A Quote by Marsha Mason

The complexity of the emotional life of the play is what you live to work on. — © Marsha Mason
The complexity of the emotional life of the play is what you live to work on.
The paradox of modernism is, writers make the decision to work with the continuous present, and to work with... stream of consciousness, as it's called, for emotional reasons, and the main emotional reason is verisimilitude. I mean, this is what surprises people: Life is not in the simple past.
Second law: The complexity barrier. Software complexity (and therefore that of bugs) grows to the limits of our ability to manage that complexity.
If the play works in an emotional and engaging way purely from what's on the page, then what's on the stage will be the icing on the cake. If the play didn't work as a play on its own terms, none of the magic, none of the special effects or theatricality of it all, would add up to anything.
However, a good life consists of more than simply the totality of enjoyable experiences. It must also have a meaningful pattern, a trajectory of growth that results in the development of increasing emotional, cognitive, and social complexity.
I work very hard, and I play very hard. I'm grateful for life. And I live it - I believe life loves the liver of it. I live it.
What is there in life if you do not work? There is only sensation, and there are only a few sensations— you cannot live on them. You can only live on work, by work, through work. How can you live with self-respect if you do not do things as well as lies in you?
The show is like an Edwardian play - emotional life gets stepped on for the sake of accepted manners, and that's terrific for actors to play in.
Live and work but do not forget to play, to have fun in life and really enjoy it.
I do not live to play, but I play in order that I may live, and return with greater zest to the labors of life.
Honestly, I have had to live like a high priestess in this show. It is a very, very lonely life. When you work the way I work - that means hard - there's no time for play.
We think that play and fairytales belong to childhood - how shortsighted that is! As though we would want at any time in our life to live without play and fairytales! We give these things other names, to be sure, and feel differently about them, but precisely this is the evidence that they are the same things, for the child too regards play as his work and fairy tales as his truth. The brevity of life ought to preserve us from a pedantic division of life into different stages - as though each brought something new.
People are composed of many things, and in my work, what influences me is the complexity of people - the chiaroscuro of dark and light. When I play a strong guy, I try to find, where is he weak? And, conversely, when I play a weak guy, where is he strong?
What music is better able to do than language is to represent the complexity of human emotional states.
I do think that the emotional weight of 'Biutiful' has blinded some viewers to the beauty and complexity of the film.
Either we learn to live together and embrace the complexity of life, or we will end up with fascism again and destroy ourselves.
We academics - I am an academic - we love complexity. You can write papers about complexity, and the nice thing about complexity is it's fundamentally intractable in many ways, so you're not responsible for outcomes.
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