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Theatrical Quotes

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Theatrical Quotes

“Helion, High Lord of the Day Court, arrived at the Hewn City the next afternoon on a flying horse. He'd wanted to enter the dark city in a golden chariot led by four snow-white horses with manes of golden fire, Rhys had told Cassian, but Rhys had forbidden the chariot and horses, and let Helion know that he could winnow in or not come at all. Hence the pegasus. Helion's idea of a compromise. Cassian had heard the rumours of Helion's rage pegasuses. Myth claimed his prized stallion had flown so high the sun had scorched him black, but beholding the beast now... Well, Cassian might have been envious, if he didn't have wings himself.”

“The way to go to the circus, however, is with someone who has seen perhaps one theatrical performance before in his life and that in the High School hall... The scales of sophistication are struck from your eyes and you see in the circus a gathering of men and women who are able to do things as a matter of course which you couldn't do if your life depended on it.”

“The fellows who amuze me are the Albanians. An Albanian on the mash is almost exactly like the medieval swells of the Italian frescoes & the first ones we met quite startled us. They wear the tight-fitting trunk hose made of woolen stuff hooked up the back of the leg. It is white with long black stripes of embroidery down the leg & at the top in front the shirt is pulled through slashes. They are long slim chaps with dandy little moustaches & are most theatrical in effect.”

“The Orient that appears in Orientalism, then, is a system of representations framed by a whole set of forces that brought the Orient into Western learning, Western consciousness, and later, Western empire.... The Orient is the stage on which the whole East is confined. On this stage will appear the figures whose role it is to represent the larger whole from which they emenate. The Orient then seems to be, not an unlimited extension beyond the familiar European world, but rather a closed field, a theatrical stage affixed to Europe.”

“If modern design moved the stage picture away from the specific, tangible, illusionistic world of Romanticism and Realism into a generalized, theatrical, and poetic realm in which the pictorial image functioned as an extension of the playwright's themes and structures (a metanarrative), then postmodern design is a dissonant reminder that no single point of view can predominate, even within a single image.”

“Any one may mouth out a passage with a theatrical cadence, or get upon stilts to tell his thoughts; but to write or speak with propriety and simplicity is a more difficult task. Thus it is easy to affect a pompous style, to use a word twice as big as the thing you want to express; it is not so easy to pitch upon the very word that exactly fits it.”

“Publishers, theatrical managers, and critics ask not for the quality inherent in creative art, but will it meet with a good sale, will it suit the palate of the people? Alas, this palate is like a dumping ground; it relishes anything that needs no mental mastication. As a result, the mediocre, the ordinary, the commonplace represents the chief literary output.”

“There is one way by which a strolling player may be ever secure of success; that is, in our theatrical way of expressing it, to make a great deal of the character. To speak and act as in common life is not playing, nor is it what people come to see; natural speaking, like sweet wine, runs glibly over the palate and scarcely leaves any taste behind it; but being high in a part resembles vinegar, which grates upon the taste, and one feels it while he is drinking.”

“There are very few persons who would think of inquiring into the private life of the newspaper dealer at the corner, or the druggist, or the doctor, or even a Mah Jong partner, but the moment one belongs to the theatrical profession, the public usually feels cheated unless it knows one's inmost thoughts of love.”

“Glory is largely a theatrical concept. There is no striving for glory without a vivid awareness of an audience... The desire to escape or camouflage their unsatisfactory selves develops in the frustrated a facility for pretending -- for making a show -- and also a readiness to identify themselves wholly with an imposing spectacle.”