A Quote by Lisa Unger

Isn't it funny how the people least impacted by tragedy are the most eager to move on? — © Lisa Unger
Isn't it funny how the people least impacted by tragedy are the most eager to move on?
The young people are the most active and vital force in society. They are the most eager to learn and the least conservative in their thinking. This is especially so in the era of socialism.
Tragedy brings change, and that's what I'm interested in most - how people plunge into change and try to fight, then eventually move with it with grace.
I think you figure out how to be funny by necessity. It's not a natural thing, being funny in the face of tragedy is kind of demented.
I think you can teach people a technique - you can teach them how to use their voices, how to breathe properly, how to move their limbs a certain way. But to actually explain how one performs comedy or drama or tragedy isn't the same as the movements one makes.
To be honest, the first thing that hits you when you step off the plane in L.A. is just how eager people are to help you out here - or, at least, that's what I've found.
In Hollywood, it seems that the people least successful at being married are the ones most eager to tie the knot over and over again.
Humor is not funny. Humor is something else. Funny is a joke, sometimes silly. Comedy is deep and connected to tragedy; comedy could be deeper than tragedy, in my view.
I find things funny that aren't self-aware. That don't know they're funny, and I think the same can hold true for drama. If you think you're in this tragedy and you play it for tragedy, there's a self-awareness there that I think takes you out of watching it and I believe it cuts both ways.
My hope and my intention was that people would experience the tragedy of what Chernobyl was in every regard: a scientific tragedy, a political tragedy, an emotional and personal tragedy, all of that.
I'm looking, often, towards younger people, listening to how they're working, at least they're trying, and some of the old greats, too. Just to try to remain relevant and off-balance, but hungry and eager.
Sometimes what we call tragedy, at least in the theater, are really case histories. They're based on the central figure, and things happen to that person, and they're called tragedy because they're extremely sad. But tragedy always has a glorious thing happen at the end of it. That's what the catharsis is.
Aid workers, when handing out food to starving people, quickly learn that the people fighting for it at the front are the people who need it least. It's the people sitting quietly at the back, too weak to fight, who need it the most. And so too with tragedy.
I think I'm the funniest guy in a room full of unfunny people. Unfortunately, my career is increasingly leading me into rooms where everybody is funny. I'm the least funny person in a room full of funny people.
There is something irresistibly funny about a funeral. More basically, I think the point is that beyond the deepest tragedy, there is laughter. Even in the midst of tragedy, there is always the possibility for it.
There's comedy in tragedy, and tragedy in comedy. There's always light and dark in most jobs. Whether it's framed as a comedy, drama or tragedy, you try to mix it up within that. You can work on a comedy and it's not laugh-a-minute off set. You can work on a tragedy that's absolutely hilarious.
I just know from experience that reading a funny poem aloud, especially at the beginning of a public reading, can have a certain effect. Somehow narrowing the spectrum of possible emotional reactions. So while I like it when people laugh at my poems, and I definitely enjoy being funny in them, I don't really think that's the most important thing that's going on, at least not to me.
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