A Quote by June Callwood
If any of you happens to see an injustice, you are no longer a spectator, you are a participant, and you have an obligation to do something.
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In contact with materials, I can see so much more with my hands than I can just with my eyes. I'm a participant, not a spectator. I see myself both as an object and a material, and the human presence is really important to the landscapes in which I work.
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In life, be a participant, not a spectator.
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Without knowledge and understanding, one tends to become a passive spectator rather than an active participant in the great decisions of our time.
We have already noticed the difference in the attitude of a spectator and of an agent or participant. The former is indifferent to what is going on; one result is just as good as another, since each is just something to look at. The latter is bound up with what is going on; its outcome makes a difference to him.
The poetics of the oppressed is essentially the poetics of liberation: the spectator no longer delegates power to the characters either to think or to act in his place. The spectator frees himself; he thinks and acts for himself! Theatre is action!
Map reconciles himself to almost any event, however trying, if it happens in the ordinary course of nature. It is the extraordinary alone that he rebels against. There is a moral idea associated with this feeling; for the extraordinary appears to be something like an injustice of heaven.
The functional freedom that anybody can buy a gun and go out and murder a lot of people at a McDonald's is prevalent, yes. But through the effects of TV and interactive video systems and so forth, we'll also have the freedom to pretend to be a mass murderer for the evening. I've seen descriptions of advanced TV systems in which a simulation of reality is computer controlledthe TV viewer of the future will wear a special helmet. You'll no longer be an external spectator to ?ction created by others, but an active participant in your own fantasies/dramas.
Any atrocity that's committed against one person affects us all, and we are becoming more of one society, of a global society, so something that happens in the Middle East or something that happens in Africa, something that happens in Asia, affects all of us.
art happens. It happens when you have the craft and the vocation and are waiting for something else, something extra, or maybe not waiting; in any case it happens. It's the extra rabbit coming out of the hat, the one you didn't put there.
Though not a participant in the Business of life; I am, like the character of Addison and Steele, an impartial (or more or less impartial) Spectator, who finds not a little recreation in watching the antics of those strange and puny puppets called men.
The only duty an artist has is in the quality of the art. There is no moral obligation to denounce. An artist confronted with a tremendous injustice sometimes feels inclined to say something. Denouncing the situation is the artist's choice.
In the theater the audience is generally riveted to a single angle of observation. The movie director, though, can rapidly shift from objective to subjective--and to any number of subjective points of view--and in so doing seem to pull the audience directly inside the frame of his picture, giving the spectator the sense of experiencing an action from the viewpoint of a participant. Identification of the viewer with the film character, then, can be much more intimate than the analogous situation in the theater.
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