Theatres Quotes

A fire broke out backstage in a theatre. The clown came out to warn the public; they thought it was a joke and applauded. He repeated it; the acclaim was even greater. I think that's just how the world will come to an end: to general applause from wits who believe it's a joke.

The less you eat, drink and read books; the less you go to the theatre, the dance hall, the public house; the less you think, love, theorize, sing, paint, fence, etc., the more you save-the greater becomes your treasure which neither moths nor dust will devour-your capital. The less you are, the more you have; the less you express your own life, the greater is your alienated life-the greater is the store of your estranged being.

Love art in yourself, and not yourself in art.

Movies will make you famous; Television will make you rich; But theatre will make you good.

Even so, there were times I saw freshness and beauty. I could smell the air, and I really loved rock 'n' roll. Tears were warm, and girls were beautiful, like dreams. I liked movie theaters, the darkness and intimacy, and I liked the deep, sad summer nights.

We're actors — we're the opposite of people!

All that day she had had the feeling that she was playing in the theatre with actors better than herself and that her poor playing spoiled the whole thing.

Life is a theatre set in which there are but few practicable entrances.

The less you eat, drink, buy books, go to the theatre or to balls, or to the pub, and the less you think, love, theorize, sing, paint, fence, etc., the more you will be able to save and the greater will become your treasure which neither moth nor rust will corrupt—your capital. The less you are, the less you express your life, the more you have, the greater is your alienated life and the greater is the saving of your alienated being.

A theatre is the most important sort of house in the world, because that's where people are shown what they could be if they wanted, and what they'd like to be if they dared to and what they really are

I was naturally a loner, content just to live with a woman, eat with her, sleep with her, walk down the street with her. I didn't want conversation, or to go anywhere except the racetrack or the boxing matches. I didn't understand t.v. I felt foolish paying money to go into a movie theatre and sit with other people to share their emotions. Parties sickened me. I hated the game-playing, the dirty play, the flirting, the amateur drunks, the bores.

I'm not afraid to compete. It's just the opposite. Don't you see that? I'm afraid I will compete — that's what scares me. That's why I quit the Theatre Department. Just because I'm so horribly conditioned to accept everybody else's values, and just because I like applause and people to rave about me, doesn't make it right. I'm ashamed of it. I'm sick of it. I'm sick of not having the courage to be an absolute nobody. I'm sick of myself and everybody else that wants to make some kind of a splash.

The film [Stalker] needs to be slower and duller at the start so that the viewers who walked into the wrong theatre have time to leave before the main action starts.

She lowered her lashes until they almost cuddled her cheeks and slowly raised them again, like a theatre curtain. I was to get to know that trick. That was supposed to make me roll over on my back with all four paws in the air.

That was when they noticed that every musician on the stage was wearing mourning black. That was when they shut up. And when the conductor raised his arms, it was not a symphony that filled the cavernous space. It was the Song of Eyllwe. Then Song of Fenharrow. And Melisande. And Terrasen. Each nation that had people in those labour camps. And finally, not for pomp or triumph, but to mourn what they had become, they played the Song of Adarlan. When the final note finished, the conductor turned to the crowd, the musicians standing with him. As one, they looked to the boxes, to all those jewels bought with the blood of a continent. And without a word, without a bow or another gesture, they walked off the stage. The next morning, by royal decree, the theatre was shut down. No one saw those musicians or their conductor again.

Act well your part; there all the honour lies.

What is that unforgettable line?

I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being.

Life is but a memory Happened long ago. Theatre full of sadness For a long forgotten show.

If you were born with the ability to change someone’s perspective or emotions, never waste that gift. It is one of the most powerful gifts God can give—the ability to influence.

What, my dear Lady Disdain! are you yet living? Beatrice: Is it possible disdain should die while she hath such meet food to feed it as Signior Benedick?

We do on stage things that are supposed to happen off. Which is a kind of integrity, if you look on every exit as being an entrance somewhere else.

Can the hungry go on a hunger strike? Non-violence is a piece of theatre. You need an audience. What can you do when you have no audience? People have the right to resist annihilation

A film, a piece of theatre, a piece of music, or a book can make a difference. It can change the world.

[ELIZA] You and your words flooded my senses, your sentences left me defenseless. You built me palaces out of paragraphs, you built cathedrals.

I know. In fact, I am never wrong.

The truth is that the heroism of your childhood entertainments was not true valor. It was theatre. The grand gesture, the moment of choice, the mortal danger, the external foe, the climactic battle whose outcome resolves all--all designed to appear heroic, to excite and gratify and audience. Gentlemen, welcome to the world of reality--there is no audience. No one to applaud, to admire. No one to see you. Do you understand? Here is the truth--actual heroism receives no ovation, entertains no one. No one queues up to see it. No one is interested.

This is the Great Theatre of Life. Admission is free, but the taxation is mortal. You come when you can, and leave when you must. The show is continuous. Goodnight.

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.

An actor must never be afraid to make a fool of himself.

There may be a time when we'll attend Weather Theatres to recall the sensation of rain.

Every book should begin with attractive endpapers. Preferably in a dark colour: dark red or dark blue, depending on the binding. When you open the book it's like going to the theatre. First you see the curtain. Then it's pulled aside and the show begins.

But paradise is locked and bolted.... We must make a journey around the world to see if a back door has perhaps been left open.

In practice people who study philosophy too long become very odd birds, not to say thoroughly vicious; while even those who are the best of them are reduced by...[philosophy] to complete uselessness as members of society.

The most important thing in human relationship is conversation.but people don't talk anymore,they don't sit down to talk and listen.They go to theatre,the cinema,watch television,listen to the radio,read books but they almost never talk.(pg114)

VIVA LA VIE BOHEME!

There is no greater power than that of a laugh and happiness is a force which can save a person from the horrors of the world.

You deserve someone better than me. Someone young and idealistic…someone who can experience things for the first time along with you. I'm not always kind, and I have more faults than I'd care to name. All I can promise is that I'll want you until my last breath.

people see so many movies that when they finally see one not so bad as the others, they think it's great. an Academy Award means that you don't stink quite as much as your cousin.

In our early youth we sit before the life that lies ahead of us like children sitting before the curtain in a theatre, in happy and tense anticipation of whatever is going to appear. Luckily we do not know what really will appear.

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.

Advice for a human. 90. But know this. Men are not from Mars. Women are not from Venus. Do not fall for categories. Everyone is everything. Every ingredient inside a star is inside you, and every personality that ever existed competes in the theatre of your mind for the main role. 91. You are lucky to be alive. Inhale and take in life's wonders. Never take so much as a single petal of a flower for granted.

Nathan had never wanted children of his own. Plenty of reasons. Babies screamed as soon as they were born – wasn’t that warning enough of what was to come? And when they grew into toddlers, and then young kids, they were far worse: tantrums, more screaming, whining. How many business trips, restaurant dinners, theatre visits, you name it, were ruined by one small, precocious loud brat and its doting, utterly useless parents? No discipline any more. Nathan had sure been disciplined.

This is one of the cruelties of the theatre of life; we all think of ourselves as stars and rarely recognize it when we are indeed mere supporting characters or even supernumeraries.

Never pause unless you have a reason for it, but when you pause, pause as long as you can.

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.

Rituals can be reliable safeguards, but plot twists in the theatre of our life should not freak us out. If we are willing to transform ourselves and confront our inner self with the rites of our inner world, we can allow a dialogue within ourselves. In our existential challenge, faltering can give us a choice between ignoring, accepting, or integrating the plot twists on our path. ("Digging for white gold" )

When a youth was giving himself airs in the Theatre and saying, 'I am wise, for I have conversed with many wise men,' Epictetus replied, 'I too have conversed with many rich men, yet I am not rich!’.

My dad was a fairy," said Zach. "And by that I don't mean he dressed well and enjoyed musical theatre.

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

I understand, all right. The hopeless dream of being - not seeming, but being. At every waking moment, alert. The gulf between what you are with others and what you are alone. The vertigo and the constant hunger to be exposed, to be seen through, perhaps even wiped out. Every inflection and every gesture a lie, every smile a grimace. Suicide? No, too vulgar. But you can refuse to move, refuse to talk, so that you don't have to lie. You can shut yourself in. Then you needn't play any parts or make wrong gestures. Or so you thought. But reality is diabolical. Your hiding place isn't watertight. Life trickles in from the outside, and you're forced to react. No one asks if it is true or false, if you're genuine or just a sham. Such things matter only in the theatre, and hardly there either. I understand why you don't speak, why you don't move, why you've created a part for yourself out of apathy. I understand. I admire. You should go on with this part until it is played out, until it loses interest for you. Then you can leave it, just as you've left your other parts one by one.

Thou seest we are not all alone unhappy: This wide and universal theatre Presents more woeful pageants than the scene Wherein we play in.

The theatre is a place where one has time for the problems of people to whom one would show the door if they came to one's office for a job.

If you want more people to come to the theatre, don't put the prices at £50. You have to make theatre inclusive, and at the moment the prices are exclusive. Putting TV stars in plays just to get people in is wrong. You have to have the right people in the right parts. Stunt casting and being gimmicky does the theatre a great disservice. You have to lure people by getting them excited about a theatrical experience.

In essence, terrorism is a show. Terrorists stage a terrifying spectacle of violence that captures our imagination and makes us feel as if we are sliding back into medieval chaos. Consequently states often feel obliged to react to the theatre of terrorism with a show of security, orchestrating immense displays of force, such as the persecution of entire populations or the invasion of foreign countries. In most cases, this overreaction to terrorism poses a far greater threat to our security than the terrorists themselves. Terrorists

From daydreams on the road there was no waking. He plodded on. He could remember everything of her save her scent. Seated in a theatre with her beside him leaning forward listening to the music. Gold scrollwork and sconces and the tall columnar folds of the drapes at either side of the stage. She held his hand in her lap and he could feel the tops of her stockings through the thin stuff of her summer dress. Freeze this frame. Now call down your dark and your cold and be damned.

It's quite possible we may actually be looking at some kind of super-sanity here. A brilliant new modification of human perception, more suited to urban life at the end of the twentieth century...He creates himself each day. He sees himself as the lord of misrule and the world as a theatre of the absurd.

When something seems ‘the most obvious thing in the world’ it means that any attempt to understand the world has been given up.

Actors need a kind of aggression, a kind of inner force. Don't be only one-sided, sweet, nice, good. Get rid of being average. Find the killer in you.

Music blows lyrics up very quickly, and suddenly they become more than art. They become pompous and they become self-conscious ... I firmly believe that lyrics have to breathe and give the audience's ear a chance to understand what's going on. Particularly in the theater, where you not only have the music, but you've got costume, story, acting, orchestra. There's a lot to take in.

One of the the things she most liked about the city -apart from all its obvious attractions, the theatre, the galleries, the exhilarating walks by the river- was that so few people ever asked you personal questions.

Humans had built a world inside the world, which reflected it in pretty much the same way as a drop of water reflected the landscape. And yet ... and yet ... Inside this little world they had taken pains to put all the things you might think they would want to escape from — hatred, fear, tyranny, and so forth. Death was intrigued. They thought they wanted to be taken out of themselves, and every art humans dreamt up took them further in. He was fascinated.

The whole world is a theatre for the display of the divine goodness, wisdom, justice, and power, but the Church is the orchestra, as it were—the most conspicuous part of it; and the nearer the approaches are that God makes to us, the more intimate and condescending the communication of his benefits, the more attentively are we called to consider them.

Every place is a goldmine. You have only to give yourself time, sit in a teahouse watching the passers-by, stand in a corner of the market, go for a haircut. You pick up a thread – a word, a meeting, a friend of a friend of someone you have just met – and soon the most insipid, most insignificant place becomes a mirror of the world, a window on life, a theatre of humanity.

If one good deed in all my life I did, I do repent it from my very soul.

I am the one thing in life I can control. I am inimitable. I am an original

How much larger your life would be if your self could become smaller in it; if you could really look at other men with common curiosity and pleasure; if you could see them walking as they are in their sunny sefishness and their virile indifference! You would begin to be interested in them, because they are not interested in you. You would break out of this tiny and tawdry theatre in which your own little plot is always played, and you would find yourself under a freer sky, in a street full of splendid strangers.

It's like a fairy tale. . . on crack!

I take thee at thy word: Call me but love, and I'll be new baptized; Henceforth I never will be Romeo.

The theatre is certainly a place for learning about the brevity of human glory: oh all those wonderful glittering absolutely vanished pantomime! Now I shall abjure magic and become a hermit : put myself in a situation where I can honestly say that I have nothing else to do but to learn to be good.

It is growing cold. Winter is putting footsteps in the meadow. What whiteness boasts that sun that comes into this wood! One would say milk-colored maidens are dancing on the petals of orchids. How coldly burns our sun! One would say its rays of light are shards of snow, one imagines the sun lives upon a snow crested peak on this day. One would say she is a woman who wears a gown of winter frost that blinds the eyes. Helplessness has weakened me. Wandering has wearied my legs.

In early youth, as we contemplate our coming life, we are like children in a theatre before the curtain is raised, sitting there in high spirits and eagerly waiting for the play to begin. It is a blessing that we do not know what is really going to happen. Could we foresee it, there are times when children might seem like innocent prisoners, condemned, not to death, but to life, and as yet all unconscious of what their sentence means.

I want to burn with the spirit of the times. I want all servants of the stage to recognize their lofty destiny. I am disturbed at my comrades' failure to rise above narrow caste interests which are alien to the interests of society at large. Yes, the theatre can play an enormous part in the transformation of the whole of existence.

Let's sing our way out of this

Nearly all bookish people are snobs, and especially the more enlightened among them. They are apt to assume that if a writer has immense circulation, if he is enjoyed by plain persons, and if he can fill several theatres at once, he cannont possibly be worth reading and merits only indifference and disdain.

Don't act. Be.

Acting is in everything but the words.

The theatre is an attack on mankind carried on by magic: to victimize an audience every night, to make them laugh and cry and suffer and miss their trains. Of course actors regard audiences as enemies, to be deceived, drugged, incarcerated, stupefied. This is partly because the audience is also a court against which there is no appeal.

Thus, in scientific research, a great deal of our thinking is in terms of theories. The word ‘theory’ derives from the Greek ‘theoria’, which has the same root as ‘theatre’, in a word meaning ‘to view’ or ‘to make a spectacle’. Thus, it might be said that a theory is primarily a form of insight, i.e. a way of looking at the world, and not a form of knowledge of how the world is.

There’s a kid in the middle of nowhere who’s sitting there living for Tony performances. Singing and flipping along with the Pippins, and Wickeds, and Kinkys, Matildas, and Mormons's. So we might reassure that kid, and do something to spur that kid, ‘cause I promise you, all of us up here tonight, we were that kid.

We were like two performers in a play, but we were divided, we were not acting with one another. We had to endure it alone, we had to put up this show, this miserable, sham performance for the sake of all these people I did not know and did not want to see again.

I've needed someone like you for a long time. Now that I have you, no one is going to take you from me. Logan to Madeline

ESTRAGON: We always find something, eh Didi, to give us the impression we exist? VLADIMIR: (impatiently). Yes, yes, we’re magicians. But let us persevere in what we have resolved, before we forget.

Theater of Cruelty means a theater difficult and cruel for myself first of all. And, on the level of performance, it is not the cruelty we can exercise upon each other by hacking at each other’s bodies, carving up our personal anatomies, or, like Assyrian emperors, sending parcels of human ears, noses, or neatly detached nostrils through the mail, but the much more terrible and necessary cruelty which things can exercise against us. We are not free. And the sky can still fall on our heads. And the theater has been created to teach us that first of all.

Gods? Don't let that impress you. Anyone can be a god if they have enough worshippers. You don't even have to have powers anymore. In my time I've seen theatre gods, gladiator gods, even storyteller gods - you people see gods everywhere. Gives you an excuse for not thinking for yourselves. God is just a word. Like Fury. like demon, Just words people use for things they don't understand. Reverse it and you get dog. It's just as appropriate.

Ultimately one has to pity these poor souls who know every secret about writing, directing, designing, producing, and acting but are stuck in those miserable day jobs writing reviews. Will somebody help them, please?

A good movie can take you out of your dull funk and the hopelessness that so often goes with slipping into a theatre; a good movie can make you feel alive again, in contact, not just lost in another city. Good movies make you care, make you believe in possibilities again. If somewhere in the Hollywood-entertainment world someone has managed to break through with something that speaks to you, then it isn’t all corruption. The movie doesn’t have to be great; it can be stupid and empty and you can still have the joy of a good performance, or the joy in just a good line. An actor’s scowl, a small subversive gesture, a dirty remark that someone tosses off with a mock-innocent face, and the world makes a little bit of sense. Sitting there alone or painfully alone because those with you do not react as you do, you know there must be others perhaps in this very theatre or in this city, surely in other theatres in other cities, now, in the past or future, who react as you do. And because movies are the most total and encompassing art form we have, these reactions can seem the most personal and, maybe the most important, imaginable. The romance of movies is not just in those stories and those people on the screen but in the adolescent dream of meeting others who feel as you do about what you’ve seen. You do meet them, of course, and you know each other at once because you talk less about good movies than about what you love in bad movies.

Love me?” Madeline asked with a faint smile. “It used to be love.” He brushed his lips over her closed eyelids. “Now there's no word for it.” “You once told me that you thought love was a weakness.” “I was wrong,” he whispered, kissing the corners of her mouth. “I've discovered it's my only strength.

Question: how can one manage not to lose time? Answer: experience it at its full length. Means: spend days in the dentist's waiting room on an uncomfortable chair; live on one's balcony on a Sunday afternoon; listen to lectures in a language that one does not understand, choose the most roundabout and least convenient routes on the railway (and, naturally, travel standing up); queue at the box-office for theatres and so on and not take one's seat; etc.

Think of the long trip home. Should we have stayed at home and thought of here? Where should we be today? Is it right to be watching strangers in a play in this strangest of theatres? What childishness is it that while there's a breath of life in our bodies, we are determined to rush to see the sun the other way around? The tiniest green hummingbird in the world? To stare at some inexplicable old stonework, inexplicable and impenetrable, at any view, instantly seen and always, always delightful? Oh, must we dream our dreams and have them, too? And have we room for one more folded sunset, still quite warm?

The Director's Role: You are the obstetrician. You are not the parent of this child we call the play. You are present at its birth for clinical reasons, like a doctor or midwife. Your job most of the time is simply to do no harm. When something does go wrong, however, your awareness that something is awry--and your clinical intervention to correct it--can determine whether the child will thrive or suffer, live or die.

during this century (the twentieth) we have for the first time been dominated by non-interactive forms of entertainment: cinema, radio, recorded music and television. Before they came along all entertainment was interactive: theatre, music, sport - the performers and audience were there together, and even a respectfully silent audience exerted a powerful shaping presence on the unfolding of whatever drama they were there for. We didn't need a special word for interactivity in the same way that we don't (yet) need a special word for people with only one head. I expect that history will show "normal" mainstream twentieth century media to be the aberration in all this. 'Please, miss, you mean they could only just sit there and watch? They couldn't do anything? Didn't everybody feel terribly isolated or alienated or ignored?' Yes, child, that's why they all went mad. Before the Restoration.' What was the Restoration again, please, miss?' The end of the twentieth century, child. When we started to get interactivity back.

Gus is the Cat at the Theatre Door. His name, as I ought to have told you before, Is really Asparagus. That's such a fuss To pronounce, that we usually call him just Gus. His coat's very shabby, he's thin as a rake, And he suffers from palsy that makes his paw shake. Yet he was, in his youth, quite the smartest of Cats — But no longer a terror to mice or to rats. For he isn't the Cat that he was in his prime; Though his name was quite famous, he says, in his time. And whenever he joins his friends at their club (which takes place at the back of the neighbouring pub) He loves to regale them, if someone else pays, With anecdotes drawn from his palmiest days. For he once was a Star of the highest degree — He has acted with Irving, he's acted with Tree. And he likes to relate his success on the Halls, Where the Gallery once gave him seven cat-calls. But his grandest creation, as he loves to tell, Was Firefrorefiddle, the Fiend of the Fell.

I suppose I walk that line between comedy and cruelty because I think one illuminates the other. We're all cruel, aren't we? We are all extreme in one way or another at times and that's what drama, since the Greeks, has dealt with. I hope the overall view isn't just that though, or I've failed in my writing. There have to be moments when you glimpse something decent, something life-affirming even in the most twisted character. That's where the real art lies.

Art is by nature aristocratic, and naturally selective in its effect on the audience. For even in its 'collective' manifestations, like theatre or cinema, its effect is bound up with the intimate emotions of each person who comes into contact with a work. The more the individual is traumatised and gripped by these emotions, the more significant a place will the work have in his experience. The aristocratic nature of art, however does not in any way absolve the artist of his responsibility to his public and even, if you like, more broadly, to people in general. On the contrary, because of his special awareness of his time and of the world in which he lives, the artist becomes the voice of those who cannot formulate or express their view of reality. In that sense the artist is indeed vox populi. That is why he is called to serve his own talent, which means serving his people.

You don't know the difference between truth and make-believe. You never stop acting. It's second nature to you. You act when there's a party here. You act to the servants, you act to father, you act to me. To me you act the part of the fond, indulgent, celebrated mother. You don't exist, you're only the innumerable parts you've played. I've often wondered if there was ever a you or if you were never anything more than a vehicle for all these other people that you've pretended to be. When I've seen you go into an empty room I've sometimes wanted to open the door suddenly, but I've been afraid to in case I found nobody there.

If I had a reader and he had read all I have written so far of my adventures, there would be certainly no need to inform him that I am not created for any sort of society. The trouble is I don't know how to behave in company. If I go anywhere among a great many people I always have a feeling as though I were being electrified by so many eyes looking at me. It positively makes me shrivel up, physically shrivel up, even in such places as the theatre, to say nothing of private houses. I did not know how to behave with dignity in these gambling saloons and assemblies; I either was still, inwardly upbraiding myself for my excessive mildness and politeness, or I suddenly got up and did something rude. And meanwhile all sorts of worthless fellows far inferior to me knew how to behave with wonderful aplomb-- and that's what really exasperated me above everything, so that I lost my self-possession more and more. I may say frankly, even at that time, if the truth is to be told, the society there, and even winning money at cards, had become revolting and a torture to me. Positively a torture. I did, of course, derive acute enjoyment from it, but this enjoyment was at the cost of torture.

Here’s another. Kill man’s sense of values. Kill his capacity to recognise greatness or to achieve it. Great men can’t be ruled. We don’t want any great men. Don’t deny conception of greatness. Destroy it from within. The great is the rare, the difficult, the exceptional. Set up standards of achievement open to all, to the least, to the most inept – and you stop the impetus to effort in men, great or small. You stop all incentive to improvement, to excellence, to perfection. Laugh at Roark and hold Peter Keating as a great architect. You’ve destroyed architecture. Build Lois Cook and you’ve destroyed literature. Hail Ike and you’ve destroyed the theatre. Glorify Lancelot Clankey and you’ve destroyed the press. Don’t set out to raze all shrines – you’ll frighten men, Enshrine mediocrity - and the shrines are razed. Then there’s another way. Kill by laughter. Laughter is an instrument of human joy. Learn to use it as a weapon of destruction. Turn it into a sneer. It’s simple. Tell them to laugh at everything. Tell them that a sense of humour is an unlimited virtue. Don't let anything remain sacred in a man’s soul – and his soul won’t be sacred to him. Kill reverence and you’ve killed the hero in man. One doesn’t reverence with a giggle. He’ll obey and he’ll set no limits to obedience – anything goes – nothing is too serious.

It means this War was never political at all, the politics was all theatre, all just to keep the people distracted…secretly, it was being dictated instead by the needs of technology…by a conspiracy between human beings and techniques, by something that needed the energy-burst of war, crying, “Money be damned, the very life of [insert name of Nation] is at stake,” but meaning, most likely, dawn is nearly here, I need my night’s blood, my funding, funding, ahh more, more…The real crises were crises of allocation and priority, not among firms—it was only staged to look that way—but among the different Technologies, Plastics, Electronics, Aircraft, and their needs which are understood only by the ruling elite… Yes but Technology only responds (how often this argument has been iterated, dogged, humorless as a Gaussian reduction, among the younger Schwarzkommando especially), “All very well to talk about having a monster by the tail, but do you think we’d’ve had the Rocket if someone, some specific somebody with a name and a penis hadn’t wanted to chuck a ton of Amatol 300 miles and blow up a block full of civilians? Go ahead, capitalize the T on technology, deify it if it’ll make you feel less responsible—but it puts you in with the neutered, brother, in with the eunuchs keeping the harem of our stolen Earth for the numb and joyless hardons of human sultans, human elite with no right at all to be where they are—” We have to look for power sources here, and distribution networks we were never taught, routes of power our teachers never imagined, or were encouraged to avoid…we have to find meters whose scales are unknown in the world, draw our own schematics, getting feedback, making connections, reducing the error, trying to learn the real function…zeroing in on what incalculable plot? Up here, on the surface, coal-tars, hydrogenation, synthesis were always phony, dummy functions to hide the real, the planetary mission yes perhaps centuries in the unrolling…this ruinous plant, waiting for its Kabbalists and new alchemists to discover the Key, teach the mysteries to others…

NINA Your life is beautiful. TRIGORIN I see nothing especially lovely about it. [He looks at his watch] Excuse me, I must go at once, and begin writing again. I am in a hurry. [He laughs] You have stepped on my pet corn, as they say, and I am getting excited, and a little cross. Let us discuss this bright and beautiful life of mine, though. [After a few moments' thought] Violent obsessions sometimes lay hold of a man: he may, for instance, think day and night of nothing but the moon. I have such a moon. Day and night I am held in the grip of one besetting thought, to write, write, write! Hardly have I finished one book than something urges me to write another, and then a third, and then a fourth--I write ceaselessly. I am, as it were, on a treadmill. I hurry for ever from one story to another, and can't help myself. Do you see anything bright and beautiful in that? Oh, it is a wild life! Even now, thrilled as I am by talking to you, I do not forget for an instant that an unfinished story is awaiting me. My eye falls on that cloud there, which has the shape of a grand piano; I instantly make a mental note that I must remember to mention in my story a cloud floating by that looked like a grand piano. I smell heliotrope; I mutter to myself: a sickly smell, the colour worn by widows; I must remember that in writing my next description of a summer evening. I catch an idea in every sentence of yours or of my own, and hasten to lock all these treasures in my literary store-room, thinking that some day they may be useful to me. As soon as I stop working I rush off to the theatre or go fishing, in the hope that I may find oblivion there, but no! Some new subject for a story is sure to come rolling through my brain like an iron cannonball. I hear my desk calling, and have to go back to it and begin to write, write, write, once more. And so it goes for everlasting. I cannot escape myself, though I feel that I am consuming my life. To prepare the honey I feed to unknown crowds, I am doomed to brush the bloom from my dearest flowers, to tear them from their stems, and trample the roots that bore them under foot. Am I not a madman? Should I not be treated by those who know me as one mentally diseased? Yet it is always the same, same old story, till I begin to think that all this praise and admiration must be a deception, that I am being hoodwinked because they know I am crazy, and I sometimes tremble lest I should be grabbed from behind and whisked off to a lunatic asylum. The best years of my youth were made one continual agony for me by my writing. A young author, especially if at first he does not make a success, feels clumsy, ill-at-ease, and superfluous in the world. His nerves are all on edge and stretched to the point of breaking; he is irresistibly attracted to literary and artistic people, and hovers about them unknown and unnoticed, fearing to look them bravely in the eye, like a man with a passion for gambling, whose money is all gone. I did not know my readers, but for some reason I imagined they were distrustful and unfriendly; I was mortally afraid of the public, and when my first play appeared, it seemed to me as if all the dark eyes in the audience were looking at it with enmity, and all the blue ones with cold indifference. Oh, how terrible it was! What agony!