A Quote by Joyce Tenneson

I have the same themes over and over again. How I'm saying it keeps changing or growing. — © Joyce Tenneson
I have the same themes over and over again. How I'm saying it keeps changing or growing.
Nathan, how can you stand playing the same piece over and over again?" And Grandpa Nate answered, "Why don't you ask me how I can stand making love to the same woman over and over again?
I hope we don't have to keep going back over the same territory and winning the same rights over and over again. The battle for birth control. The battle for abortion. The parity of women's health. It's very depressing to think that you win these rights, but then you have to win them again, and again, and again, and fight the same battles over and over.
If you write in the same way over and over again, like, in the same place with the same techniques and with the same people, you're sort of writing the same song over and over again.
This business of saying the same thing over and over and over again – which to a lot of Washington insiders and pundits is boring – works.
Improvisation in general is good, and improvising material into themes, turning the material into something codified and repeatable, taught me scenic structure and dramatic gambits that work and things that are appealing both as a performer and an audience member, like you know, what does "want" really mean in a scene, and how do you achieve your want, and how is that expressed, and how do you achieve closure? Those are all things that I learned performing at the cabaret after just doing the same scenes over and over and over again over the years, with my own ability to change.
I don’t know how you can stand it. Over and over again, the same sadness—” He lifted her up. “The same ecstasy—” “The same fire that kills everything—” “The same passion that ignites it all again. You don’t know. You can’t remember how wonderful—” “I’ve seen it. I do know.
I wrote the poems in Charms Against Lightning one by one, over almost a decade, and I did not write them toward any theme or narrative. But once I really got serious about putting together a book, I began to see that in fact there were themes across the poems, if only because my own obsessions had brought me back time and again to the same ground. I realized that any ordering of the poems would determine how those themes developed over the manuscript, and how the collection's dramatic conflicts were resolved.
We're interested by public personas and private personas, otherwise we wouldn't put on with actors rambling on with the same kind of stuff, over and over again, saying variations of the same thing. I'm always amazed by how fascinated people still are by actors because it's the same version of events that actors describe, all the time.
Natural politicians are skilled actors, recreating reality, adjusting and ad-libbing, synthesizing the scenes, saying the same thing over and over again and making it seem that theyare saying it for the first time.
Sometimes I say working on a story in a writers' room is like saying the same word over and over and over again until it doesn't make sense anymore. Like, you say it until you don't know what you're saying.
A leader has to keep saying the same things over and over again.
If I'm really considering doing film from now on then that is the smart thing to do, or you can go either way. You can just do the same character over and over again and make a different comedy like over and over again.
Flatulency today consists in saying simply in several different ways the same thing over and over again.
You see, some kids, the college coaches are calling them at all hours of the night, saying the same thing over and over again.
I mean, the question actors most often get asked is how they can bear saying the same things over and over again, night after night, but God knows the answer to that is, don't we all anyway; might as well get paid for it.
In film, in general, you have just so many cliche themes or stories that are told over and over again.
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