A Quote by Estelle Parsons
I believe in things that move people, if the audience isn't deeply caught up and moved to either laughter or tears then I don't think it is theater.
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I don't know why people are so surprised by my live performances. My approach is so simple; every song I sing, every story I tell, every move I make, must move the audience to laughter, tears or inspiration. Otherwise, why should I do it?
My approach is so simple; every song I sing, every story I tell, every move I make, must move the audience to laughter, tears, or inspiration. Otherwise, why do it? It's the communication.
As fate is inexorable, and not to be moved either with tears or reproaches, an excess of sorrow is as foolish as profuse laughter; while, on the other hand, not to mourn at all is insensibility.
And we are a people without tears. The things that moved our parents do not move us at all.
A nation that does not support and encourage its theater is - if not dead - dying; just as a theater that does not capture with laughter and tears the social and historical pulse, the drama of its people, the genuine color of the spiritual and natural landscape, has no right to call itself theater; but only a place for amusement.
I think one of the things that is important, for me, though a lot of people would disagree with me, is that you be founded in theater so that you understand what an audience is, what kind of an animal it is and how to play with it. How to have fun with it, how to sympathize with it, all the things that an audience is. I don't think you're going to find that out unless you do theater.
We all go to the theater and cinema to be inspired and moved on an emotional level, sometimes to laughter, sometimes to tears. Once I discovered that acting could have such an effect, I was sold. It has been one of the most rewarding discoveries I have ever made.
When I was a little girl, the only real form of entertainment I was exposed to was theater, being raised in St. Louis, and I still love theater, and I think sitcoms are similar to that, in there's a live audience, and you know, I definitely like the comedy of it, too. I like to make people laugh, and I definitely think laughter is healing.
I see the audience as the final collaborator. I think it's kind of bullshit when people say, "I'm not interested in the audience reaction." I'm like, "Then why do you do theater? You can write a book, then you don't have to see how the audience reacts." It's a living, breathing thing.
Sometimes there are more tears than laughter, and sometimes there is more laughter than tears, and sometimes you feel so choked you can neither weep nor laugh. For tears and laughter there will always be so long as there is human life. When our tear wells have run dry and the voice of laughter is silenced, the world will be truly dead.
Laughter is binary: It either happens or it doesn't. As each joke arrives in the course of a film, the cavernous space of the theater is either filled with joy and laughter or with the quiet of cringing embarrassment. Every time you step to the plate to make a joke, you're going to experience one or the other.
You want people to think. You want people to be emotionally moved. And there's a theory behind that in terms of storytelling. It has been around for thousands of years. And that's where something like live theater or a live performance is something that is very valuable because you get instant feedback from your audience and you kind of know the things that work and the things that don't work.
I would not exchange the laughter of my heart for the fortunes of the multitudes; nor would I be content with converting my tears, invited by my agonized self, into calm. It is my fervent hope that my whole life on this earth will ever be tears and laughter. Tears that purify my heart and reveal to me the secret of life and its mystery, Laughter that brings me closer to my fellow men; Tears with which I join the broken-hearted, Laugher that symbolizes joy over my very existence.
That is Obama's signature move: Invent people who are saying ridiculous things and then encourage the audience to laugh at these made-up buffoons.
I truly believe that to stay home, to learn the names of things, to realize who we live among . . . then I believe a politics of place emerges where we are deeply accountable to our communities, to our neighborhoods, to our home . . . If we are not rooted deeply in place, making that commitment to dig in and stay put . . . then I think we are living a life without specificity, and then our lives become abstractions. Then we enter a place of true desolation.
I was fascinated by all of it. The sounds of the theater and the audience, their rapture when a play took over and moved them and held them quietly... When the audience was truly moved, it was absolutely quiet. They were in a communion because they were learning the truth about themselves.
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