Now let us play hide and seek. Should you hide in my heart it would not be difficult to find you. But should you hide behind your own shell, then it would be useless for anyone to seek you.
The Frenchman works until he can play. The American works until he can’t play; and then thanks the devil, his master, that he is donkey enough to die in harness. But the Englishman, as he has since become, works until he can pretend that he never worked at all.
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.
The lamb thy riot dooms to bleed today, Had he thy reason, would he skip and play? Pleas'd to the last he crops the flow'ry food, And licks the hand just rais'd to shed his blood.
Therefore we value the poet. All the argument and all the wisdom is not in the encyclopedia, or the treatise on metaphysics, or the Body of Divinity, but in the sonnet or the play.
Away, you trifler! Love! I love thee not,
I care not for thee, Kate: this is no world
To play with mammets and to tilt with lips:
We must have bloody noses and cracked crowns.
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.
Although words exist for the most part for the transmission of ideas, there are some which produce such violent disturbance in our feelings that the role they play in the transmission of ideas is lost in the background.
When you're young and you play music, you have a peer group, you come out of a scene. There's a lot of people you know, and then you have some success, and it all goes away.
Is it possible to do something that that makes an audience uncomfortable, challenges them, makes them see things they're not used to? Here in these films [Salome the play and Salomaybe], I have the opportunity to say something about how I feel about things.
QUINCE Francis Flute, the bellows-mender. FLUTE Here, Peter Quince. QUINCE Flute, you must take Thisby on you. FLUTE What is Thisby? a wandering knight? QUINCE It is the lady that Pyramus must love. FLUTE Nay, faith, let me not play a woman; I have a beard coming.
Joy is the wild card of life; it supersedes every other formula for success. If you can find a way to create joy, you can rise beyond all external factors. If you can play at whatever you are doing, you are the master of your life.