A Quote by E. M. Forster
It is impossible to foretell the future with any degree of accuracy, that it is impossible to rehearse life. A fault in the scenery, a face in the audience, an interruption of the audience on to the stage, and all our carefully planned gesture mean nothing, or mean too much.
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And make no mistake: irony tyrannizes us. The reason why our pervasive cultural irony is at once so powerful and so unsatisfying is that an ironist is impossible to pin down. All U.S. irony is based on an implicit "I don’t really mean what I’m saying." So what does irony as a cultural norm mean to say? That it’s impossible to mean what you say? That maybe it’s too bad it’s impossible, but wake up and smell the coffee already? Most likely, I think, today’s irony ends up saying: "How totally banal of you to ask what I really mean.
Alice: I simply must get through! Doorknob: Sorry, you're much too big. Simply impassible. Alice: You mean impossible? Doorknob: No, impassible. Nothing's impossible.
On stage, I'm always nervous, but there is so much adrenalin, too. It's strange because I have to turn my back on the audience, and my audience is the orchestra. I communicate my energy to them, and they communicate it to the audience behind me!
Impossible is not a fact. It's an opinion. Impossible is not a declaration. It's a dare. Impossible is potential. Impossible is temporary. Impossible is nothing
The stage is one place where you come face to face with your audience, unlike cinemas where you cannot see the applause or the booing by the audience.
I've never done a film before where every single person in the audience knows the ending. I mean suspense, twists are almost impossible these days. People are blogging your endings from their cinema seats.
I found doing that kind of comedy without an audience is just... for me, it's almost impossible. You need the audience to do their half of the work.
You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, I'm your mirror; if I can do this in my life, you can do it in yours.
You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, 'I'm your mirror; if I can do this in my life, you can do it in yours.'
I try to do a lot of direct contact with the audience, because the audience is part of the concert, too, as much as anyone on stage, and it's a shame not to get to meet them if you get the chance.
It's all too easy to dismiss the future. People confuse what's impossible today with what's impossible tomorrow.
No, it is impossible; it is impossible to convey the life-sensation of any given epoch of one’s existence--that which makes its truth, its meaning--its subtle and penetrating essence. It is impossible. We live, as we dream--alone.
Nothing is an accident: it's always someone's fault; perhaps-but no one teaches us how to live with our mistakes. Everyone is isolated, alone with his or her anguish and guilt, and too penetrating a question can mean people are not able to face one another the next day.
The purpose of life for man is growth, just as the purpose of life for trees and plants is growth. Trees and plants grow automatically and along fixed lines; man can grow as he will. Trees and plants can only develop certain possibilities and characteristics; man can develop any power which is or has been shown by any person anywhere. Nothing that is possible in spirit is impossible in flesh and blood. Nothing that man can think is impossible. Nothing that man can imagine is impossible of realization.
We have been impossible right from the beginning and we must continue to be impossible because we are raising a voice against suffering which has been considered to be the nature of life. It is our joy to be considered impossible - and it is our greater joy to make the impossible a living reality.
My problem is that the audience is more fiction-literate than ever. In Shakespeare's day, you probably expected to see a play once or twice in your life; today you experience four or five different kinds of fiction every day. So staying ahead of the audience is impossible.
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