Every movement of the theater by a skilful poet is communicated, as it were, by magic, to the spectators; who weep, tremble, resent, rejoice, and are inflamed with all the variety of passions which actuate the several personages of the drama.
I first start with weep with those who weep, rejoice with those who rejoice, be sympathetic, show tenderness and brotherly kindness.
As a Jew, your passions were so inflamed by that message, you made up a lie to implicate my client, isn't that true?
I had a point of view, which was different. I looked at magic as theater, as storytelling, and I tried to have an approach that was different from what they were doing. "How can I move people and really get them to dream with a card trick, with coin magic, or even a piece of stage magic?"
Rejoice with those who rejoice." I have found that difficult too often. I was much better at weeping with those who weep.
There are many poets that use as my models. In my first book of poems, I had several for the "Sleepwalkers," I had several poems that were apprentice poems like this in which I take a walk with a poet who is no longer alive.
Let Southern oppressors tremble-let their secret abettors tremble-let their Northern apologists tremble-let all the enemies of the persecuted blacks tremble.
A poet is wounded into speech, and he examines these wounds, meticulously, to discover how to heal them. The bad poet harangues at the pain and yowls at the weapons that lacerate him; the great poet explores the inflamed lips of ruined flesh with ice-caked fingers, glittering and precise; but ultimately his poem is the echoing, dual voice reporting the damages.
Poetry is that magic which consists in awakening sensations with the help of a combination of sounds ... that sorcery by which ideas are necessarily communicated to us, in a definite way, by words which nevertheless do not express them.
I am absorbed in the magic of movement and light. Movement never lies. It is the magic of what I call the outer space of the imagination.
Behind the visible movement there is another movement, one which cannot be seen, which is very strong, on which the outer movement depends. If this inner movement were not so strong, the outer one would not have any action.
Every time I open my Bible I will read it as the Word of 'God, that cannot lie;' and when I get a promise or a threatening, I will either rejoice or tremble because I know that these stand fast.
In theater, the show must go on, so you train yourself to be able to nail it every single time because that's what the audience deserves, and that's the magic of live theater.
My parents brought us up in a very clever way, which was that they saw what we were interested in naturally, and then they encouraged whatever that may be. When I started sharing a keen interest in drama and the theater, instead of steering me away from it, they encouraged me to see plays and think about drama school.
Feminism is a revolutionary movement which is different from the class struggle movement, the proletarian movement, but which is a movement which must be leftist. By that I mean at the extreme left, a movement working to overthrow the whole society.
The mind is a kind of theater, where several perceptions successively make their appearence; pass, re-pass, glide away, and mingle in an infinite variety of postures and situations.
To rejoice in temporal comforts is dangerous, to rejoice in self is foolish, to rejoice in sin is fatal, but to rejoice in God is heavenly.