Outside and above the mind there is the play of a consciousness which is lighted by the higher Truth, but man is not conscious of it and of that he has to be conscious.
At the end of whatever we're doing, I always feel like I want to go back and start over again because now I have a better sense of what it is. I feel that with everything. Like, if you're doing like a long run of a play and you're doing it seven shows a week, at the end of it, I want to go back and start from the beginning.
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 .350 hitter expects, and also deserves, a big payoff for his performance - even if he plays for a cellar-dwelling team. And a .150 hitter should get no reward - even if he plays for a pennant winner.
Women use lovers as they do cards; they play with them a while, and when they have got all they can by them, throw them away, call for new ones, and then perhaps lose by the new all they got by the old ones.
I'm an actor, and everything about me - the way I perceive things, the way I have seen the world - has been in relation to characters and how I would want to play something or not play it.
I feel the same truth how often in my trivial conversation with my neighbours, that somewhat higher in each of us overlooks this by-play, and Jove nods to Jove from behind each of us.
I am spellbound by the plays of Shakespeare. And I am spellbound by the second law of thermodynamics. The great ideas in science, like the Cro-Magnon paintings and the plays of Shakespeare, are part of our cultural heritage.
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.