A Quote by Chiwetel Ejiofor
I was probably 14 or 15 when I was first on stage at school doing 'Measure for Measure.' I immediately felt it was a great way of expressing oneself at a moment when I didn't think I could express myself, really. I suddenly had access to this range of emotions and thoughts and feelings that were there in me. I was surprised by that.
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I was full of energy, and I had a lot of bottled up rage that would come out in my stage performances. It was therapy sessions for someone who couldn't afford to go to therapy, a way to release my frustration, my inhibition. When I was little, growing up in an abusive household, I felt like I didn't have a voice. Suddenly I was on stage and people were watching me and listening to me, so even if I was singing about something that didn't have to do with abuse, when I was on stage I could express all of the anger, the rage.
I don't measure myself against my coaches, I don't measure myself against my teammates. If I'm doing jiu-jitsu for sport, I don't measure myself against the guy I'm rolling with or whatever belt he is or how many stripes he has on his belt. I measure myself every day against the guy I was yesterday.
I got cast in a school play and I fell in love with that. I felt comfortable on stage and found out it was a brilliant way of expressing myself and I was happy and I could do it.
I had two starts, really. The first was going to the Italia Conti stage school, aged 15. I'd gone to sing, but one day I found myself doing an improvisation and thought, 'Oh God, I quite like this acting thing.' The second start was meeting Mike Leigh when I was 22. He showed me I could play people that weren't like me.
In physical science a first essential step in the direction of learning any subject is to find principles of numerical reckoning and practicable methods for measuring some quality connected with it. I often say that when you can measure what you are speaking about, and express it in numbers, you know something about it; but when you cannot measure it, when you cannot express it in numbers, your knowledge is of a meagre and unsatisfactory kind; it may be the beginning of knowledge, but you have scarcely in your thoughts advanced to the stage of science, whatever the matter may be.
I think when I started acting it was the first time I got the freedom of expression. I was able to express certain emotions and feelings that I could put into other characters, so it was a good way for me to run away from ho I personally was. I could be a ninja, I could be a pirate or I could be in a play y'know.
We are apt to think we know what time is because we can measure it, but no sooner do we reflect upon it than that illusion goes. So it appears that the range of the measureable is not the range of the knowable. There are things we can measure, like time, but yet our minds do not grasp their meaning. There are things we cannot measure, like happiness or pain, and yet their meaning is perfectly clear to us.
I don't consider myself as a great painter; I just feel that art is about expressing your emotions and expressing your feelings, and music is the same way; you can see what other people are going through.
When you were on stage, you could be absolutely open about your emotions and indulge them and express yourself in a way that - in real life - I wasn't doing.
Time is a measure of space, just as a range-finder is a measure of space, but measuring locks us into the place we measure.
But for me, it [singing] was a way to get out the feeling of the song, and also to get out the feelings that, you know, roil in high school, to express something that I had no other way of expressing.
My first acting lessons were Shakespeare. The first time I ever started working with a coach was doing scenes from 'Measure for Measure,' which were tough dramatic scenes. And then 'Taming of the Shrew,' which required comedic timing. And that's the kind of stuff I love.
My coach and my parents both had this relationship to what I was doing, which was allowing me to express myself with chess. And so I could love it. I had a passion for it. I was expressing myself through chess, and I was learning about myself through chess.
I found in my writing that I could express emotions that, as an everyday person, I have no interest in expressing: these strange things that girls talk about called feelings.
I never was very capable of expressing my feelings or emotions in words. I don't know whether this is the cause why I did it in music and also why I did it in painting. Or vice versa: That I had this way as an outlet. I could renounce expressing something in words.
From a young age in England I felt technical skills were coached out of me. I remember when I was 15 doing a rainbow flick over a player's head in training and the coach telling me off and shouting: 'This is not the Eni show.' That discouraged me from expressing myself individually with the ball in that team again.
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