A Quote by Daniel Bryan
It's very difficult to grapple with the idea of not being able to wrestle any more, but you also have to come to the realization that this is a very physical business, and your body will only last you so long.
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Being a former dancer, classical dancer, it informed me as a human being just in terms of the grace I guess. Ballet is a very graceful form of art. You also become very aware of your body and your mind and your body is working in conjunction. That kind of helps you in acting as well. It's not only using your mind, it's like making your mind communicate this character into your body so that you can bring it to life and physicalize it.
Your body, which is very physical, is under the influence of your thoughts, your feelings, your emotions, your dreams, your fantasies, your desires, your instincts, your drives, your imagination. All these things orchestrate themselves - all these internal activities that are in the invisible domain that we call consciousness actually have very precise physical effects both in our biology, but they also influence our perception of the world.
We have a body, but we also have a subtle body, a body of energy that looks like our physical body. The subtle physical body is made up of energy, of light that vibrates at a very high rate so the human physical eyes can't see it.
The master is within; meditation is meant to remove the ignorant idea that he is only outside. If he is a stranger whom you await, he is bound to disappear also. What is the use of a transient being like that? But so long as you think you are separate or that you are the body, an external master is also necessary and he will appear to have a body. When the wrong identification of oneself with the body ceases, the master will be found to be none other than the Self.
I can only describe it as: the whole experience was imprinted on my body. And when I started to write it, it just came from such a very, In The Body of the Worldvery physical... it just came from my body. I don't know how to explain it better than that. I guess my head was transmitting it. It was a very, very physical experience writing this book.
Something about being a dancer connects you to your physical body. It's primal, earthy, sexual energy by nature. You feel your body in a certain way. Channing is very much the same way. He's very in tune with that.
Nothing (at least that can be done by humans) immortalizes anyone. The Fault in Our Stars will hopefully have a long and wonderful life, but it will eventually go out of print, and eventually the last person ever to read it will die, and then the characters will no longer live in any consciousness.Also, that is okay. That is good, actually. That is how it should be. One of the things the characters in this novel have to grapple with is the reality of temporaryness. What Gus in particular must reconcile himself to is that being temporary does not mean being unimportant or meaningless.
If you are a meditator, as your meditation goes on becoming more and more luminous, your intelligence will be growing to the last breath of your life. Not only that, even after the last breath your intelligence will continue to grow - because you are not going to die, only your body will be dying. And the body has nothing to do with intelligence, mind has nothing to do with intelligence. Intelligence is the quality of your awareness - more aware, more intelligent. And if you are totally aware, you are as intelligent as this whole existence is.
The frightening and most difficult thing about being what somebody calls a creative person is that you have absolutely no idea where any of your thoughts come from, really. And especially, you don't have any idea about where they're going to come from tomorrow.
When something goes wrong with the body of energy that surrounds and protects your physical body, it will later show up in your physical body. The problem always starts in the subtle physical, and then manifests in the physical.
Your very success is what's going to destroy you. The survival mechanism that you've developed is the very thing which will cause the downfall of your subtle physical body.
You think of it [voicing] as something where you not only don't //need// your body, but you don't even have it to use! There's nothing you can do with your body that's going to show in the final product. Maybe that's all the more reason I used my body so much to get whatever noise or sounds out of it I could. When it was needed to keep the energy up I found myself almost running in place! It is very physical.
I think yoga gives me awareness not just about my body from the outside but also about my internal organs. I feel it's very important because it teaches you self-realization of your body.
As actors and actresses, we must rejoice in the possession of our physical faculties. We must experience joy in the use of our hands, arms, body etc. Without this appreciation and realization of the body and its many possibilities, we cannot perform as artists
You should feel a flow of joy because you are alive. Your body will feel full of life. That is what you must give from the stage. Your life. No less. That is art: to give all you have. And what have you? Your life-nothing more. And to give life means to feel life throughout your whole being.
When you're in the more deeper stages of sleep - REM sleep, your body is quiet, but your mind is actually very active. So it's a time when your body and your brain is restoring itself. It's repairing any cell damage that happened during the day, it's really repairing, like I said, repairing your body, but also helps with digestion, helps with memory.
Prayer is like practicing the piano or ballet or writing: you have to bring your body for a very long time, in spite of your body’s frailties and conflicts and general revolt, and then one day your body is not separate any more. You’ve in a sense become the piano or the dance or the word or the prayer. The prayer is in your heart. The prayer is your heart.
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