore support your plan to act first and stage a preemptive strike against the French by launching “Operation Bright Moon”, which is now the code name for the Japanese coup d ětat which will disarm the Vichy French Forces by or during the 9th of March 1945!”   (A Gracious Enemy & After the War Volume Two)

Every act of violence was deliberate, and every favor came with enough strings attached to stage a puppet show.

Generosity brings happiness at every stage of its expression. We experience joy in forming the intention to be generous. We experience joy in the actual act of giving something. And we experience joy in remembering the fact that we have given.

Regardless of what comes and goes on the stage, the stage is always just there. The people of the world are all actors, but if they own the stage, they become the masters. As masters, they will always be able to act on the stage.

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

As a society, you were unwilling to reflect upon the shared pain that united you with those who attacked you. You retreated into myths of your own difference, assumptions of your own superiority. And you acted out these beliefs on the stage of the world, so that the entire planet was rocked by the repercussions of your tantrums, not least my family, now facing war thousands of miles away.

Shy, insecure, afraid to speak up? “Act as if,” they say. Act as if you’re not. Stand tall when you walk. Project your voice when you talk. Raise your hand in class. Act as if. Speak your mind. Cut your hair. Be the part. Look the part. You can do this. Just act as if. If you really knew me, If you could see inside, You’d find shy and insecure and afraid. Acting as if. Ironic, isn’t it? The only time I’m not Acting “as if”? When I’m on a stage.

Nina threw herself into a chair at the table and wriggled her feet out of her jewelled slippers, digging her toes into the plush white carpet. “Ahhh,” she said contentedly. “So much better.” She shoved one of the cakes from the coffee service into her mouth and mumbled, “What do you want, Kaz?” “You have crumbs on your cleavage.” “Don’t care,” she said, taking another bite of cake. “So hungry.” Kaz shook his head, amused and impressed at how quickly Nina dropped the wise Grisha priestess act. She’d missed her true calling on the stage.

Throughout history humans have inflicted countless violent, cruel, and hurtful acts on each other, and continue to do so. Are they all to be condemned; are they all guilty? Or are those acts simply expressions of unconsciousness, an evolutionary stage that we are now growing out of? Jesus’ words, “Forgive them for they do not know what they do,” also apply to yourself.

Maybe Shakespeare was right. Maybe all the world was a stage. Maybe without the act everything would fall apart. The key to happiness wasn't being yourself, because what did that even mean? Everyone had many selves. No. The key to happiness is finding the lie that suits you best.

Totus mundus agit histrionem. (All the World's a Stage.)" [Motto of William Shakespeare's Globe Theatre (f. 1599) and its acting company, The King's Men; taken from the first play to be performed on the new stage.]

Does a man who is acting on the stage in a female part forget that he is a man? Similarly, we too must play our parts on the stage of life, but we must not identify ourselves with those parts.

Sometimes parents don't find what they're looking for it their child, so they plant seeds for what they'd like to grow there instead. I've witnessed this with the former hockey player who takes his son out to skate before he can even walk. Or in the mother who gave up her ballet dreams when she married, but now scrapes her daughter's hair into a bun and watched from the wings of the stage. We are not, as you'd expect, orchestrating their lives; we are not even trying for a second chance. We are hoping that if this one thing takes root, it might take up enough light and space to keep something else from developing in our children: the disappointment we've already lived.

Whatever plane our consciousness may be acting in, both we and the things belonging to that plane are, for the time being, our only realities. As we rise in the scale of development we perceive that during the stages through which we have passed we mistook shadows for realities, and the upward progress of the Ego is a series of progressive awakenings, each advance bringing with it the idea that now, at last, we have reached "reality"; but only when we shall have reached the absolute Consciousness, and blended our own with it, shall we be free from the delusions produced by Maya [illusion].

There is an element of peace in believing that we’re only players on a stage, acting out stories directed by someone else.

you are alone, Chinaski, and below the stage the seats are empty. the theatre is dark. why do you keep acting? what a bad habit.

We can see the film stars of yesterday in yesterday’s films, hear the voices of poest and singers on a record, keep the plays of dead dramatists upon our bookshelves, but the actor who holds his audience captive for one brief moment upon a lighted stage vanishes forever when the curtain falls.

There was something strangely naked about it, like we were on a stage set, playing our parts to an audience of eyes out there in the wood.

How do you turn catastrophe into art? Nowadays the process is automatic. A nuclear plant explodes? We'll have a play on the London stage within a year. A President is assissinated? You can have the book or the film or the filmed book or booked film. War? Send in the novelists. A series of gruesome murders? Listen for the tramp of the poets. We have to understand it, of course, this catastrophe; to understand it, we have to imagine it, so we need the imaginative arts. But we also need to justify it and forgive it, this catastrophe, however minimally. Why did it happen, this mad act of Nature, this crazed human moment? Well, at least it produced art. Perhaps, in the end, that's what catastrophe is for.

For any true stickler, you see, the sight of the plural word “Book’s” with an apostrophe in it will trigger a ghastly private emotional process similar to the stages of bereavement, though greatly accelerated. First there is shock. Within seconds, shock gives way to disbelief, disbelief to pain, and pain to anger. Finally (and this is where the analogy breaks down), anger gives way to a righteous urge to perpetrate an act of criminal damage with the aid of a permanent marker.

We are fast approaching the stage of the ultimate inversion: the stage where the government is free to do anything it pleases, while the citizens may act only by permission; which is the stage of the darkest periods of human history, the stage of rule by brute force.

It's good to learn early that every show is a family---complete with dysfunctional relationships, tough love, and plenty of occasion for forgiveness...

On those nights, the words were for me alone. They came up unbidden from my heart. They spilled over my tongue and spilled out my mouth. And because of them, I, who was nothing and nobody, was a prince of Denmark, a maid of Verona, a queen of Egypt. I was a sour misanthrope, a beetling hypocrite, a conjurer's daughter, a mad and murderous king.

There’s no glory in this whole shit. No war is ever glorious. Heroes are usually dead. Besides, they rarely turn into heroes because they are super-humans, but because of circumstances. Heroes rarely think. Heroes just act. So, all this is, is a stage for glory, small, personal and up to each one of us.

What the other person says or does cannot really annoy or irritate you except you permit him to disturb you. The only way he can annoy you is through your own thought. For example, if you get angry, you have to go through four stages in your mind: You begin to think about what he said. You decide to get angry and generate an emotion of rage. Then, you decide to act. Perhaps, you talk back and react in kind. You see that the thought, emotion, reaction, and action all take place in your mind. When you become emotionally mature, you do not respond negatively to the criticism and resentment of others.

Art, especially the stage, is an area where it is impossible to walk without stumbling. There are in store for you many unsuccessful days and whole unsuccessful seasons: there will be great misunderstandings and deep disappointments… you must be prepared for all this, expect it and nevertheless, stubbornly, fanatically follow your own way.

How could we explain that standing on a stage and speaking someone else’s words as if they are your own is less an act of bravery than a desperate lunge at mutual understanding? An attempt to forge that tenuous link between speaker and listener and communicate something, anything, of substance.

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

When I see her,” I said, “it’s like - I don’t know what it’s like. It’s like I never saw anything at all before. It’s like I am filling up, like a wine-glass when it’s filled with wine. I watch the acts before her and they are like nothing - they’re like dust. Then she walks on the stage and - she is so pretty; and her suit is so nice; and her voice is so sweet… She makes me want to smile and weep, at once. She makes me sore, here.” I placed a hand upon my chest, upon the breast-bone. “I never saw a girl like her before. I never knew that there were girls like her…” My voice became a trembling whisper then, and I found that I could say no more. There was another silence. I opened my eyes and looked at Alice - and knew at once that I shouldn’t have spoken; that I should have been as dumb and as cunning with her as with the rest of them. There was a look on her face - it was not ambiguous at all now - a look of mingled shock, and nervousness, and embarrassment or shame. I had said too much. I felt as if my admiration for Kitty Butler had lit a beacon inside me, and opening my unguarded mouth had sent a shaft of light into the darkened room, illuminating all. I had said too much - but it was that, or say nothing.

Actors and actresses make magic,' I said. 'They make things happen on the stage; they invent; they create.

There are always a few bored audience members at an opera, especially by the time act four comes along. Those particular eyes would be wandering around the hall, searching for something, anything, interesting to watch. Those eyes would land on the little demon downstage right, unless they were distracted. Right on cue, a large stage lamp broke free of its clamp in the rigging and swung on its cable into the back canvas. [...] On his way though the lobby minutes later, Artemis was highly amuse to overhear several audience members gushing over the unorthodox direction of the opera's final scene. The exploding lamp, muse one buff, was doubtless a metaphor for Norma's own falling star. But no, argued a second. The lamp was obviously a modernistic interpretation of the burning stake that Norma was about to face. Or perhaps, thought Artemis as he pushed through the crowd to find a light Sicilian mist falling on his forehead, the exploding lamp was simply an exploding lamp.

I suppose the fundamental distinction between Shakespeare and myself is one of treatment. We get our effects differently. Take the familiar farcical situation of someone who suddenly discovers that something unpleasant is standing behind them. Here is how Shakespeare handles it in "The Winter's Tale," Act 3, Scene 3: ANTIGONUS: Farewell! A lullaby too rough. I never saw the heavens so dim by day. A savage clamour! Well may I get aboard! This is the chase: I am gone for ever. And then comes literature's most famous stage direction, "Exit pursued by a bear." All well and good, but here's the way I would handle it: BERTIE: Touch of indigestion, Jeeves? JEEVES: No, Sir. BERTIE: Then why is your tummy rumbling? JEEVES: Pardon me, Sir, the noise to which you allude does not emanate from my interior but from that of that animal that has just joined us. BERTIE: Animal? What animal? JEEVES: A bear, Sir. If you will turn your head, you will observe that a bear is standing in your immediate rear inspecting you in a somewhat menacing manner. BERTIE (as narrator): I pivoted the loaf. The honest fellow was perfectly correct. It was a bear. And not a small bear, either. One of the large economy size. Its eye was bleak and it gnashed a tooth or two, and I could see at a g. that it was going to be difficult for me to find a formula. "Advise me, Jeeves," I yipped. "What do I do for the best?" JEEVES: I fancy it might be judicious if you were to make an exit, Sir. BERTIE (narrator): No sooner s. than d. I streaked for the horizon, closely followed across country by the dumb chum. And that, boys and girls, is how your grandfather clipped six seconds off Roger Bannister's mile. Who can say which method is superior?" (As reproduced in Plum, Shakespeare and the Cat Chap )

Billy is spastic in time, has no control over where he is going next, and the trips aren't necessarily fun. He is in a constant state of stage fright, he says, because he never knows what part of his life he is going to have to act in next.

Each of us carries around those growing up places, the institutions, a sort of backdrop, a stage set. So often we act out the present against the backdrop of the past, within a frame of perception that is so familiar, so safe that is is terrifying to risk changing it even when we know our perceptions are distorted, limited, constricted by that old view.

We are fast approaching the stage of ultimate inversion: the stage where the government is free to do anything it pleases, while the citizens may act only by permission.

What is the stage? It's a place, baby, you know, where people play at being serious, a place where they act comedies. We've got to act a comedy now, dead serious.

On certain social occasions, otherwise dignified and serious men will begin behaving unconsciously like players on a stage, performing as they talk, acting as they gesticulate. The cause is invariably a woman.

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

Then back to the stage, and the acting. The bright lights, the rehearsed lines. The applause, the falling curtain. Leaving who one was for a brief time, then returning. But the self that one returned to was never exactly the same as the self that one had left behind.

It was like the last act on a set stage. It was the beginning of the end of something, he didn't know what except that he would not grieve. He would be humble and proud that he had been found worthy to be a part of it too or even just to see it too.

It's about that applause I want to speak to you. I want you to remember that when you've done a little dance or a song or sketch, the applause which you get is not only because you yourself have done your best, but because each of those men is seeing in you someone he loves at home, and because of you is able to forget for a little while the unhappiness of not being in his home, and in some cases the great tragedy of not knowing what has happened to the children in his family.

Fasting from any nourishment, activity, involvement or pursuit—for any season—sets the stage for God to appear. Fasting is not a tool to pry wisdom out of God's hands or to force needed insight about a decision. Fasting is not a tool for gaining discipline or developing piety (whatever that might be). Instead, fasting is the bulimic act of ridding ourselves of our fullness to attune our senses to the mysteries that swirl in and around us."—Dan B. Allender, PhD

Normal people don't know how hard it is to fangirl over celebrities who don't know you exist and fictional characters who die and try to not act like you are insane in public, trying to read all the 130 million books that exist in this world while also staying on top of classes and getting good grades while also socializing with actual people and completing all the tasks on time and battle anxiety while also being a perfect student who gives great speeches and doesn't have stage fear with impeccable grammar and is articulate like GEEZ! I would rather stay crazy!

Present global culture is a kind of arrogant newcomer. It arrives on the planetary stage following four and a half billion years of other acts, and after looking about for a few thousand years declares itself in possession of eternal truths. But in a world that is changing as fast as ours, this is a prescription for disaster. No nation, no religion, no economic system, no body of knowledge, is likely to have all the answers for our survival. There must be many social systems that would work far better than any now in existence. In the scientific tradition, our task is to find them.

O for a Muse of fire, that would ascend The brightest heaven of invention, A kingdom for a stage, princes to act And monarchs to behold the swelling scene! Then should the warlike Harry, like himself, Assume the port of Mars; and at his heels, Leash'd in like hounds, should famine, sword and fire Crouch for employment. But pardon, and gentles all, The flat unraised spirits that have dared On this unworthy scaffold to bring forth So great an object: can this cockpit hold The vasty fields of France? or may we cram Within this wooden O the very casques That did affright the air at Agincourt? O, pardon! since a crooked figure may Attest in little place a million; And let us, ciphers to this great accompt, On your imaginary forces work. Suppose within the girdle of these walls Are now confined two mighty monarchies, Whose high upreared and abutting fronts The perilous narrow ocean parts asunder: Piece out our imperfections with your thoughts; Into a thousand parts divide on man, And make imaginary puissance; Think when we talk of horses, that you see them Printing their proud hoofs i' the receiving earth; For 'tis your thoughts that now must deck our kings, Carry them here and there; jumping o'er times, Turning the accomplishment of many years Into an hour-glass: for the which supply, Admit me Chorus to this history; Who prologue-like your humble patience pray, Gently to hear, kindly to judge, our play.

Character actor' is a technical term denoting a clever stage performer who cannot act, and therefore makes an elaborate study of the disguises and stage tricks by which acting can be grotesquely simulated.

We are rendering many species extinct; we may even succeed in destroying ourselves. But this is nothing new for the Earth. Humans would then be just the latest in a long sequence of upstart species that arrive on-stage, make some alterations in the scenery, kill off some of the cast, and then themselves exit stage-left forever. New players appear in the next act. The Earth abides. It has seen all this before.

Our Nation, a great stage for the acting out of great thoughts, presents the classic confrontation between Locke's views of the state of nature and Rousseau's criticism of them... Nature is raw material, worthless without the mixture of human labor; yet nature is also the highest and most sacred thing. The same people who struggle to save the snail-darter bless the pill, worry about hunting deer and defend abortion. Reverence for nature, mastery of nature- whichever is convenient.

You can get a large audience together for a strip-tease act—that is, to watch a girl undress on the stage. Now suppose you came to a country where you could fill a theatre by simply bringing a covered plate on to the stage and then slowly lifting the cover so as to let every one see, just before the lights went out, that it contained a mutton chop or a bit of bacon, would you not think that in that country something had gone wrong with the appetite for food?

Women are directly fitted for acting as the nurses and teachers of our early childhood by the fact that they are themselves childish, frivolous and short-sighted; in a word, they are big children all their life long—a kind of intermediate stage between the child and the full-grown man,

MOST PEOPLE think acting is make-believe. Like it’s a big game where people put on costumes and feign kisses or stab wounds and then pretend to gasp and die. They think it’s a show. They don’t understand that acting is becoming someone else, changing your thoughts and needs until you don’t remember your own anymore. You let the other person invade everything you are and then you turn yourself inside out, spilling their identity onto the stage like a kind of bloodletting.

Anyone who has ever tried to write a novel knows what an arduous task it is, undoubtedly one of the worst ways of occupying oneself. You have to remain within yourself all the time, in solitary confinement. It's a controlled psychosis, an obsessive paranoia manacled to work completely lacking in the feather pens and bustles and Venetian masks we would ordinarily associate with it, clothed instead in a butcher's apron and rubber boots, eviscerating knife in hand. You can only barely see from that writerly cellar the feet of passers-by, hear the rapping of their heels. Every so often someone stops and bends down and glances in through the window, and then you get a glimpse of a human face, maybe even exchange a few words. But ultimately the mind is so occupied with its own act, a play staged by the self ofr the self in a hasty, makeshift cabinet of curiosities peopled by author and character, narrator and reader, the person describing and the person described, that feet, shoes, heels, and faces become, sooner or later, mere components of that act.

He acts like an animal, has an animal's habits! Eats like one, moves like one, talks like one! There's even something -sub-human -something not quite to the stage of humanity yet! Yes, something - ape-like about him, like one of those pictures I've seen in - anthropological studies! Thousands and thousands of years have passed him right by, and there he is - Stanley Kowalski - survivor of the Stone Age! Bearing the raw meat home from the kill in the jungle! And you - you here - waiting for him! Maybe he'll strike you or maybe grunt and kiss you! That is, if kisses have been discovered yet! Night falls and the other apes gather! There in the front of the cave, all grunting like him, and swilling and gnawing and hulking! His poker night! - you call it - this party of apes! Somebody growls - some creature snatches at something - the fight is on! God! Maybe we are a long way from beng made in God's image, but Stella - my sister - there has been some progress since then! Such things as art - as poetry and music - such kinds of new light have come into the world since then! In some kinds of people some tendered feelings have had some little beginning! That we have got to make grow! And cling to, and hold as our flag! In this dark march towards what-ever it is we're approaching . . . Don't - don't hang back with the brutes!

Franny’s Hollywood name, her acting name, is one you know. This is our family’s story, and it’s inappropriate for me to use Franny’s stage name – but I know that you know her. Franny is the one you always desire. She is the best one, even when she’s the villain; she always the real hero, even when she dies, even when she dies for love – or worse, for war. She’s the most beautiful, the most unapproachable, but the most vulnerable too, somehow – and the toughest. (She’s why you go to the movie, or why you stay.)

In musical performances one can sense that the person on stage is having a good time even if they're singing a song about breaking up or being in a bad way. For an actor this would be anathema, it would destroy the illusion, but with singing one can have it both ways. As a singer, you can be transparent and reveal yourself on stage, in that moment, and at the same time be the person whose story is being told in the song. Not too many kinds of performance allow that.

So you are tired of your life, young man! All the more reason have you to live. Anyone can die. A murderer has moral force enough to jeer at his hangman. It is very easy to draw the last breath. It can be accomplished successfully by a child or a warrior. One pang of far less anguish than the toothache, and all is over. There is nothing heroic about it, I assure you! It is as common as going to bed; it is almost prosy. Life is heroism, if you like; but death is a mere cessation of business. And to make a rapid and rude exit off the stage before the prompter gives the sign is always, to say the least of it, ungraceful. Act the part out, no matter how bad the play. What say you?

I've had a great deal of experience with adolescents over the centuries, and I've discovered that as a group these awkward half children take themselves far too seriously. Moreover, appearance is everything for the adolescent. I suppose it's a form of play-acting. The adolescent knows that the child is lurking under the surface, but he'd sooner die than let it out, and I was no different. I was so intent on being "grown-up" that I simply couldn't relax and enjoy life. Most people go through this stage and outgrow it. Many, however, do not. The pose becomes more important than reality, and these poor creatures become hollow people, forever striving to fit themselves into an impossible mold.

Iam a sensitive, introverted woman, which means that I love humanity but actual human beings are tricky for me. I love people but not in person. For example, I would die for you but not, like…meet you for coffee. I became a writer so I could stay at home alone in my pajamas, reading and writing about the importance of human connection and community. It is an almost perfect existence. Except that every so often, while I’m thinking my thoughts, writing my words, living in my favorite spot—which is deep inside my own head—something stunning happens: A sirenlike noise tears through my home. I freeze. It takes me a solid minute to understand: The siren is the doorbell. A person is ringing my doorbell. I run out of my office to find my children also stunned, frozen, and waiting for direction about how to respond to this imminent home invasion. We stare at each other, count bodies, and collectively cycle through the five stages of doorbell grief: Denial: This cannot be happening. ALL OF THE PEOPLE ALLOWED TO BE IN THIS HOUSE ARE ALREADY IN THIS HOUSE. Maybe it was the TV. IS THE TV ON? Anger: WHO DOES THIS? WHAT KIND OF BOUNDARYLESS AGGRESSOR RINGS SOMEONE’S DOORBELL IN BROAD DAYLIGHT? Bargaining: Don’t move, don’t breathe—maybe they’ll go away. Depression: Why? Why us? Why anyone? Why is life so hard? Acceptance: Damnit to hell. You—the little one—we volunteer you. Put on some pants, act normal, and answer the door. It’s dramatic, but the door always gets answered. If the kids aren’t home, I’ll even answer it myself. Is this because I remember that adulting requires door answering? Of course not. I answer the door because of the sliver of hope in my heart that if I open the door, there might be a package waiting for me. A package!

Inside" Children Inside each of us are the children we were at each developmental stage. With regard to our creative dreams, these inside children can prevent us from living them by "acting out" in order to try to get our attention. Your inner 5-year-old is not going to patiently wait as you learn intricate metalworking techniques or study impressionist painting. Yet, your inner 10-year-old may be perfectly suited to learn and observe new skills. What's really needed is parenting of these inside children so that we bring them to age-appropriate activities.

Whatever may be your desire to accomplish great deeds, the deep silence of pregnancy never comes to you! The event of the day sweeps you along like straws before the wind whilst ye lie under the illusion that ye are chasing the event,—poor fellows! If a man wishes to act the hero on the stage he must not think of forming part of the chorus; he should not even know how the chorus is made up.

Having been brought up in a serf-owner's family, I entered active life, like all young men of my time, with a great deal of confidence in the necessity of commanding, ordering, scolding, punishing, and the like. But when, at an early stage, I had to manage serious enterprises... I began to appreciate the difference between acting on the principle of command and discipline, and acting on the principle of common understanding... Men of initiative are required everywhere; but once the impulse has been given, the enterprise must be conducted, ...not in military fashion, but in a sort of communal way.

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

Pandora launched into a detailed account of her conversation with the hermit crab, reporting that his name was Shelley, after the poet, whose works he admired. He was a well-traveled crustacean, having flown to distant lands while clinging to the pink leg of a herring gull who had no taste for shellfish, preferring hazelnuts and bread crumbs. One day, the herring gull, who possessed the transmigrated soul of an Elizabethan stage actor, had taken Shelley to see Hamlet at the Drury Lane theater. During the performance, they had alighted on the scenery and played the part of a castle gargoyle for the entire second act. Shelley had enjoyed the experience but had no wish to pursue a theatrical career, as the hot stage lights had nearly fricasseed him. Gabriel stopped digging and listened, transported by the wonder and whimsy of Pandora's imagination. Out of thin air, she created a fantasy world in which animals could talk and anything was possible. He was charmed out of all reason as he watched her, this sandy, disheveled, storytelling mermaid, who seemed already to belong to him and yet wanted nothing to do with him. His heart worked in strange rhythms, as if it were struggling to adjust to a brand new metronome. What was happening to him?

The hoodlum-occultist is “sociopathic” enough to, see through the conventional charade, the social mythology of his species. “They’re all sheep,” he thinks. “Marks. Suckers. Waiting to be fleeced.” He has enough contact with some more-or-less genuine occult tradition to know a few of the gimmicks by which “social consciousness,” normally conditioned consciousness, can be suspended. He is thus able to utilize mental brutality in place of the simple physical brutality of the ordinary hooligan. He is quite powerless against those who realize that he is actually a stupid liar. He is stupid because spending your life terrorizing and exploiting your inferiors is a dumb and boring existence for anyone with more than five billion brain cells. Can you imagine Beethoven ignoring the heavenly choirs his right lobe could hear just to pound on the wall and annoy the neighbors? Gödel pushing aside his sublime mathematics to go out and cheat at cards? Van Gogh deserting his easel to scrawl nasty caricatures in the men’s toilet? Mental evil is always the stupidest evil because the mind itself is not a weapon but a potential paradise. Every kind of malice is a stupidity, but occult malice is stupidest of all. To the extent that the mindwarper is not 100 percent charlatan through-and-through (and most of them are), to the extent that he has picked up some real occult lore somewhere, his use of it for malicious purposes is like using Shakespeare’s sonnets for toilet tissue or picking up a Picasso miniature to drive nails. Everybody who has advanced beyond the barbarian stage of evolution can see how pre-human such acts are, except the person doing them. Genuine occult initiation confers “the philosopher’s stone,” “the gold of the wise” and “the elixir of life,” all of which are metaphors for the capacity to greet life with the bravery and love and gusto that it deserves. By throwing this away to indulge in spite, malice and the small pleasure of bullying the credulous, the mindwarper proves himself a fool and a dolt. And the psychic terrorist, besides being a jerk, is always a liar and a fraud. Healing is easier (and more fun) than cursing, to begin with, and cursing usually backfires or misfires. The mindwarper doesn’t want you to know that. He wants you to think he’s omnipotent.

Fairy tales are about trouble, about getting into and out of it, and trouble seems to be a necessary stage on the route to becoming. All the magic and glass mountains and pearls the size of houses and princesses beautiful as the day and talking birds and part-time serpents are distractions from the core of most of the stories, the struggle to survive against adversaries, to find your place in the world, and to come into your own. Fairy tales are almost always the stories of the powerless, of youngest sons, abandoned children, orphans, of humans transformed into birds and beasts or otherwise enchanted away from their own lives and selves. Even princesses are chattels to be disowned by fathers, punished by step-mothers, or claimed by princes, though they often assert themselves in between and are rarely as passive as the cartoon versions. Fairy tales are children's stories not in wh they were made for but in their focus on the early stages of life, when others have power over you and you have power over no one. In them, power is rarely the right tool for survival anyway. Rather the powerless thrive on alliances, often in the form of reciprocated acts of kindness -- from beehives that were not raided, birds that were not killed but set free or fed, old women who were saluted with respect. Kindness sewn among the meek is harvested in crisis... In Hans Christian Andersen's retelling of the old Nordic tale that begins with a stepmother, "The Wild Swans," the banished sister can only disenchant her eleven brothers -- who are swans all day look but turn human at night -- by gathering stinging nettles barehanded from churchyard graves, making them into flax, spinning them and knitting eleven long-sleeved shirts while remaining silent the whole time. If she speaks, they'll remain birds forever. In her silence, she cannot protest the crimes she accused of and nearly burned as a witch. Hauled off to a pyre as she knits the last of the shirts, she is rescued by the swans, who fly in at the last moment. As they swoop down, she throws the nettle shirts over them so that they turn into men again, all but the youngest brother, whose shirt is missing a sleeve so that he's left with one arm and one wing, eternally a swan-man. Why shirts made of graveyard nettles by bleeding fingers and silence should disenchant men turned into birds by their step-mother is a question the story doesn't need to answer. It just needs to give us compelling images of exile, loneliness, affection, and metamorphosis -- and of a heroine who nearly dies of being unable to tell her own story.

Another savage trait of our time is the disposition to talk about material substances instead of about ideas. The old civilisation talked about the sin of gluttony or excess. We talk about the Problem of Drink--as if drink could be a problem. When people have come to call the problem of human intemperance the Problem of Drink, and to talk about curing it by attacking the drink traffic, they have reached quite a dim stage of barbarism. The thing is an inverted form of fetish worship; it is no sillier to say that a bottle is a god than to say that a bottle is a devil. The people who talk about the curse of drink will probably progress down that dark hill. In a little while we shall have them calling the practice of wife-beating the Problem of Pokers; the habit of housebreaking will be called the Problem of the Skeleton-Key Trade; and for all I know they may try to prevent forgery by shutting up all the stationers' shops by Act of Parliament.

How do we pick and choose where to get involved? Canada and other peacekeeping nations have become accustomed to acting if, and only if, international public opinion will support them - a dangerous path that leads to a moral relativism in which a country risks losing sight of the difference between good and evil, a concept that some players on the international stage view as outmoded. Some governments regard the use of force itself as the greatest evil. Others define "good" as the pursuit of human rights and will opt to employ force when human rights are violated. As the nineties drew to a close and the new millennium dawned with no sign of an end to these ugly little wars, it was as if each troubling conflict we were faced with had to pass the test of whether we could "care" about it or "identify" with the victims before we'd get involved.

But it is not time constraints alone that produce such fragmented and discontinuous language. When a television show is in process, it is very nearly impermissible to say, "Let me think about that" or "I don't know" or "What do you mean when you say...?" or "From what sources does your information come?" This type of discourse not only slows down the tempo of the show but creates the impression of uncertainty or lack of finish. It tends to reveal people in the act of thinking, which is as disconcerting and boring on television as it is on a Las Vegas stage. Thinking does not play well on television, a fact that television directors discovered long ago. There is not much to see in it. It is, in a phrase, not a performing art. But television demands a performing art.

Poetic Terrorism WEIRD DANCING IN ALL-NIGHT computer-banking lobbies. Unauthorized pyrotechnic displays. Land-art, earth-works as bizarre alien artifacts strewn in State Parks. Burglarize houses but instead of stealing, leave Poetic-Terrorist objects. Kidnap someone & make them happy. Pick someone at random & convince them they're the heir to an enormous, useless & amazing fortune--say 5000 square miles of Antarctica, or an aging circus elephant, or an orphanage in Bombay, or a collection of alchemical mss. ... Bolt up brass commemorative plaques in places (public or private) where you have experienced a revelation or had a particularly fulfilling sexual experience, etc. Go naked for a sign. Organize a strike in your school or workplace on the grounds that it does not satisfy your need for indolence & spiritual beauty. Graffiti-art loaned some grace to ugly subways & rigid public monuments--PT-art can also be created for public places: poems scrawled in courthouse lavatories, small fetishes abandoned in parks & restaurants, Xerox-art under windshield-wipers of parked cars, Big Character Slogans pasted on playground walls, anonymous letters mailed to random or chosen recipients (mail fraud), pirate radio transmissions, wet cement... The audience reaction or aesthetic-shock produced by PT ought to be at least as strong as the emotion of terror-- powerful disgust, sexual arousal, superstitious awe, sudden intuitive breakthrough, dada-esque angst--no matter whether the PT is aimed at one person or many, no matter whether it is "signed" or anonymous, if it does not change someone's life (aside from the artist) it fails. PT is an act in a Theater of Cruelty which has no stage, no rows of seats, no tickets & no walls. In order to work at all, PT must categorically be divorced from all conventional structures for art consumption (galleries, publications, media). Even the guerilla Situationist tactics of street theater are perhaps too well known & expected now. An exquisite seduction carried out not only in the cause of mutual satisfaction but also as a conscious act in a deliberately beautiful life--may be the ultimate PT. The PTerrorist behaves like a confidence-trickster whose aim is not money but CHANGE. Don't do PT for other artists, do it for people who will not realize (at least for a few moments) that what you have done is art. Avoid recognizable art-categories, avoid politics, don't stick around to argue, don't be sentimental; be ruthless, take risks, vandalize only what must be defaced, do something children will remember all their lives--but don't be spontaneous unless the PT Muse has possessed you. Dress up. Leave a false name. Be legendary. The best PT is against the law, but don't get caught. Art as crime; crime as art.

Instructions for a Broken Heart I will find a bare patch of earth, somewhere where the ruins have fallen away, somewhere where I can fit both hands, and I will dig a hole. And into that hole, I will scream you, I will dump all the shadow places of my heart—the times you didn’t call when you said you’d call, the way you only half listened to my poems, your eyes on people coming through the swinging door of the café—not on me—your ears, not really turned toward me. For all those times I started to tell you about the fight with my dad or when my grandma died, and you said something about your car, something about the math test you flunked, as an answer. I will scream into that hole the silence of dark nights after you’d kissed me, how when I asked if something was wrong—and something was obviously so very wrong—how you said “nothing,” how you didn’t tell me until I had to see it in the dim light of a costume barn—so much wrong. I will scream all of it. Then I will fill it in with dark earth, leave it here in Italy, so there will be an ocean between the hole and me. Because then I can bring home a heart full of the light patches. A heart that sees the sunset you saw that night outside of Taco Bell, the way you pointed out that it made the trees seem on fire, a heart that holds the time your little brother fell on his bike at the fairgrounds and you had pockets full of bright colored Band-Aids and you kissed the bare skin of his knees. I will take that home with me. In my heart. I will take home your final Hamlet monologue on the dark stage when you cried closing night and it wasn’t really acting, you cried because you felt the words in you and on that bare stage you felt the way I feel every day of my life, every second, the way the words, the light and dark, the spotlight in your face, made you Hamlet for that brief hiccup of a moment, made you a poet, an artist at your core. I get to take Italy home with me, the Italy that showed me you and the Italy that showed me—me—the Italy that wrote me my very own instructions for a broken heart. And I get to leave the other heart in a hole. We are over. I know this. But we are not blank. We were a beautiful building made of stone, crumbled now and covered in vines. But not blank. Not forgotten. We are a history. We are beauty out of ruins.

In cases of organized and multi-perpetrator abuse when the abuse occurs in the context of rituals and ceremonies, some elements of the experience may have been staged specifically with the intention of encouraging the disbelief of others if the victim were to report the crime. For example, someone reporting such a crime may mention that the devil was present, or that someone well-known was there, or that acts of magic were performed. These were tricks and deceptions by the abusers-often experienced by the victims after being given medication or hallucinogenic drugs - that render the account unbelievable, make the witness sound unreliable, and protect the perpetrators. (page 120, Chapter 9, Some clinical implications of believing or not believing the patient)

what is the expression which the age demands? the age demands no expression whatever. we have seen photographs of bereaved asian mothers. we are not interested in the agony of your fumbled organs. there is nothing you can show on your face that can match the horror of this time. do not even try. you will only hold yourself up to the scorn of those who have felt things deeply. we have seen newsreels of humans in the extremities of pain and dislocation. you are playing to people who have experienced a catastrophe. this should make you very quiet. speak the words, convey the data, step aside. everyone knows you are in pain. you cannot tell the audience everything you know about love in every line of love you speak. step aside and they will know what you know because you know it already. you have nothing to teach them. you are not more beautiful than they are. you are not wiser. do not shout at them. do not force a dry entry. that is bad sex. if you show the lines of your genitals, then deliver what you promise. and remember that people do not really want an acrobat in bed. what is our need? to be close to the natural man, to be close to the natural woman. do not pretend that you are a beloved singer with a vast loyal audience which has followed the ups and downs of your life to this very moment. the bombs, flame-throwers, and all the shit have destroyed more than just the trees and villages. they have also destroyed the stage. did you think that your profession would escape the general destruction? there is no more stage. there are no more footlights. you are among the people. then be modest. speak the words, convey the data, step aside. be by yourself. be in your own room. do not put yourself on. do not act out words. never act out words. never try to leave the floor when you talk about flying. never close your eyes and jerk your head to one side when you talk about death. do not fix your burning eyes on me when you speak about love. if you want to impress me when you speak about love put your hand in your pocket or under your dress and play with yourself. if ambition and the hunger for applause have driven you to speak about love you should learn how to do it without disgracing yourself or the material. this is an interior landscape. it is inside. it is private. respect the privacy of the material. these pieces were written in silence. the courage of the play is to speak them. the discipline of the play is not to violate them. let the audience feel your love of privacy even though there is no privacy. be good whores. the poem is not a slogan. it cannot advertise you. it cannot promote your reputation for sensitivity. you are students of discipline. do not act out the words. the words die when you act them out, they wither, and we are left with nothing but your ambition. the poem is nothing but information. it is the constitution of the inner country. if you declaim it and blow it up with noble intentions then you are no better than the politicians whom you despise. you are just someone waving a flag and making the cheapest kind of appeal to a kind of emotional patriotism. think of the words as science, not as art. they are a report. you are speaking before a meeting of the explorers' club of the national geographic society. these people know all the risks of mountain climbing. they honour you by taking this for granted. if you rub their faces in it that is an insult to their hospitality. do not work the audience for gasps ans sighs. if you are worthy of gasps and sighs it will not be from your appreciation of the event but from theirs. it will be in the statistics and not the trembling of the voice or the cutting of the air with your hands. it will be in the data and the quiet organization of your presence. avoid the flourish. do not be afraid to be weak. do not be ashamed to be tired. you look good when you're tired. you look like you could go on forever. now come into my arms. you are the image of my beauty.

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

To everything, in other words, there is a season, and McCarthy’s hubris hastened the end of his hour upon the stage. “I was fully aware of McCarthy’s faults, which were neither few nor minor,” Cohn recalled. “He was impatient, overly aggressive, overly dramatic. He acted on impulse. He tended to sensationalize the evidence he had—in order to draw attention to the rock-bottom seriousness of the situation. He would neglect to do important homework and consequently would, on occasion, make challengeable statements.” The urge to overstate, to overdramatize, to dominate the news, could be costly, and so it proved to be for McCarthy. The Wisconsin senator, Cohn said, was essentially a salesman. “He was selling the story of America’s peril,” Cohn recalled. “He knew that he could never hope to convince anybody by delivering a dry, general-accounting-office type of presentation. In consequence, he stepped up circumstances a notch or two”—and in so doing he opened himself to attacks that proved fatal. He oversold, and the customers—the public—tired of the pitch, and the pitchman.

Stage one—you’re caught in a second-dart reaction and don’t even realize it: your partner forgets to bring milk home and you complain angrily without seeing that your reaction is over the top. Stage two—you realize you’ve been hijacked by greed or hatred (in the broadest sense), but cannot help yourself: internally you’re squirming, but you can’t stop grumbling bitterly about the milk. Stage three—some aspect of the reaction arises, but you don’t act it out: you feel irritated but remind yourself that your partner does a lot for you already and getting cranky will just make things worse. Stage four—the reaction doesn’t even come up, and sometimes you forget you ever had the issue: you understand that there’s no milk, and you calmly figure out what to do now with your partner. In education, these are known succinctly as unconscious incompetence, conscious incompetence, conscious competence, and unconscious competence. They’re useful

I think he overlook a phase: that empathy stage in our lives when we may begin to see even the commonest animals on their own terms, fellow creatures with their own needs to meet and hardships to bear, joined with us in the mystery of life and death--and frankly, for all of our more exalted endowments, not all that much less enlightened than the sagest of naked apes about the meaning of it all. That kinship is to me reason enough to go about my own way in the world showing each one as much courtesy as I can, refraining from things that bring animals needless harm. They all seem to have enough dangers coming at them as it is. Whenever human beings with our loftier gifts and grander calling in the world can stop to think on their well-being, if only by withdrawing to let them be, it need not be a recognition of 'rights.' It is just a gracious thing, an act of clemency only more to our credit because the animals themselves cannot ask for it, or rebuke us when we transgress against them, or even repay our kindness.

The Constitution is a limitation of the government, not on private individuals--that it does not prescribe the conduct of private individuals, only the conduct of the government--that it is not a charter for government power, but a charter of the citizens' protection against the government. Instead of being a protector of man's rights, the government is becoming their most dangerous violator; instead of guarding freedom, the government is establishing slavery; instead of protecting men from the initiators of physical force, the government is initiating physical force and coercion in any manner and issue it pleases; instead of serving as the instrument of objectivity in human relationships, the government is creating a deadly, subterranean reign of uncertainty and fear, by means of nonobjective laws whose interpretation is left to the arbitrary decisions of random bureaucrats; instead of protecting men from injury by whim, the government is arrogating to itself the power of unlimited whim--so that we are fast approaching the stage of ultimate inversion; the stage where the government is "free" to do anything it pleases, while the citizens may only act by permission; which is the stage of the darkest periods of humanity, the stage of rule by brute force.

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

Fame requires every kind of excess. I mean true fame, a devouring neon, not the somber renown of waning statesmen or chinless kings. I mean long journeys across gray space. I mean danger, the edge of every void, the circumstance of one man imparting an erotic terror to the dreams of the republic. Understand the man who must inhabit these extreme regions, monstrous and vulval, damp with memories of violation. Even if half-mad he is absorbed into the public's total madness; even if fully rational, a bureaucrat in hell, a secret genius of survival, he is sure to be destroyed by the public's contempt for survivors. Fame, this special kind, feeds itself on outrage, on what the counselors of lesser men would consider bad publicity-hysteria in limousines, knife fights in the audience, bizarre litigation, treachery, pandemonium and drugs. Perhaps the only natural law attaching to true fame is that the famous man is compelled, eventually, to commit suicide. (Is it clear I was a hero of rock'n'roll?) Toward the end of the final tour it became apparent that our audience wanted more than music, more even than its own reduplicated noise. It's possible the culture had reached its limit, a point of severe tension. There was less sense of simple visceral abandon at our concerts during these last weeks. Few cases of arson and vandalism. Fewer still of rape. No smoke bombs or threats of worse explosives. Our followers, in their isolation, were not concerned with precedent now. They were free of old saints and martyrs, but fearfully so, left with their own unlabeled flesh. Those without tickets didn't storm the barricades, and during a performance the boys and girls directly below us, scratching at the stage, were less murderous in their love of me, as if realizing finally that my death, to be authentic, must be self-willed- a succesful piece of instruction only if it occured by my own hand, preferrably ina foreign city. I began to think their education would not be complete until they outdid me as a teacher, until one day they merely pantomimed the kind of massive response the group was used to getting. As we performed they would dance, collapse, clutch each other, wave their arms, all the while making absolutely no sound. We would stand in the incandescent pit of a huge stadium filled with wildly rippling bodies, all totally silent. Our recent music, deprived of people's screams, was next to meaningless, and there would have been no choice but to stop playing. A profound joke it would have been. A lesson in something or other. In Houston I left the group, saying nothing, and boarded a plane for New York City, that contaminated shrine, place of my birth. I knew Azarian would assume leadership of the band, his body being prettiest. As to the rest, I left them to their respective uproars- news media, promotion people, agents, accountants, various members of the managerial peerage. The public would come closer to understanding my disappearance than anyone else. It was not quite as total as the act they needed and nobody could be sure whether I was gone for good. For my closest followers, it foreshadowed a period of waiting. Either I'd return with a new language for them to speak or they'd seek a divine silence attendant to my own. I took a taxi past the cemetaries toward Manhattan, tides of ash-light breaking across the spires. new York seemed older than the cities of Europe, a sadistic gift of the sixteenth century, ever on the verge of plague. The cab driver was young, however, a freckled kid with a moderate orange Afro. I told him to take the tunnel. Is there a tunnel?" he said.

Let us fool ourselves no longer. At the very moment Western nations, threw off the ancient regime of absolute government, operating under a once-divine king, they were restoring this same system in a far more effective form in their technology, reintroducing coercions of a military character no less strict in the organization of a factory than in that of the new drilled, uniformed, and regimented army. During the transitional stages of the last two centuries, the ultimate tendency of this system might b e in doubt, for in many areas there were strong democratic reactions; but with the knitting together of a scientific ideology, itself liberated from theological restrictions or humanistic purposes, authoritarian technics found an instrument at hand that h as now given it absolute command of physical energies of cosmic dimensions. The inventors of nuclear bombs, space rockets, and computers are the pyramid builders of our own age: psychologically inflated by a similar myth of unqualified power, boasting through their science of their increasing omnipotence, if not omniscience, moved by obsessions and compulsions no less irrational than those of earlier absolute systems: particularly the notion that the system itself must be expanded, at whatever eventual co st to life. Through mechanization, automation, cybernetic direction, this authoritarian technics has at last successfully overcome its most serious weakness: its original dependence upon resistant, sometimes actively disobedient servomechanisms, still human enough to harbor purposes that do not always coincide with those of the system. Like the earliest form of authoritarian technics, this new technology is marvellously dynamic and productive: its power in every form tends to increase without limits, in quantities that defy assimilation and defeat control, whether we are thinking of the output of scientific knowledge or of industrial assembly lines. To maximize energy, speed, or automation, without reference to the complex conditions that sustain organic life, have become ends in themselves. As with the earliest forms of authoritarian technics, the weight of effort, if one is to judge by national budgets, is toward absolute instruments of destruction, designed for absolutely irrational purposes whose chief by-product would be the mutilation or extermination of the human race. Even Ashurbanipal and Genghis Khan performed their gory operations under normal human limits. The center of authority in this new system is no longer a visible personality, an all-powerful king: even in totalitarian dictatorships the center now lies in the system itself, invisible but omnipresent: all its human components, even the technical and managerial elite, even the sacred priesthood of science, who alone have access to the secret knowledge by means of which total control is now swiftly being effected, are themselves trapped by the very perfection of the organization they have invented. Like the Pharoahs of the Pyramid Age, these servants of the system identify its goods with their own kind of well-being: as with the divine king, their praise of the system is an act of self-worship; and again like the king, they are in the grip of an irrational compulsion to extend their means of control and expand the scope of their authority. In this new systems-centered collective, this Pentagon of power, there is no visible presence who issues commands: unlike job's God, the new deities cannot be confronted, still less defied. Under the pretext of saving labor, the ultimate end of this technics is to displace life, or rather, to transfer the attributes of life to the machine and the mechanical collective, allowing only so much of the organism to remain as may be controlled and manipulated.

One of the most beautifully disturbing questions we can ask, is whether a given story we tell about our lives is actually true, and whether the opinions we go over every day have any foundation or are things we repeat to ourselves simply so that we will continue to play the game. It can be quite disorienting to find that a story we have relied on is not only not true - it actually never was true. Not now not ever. There is another form of obsolescence that can fray at the cocoon we have spun about ourselves, that is, the story was true at one time, and for an extended period; the story was even true and good to us, but now it is no longer true and no longer of any benefit, in fact our continued retelling of it simply imprisons us. We are used to the prison however, we have indeed fitted cushions and armchairs and made it comfortable and we have locked the door from the inside. The imprisoning story I identified by the time the entree was served was one I had told myself for a long time. “In order to write I need peace and quiet and an undisturbed place far from others or the possibility of being disturbed. I knew however, that if I wanted to enter the next creative stage, something had to change; I simply did not have enough free space between traveling, speaking and being a good father and husband to write what I wanted to write. The key in the lock turned surprisingly easy, I simply said to myself, “What if I acted as if it wasn’t true any more, what if it had been true at one time, but now at this stage in the apprenticeship I didn’t need that kind of insulation anymore, what if I could write anywhere and at any time?” One of the interesting mercies of this kind of questioning is that it is hard to lose by asking: if the story is still true, we will soon find out and can go back to telling it. If it is not we have turned the key, worked the hinges and walked out into the clear air again with a simple swing of the door.

As I’ve told you many times, I’m split in two. One side contains my exuberant cheerfulness, my flippancy, my joy in life and, above all, my ability to appreciate the lighter side of things. By that I mean not finding anything wrong with flirtations, a kiss, an embrace, an off-color joke. This side of me is usually lying in wait to ambush the other one, which is much purer, deeper and finer. No one knows Anne’s better side, and that’s why most people can’t stand me. Oh, I can be an amusing clown for an afternoon, but after that everyone’s had enough of me to last a month. Actually, I’m what a romantic movie is to a profound thinker—a mere diversion, a comic interlude, something that is soon forgotten: not bad, but not particularly good either. I hate having to tell you this, but why shouldn’t I admit it when I know it’s true? My lighter, more superficial side will always steal a march on the deeper side and therefore always win. You can’t imagine how often I’ve tried to push away this Anne, which is only half of what is known as Anne—to beat her down, hide her. But it doesn’t work, and I know why. I’m afraid that people who know me as I usually am will discover I have another side, a better and finer side. I’m afraid they’ll mock me, think I’m ridiculous and sentimental and not take me seriously. I’m used to not being taken seriously, but only the “lighthearted” Anne is used to it and can put up with it; the “deeper” Anne is too weak. If I force the good Anne into the spotlight for even fifteen minutes, she shuts up like a clam the moment she’s called upon to speak, and lets Anne number one do the talking. Before I realize it, she’s disappeared. So the nice Anne is never seen in company. She’s never made a single appearance, though she almost always takes the stage when I’m alone. I know exactly how I’d like to be, how I am … on the inside. But unfortunately I’m only like that with myself. And perhaps that’s why—no, I’m sure that’s the reason why—I think of myself as happy on the inside and other people think I’m happy on the outside. I’m guided by the pure Anne within, but on the outside I’m nothing but a frolicsome little goat tugging at its tether. As I’ve told you, what I say is not what I feel, which is why I have a reputation for being boy-crazy as well as a flirt, a smart aleck and a reader of romances. The happy-go-lucky Anne laughs, gives a flippant reply, shrugs her shoulders and pretends she doesn’t give a darn. The quiet Anne reacts in just the opposite way. If I’m being completely honest, I’ll have to admit that it does matter to me, that I’m trying very hard to change myself, but that I’m always up against a more powerful enemy. A voice within me is sobbing, “You see, that’s what’s become of you. You’re surrounded by negative opinions, dismayed looks and mocking faces, people who dislike you, and all because you don’t listen to the advice of your own better half.” Believe me, I’d like to listen, but it doesn’t work, because if I’m quiet and serious, everyone thinks I’m putting on a new act and I have to save myself with a joke, and then I’m not even talking about my own family, who assume I must be sick, stuff me with aspirins and sedatives, feel my neck and forehead to see if I have a temperature, ask about my bowel movements and berate me for being in a bad mood, until I just can’t keep it up anymore, because when everybody starts hovering over me, I get cross, then sad, and finally end up turning my heart inside out, the bad part on the outside and the good part on the inside, and keep trying to find a way to become what I’d like to be and what I could be if … if only there were no other people in the world. Yours, Anne M. Frank ANNE’S DIARY ENDS HERE.

the six of us are supposed to drive to the diner in Hastings for lunch. But the moment we enter the cavernous auditorium where the girls told us to meet them, my jaw drops and our plans change. “Holy shit—is that a red velvet chaise lounge?” The guys exchange a WTF look. “Um…sure?” Justin says. “Why—” I’m already sprinting toward the stage. The girls aren’t here yet, which means I have to act fast. “For fuck’s sake, get over here,” I call over my shoulder. Their footsteps echo behind me, and by the time they climb on the stage, I’ve already whipped my shirt off and am reaching for my belt buckle. I stop to fish my phone from my back pocket and toss it at Garrett, who catches it without missing a beat. “What is happening right now?” Justin bursts out. I drop trou, kick my jeans away, and dive onto the plush chair wearing nothing but my black boxer-briefs. “Quick. Take a picture.” Justin doesn’t stop shaking his head. Over and over again, and he’s blinking like an owl, as if he can’t fathom what he’s seeing. Garrett, on the other hand, knows better than to ask questions. Hell, he and Hannah spent two hours constructing origami hearts with me the other day. His lips twitch uncontrollably as he gets the phone in position. “Wait.” I pause in thought. “What do you think? Double guns, or double thumbs up?” “What is happening?” We both ignore Justin’s baffled exclamation. “Show me the thumbs up,” Garrett says. I give the camera a wolfish grin and stick up my thumbs. My best friend’s snort bounces off the auditorium walls. “Veto. Do the guns. Definitely the guns.” He takes two shots—one with flash, one without—and just like that, another romantic gesture is in the bag. As I hastily put my clothes back on, Justin rubs his temples with so much vigor it’s as if his brain has imploded. He gapes as I tug my jeans up to my hips. Gapes harder when I walk over to Garrett so I can study the pictures. I nod in approval. “Damn. I should go into modeling.” “You photograph really well,” Garrett agrees in a serious voice. “And dude, your package looks huge.” Fuck, it totally does. Justin drags both hands through his dark hair. “I swear on all that is holy—if one of you doesn’t tell me what the hell just went down here, I’m going to lose my shit.” I chuckle. “My girl wanted me to send her a boudoir shot of me on a red velvet chaise lounge, but you have no idea how hard it is to find a goddamn red velvet chaise lounge.” “You say this as if it’s an explanation. It is not.” Justin sighs like the weight of the world rests on his shoulders. “You hockey players are fucked up.” “Naah, we’re just not pussies like you and your football crowd,” Garrett says sweetly. “We own our sex appeal, dude.” “Sex appeal? That was the cheesiest thing I’ve ever—no, you know what? I’m not gonna engage,” Justin grumbles. “Let’s find the girls and grab some lunch

Let’s think about the fake sense of urgency that pervades the left-liberal humanitarian discourse on violence: in it, abstraction and graphic (pseudo)concreteness coexist in the staging of the scene of violence-against women, blacks, the homeless, gays . . . “A woman is rpaed every six seconds in this country” and “In the time it takes you to read this paragraph, ten children will die of hunger” are just two examples. Underlying all this is a hypocritical sentiment of moral outrage. Just this kind of pseudo-urgency was exploited by Starbucks a couple of years ago when, at store entrances, posters greeting costumers pointed out that a portion of the chain’s profits went into health-care for the children of Guatemala, the source of their coffee, the inference being that with every cup you drink, you save a child’s life. There is a fundamental anti-theoretical edge to these urgent injunctions. There is no time to reflect: we have to act now. Through this fake sense of urgency, the post-industrial rich, living in their secluded virtual world, not only do not deny or ignore the harsh reality outside the area-they actively refer to it all the time. As Bill Gates recently put it: “What do the computers matter when millions are still unnecessarily dying of dysentery?” Against this fake urgency, we might want to place Marx’s wonderful letter to Engels of 1870, when, for a brief moment, it seemed that a European revolution was again at the gates. Marx’s letter conveys his sheer panic: can’t the revolution wait for a couple of years? He hasn’t yet finished his ‘Capital’.

We are committed to involving as many people as possible, as young as possible, as soon as possible. Sometimes too young and too soon! But we intentionally err on the side of too fast rather than too slow. We don’t wait until people feel “prepared” or “fully equipped.” Seriously, when is anyone ever completely prepared for ministry? Ministry makes people’s faith bigger. If you want to increase someone’s confidence in God, put him in a ministry position before he feels fully equipped. The messages your environments communicate have the potential to trump your primary message. If you don’t see a mess, if you aren’t bothered by clutter, you need to make sure there is someone around you who does see it and is bothered by it. An uncomfortable or distracting setting can derail ministry before it begins. The sermon begins in the parking lot. Assign responsibility, not tasks. At the end of the day, it’s application that makes all the difference. Truth isn’t helpful if no one understands or remembers it. If you want a church full of biblically educated believers, just teach what the Bible says. If you want to make a difference in your community and possibly the world, give people handles, next steps, and specific applications. Challenge them to do something. As we’ve all seen, it’s not safe to assume that people automatically know what to do with what they’ve been taught. They need specific direction. This is hard. This requires an extra step in preparation. But this is how you grow people. Your current template is perfectly designed to produce the results you are currently getting. We must remove every possible obstacle from the path of the disinterested, suspicious, here-against-my-will, would-rather-be-somewhere-else, unchurched guests. The parking lot, hallways, auditorium, and stage must be obstacle-free zones. As a preacher, it’s my responsibility to offend people with the gospel. That’s one reason we work so hard not to offend them in the parking lot, the hallway, at check-in, or in the early portions of our service. We want people to come back the following week for another round of offending! Present the gospel in uncompromising terms, preach hard against sin, and tackle the most emotionally charged topics in culture, while providing an environment where unchurched people feel comfortable. The approach a church chooses trumps its purpose every time. Nothing says hypocrite faster than Christians expecting non-Christians to behave like Christians when half the Christians don’t act like it half the time. When you give non-Christians an out, they respond by leaning in. Especially if you invite them rather than expect them. There’s a big difference between being expected to do something and being invited to try something. There is an inexorable link between an organization’s vision and its appetite for improvement. Vision exposes what has yet to be accomplished. In this way, vision has the power to create a healthy sense of organizational discontent. A leader who continually keeps the vision out in front of his or her staff creates a thirst for improvement. Vision-centric churches expect change. Change is a means to an end. Change is critical to making what could and should be a reality. Write your vision in ink; everything else should be penciled in. Plans change. Vision remains the same. It is natural to assume that what worked in the past will always work. But, of course, that way of thinking is lethal. And the longer it goes unchallenged, the more difficult it is to identify and eradicate. Every innovation has an expiration date. The primary reason churches cling to outdated models and programs is that they lack leadership.

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

When I’m given a role, the first thing I do is read the play over and over again. I scour the script and write down everything the character says about himself and everything that everyone else says about him. I immerse myself in my character and imagine what it might be like to be that person. When I played Cassio in Othello I imagined what it would be like to be a lieutenant in the Venetian navy in 1604. I sat down with Ewan McGregor and Chiwetel Ejiofor and together we decided that Othello, Iago and Cassio had soldiery in their bones. I took from the script that Cassio was talented and ambitious, with no emotional or physical guard - and that’s how I played the part. For me, acting is about recreating the circumstances that would make me feel how my character is feeling. In the dressing room, I practise recreating those circumstances in my head and I try to not get in the way of myself. For example, in act two of Othello, when Cassio is manipulated to fight Roderigo and loses his rank, some nights I would burst into tears; other nights I wouldn’t but I would still feel the same emotion, night after night. Just as in life, the way we respond to catastrophe or death will be different every time because the process is unconscious. By comparison, in Chekhov’s Ivanov I played the young doctor, Lvov. Lvov was described as “a prig and a bigot … uprightness in boots … tiresome … completely sincere”. His emotions were locked away. I worked around the key phrase: “Forgive me, I’m going to tell you plainly.” I practised speaking gravely and sincerely without emotion and I actually noticed how that carried over into my personal life: when I played the open-hearted Cassio, I felt really free; when I played the pent-up Lvov, I felt a real need to release myself from the shackles of that character. It’s exhilarating to act out the emotions of a character - it’s a bit like being a child again. You flex the same muscles that you did when you pretended to be a cowboy or a policeman: acting is a grown-up version of that with more subtlety and detail. You’re responding with real emotions to imaginary situations. When I’m in a production I never have a day when I haven’t laughed, cried or screamed. There are times when I wake up stiff from emotional exhaustion. Film is a much more intimate and thoughtful medium than theatre because of the proximity of the camera. The camera can read your thoughts. On stage, if you have a moment of vulnerability you can hide it from the other actors; on film, the camera will see you feel that emotion and try to suppress it. Similarly, if you’re pretending to feel something that isn’t there, it won’t be believable.