A Quote by Hans Kmoch

The preparation for active rook play entails what is called the opening of lines, which largely depends on pawn play, especially on the proper use of levers. — © Hans Kmoch
The preparation for active rook play entails what is called the opening of lines, which largely depends on pawn play, especially on the proper use of levers.
It is always advantageous to exchange your king's bishop pawn for the king's pawn, since this leads to the seizure of the centre and, in addition, to the opening of a file for the rook.
In a rook and pawn ending, the rook must be used aggressively. It must either attack enemy pawns, or give active support to the advance of one of its own pawns to the queening square.
In everything was the spirit of children's play - not the rule-ridden, time-killing play of adults that is a preparation for death, but the busy and credulous play of children that is a preparation for life.
My policy is not how fast you play, it's not how much you play but it's what you play and where you play it ... play for the commercial side of the music ... the word I still use today is called "simplicity" .. it is so important that you use simplicity in your playing and in your music.
I'm a big card guy. I play Rook, Liverpool Rummy - love that. I play Pac-Man, shoot pool.
My forte was the middlegame. I had a good feeling for the critical moments of the play. This undoubtedly compensated for my lack of opening preparation and, possibly, not altogether perfect play in the endgame. In my games things often did not reach the endgame!
The choice of opening, whether to aim for quiet or risky play, depends not only on the style of a player, but also on the disposition with which he sits down at the board.
All you gotta do is think of the song in your head. And it doesn't matter whether you can play it or not, you can get somebody to play it. With songs I've written, there's a song called "The Statue", which I can't play. There are songs that I've written that I've actually just hummed on - there's a song on one of the albums they have there on the Internet called "My Love Was True" and it's almost operatic. I can't play it. But I can sing it.
Always put the rook behind the pawn.... Except when it is incorrect to do so.
My junior year, I was in a play at school and five days before opening night, I still didn't know my lines. Opening night was a disaster. I was so embarrassed. The director made me work backstage for the rest of the performance.
Achievement is talent plus preparation. The problem with this view is that the closer psychologists look at the careers of the gifted, the smaller the role innate talent seems to play and the bigger the role preparation seems to play.
It was wonderful to be able to play a character who had so many colors and who was able to play comedy, to play incredibly vulnerable, which he did a lot of the time, to play the love story, and to play the relationship with the son, which is quite unusual. That's a gift to me, as an actor.
Trios aren't really geared for slide unless you're gonna play chords, or play that simple George Thorogood style. It gets pretty thin when you play single note lines.
If you are opening a play, a play that's really about something, a play that's really about ideas, you have to find a way to sell that play.
I did a play I think my first six months on the show, called Bullpen. Then I got involved with Theater Forty and did this play called Plastic which is about two male models coming to a casting call.
Of course men play roles, but women play roles too, blanker ones. They have, in the play of life, fewer good lines.
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