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Quote by Craig D. Lounsbrough

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Craig D. Lounsbrough

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“This attitude finds a late but still abundantly clear expression in the conventions of the classical court theatre, in which the actor, quite regardless of the demands of stage deception, addresses the audience directly, apostrophizes it, as it were, with every word and gesture, and not only avoids ‘turning his back’ on the audience but emphasizes by every possible means that the whole proceeding is a pure fiction, an entertainment conducted in accordance with previously agreed rules. The naturalistic theatre forms the transition to the absolute opposite of this ‘frontal’ art, namely the film, which, with its mobilization of the audience, leading them to the events instead of leading and presenting the events to them, and attempting to represent the action in such a way as to suggest that the actors have been caught red-handed, by chance and by surprise, reduces the fictions and conventions of the theatre to a minimum. With its robust illusionism, its forthright and indiscreet directness, its violent attack on the audience, it expresses a democratic conception of art, held by liberal, anti-authoritarian societies, just as clearly as the whole of the courtly and aristocratic art—by its mere emphasis of the stage, the footlights, the frame and the socle—is the unmistakable expression of a highly artificial, specially commissioned occasion, from which it is obvious that the patron is an initiated connoisseur who does not need to be deceived.”

ArtDemocracyIllusionSimplicityDeceptionNaturalismSocial StructuresConventionalism
Book:The Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages
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“The ability to see our lives as stories and share those stories with others is at the core of what it means to be human. We use stories to order and make sense of our lives, to define who we are, even to construct our realities: this happened, then this happened, then this. I was, I am, I will be. We recount our dreams, narrate our days and organize our memories into stories we tell others and ourselves. As natural-born storytellers, we respond to others’ stories because they are deeply, intimately familiar.”

StorytellingNarrativeStoryPersonal Story
Author:John Capecci and Timothy Cage
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“I am not sure exactly what healing is or looks like, what form it comes in, what it should feel like. I do know that when I was four I could not lift a gallon of milk, could not believe how heavy it was, that white sloshing boulder. I'd pull up a wooden chair to stand over the counter, pouring milk with two shaking arms, wetting the cereal, spilling. Looking back I don't remember the day I lifted it with ease. All I know is now I do it without thinking, can do it one-handed, on the phone, in a rush. I believe the same rules apply, that one day I'll be able to tell this story without it shaking my foundation, Each time will not require an entire production, a spilling, a sweating forehead, a mess to clean up, sopping paper towels. It will just be part of my life, every day lighter to lift.”

HealingPersonal Story
Book:Know My Name
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“There have been numerous times I have not brought up my case because I do not want to upset anybody or spoil the mood. Because I want to preserve your comfort...You will find society asking you for the happy ending, saying come back when you're better, when what you say can make us feel good, when you have something more uplifting, affirming. ...I've found that victims identify more with pain than platitudes. When I write about weakness, about how I am barely getting through this, my hope is that they feel better, because it aligns with the truth they are living...I write because the most healing words I have been given are It's okay not to be okay...”

WritingHealingPersonal Story
Book:Know My Name
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