A Quote by Lawrence Kohlberg

The normative theoretical claim that a higher stage is philosophically a better stage is one necessary part of a psychological explanation of sequential stage movement.
The end of one stage is only the beginning of another. Any dangers overcome are the necessary preparation to do better in the next stage.
We are fast approaching the stage of the ultimate inversion: the stage where the government is free to do anything it pleases, while the citizens may act only by permission; which is the stage of the darkest periods of human history, the stage of rule by brute force.
Morality is a venereal disease. Its primary stage is called virtue; its secondary stage, boredom; its tertiary stage, syphilis.
Each department of knowledge passes through three stages. The theoretic stage; the theological stage and the metaphysical or abstract stage.
I got on stage and I went, "Oh wow. No stage fright." I couldn't do public speaking, and I couldn't play the piano in front of people, but I could act. I found that being on stage, I felt, "This is home." I felt an immediate right thing, and the exchange between the audience and the actors on stage was so fulfilling. I just went, "That is the conversation I want to have."
On stage I'm slightly nervous than when I'm in front of camera. Because when on the stage, the mind can't waiver but at the same time, the energy to be on the stage makes me feel alive.
Women are taking the main stage. They are center stage, and they're setting all these records and making history, and I want I be a part of that. I've worked so hard to be a part of that.
An interesting difference between new and experienced stage managers is that the new stage manager thinks of running the show as the most difficult and most demanding part of the job, whereas the experienced stage manager thinks of it as the most relaxing part. Perhaps the reason is that experienced stage managers have built up work habits that make then so thoroughly prepared for the production phase that they [can] sit back during performances to watch that preparation pay off.
What I do on stage, you won't catch me doing off stage. I mean, I think deep down I'm still kind of, like, timid and modest about a lot of things. But on stage, I release all that; I let it go.
My whole life at a certain point was studio, hotel, stage, hotel, stage, studio, stage, hotel, studio, stage. I was expressing everything from my past, everything that I had experienced prior to that studio stage time, and it was like you have to go back to the well, in order to give someone something to drink. I felt like a cistern, dried up and like there was nothing more. And it was so beautiful.
For me, someone like the Eddie Murphy character doesn't live anywhere; he lives on a stage and when he's not on the stage he's on a bus getting to the next stage. You don't really want to see him at home, or all those things you can do in the movie.
When I was little, all I could think about was just being on some kind of stage, whether it be on a live stage, whether it be on a set stage.
I realized that I needed to be anonymous on the street and somebody else on the stage. I had tried to put my street self on the stage, but what they want is an actor on stage.
You should make an effort on stage because it's a performance. The stage should be glittery and camp, but I don't go down the shops in full stage gear.
You should not do this, Comrade. We are only in the introductory stage yet, here in Western Europe. And in that stage it is better to encourage the fighters than the rulers.
The whole concept of stage fright is fascinating. Actors get stage fright, but they wouldn't be on the stage in the first place if they just succumbed to it. There's this love/hate relationship with the spotlight.
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