A Quote by Emile Zola

And that wreched creature without hands or feet, who had to be put to bed and fed like a child, that pitiable remnant of a man, whose almost vanished life was nothing more than one scream of pain, cried out in furious indignation: 'What a fool one must be to go and kill oneself!' " - 'Joy of Life
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.
The painting showed a hairless, oppressed creature with a head like an inverted pear, its hands clapped in horror to its ears, its mouth open in a vast, soundless scream. Twisted ripples of the creature's torment, echoes of its cry, flooded out into the air surrounding it; the man or woman, whichever it was, had become contained by its own howl. It had covered its ears against its own sound. The creature stood on a bridge and no one else was present; the creature screamed in isolation. Cut off by - or despite - its outcry.
An actor must interpret life, and in order to do so must be willing to accept all the experiences life has to offer. In fact, he must seek out more of life than life puts at his feet.
Nothing prevents our denying life by suicide. well then, kill yourself, and you won't discuss. If life displeases you, kill yourself! You live, and cannot understand the meaning of life - then finish it, and do not fool about in life, saying and writing that you do not understand it. You have come into good company where people are contented and know what they are doing; if you find it dull and repulsive - go away!
In my own life, there's no amount of success or money that's more important than your child being healthy and happy. There's nothing that can put a band-aid on that. There's nothing more valuable, to me, than your child.
It is better to be a fool than to be dead. It is better to emit a scream in the shape of a theory than to be entirely insensible to the jars and incongruities of life and take everything as it comes in a forlorn stupidity. Some people swallow the universe like a pill; they travel on through the world, like smiling images pushed from behind. For God's sake give me the young man who has brains enough to make a fool of himself!
the deeper one is drawn into God, the more one must 'go out of oneself'; that is, one must go to the world in order to carry the divine life into it.
In professional wrestling, I think that they want you to be bigger than life. It's almost like an over-acting type thing - whereas on the big screen, you're 35 feet and they've got a close-up of you to put it on the screen in the movie house. At 35 feet, it's more subtlety than the overboard drama that we do in pro wrestling.
Gravity must be natural and simple; there must be urbanity and tenderness in it. A man must not formalize on everything. He who does so is a fool; and a grave fool is, perhaps, more injurious than a light fool.
HAPPY EVER AFTER is a concept I'll never believe in. I would be content to sample some little taste of happiness today, tonight, right now. Though I know without a doubt that tomorrow will come saturated with pain. Life is like that. At least my life. And honestly, I cant think of anyone whose life is any different. The price tag for joy is misery. [...]
Has a man the right to kill himself? Yes, if his death harms no one and if life is an evil to him. When is life an evil? When it offers a man nothing but suffering and pain.
Any man who doesn't partake in cigar smoking is nothing more than a weak-willed, meandering oaf, and I would never put my lips to those of any creature, man or beast, whose lips were not fresh awash in the currents of cigar smoke.'
I was eight years old when my father was murdered. It is almost impossible to describe the pain of losing a parent to a senseless murder ... But even as a child, one thing was clear to me: I didn't want the killer, in turn, to be killed. I remember lying in bed and praying, Please, God. Please don't take his life, too. I saw nothing that could be accomplished in the loss of one life being answered with the loss of another.
In the spiritual life one becomes just like a little child, without resentment, without attachment, full of life and joy.
An actor must interpret life, and in order to do so must be willing to accept all the experiences life has to offer. In fact, he must seek out more of life than life puts at his feet. In the short span of his lifetime, an actor must learn all there is to know, experience all there is to experience, or approach that state as closely as possible. He must be superhuman in his efforts to store away in the core of his subconscious everything that he might be called upon to use in the expression of his art.
I am a man by virtue of my hands and my feet, my belly, my heart of meat, my stomach whose knots reunite me to the putrefaction of life.
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