Zeami Quotes

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After he'd gone, I slammed the door shut and, after the day I had, wasn't the least bit surprised to see my closet door open and Whitley stick his head out. "Son of hibachi," I muttered. Now I would have to add burning all of my clothes to my list of things to do. "What?" He exited the closet with a smile. "I don't even get a hello?" I held up a finger. "Wait right here." He shrugged. I shut the door behind me and marched back into the living room and pointed at Dr. Wendell. "You. Come with me. Now." Wide-eyed, he rose from the couch and followed me to my door. Before I opened it, I turned to him. "You said part of your job was to protect me, right?" He nodded, his brow knit in lines of confusion. "Just to prove how bad you suck at your job, look at this." I swung open the door and Whitley waved from his perch at the end of my bed. Dr. Wendell's mouth dropped and he took a step back. "Wait. What is-who is that?" "That"-I gestured to the boy on my bed-"is Whitley, aka Zeami, aka the psycho who tried to kill me, steal my powers, and burnt down my house." Whitley smiled. "Guilty as charged." I folded my arms and glared at Dr. Wendell. "If you're supposedly protecting me, how could you let my past-life murderer walk right into my bedroom and hide out in my closet?" Dr. Wendell shook his head, his skin a shade paler than it had been moments ago. "But I-I didn't-how-" He looked at Whitley. "How did you get in here?" Whitley rolled his eyes. "Through the door. Duh." Dr. Wendell pushed me behind him, bringing his shaking fists in front of his face. "It doesn't matter. If you want to kill Rileigh, you're going to have to get past me.
Cole Gibsen (Senshi (Katana, #2))
C'è un punto oltre il quale l'addestramento e la pratica non possono portare. Zeami, lo straordinario drammaturgo e regista di teatro Noh del quattordicesimo secolo, che era anche sacerdote zen, ha parlato di questo momento come di una “sorpresa”. È la sorpresa di scoprire di non aver più bisogno di un sé, la sorpresa di ritrovarsi una cosa sola col proprio lavoro in un movimento pieno di fluida disciplina e grazia. Allora si capisce che cosa vuol dire essere una palla d'argilla che gira sul tornio, un trucciolo bianco sollevato dalla punta dello scalpello o una delle molte mani di Kannon, Bodhisattva della Compassione. A questo punto è possibile essere liberi, nel lavoro e dal lavoro.
Gary Snyder (Practice of the Wild)