You may be perfect in playing the piano, and not be creative; you may play the piano most brilliantly, and not be a musician. You may be able to handle color, to put paint on canvas most cleverly, and not be a creative painter. You may create a face, an image out of a stone, because you have learned the technique, and not be a master creator. Creation comes first, not technique.
Ego is a social institution with no physical reality. The ego is simply your symbol of yourself. Just as the word “water” is a noise that symbolizes a certain liquid without being it, so too the idea of ego symbolizes the role you play, who you are, but it is not the same as your living organism.
I appreciate good criticism and I think it's really important. I don't like it when it's consumer advocacy, like how you should spend your $60. Great criticism is a kind of literature. I've written some criticism, and I really enjoy it because I think it's important for people to know that theatre is vital. Criticism is really unevenly distributed in this town. Obviously the power of the Times is discouraging. It's killing new plays, demolishing one after another.
People take England on trust, and repeat that Shakespeare is the greatest of all authors. I have read him: there is nothing that compares Racine or Corneille: his plays are unreadable, pitiful.
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.
I do not want actors and actresses to understand my plays. That is not necessary. If they will only pronounce the correct sounds I can guarantee the results.
Conventional words or other signs have to be sought for laboriously only in a second stage, where the associative play already referred to is sufficiently established and can be reproduced at will.
Denied the outlet, through play, of his energies, he recoiled upon himself and developed his mental processes. He became cunning; he had idle time in which to devote himself to thoughts of trickery.
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.
The consciousness of the supreme Purusha remains above, but in the mind there may be a Purusha consciousness which they call the cosmic consciousness - it is wide, all-pervading, one. Outside this goes on the play of Prakriti.
There are faces so fluid with expression, so flushed and rippled by the play of thought, that we can hardly find what the mere features really are. When the delicious beauty of lineament loses its power, it is because a more delicious beauty has appeared, that an interior and durable form has been disclosed.