The youngsters coming up now just go through the motions necessary to make the play. They should bounce around a little, show some life and zip. It adds a little action and gives the fans something to look at rather than the monotonous routine, no matter how perfectly the play is made.
It's a 360-degree sound experience. Like you're in the middle of the band. A lot of people have the technology to play the format, so why not put it out there. It sounds great.
Money is a sort of instinct. It's a sort of property of nature in a person to make money. It's nothing you do. It's no trick you play. It's a sort of permanent accident of your own nature; once you start, you make money, and you go on. . . But you've got to begin. . . You've got to get in. You can do nothing if you are kept outside. You've got to beat your way in. Once you've done that, you can't help it!
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.
Phronimos, possessing practical wisdom . But the only virtue special to a ruler is practical wisdom; all the others must be possessed, so it seems, both by rulers and ruled. The virtue of a person being ruled is not practical wisdom but correct opinion; he is rather like a person who makes the pipes, while the ruler is the one who can play them.
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.
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.
The fact is that the intrinsic worth of the book, play or whatever the author is trying to sell is the least, last factor in the the whole transaction.
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.