Theater Related Quotes

Agatha, who was spending time in their room as her own was lonely, perked up. "I preferred the garrote myself." The others looked at her, startled. Aside from the theater, and sleeping, Agatha rarely expressed an interest in anything. Let alone something espionage related. "You do?" Dimity encouraged. Agatha nodded. "You can wear it as jewelry, it hides away easily, and it's a nice clean death.

We know the original relation of the theater and the cult of the Dead: the first actors separated themselves from the community by playing the role of the Dead: to make oneself up was to designate oneself as a body simultaneously living and dead: the whitened bust of the totemic theater, the man with the painted face in the Chinese theater, the rice-paste makeup of the Indian Katha-Kali, the Japanese No mask ... Now it is this same relation which I find in the Photograph; however 'lifelike' we strive to make it (and this frenzy to be lifelike can only be our mythic denial of an apprehension of death), Photography is a kind of primitive theater, a kind of Tableau Vivant, a figuration of the motionless and made-up face beneath which we see the dead.

Since most sexual abuse begins well before puberty, preventive education, if it is to have any effect at all, should begin early in grade school. Ideally, information on sexual abuse should be integrated into a general curriculum of sex education. In those communities where the experiment has been tried, it has been shown conclusively that children can learn what they most need to know about sexual abuse, without becoming unduly frightened or developing generally negative sexual attitudes. In Minneapolis, Minnesota, for example, the Hennepin County Attorney's office developed an education program on sexual assault for elementary school children. The program was presented to all age groups in four different schools, some eight hundred children in all. The presentation opened with a performance by a children’s theater group, illustrating the difference between affectionate touching, and exploitative touching. The children’s responses to the skits indicated that they understood the distinction very well indeed. Following the presentation, about one child in six disclosed a sexual experience with an adult, ranging from an encounter with an exhibitionist to involvement in incest. Most of the children, both boys and girls, had not told anyone prior to the classroom discussion. In addition to basic information on sexual relations and sexual assault, children need to know that they have the right to their own bodily integity.

Whether we were in the mines of South Africa, or the liberal New York theater, nothing changed. Whites wanted everything. They thought they deserved everything. That they wanted to possess all the materials of the earth was in itself disturbing, but that they also wanted to control the souls and the pride of people was inexplicable.

I think it is cruel to expect the constant presence of any one family member (to tend to the ill). Just as we have to breathe in and breathe out, people have to "recharge their batteries" outside the sickroom at times, live a normal life from time to time; we cannot function efficiently in the constant awareness of illness. I have heard many relatives complain that members of the family went on pleasure trips over weekends or continued to go to the theater or movie. They blamed them for enjoying things while someone at home was terminally ill. I think it is more meaningful for the patient and his family to see that the illness does not totally disrupt a household or completely deprive all members of any pleasurable activities; rather, the illness may allow for a gradual adjustment and change toward the kind of home it is going to be when the patient is no longer around...The family too has a need to deny or avoid the sad realities at times in order to face them better when their presence is really needed.

The time is coming when it will hardly be possible to write a book of philosophy as it has been done for so long: "Ah! the old style.... " The search for new means of philosophical expression was begun by Nietzsche and must be pursued today in relation to the renewal of certain other arts, such as the theater or the cinema. In this context, we can now raise the question of the utilization of the history of philosophy. It seems to us that the history of philosophy should play a role roughly analogous to that of collage in painting.

Eating disorders are a silent form of destruction: a destruction of vitality and the hope for a meaningful existence. They create the illusion of time stopping. Past, present, and future collapse: the insidious negative self-talk is too loud, and/ or the aftermath of trauma too pervasive and/or the affects too overwhelming. The body itself becomes the theater of war (McDougall, 1989) wherein the feelings, memories, longings, and stories that have led to the symptoms feel so dangerous that they are dissociated from the behaviors themselves.

This book contains a story and several other things. The other things might be connected with the story, or they might not; they might be connected to stories that haven't appeared yet. It's not easy to tell. It's easy to imagine how they might have turned up, though. The world is full of things like that: old postcards, theater programs, leaflets about bomb-proofing your cellar, greeting cards, photograph albums, holiday brochures, instruction booklets for machine tools, maps, catalogs, railway timetables, menu cards from long-gone cruise liners-all kinds of things that once served a real and useful purpose, but have now become cut adrift from the things and the people they relate to. They might have come from anywhere. They might have come from other worlds. That scribbled-on map, that publisher's catalog-they might have been put down absentmindedly in another universe, and been blown by a chance wind through an open window, to find themselves after many adventures on a market stall in our world.

It is because the Pentagon is a relatively flat and unassuming building, whereas the World Trade Center was a tall phallic totem whose collapse created an immense audiovisual effect. Nobody who saw the images of its collapse could ever forget them. Because we intuitively understand that terrorism is theater, we judge it by its emotional rather than material impact.

I wanted to be platinum blond. On our black-and-white television and at the theater where they screened technicolor movies, there was something about platinum hair that was so luminescent and exciting. In my time, Marilyn Monroe was the biggest platinum blond on the silver screen. She was so charismatic and the aura she cast was enormous. I identified with her strongly in ways I couldn’t easily articulate. As I grew up, the more I stood out physically in my family, the more I was drawn to people that I felt I related to in significant way. With Marilyn, I sensed a vulnerability and a particular kind of femaleness that I felt we shared. Marilyn struck me as someone who needed so much love. That was long before I discovered that Marilyn had been a foster child.

Terrorism is mostly theater. It is a strategy of weakness adopted by those who lack access to real power. During the past decade, terrorists killed every year just a few dozen people in the United States. At the same time, obesity and related illnesses killed tens of thousands of Americans annually. For the average American, Coca-Cola and McDonald’s pose a far deadlier threat than al-Qaeda and the Islamic State.

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.

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.

people astray and into potentially horrific acts. Both of these views relate to the world that is delivered to us by our senses. There is a third way that Buddhist practitioners know as “Emptiness.” This is the unseen, formless energy that extrudes itself as the myriad forms of the world, creating and then retrieving them back to the source. Suzuki Roshi suggested that we think of it as the white screen in a movie theater, the unseen background against which the shimmering movie of

The ultimate test for the ability to control the quality of experience is what a person does in solitude, with no external demands to give structure to attention. It is relatively easy to become involved with a job, to enjoy the company of friends, to be entertained in a theater or at a concert. But what happens when we are left to our own devices? Alone, when the dark night of the soul descends, are we forced into frantic attempts to distract the mind from its coming? Or are we able to take on activities that are not only enjoyable, but make the self grow?

Meanwhile, people are busy using fractals to explain any system that has defied other, more reductionist approaches. Since they were successfully applied by IBM's Benoit Mandlebrot to the problem of seemingly random, intermittent interference on the phone lines, fractals have been used to identify underlying patterns in weather systems, computer files, and bacteria cultures. Sometimes fractal enthusiasts go a bit too far, however, using these nonlinear equations to mine for patterns in systems where none exist. Applied to the stock market to consumer behavior, fractals may tell less about those systems than about the people searching for patterns within them. There is a dual nature to fractals: They orient us while at the same time challenging our sense of scale and appropriateness. They offer us access to the underlying patterns of complex systems while at the same time tempting us to look for patterns where none exist. This makes them a terrific icon for the sort of pattern recognition associated with present shock—a syndrome we'll call factalnoia. Like the robots on Mystery Science Theater 3000, we engage by relating one thing to another, even when the relationship is forced or imagined. The tsunami makes sense once it is connected to chemtrails, which make sense when they are connected to HAARP. It's not just conspiracy theorists drawing fractalnoid connections between things. In a world without time, any and all sense making must occur on the fly. Simultaneity often seems like all we have. That's why anyone contending with present shock will have a propensity to make connections between things happening in the same moment—as if there had to be an underlying logic.

So you get fancily dressed and sometimes professionally made up. A driver in a town car picks you up, which makes you feel weird and apologetic. An upbeat public relations person you don’t know leads you onto a red carpet where you’re shouted at to “look here!” and “here” at a hundred strangers with flashbulbs for faces. And then, after those brief moments of manufactured glamour, you find yourself in a regular old creaky movie theater seat, sipping Diet Coke from a sweaty plastic cup and salting your fingers with warm popcorn. Lights dim. Mandated enthusiasm begins.

Our contact was based on a misunderstanding that could not fail to become apparent the moment my homage, instead of being addressed to the relatively superior being she believed herself to be, was diverted to some other woman of similar mediocrity and exuding the same unconscious charm. A misunderstanding so natural, and one that will always exist between a young dreamer and the society woman he elects, but one that disturbs him profoundly for as long as he remains ignorant of the nature of his imaginative bent and has not yet resigned himself to the inevitable disappointments he is bound to discover with people, as is the case with the theater, with travel, with love.

This was, moreover, a period when I saw quite a lot of Gilberte, with whom I had resumed my friendship: for in the long term the rhythm of our lives does not scan with the timescale of our friendships. Once a sufficient period of time has elapsed, we see (just as we see the revival of former ministries in politics or of forgotten plays in the theater) friendly relations resumed, after long years of interruption, between the same people as before, and revived with pleasure. After ten years of reasons for one person to be too much in love, and reasons for the other not to tolerate such despotic demands, the reasons cease to exist. Only affinities matter, and everything that Gilberte would have refused me previously, she easily granted me, no doubt because I no longer desired it.

The relations of philosophy and theater are not commonly treated topics. When we think of theater we tend to light on two great periods, namely, Elizabethan England and ancient Athens. The latter we associate with philosophy, of course, but it is a very one-sided perception to think of the Greeks as philosophers. We should really think of them as a people of art – ein Reich der Kunst as Hölderlin calls Greece, and Hegel speaks of greek religion as a Kunstreligion, religion in the form of art. We do not think of Elizabethan England as a high period of philosophical reflection, and yet anyone who thinks Shakespeare’s work is not saturated with philosophical significance surely has a very narrow sense of what it means to be philosophical. His dramas are, so to say, philosophy in performatives.

This book contains a story and several other things. The other things might be connected with the story, or they might not; they might be connected to stories that haven't appeared yet. It's not easy to tell. It's easy to imagine how they might have turned up, though. The world is full of things like that: old postcards, theater programs, leaflets about bomb-proofing your cellar, greeting cards, photograph albums, holiday brochures, instruction booklets for machine tools, maps, catalogs, railway timetables, menu cards from long-gone cruise liners-all kinds of things that once served a real and useful purpose, but have now become cut adrift from the things and the people they relate to. They might have come from anywhere. They might have come from other worlds. That scribbled-on map, that publisher's catalog-they might have been put down absentmindedly in another universe, and been blown by a chance wind through an open window, to find themselves after many adventures on a market stall in our world.

Wallace had read the Tractatus, of course (he wrote to Lance Olsen that he thought its first sentence was "the most beautiful opening line in western lit"). He knew that Wittgenstein's book presented a spare and unforgiving picture of the relations among logic, language, and the physical world. He knew that the puzzles solved and raised by the book were influential, debatable, and rich in their implications. But as a flesh-and-blood reader with human feelings, he also knew, though he had never articulated it out loud, that as you labored to understand the Tractatus, its cold, formal, logical picture of the world cold make you feel strange, lonely, awestruck, lost, frightened-a range of moods not unlike those undergone by Kate herself. The similarities were not accidental. Markson's novel, as Wallace put it, was like a 240-page answer to the question, "What if somebody really had to live in a Tractatusized world?" Pronouncing the novel "a kind of philosophical sci-fi," Wallace explained that Markson had staged a human drama on an alien intellectual planet, and in so doing he had "fleshed the abstract sketches of Wittgenstein's doctrine into the concrete theater of human loneliness.

What are we taking away from England, what from France, what from America? Nothing at all! How many times did I offer them peace?! What else should I be offering them? They are men who say, like Churchill, “I want war.” With them, there is a certain clique. And behind these corrupt, drunk creatures, there are the paying forces of international Jewry. On the other side, there is an old Freemason who believes that through a war he can win time for stabilizing his bankrupt economy again. And so, both states again confront the same enemies for the very same reasons. And they are forced to fight together, to lead the same struggle, which ties them in life and in death. And there is a fourth element: in both cases, there are two men who come from the people, who have kindled the revolutions and have uplifted their states. In the few free hours I have had these last weeks, I read a lot about the Fascist revolution in Italy. It seemed to me as though I had before me the history of my own party: everything so similar, so much the same. The same struggle, the same enemies, the same opponents, the same arguments-it really is a miracle. And now, we fight in the same theaters of war: Germans in Africa, Italians in the east. We fight together, and nobody should deceive himself: This struggle will be seen through to our joint victory! And finally, a third state joined us. For many years, I have wanted to have good relations with this state-Japan-as you know from Mein Kampf. And so, the three great have-nots are now united. We will see who will be stronger in this struggle: those who have nothing to lose and everything to win, or those who have everything to lose and who cannot win anything. What does England want to win? What does America want to win? They have so much that they do not know what to do with all they own. They need to feed only a few people per square kilometer. They do not have all those worries that trouble us. For us, a single bad harvest is a national disaster. They have the whole world at their disposal. For decades now, they have robbed us, exploited us, bled us white, and still they have not eliminated their own economic misery. They have more raw materials than they could possibly need, and still they have not managed to find a reasonable solution to their problems. We will see on whom Providence will bestow the victor’s laurels in this struggle: on the man who has everything and wants to take even the last bit from the man who has almost nothing, or on the man, who defends the last bit he owns. And when a British archbishop prays to the Lord that He might strike Germany and Europe with Bolshevism as a punishment-then I can only say, it will not come to Germany. But whether or not He will strike England, that is another question. Speech in the Sportpalast Berlin, January 30, 1942

ON DECEMBER 8, 1941, cinemas and theaters in Japan were made to temporarily suspend their evening performances and broadcast a speech recorded by Prime Minister Tojo Hideki earlier that day. U.S. films—films such as Mr. Smith Goes to Washington, which the Japanese relished in easier times—were now officially banned. That night, audiences were confronted with the voice of a leader who hardly resembled Jimmy Stewart. Tojo was a bald and bespectacled man of middle age with no remarkable features other than his mustache. His exaggerated buckteeth existed only in Western caricatures, but he did not look like a senior statesman who had just taken his country to war against a most formidable enemy, and his voice was memorable only for its dullness. He recited the speech, “On Accepting the Great Imperial Command,” with the affected diction of a second-rate stage actor. Our elite Imperial Army and Navy are now fighting a desperate battle. Despite the empire’s every possible effort to salvage it, the peace of the whole of East Asia has collapsed. In the past, the government employed every possible means to normalize U.S.-Japan diplomatic relations. But the United States would not yield an inch on its demands. Quite the opposite. The United States has strengthened its ties with Britain, the Netherlands, and China, demanding unilateral concessions from our Empire, including the complete and unconditional withdrawal of the imperial forces from China, the rejection of the [Japanese puppet] Nanjing government, and the annulment of the Tripartite Pact with Germany and Italy. Even in the face of such demands, the Empire persistently strove for a peaceful settlement. But the United States to this day refused to reconsider its position. Should the Empire give in to all its demands, not only would Japan lose its prestige and fail to see the China Incident to its completion, but its very existence would be in peril. Tojo, in his selective explanation of the events leading to Pearl Harbor, insisted that the war Japan had just initiated was a “defensive” war. He faithfully echoed Japan’s deep-seated feelings of persecution, wounded national pride, and yearning for greater recognition, which together might be called, for the want of a better phrase, anti-Westernism. It was a sentimental speech, and it was notable for what was left unsaid.

The rise of the theater of the absurd, it has been argued, "seems to mirror the change in the predominant form of mental disorders which has been observed and described since World War II by an ever-increasing number of psychiatrists. " Whereas the "classical" drama of Sophocles, Shakespeare, and Ibsen turned on conflicts associated with classical neuroses, the absurdist theater of Albee, Beckett, loncsco, and Genet centers on the emptiness, isolation, loneliness, and despair experienced by the borderline personality. The affinity between the theater of the absurd and the borderline's "fear of close relationships, " "attendant feelings of helplessness, loss, and rage," "fear of destructive impulses, " and "fixation to early omnipotence" inheres not only in the content of these plays but-more to the point of the present discussion-in their form. The contemporary playwright abandons the effort to portray coherent and generally recognized truths and presents the poet's personal intuition of truth. The characteristic devaluation of language, vagueness as to time and place, sparse scenery, and lack of plot development evoke the barren world of the borderline, his lack of faith in the growth or development of object relations, his "often stated remark that words do not matter, only action is important," and above all his belief that the world consists of illusions. "Instead of the neurotic character with well-structured conflicts centering around forbidden sex, authority, or dependence and independence within a family setting, we see characters filled with uncertainty about what is real." This uncertainty now invades every form of art and crystallizes in an imagery of the absurd that reenters daily life and encourages a theatrical approach to existence, a kind of absurdist theater of the self.

Grant-making bodies have long channeled funds along racial lines. Many black and Hispanic organizations receive crucial funding from the Ford and Rockefeller foundations. A large number of arts councils give both public and private money to ethnic dance, theater, and other arts groups. The National Endowment for the Arts has begun to penalize grantees that do not show enough minority representation.580 The Rockefeller and Ford foundations reportedly plan to phase out their support for traditional European art forms altogether so as to concentrate on non-Western arts.581 Entirely typical of race-based grant-making was the 1990 announcement of a series of gifts by the Boston Foundation. It released $200,000, to be divided among fifteen Boston-area social service organizations for the sole purpose of hiring nonwhite employees.582 The foundation also makes grants for the arts, but only for projects that show “cultural diversity.”583

When we experience emotion, it is reflected in the activity of the frontal lobes of our brain. Brain-wave research has demonstrated that when people experience emotions related to withdrawal, like sadness, fear, or disgust, their right frontal lobe lights up like a theater on Broadway. But when people experience emotions related to engaging with the world, like interest, amusement, affection, happiness, and anger, their left frontal lobe fires up.

Stories have no beginning and no end, only doors through which one may enter them. A story is an endless labyrinth of words, images and spirits, conjured up to show us the invisible truth about ourselves. A story is, after all, a conversation between the narrator and the reader, and just as narrators can only relate as far as their ability will permit, so too readers can only read as far as what is already written in their souls. This is the golden rule that sustains every artifice of paper and ink. Because when the lights go out, when the music ends and the stalls are empty again, the only thing that matters is the mirage that has been engraved in the theater of the imagination all readers hold in their mind. This, and the hope every maker of tales carries within: that readers will open their hearts to these little creatures made of ink and paper, and give them a part of themselves so they can be immortal, even if only for a few minutes.

This was my time at the MUN; not just a symbol of international cooperation, but a dark and mysterious nexus of conspiracy and intrigue. Indeed, a place where the forces of chaos and order collide in an endless struggle for dominance. But let's not kid ourselves, behind the facade of diplomatic protocols and bureaucratic banalities lurks a dark underbelly. A shadow world of secret meetings and covert operations, where the true rulers of the world pull the strings of fate like puppeteers in a grand cosmic theater. Here, in the labyrinthine corridors and dimly lit backrooms, the fate of nations is not decided by the will of the people, but by the whims of those who dwell in the shadows.

Loftus learned for herself how realistic false memories can seem when she had an upsetting experience several years ago. She was shocked when, at a family gathering, an uncle informed her that thirty years earlier, when her mother drowned in a pool, she had been the one who discovered the body. Loftus, who was fourteen when the drowning occurred, always believed that she had never seen her mother's dead body. Indeed, she remembered little about the death itself. She recounts what happened the next in her book 'The Myth of Repressed Memory'. Almost immediately after her uncle's revelation, 'the memories began to drift back, like the crisp, piney smoke from evening camp fires. My mother, dressed in her nightgown, was floating face down. . . . I started screaming. I remembered the police cars, their lights flashing'. A few days later, she writes, 'my brother called to tell me that my uncle had made a mistake. Now he remembered (and other relatives confirmed) that Aunt Pearl had found my mother's body.' This shocked Loftus even more than her uncle's false revelation. If someone so specially trained as she is to recognize fallible memories could suddenly believe her own false memory, just think how readily the average person can be fooled.

They used my name and permit to grow the weed and earn money to repay their debts and compensate their investors. To keep my girlfriend. To take her. I am uncertain if any of them have ever spent a minute in jail for any of these activities. Adam proudly showcases his new motorcycles on Instagram, posing on a hill above Barcelona. He also displays his brand new electric camper van, which they use to travel and transport drugs across Europe and Iberia, as well as his gigantic marijuana cultivation located in Portugal. People like Ruan and Martina admire his public images. I came across a picture of Ruan and Martina together in Berlin, where their mother Fernanda visited them. Martina became member of the Evil Eye Cult, and the custom made mafia group in Spain, which used her as a pawn in their porn and drug-related activities. She now operates as their representative in Berlin. Martina and I have lost the ability to genuinely smile. Her social media posts only show disinterest or a malicious demeanor. ‘A boot stomping on a human face.’ In a picture with her brother and mother, she puts on a forced fake “good vibe” and “happy” smile, revealing her flawless teeth and the subtle lines of aging. With each passing day, she bears a greater resemblance to her rich and so happy mother, the bad person. As far as I know, none of these individuals have faced consequences for their actions, such as having their teeth broken. As I had. Innocently. Taking care of business and their lives. With love. I find this to be incredibly unjust. In the 21st century. In Europe. On planet Earth. By non-EU criminals. “Matando – ganando” – “killing and gaining” like there were no Laws at all. Nowadays, you can observe Sabrina flaunting her fake lips and altered face, just like Martina her enhanced breasts. Guess who was paying for it? It seems that both girls now sustain themselves through their bodies and drug involvement, to this day, influencing criminals to gain friends in harming Tomas and having a lavish lifestyle filled with fun and mischief. Making a living. Enjoying Spain. Enjoying Life. My money. My tears. This is the situation as it stands. I was wondering what Salvador Dali was trying to tell me. I stood in front of the Lincoln portrait for a long time, but I couldn't grasp the point or the moral behind it. I can listen to Abraham Lincoln and ‘trust people. To see. If I can trust them.’ But he ultimately suffered a tragic fate, with his life being taken. (Got his head popped.) I believe there may have also been a female or two involved in that situation, too, possibly leading to his guards being let down. While he was watching: Acting performances, he was facing a: Stage. Theater. It is disheartening, considering he was a good person. Like Jesus, John Lennon and so on. Shows a pattern Machiavelli was talking about. Some individuals are too bright for those in darkness; they feel compelled to suppress those brighter minds simply because they think and act differently. Popping their heads. Reptilian lower brain-based culture, the concept of the Evil Eye, Homo erectus. He couldn't even stand up properly when I was shouting at him, urging him to stand up from the stairs. ‘Homo seditus reptilis.’ But what else was there in the Lincoln image that I didn't see? What was Dali trying to convey or express or tell me? Besides the fact that the woman is in his mind, on his mind, in the image, exactly, his head got popped open. Perhaps because he was focusing on a woman, trusting her for a split second, or turning his head away for a moment.

I think [someone else] wrote Shakespeare. If you don't, there are some awfully funny coincidences to explain away.” Orson Welles, in an interview with theater critic Kenneth Tynan, related in Persona Grata, by Cecil Beaton and Kenneth Tynan, Winthrop, New York, 1953.

The ultimate test for the ability to control the quality of experience is what a person does in solitude, with no external demands to give structure to attention. It is relatively easy to become involved with a job, to enjoy the company of friends, to be entertained in a theater or at a concert. But what happens when we are left to our own devices? Alone, when the dark night of the soul descends, are we forced into frantic attempts to distract the mind from its coming? Or are we able to take on activities that are not only enjoyable, but make the self grow?

Samuel Delany outlines the impact of these developments on the ability of diverse publics to form in New York City. He charges that while cross-class contact flourished in the Times Square area’s adult movie theaters in the 1960s through the 1980s, gentrification has largely exiled the queer, working class, and racial and ethnic minority publics who used to commingle there with relative ease. Beginning in the 1990s, city ordinances regulating sex-related commerce and renewed corporate interest in refashioning New York as a family friendly tourist destination marginalize some publics in the interest of generating profit from others.

Our age provides many examples of the ravages of immediacy, the clearest of which is the failure of the modern mind to recognize obscenity. This failure is not connected with the decay of puritanism. The word is employed here in its original sense to describe that which should be enacted off-stage because it is unfit for public exhibition. Such actions, it must be emphasized, may have no relation to gross animal functions; they include intense suffering and humiliation, which the Greeks, with habitual perspicacity and humanity, banned from their theater.

Military force is another element of power. It provides a nation the capability to impose it's will on another nation through the threat or use of violence. Military force also provides a state the capability to resist another's coercive actions. The types of military forces required will depend on the state's physical characteristics and its enemies' capabilities. A landlocked state has little need for a navy. If a nation's opponent has a strong air force, then the nation should have strong air defenses. The size and composition of military force available will dictate the types of operations a state may conduct. A landlocked power with no navy will never dominate the seas. A state without an air force or navy today will have great difficulty projecting and sustaining military forces over great distances. A strong army with no ability to move to another area has little impact on foreign policy, except on protecting its homeland. The technological sophistication of its weaponry versus that of an opponent's will provide a state an advantage or disadvantage in projecting its will. All other things being equal, a state weapons that can kill an opponent's soldiers faster and more efficiency that those of the opponent's has an advantage. Of course, rarely are all other things equal. Technological superiority can provide an advantage, but it cannot guarantee success. Technology will also affect the state's ability to sustain its forces. Commonality of the civilian and military technological base will enhance logistical capabilities by making it easy for civilian industry to provide military forces the equipment needed. The location of military forces with respect to the theater of war and the enemy is another component of military power. If the military forces are near their warfighting positioning, their deterrent and warfare capabilities are greater. The degree of civilian control and willingness to employ military force prescribes the manner in which a state may employ its military power. This point relates to the national will element of power. If the will to employ the military force available does not exist, the military force has no utility. No power results from the simple existence of the military force. Power results from the will to use military power, or at least an enemy's perception of the willingness to do so, and the capability of that military force to defeat all enemy. Available reserves limit the duration of combat a state can endure. Once all the trained or trainable men and women are casualties, a state cannot continue. A state's manpower pool always serves as a limit on the size of the military force it can raise.

The strategic level is concerned with the use of military force to achieve national objectives. In the new American style of war, it has come to be interpreted as the highest political and diplomatic level at which decisions are made to collect and deploy military forces to a distant theater. The size of strategic land forces varies, depending on the nature of the topography and the seriousness of the enemy threat. In past limited wars, deployments involved relatively large armies consisting of multiple corps of 50,000 soldiers each. The numbers of soldiers deployed in more recent campaigns have been considerably smaller. The strategic challenge in the years ahead will center on "time versus risk"-that is, the decisions that must be made to balance the size of the strategic force to be projected versus the time necessary for the force to arrive ready to fight. The United States must be able to overcome the problems of distance and time without unnecessarily exposing early arriving forces to an enemy already in place within a theater of war. The operational level of warfare provides a connection between strategic deployments and the tactical engagements of small units. The "art" of maneuvering forces to achieve decisive results on the battlefield nest here. As with the deployments of strategic level forces, the basic elements of operational maneuver have shrunk as the conflict environment has changed since the end of the Second World War. During the Cold War, corps conducted operational maneuver. More recently, the task has devolved to brigades, usually self contained units of all arms capable of independent maneuver. An independent brigade consists of about 5,000 soldiers. At the operational level, ground forces will face the challenge of determining the proper balance between "firepower and maneuver" resources and technologies to ensure that the will of the enemy's army to resist can be collapsed quickly and decisively. Battles are fought at the tactical level. In the past, the tactical fight has been a face-to-face endeavor; small units of about company size, no more that several hundred soldiers, are locked in combat at close range. The tactical fight is where most casualties occur. The tactical challenge of the future will be to balance the anticipated "ends," or what the combat commander is expected to achieve on the battlefield, with the "means," measured in the lives of soldiers allocated to achieve those ends. Since ground forces suffer casualties disproportionately, ground commanders face the greatest challenge of balancing ends versus means. All three challenges must be addressed together if reform of the landpower services - the Army and the Marine Corps - is to be swift and lasting. The essential moderating influence on the process of change is balance. At the strategic level, the impulse to arrive quickly must be balanced with the need for forces massive and powerful enough to fight successfully on arrival. The impulse to build a firepower-dominant operational forces will be essential if the transitory advantage of fires is to be made permanent by the presence of ground forces in the enemy's midst. The impulse to culminate tactical battle by closing with and destroying the enemy must be balanced by the realization that fighting too close may play more to the advantage of enemy rather than friendly forces.

Quite simply, the Church is not a movie theater. It does not need a “silver screen” in order to be more relatable to modern people. A movie theater is a place where we collectively sit down to watch the unreal, the made up, the world of drama, fantasy, and pretend. We watch these dramas, comedies, or adventures to be moved to tears, to laughter, or to an adrenaline high. We watch them in order to be manipulated into feeling something that is out of the ordinary – something that we want to feel at that particular moment. We are complicit in this, of course. We pay our money for the privilege of having our emotions manipulated by this world of make believe.

Spirits that piggyback may not have been connected here in the physical world, but because they are connected to you, they’re connected on the Other Side when preparing for a group reading. I don’t believe a message has to be from just one soul, especially since they’ve shown me that they work really well as a cluster. Spirit can also come forward, recede, and play off each other’s energy. They channel together like old pros. In my largest venue readings, it’s amazing how organized your family’s souls have been! I also believe Spirit will help orchestrate who comes to the readings and sometimes where they sit. You can’t miss how certain types of deaths—which is how I initially validate your loved ones to you—are seated together, which makes piggybacking easier. In one section of a theater, there will be multiple women who’ve lost children, families whose loved ones had Alzheimer’s, or even friends who’ve died from similar freak accidents like a falling object. It sounds wild, because it is. And Spirit’s behind all of it. What I love most about group readings is that you get to hear so many incredible, compelling messages that you can’t help but feel touched by all of it. I also find that Spirit is a little more fun during group readings, especially during the private, smaller groups. In a room of ten to fifteen people, I can channel anywhere between twenty to forty souls in a two-hour period. But there are so many different, lively, and dynamic personalities around that souls with stronger energy can help those with less to communicate better by letting them use their energy. Sometimes I have souls that channel for an entire hour, and nobody else comes through; other times, a soul might stay for a short time, go away, and then come back and talk a mile a minute! It’s like the soul recharged its batteries. When a reading is over, I can hardly remember what I’ve said, seen, or felt for too long after, because again, they’re not my feelings, thoughts, or emotions. Unless the message is part of a really mind-blowing or emotionally gripping session, whatever information Spirit sends me isn’t something that’s stuck in my head forever. Know too that you take your dead friends and family with you when you leave a session, show, or my house. For some reason, it’s always the husbands who remind me to take all the Spirits with me, and I’m always like, “Listen, pal, they’re not my Spirits. They’re your dead relatives. They’re staying with you. I got my own problems.

There was a time when slavery was good. It did its work, and when it finished creating capital it withered and died a natural death. Colonialism was good. It spread industrial culture of shared resources and markets. But to revive colonialism now would be an error. There was a time when the cold war dicated our every calculation in domestic and international relations. It is over. We are in the post-cold war era, and our calculations are affected by the laws and needs of globalization. The history of capital can be summed up in one phrase: in search of freedom. Freedom to expand, and now it has the chance at the entire globe for its theater. It needs a democratic space to move as its own logic demands.

In April 2012, The New York Times published a heart-wrenching essay by Claire Needell Hollander, a middle school English teacher in the New York City public schools. Under the headline “Teach the Books, Touch the Heart,” she began with an anecdote about teaching John Steinbeck’s Of Mice and Men. As her class read the end together out loud in class, her “toughest boy,” she wrote, “wept a little, and so did I.” A girl in the class edged out of her chair to get a closer look and asked Hollander if she was crying. “I am,” she said, “and the funny thing is I’ve read it many times.” Hollander, a reading enrichment teacher, shaped her lessons around robust literature—her classes met in small groups and talked informally about what they had read. Her students did not “read from the expected perspective,” as she described it. They concluded (not unreasonably) that Holden Caulfield “was a punk, unfairly dismissive of parents who had given him every advantage.” One student read Lady Macbeth’s soliloquies as raps. Another, having been inspired by Of Mice and Men, went on to read The Grapes of Wrath on his own and told Hollander how amazed he was that “all these people hate each other, and they’re all white.” She knew that these classes were enhancing her students’ reading levels, their understanding of the world, their souls. But she had to stop offering them to all but her highest-achieving eighth-graders. Everyone else had to take instruction specifically targeted to boost their standardized test scores. Hollander felt she had no choice. Reading scores on standardized tests in her school had gone up in the years she maintained her reading group, but not consistently enough. “Until recently, given the students’ enthusiasm for the reading groups, I was able to play down that data,” she wrote. “But last year, for the first time since I can remember, our test scores declined in relation to comparable schools in the city. Because I play a leadership role in the English department, I felt increased pressure to bring this year’s scores up. All the teachers are increasing their number of test-preparation sessions and practice tests, so I have done the same, cutting two of my three classic book groups and replacing them with a test preparation tutorial program.” Instead of Steinbeck and Shakespeare, her students read “watered-down news articles or biographies, bastardized novels, memos or brochures.” They studied vocabulary words, drilled on how to write sentences, and practiced taking multiple-choice tests. The overall impact of such instruction, Hollander said, is to “bleed our English classes dry.” So

43. There are also idols formed by the intercourse and association of men with each other, which I call idols of the market place, on account of the commerce and consort of men there. For it is by discourse that men associate; and words are imposed according to the apprehension of the vulgar. And therefore the ill and unfit choice of words wonderfully obstructs the understanding. Nor do the definitions or explanations, with what in some things learned men are accustomed to guard and defend themselves, by any means set the matter right. But words plainly force and overrule the understanding, and throw all into confusion, and lead men away into numberless empty controversies and idle fancies. 44. Lastly, there are idols which have immigrated into men’s minds from the various dogmas of philosophies, and also from wrong laws of demonstration. These I call idols of the theater, because in my judgment all the received systems are but so many stage plays, representing worlds of their own creation after an unreal and scenic fashion. Nor is it only of the systems now in vogue or only of the ancient sects and philosophies that I speak; for many more plays of the same kind may yet be composed and in like artificial manner set forth, seeing that the most widely different errors have causes which are for the most part alike. Neither again do I mean this only of entire systems, but also of many principles and axioms in science which by tradition, credulity, and negligence have come to be received. But of these several kinds of idols I must speak more largely and exactly, that the understanding may be duly cautioned. 45. The human understanding is of its own nature prone to suppose the existence of more order and regularity in the world than it finds. And though there may be things in nature which are singular and unmatched, yet it devises for them parallels and conjugate relatives which do not exist.

The more effective policy for a society is to find ways of persuading its thieves to abandon their role as competitors for property for the sake of becoming audience to the theater of wealth. It is for this reason that societies fall back on the skill of those poietai who can theatricalize the property relations, and indeed, all the inner structures of each society.

success theater”—the work we do to make ourselves look successful. We could have tried marketing gimmicks, bought a Super Bowl ad, or tried flamboyant public relations (PR) as a way of juicing our gross numbers. That would have given investors the illusion of traction, but only for a short time.

Whether or not alcoholism, the obvious “iceberg” the writer could not escape, drowned some more private and secret suffering related to sexual desire or even gender identity, Robertson clearly wanted fate to absolve him for some compulsion that he feared was a choice, and perhaps also give him the ability to free himself from that compulsion—an impossible, contradictory, ambivalent wish. His precognitive habit seems to have answered both needs. Eisenbud makes a very key observation in this regard, one that goes well beyond Robertson in its implications: “With such an ambivalent attitude toward fate,” he writes, “all one would need, it might seem, would be heads and tails on the same throw. But any good precognitive event provides just this, since … the metaphysical significance of such an occurrence is sufficiently in question to satisfy both schools.”24 There was surely no better “precognitive event” than reading a New York Times headline about a sea disaster you had written a novel about 14 years earlier. The psychoanalytic rule of thumb is that nothing is ever an accident.25 The disasters and misfortunes that repeat themselves over and over in the lives of neurotics like Robertson look for all the world as though some higher power or cosmic theater director is testing them or just being cruel, but these situations are actually elicited by the neurotic in deviously subtle ways. For Freudians, the thematic consistency of the neurotic’s failures is always assumed to represent unresolved past situations confusedly haunting the neurotic’s present reality, governed by the repetition-compulsion beyond the pleasure principle. Instead of seeing things as they are, the neurotic sees replays of situations from early life and reacts accordingly, with predictably disappointing outcomes—the idiomatic “carrying baggage.” The alternative possibility that a case like Robertson’s suggests is that some of our baggage comes from our future. Robertson seems all his life to have been confusedly presponding to a future upheaval, even a kind of near miss or close call (since, having written about it beforehand, the Titanic disaster was in some sense “his” disaster), but treating it again and again as a present reality, a disaster that had already occurred or was in the process of occurring. By the time the real thing happened, he himself was already sunk, “washed up,” and could not even successfully capitalize on what might have been the perfect advertisement for his precognitive gift. What if something like this is true of many neurotics? What portion of ordinary human floundering and failure might really be attributable to misrecognized precognition, a kind of maladaptive prematurity of feeling and thought? We now turn to another deeply neurotic writer whose life even more clearly illustrates the painful temporal out-of-synch-ness of the strongly precognitive soul.

(Peg could handle anything—war, catastrophe, failure, death of a relative, a cheating husband, the demolition of her beloved theater—without shedding a tear, but great moments in sports history always made her weepy.)

A story is an endless labyrinth of words, images, and spirits, conjured up to show us the invisible truth about ourselves. A story is, after all, a conversation between the narrator and the reader, and just as narrators can only relate as far as their ability will permit, so too readers can only read as far as what is already written in their souls. This is the golden rule that sustains every artifice of paper and ink. Because when the lights go out, when the music ends and the stalls are empty again, the only thing that matters is the mirage that has been engraved in the theater of the imagination all readers hold in their mind. This, and the hope every maker of tales carries within: that readers will open their hearts to these little creatures made of ink and paper, and give them a part

Someone—Tony or Warner Bros.?—had decided that the grueling schedule and the added tension in the band might be alleviated somewhat by the relative comfort of bus touring versus Old Blue. It was a nice idea. It might have even been a gambit to see if the camaraderie of sharing a luxurious living situation might heal the band’s broken bonds. So we loaded all of our gear into the parking lot behind our apartment and waited for our new accommodations to arrive. Everyone, I think even Jay, was excited about the prospect of spending at least some small part of our lives seeing what it was like to tour in style. That was until he laid eyes on the Ghost Rider. What we were picturing was sleek and non-ostentatious like the buses we had seen parked in front of theaters at sold-out shows by the likes of R.E.M. or the Replacements. Instead, what we got was one of Kiss’s old touring coaches—a seventies-era Silver Eagle decked out with an airbrushed mural in a style I can only describe as “black-light poster–esque,” depicting a pirate ship buffeted by a stormy sea with a screaming skeleton standing in the crow’s nest holding a Gibson Les Paul aloft and being struck by lightning. The look on Jay’s face was tragic. I felt bad for him. This was not a serious vehicle. I’m not sure how we talked him into climbing aboard, and once we did, I have no idea how we got him to stay, because the interior was even worse. White leather, mirrored ceilings, and a purple neon sign in the back lounge informing everyone, in cursive, that they were aboard the “Ghost Rider” lest they forget. So we embarked upon Uncle Tupelo’s last tour learning how to sleep while being shot at eighty miles per hour down the highway inside a metal box that looked like the VIP room at a strip club and made us all feel like we were living inside a cocaine straw. Ghost Rider indeed.

Dad is the established crier of the family. He was asked to 'get a grip or leave the theater' during the last twenty minutes of Coco.

One possible benefit of new workforce trends is that people will have more leisure time than in the past. This can happen in one of two ways. Some people will not be needed in the new digital economy, so they will find other ways to construct meaning in their lives outside the workplace. Alternatively, even those who work may find themselves with time for other kinds of pursuits. Rather than most waking hours being spent on work-related tasks, the society of the future may have time for nonwork activities, including art, culture, music, sports, and theater.

Worst of all, the release of the Pentagon Papers and the Watergate scandal had demonstrated that a cynical mentality of advertising and public relations—so central in persuading Americans to desire more and more in a nightmarish pattern of meaningless consumerism—had invaded the realm of politics like some lethal disease. For government officials, the falsity of image-making was now taking precedence over actual facts, problem solving, and a genuine attention to the public welfare, leading first to lying and then, inevitably, to criminality. Politics was becoming theater, and theater had no place in politics. Arendt reached for an analogy familiar to her. Totalitarian governments, she said, were willing to kill millions to conceal unpleasant facts. The United States was a long way from that: the manipulation of public opinion, not terror, was Washington’s way of hiding the truth. But the signs were not good; the country was on a road to perdition. A “stab-in-the-back” theory, used so effectively by the Nazis to vanquish their enemies, was already developing with regard to Vietnam. And unless the docile, materialist-minded citizenry woke up to the true realities and demanded real solutions to real problems, instead of trying to escape into “images, theories and sheer follies,” far greater troubles lay in store. She believed the country might be at a turning point in its history. The handwriting was on the wall. The chickens were coming home to roost.

This didn’t mean we were friends. I hadn’t let that happen. When friends wanted to become my patients, I talked them out of it. And when patients wanted to become my friends, I put them off. This was awkward, sometimes—and often I wished I didn’t have to refuse the dinner invitations or golf outings or theater tickets—but I didn’t see any other way. Professional objectivity was impossible when caring for a friend or a relative. Love and loyalty, or guilt and regret, just get in the way. But maintaining a distance was a personal defense, too. After all, the “doctor-patient relationship” is a relationship. And, like all relationships, it can get complicated.

Is your body made of stone? Or iron? You are clothed with flesh, human flesh, which is en-flamed by desire as easily as grass. Surely you are not a better philosopher than those great and noble men, who were cast down merely by such a sight? Have you not heard what Solomon says: "If someone walks onto a fire of coals, will he not burn his feet? If someone lights a fire in his lap, will he not burn his clothing?" For even if you did not have intimate relations with the prostitute, in your lust you coupled with her, and you committed the sin in your mind. And it was not only at that time, but also when the theater has closed, and the woman has gone away, her image remains in your soul, along with her words, her figure, her looks, her movement, her rhythm, and her distinctive and meretricious tunes; and having suffered countless wounds you go home.

But the better part of the audience seemed to identify strongly with the symphony's assertion of will—what Maxim Shostakovich called "the determination of a strong man to BE." Many listeners had already lost friends and relatives to the Terror, and were in a numbed, terrified state. Gavriil Popov said to Lyubov Shaporina, the founder of the Puppet Theater: "You know, I've turned into a coward. I'm a coward, I'm afraid of everything, I even burned your letters." The Fifth had the effect of taking away, for a little while, that primitive fear. One listener was so gripped by the music that he stood up, as if royalty had walked into the room. Others began rising from their seats. During the long ovation that followed, Yevgeny Mravinsky, the conductor, held the score above his head.

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