A Quote by Antonin Artaud

Like all magic cultures expressed by appropriate hieroglyphs, the true theater has its shadows too, and, of all languages and all arts, the theater is the only one left whose shadows have shattered their limitations.
In fact, in the history of a lot of cultures there is a theater. For example, there are the theaters in Java, [Indonesia] and of that area where they use puppets and they have backgrounds and shadows.
The true theater, because it moves and makes use of living instruments, continues to stir up shadows where life has never ceased to grope its way.
I majored in drama and theater arts at Columbia and was always in acting studio, but that was a liberal arts degree, not a bachelor of arts degree, so I didn't have a traditional conservatory training. There was a lot of reading and a lot of writing involved, and only about 30 percent of my classes were directly theater-related.
Illusions are shadows moving endlessly across the ground. The shadows are quite real but they're shadows. They have very little substance.
Men throw huge shadows on the lawn, don't they? Then, all their lives, they try to run to fit the shadows. But the shadows are always longer.
I tried to go out for theater or theater arts, but I was too scared or too intimidated. But I had a lot of friends on the cross country team that had great senses of humor.
An optimist is a person who sees only the lights in the picture, whereas a pessimist sees only the shadows. An idealist, however, is one who sees the light and the shadows, but in addition sees something else: the possibility of changing the picture, of making the lights prevail over the shadows.
You can't make theater happen without actors. The actor is the central ingredient in making theater happen. Audiences may come to theaters to see the work of stage managers, directors and producers, but the only people who can communicate theater magic to audiences, through ideas and emotions, are the actors. They are the only ones who can communicate this by themselves, and if necessary, they can get along without you. But you can't make theater without the actor.
There are shadows for the shadows of things, as a reflection seen in a mirror of a mirror. We know there are circles within circles and dimensions beyond dimension. Reality is itself a shadow, only an appearance accepted by those whose eyes shun what might lie beyond.
What the art historians had forgotten is that in Chinese, Japanese, Persian, and Indian art, they never painted shadows. Why did they paint shadows in European art? Shadows are because of optics. Optics need shadows and strong light. Strong light makes the deepest shadows. It took me a few years to realize fully that the art historians didn't grasp that. There are a lot of interesting new things, ideas, pictures.
John [Cassavetes] had shot a great deal of Shadows and I had to go fulfill my contract in California, so he and all the rest of the Shadows cast came out to California and they finished it off and he cut it. He turned the garage into an editing room and he was by then a director of Shadows. That's the only thing he'd directed. But, he loved it.
Shadows sometimes people don't see shadows. The Chinese of course never paint them in pictures, oriental art never deals with shadow. But I noticed these shadows and I knew it meant it was sunny.
It's not as though there aren't many, many art works and many other cultures, but there was something special about the civic nature of the Greek theater. All the citizens stopped working. They came into these theaters. It wasn't like a Broadway theater where you sit in the dark and you expect to be passively entertained. You're in this theater, amphitheater, in bright sunlight looking at your fellow citizens, recognizing their faces, and thinking with them about the future of your city. I think very few cultures have had a theatrical tradition that is quite so civic.
When you play arenas you can create whatever you want. At a theater the height of the stage and the limitations of the theater can make you feel more separate from the audience.
The first time someone stood up in front of the fire and told the story while illustrating it with shadows on the walls of the quarry, that was the birth of theater.
I'm constantly involved in theater, looking at theater, trying to do work in theater, support theater. And that's kind of my creative passion.
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