Experience shows that what great role pratice and experience play in education; pratice, the prolonged exercice lead to habit: exemple suggests imitation. Habit can become a second nature, but, wrongly directed (or guided), it may also heighten (or intensify) unfortunate tendencies and be an obstacle to progress.
This World Youth movement claims to represent and affect the politico-social activities of a grand total of forty million adherents - under the age of thirty...It may play an important and increasing role in the consolidation of a new world order.
The Israeli military plays more than a critical role in defending the citizens of the Jewish state. It also plays an important social, scientific and psychological role in preparing its young citizens for the challenging task of being Israelis in a difficult world.
At the end of the day, if I do a set at a festival and I only have an hour, which is kind of short for a DJ set, I know that I have to play at least six of my songs. Then the whole challenge is what do I weave around that. How do I stand out? Because at a festival there's probably fifteen songs every DJ's going to play every hour, for the whole day. That to me is more interesting, because I still feel like an outsider in this world.
If you string together a set of speeches expressive of character, and well finished in point and diction and thought, you will not produce the essential tragic effect nearly so well as with a play which, however deficient in these respects, yet has a plot and artistically constructed incidents.
I wouldn't be interested in [nowadays] television simply because I think it goes too fast. Except if something was maybe a play on television or some great television script.
We're charlatans in a way, we're magic people. Part of the behind the scenes stuff is to loosen you up, to make you feel that you are experiencing this. This is my style, I did it in Looking for Richard, too. And I figure, if I can weave it into the actual play and get the audience interested, like the robes going up and down, they'll pay attention long enough to consume it.
In old age our bodies are worn-out instruments, on which the soul tries in vain to play the melodies of youth. But because the instrument has lost its strings, or is out of tune, it does not follow that the musician has lost his skill.
When you want to put something into your part that is not in the play, you must ask the author-or some other author-to lead up to the interpolation for you. Never forget that the effect of a line may depend not on its delivery, but on something said earlier in the play, either by somebody else or by yourself, and that if you change it, it may be necessary to change the whole first act as well.
The navel region is the centre of the vital. It is from here that the movements of the vital rise upward. Above the navel and behind the chest is the centre of the play of emotions and below this takes place the play of the physical. Mulādhāra is the base of the physical. In between the Mulādhāra and the navel, there is another centre of the vital.
I could call my wandering thoughts together. I had hardly any patience with the serious work of life which, now that it stood between me and my desire, seemed to me child's play, ugly monotonous child's play.