I don't care if it's rap, metal, whatever. You still should play Beatles records mixed with Limp Bizkit mixed with Foghat mixed with Creedence Clearwater Revival, stuff like that.
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.
In my opinion I really haven't done anything yet. I still have a lot to prove. I just want to prove to myself that I can play at the highest level of baseball in the world every day.
The secret of poetry is never explained,— is always new. We have not got farther than mere wonder at the delicacy of the touch, and the eternity it inherits. In every house a child that in mere play utters oracles, and knows not that they are such. 'T is as easy as breath. 'T is like this gravity, which holds the Universe together, and none knows what it is.
Civil disobedience has an honourable history, and when the urgency and moral clarity cross a certain threshold, then I think that civil disobedience is quite understandable, and it has a role to play.
And, in the future, while the dumb show of bohemianism plays itself out in the cookie cutter shape of the politically correct martyr/victim, aesthetic terrorists will not involve themselves in the dubious rewards of celebrity. The best of them will work alone, already a part of the enemy camp, and in chameleon-like style master the fifth-column algorithms to subvert the ancient regime. We won't know them by their name but their compensation will be to affect the outcome of the planet. Until then, there's a lot of work to be done.
The interesting thing about this is I don't know what my vision [ in Salome the play and Salomaybe] is yet about. I'm sensing something and I'm going along with it. It reminds me of a painting, the way Jackson Pollack painted - Jackson Pollack, the great, great artist.
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.
You are an instrument of God. Don't leave the instrument sitting in its case, my son. Play! Leave no part of your instrument unexplored. Why settle for 'Three Blind Mice' when you can can play the 'Gloria'? No, not Bach's 'Gloria.' Yours! Your 'Gloria' lives within you. The greatest sin is not finding it, ignoring what God made possible in you.
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.
When the number of factors coming into play in a phenomenological complex is too large scientific method in most cases fails. One need only think of the weather, in which case the prediction even for a few days ahead is impossible.