Primitive times are lyrical, ancient times epical, modern times dramatic. The ode sings of eternity, the epic imparts solemnity tohistory, the drama depicts life. The characteristic of the first poetry is ingeniousness, of the second, simplicity, of the third, truth.
I feel like a lot of my past career was going to film school, making a lot of different kinds of movies. I made a bunch of comedies, I made one drama and I made a couple musicals.
Comedy is more difficult than drama. I think it's really difficult to make someone laugh because people have very different comedic sensibilities. In drama, you can get away with being a great actor and surrounded by great actors and having good writing. But in comedy you have to listen and you have to perform with a certain rhythm, because if you don't, it's like playing a wrong note in the orchestra and you can hear the off key and it will fall flat and you won't get that instant response.
Ruin, weariness, death, perpetually death, stand grimly to confront the other presence of Elizabethan drama which is life: life compact of frigates, fir trees and ivory, of dolphins and the juice of July flowers, of the milk of unicorns and panthers’ breath, of ropes of pearl, brains of peacocks and Cretan wine.
I want to continue doing as big a variety of things as I can do, and if that means I have the honor of getting to do more feature work, I would love that. I know that if I make any other long-term TV commitments, it's not going to be on a drama.
That grand drama in a hundred acts, which is reserved for the next two centuries of Europe-the most terrible, most questionable and perhaps also the most hopeful of all dramas.
When I say that I can write nothing but weird fiction, I am not trying to exalt that medium but am merely confessing my own weakness. The reason I can't write other kinds is not that I don't value & respect them, but merely that my slender set of endowments does not enable me to extract a compellingly acute personal sense of interest & drama from the natural phenomena of life.
An interesting play cannot in the nature of things mean anything but a play in which problems of conduct and character of personalimportance to the audience are raised and suggestively discussed.
A third variety of drama ... begins as tragedy with scraps of fun in it ... and ends in comedy without mirth in it, the place of mirth being taken by a more or less bitter and critical irony.
I'm a natural born show off. I love performing, and at school we had a really good music scene and an even better drama scene. When I got to university, I played in bands and did sketch stuff and it was always about coming up with material, which is why I never really practised and have no chops!! When I left uni, I carried on playing and trying out at stand-up.
Only in the problem play is there any real drama, because drama is no mere setting up of the camera to nature: it is the presentation in parable of the conflict between Man's will and his environment: in a word, of problem.
The drama is complete poetry. The ode and the epic contain it only in germ; it contains both of them in a state of high development, and epitomizes both.
Drama, instead of telling us the whole of a man's life, must place him in such a situation, tie such a knot, that when it is untied, the whole man is visible.
Sometimes, one gesture comprises an entire drama, the accent of one word ruins an entire existence, and the indifference of one glance kills the happiest passion.