A Quote by Peter Schjeldahl
I find that the mask of the critic is to have distance.
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The Mask "Put off that mask of burning gold With emerald eyes." "O no, my dear, you make so bold To find if hearts be wild and wise, And yet not cold." "I would but find what's there to find, Love or deceit." "It was the mask engaged your mind, And after set your heart to beat, Not what's behind." "But lest you are my enemy, I must enquire." "O no, my dear, let all that be, What matter, so there is but fire In you, in me?"
I have always felt comedy and tragedy are roommates. If you look up comedy and tragedy, you will find a very old picture of two masks. One mask is tragedy. It looks like its crying. The other mask is comedy. It looks like its laughing. Nowadays, we would say, How tasteless and insensitive. A comedy mask is laughing at a tragedy mask.
I have always felt comedy and tragedy are roommates. If you look up comedy and tragedy, you will find a very old picture of two masks. One mask is tragedy. It looks like it's crying. The other mask is comedy. It looks like it's laughing. Nowadays, we would say, 'How tasteless and insensitive. A comedy mask is laughing at a tragedy mask.'
You find very few critics who approach their job with a combination of information and enthusiasm and humility that makes for a good critic. But there is nothing wrong with critics as long as people don't pay any attention to them. I mean, nobody wants to put them out of a job and a good critic is not necessarily a dead critic. It's just that people take what a critic says as a fact rather than an opinion, and you have to know whether the opinion of the critic is informed or uninformed, intelligent of stupid -- but most people don't take the trouble.
I always feel like any criminal who doesn't have a mask on is dumb: particularly the ones who don't realize that all mini-marts have cameras. I find that so hilarious. Or bank robbers without a mask. You're like, 'Have you seen no movies?'
It is as hard to find a neutral critic as it is a neutral country in time of war. I suppose if a critic were neutral, he wouldn't trouble to write anything.
I'm happy that now we reveal something about the true Israel, because, you know, now it's Purim, when all the Jews putting mask. And once, we used to have a liberal mask. The most famous mask now in Israel is the mask of a soldier who murdered in cold blood a wounded prisoner of war. Those are the mask that most of the Israeli kids now are using. So, now, when the mask and the true is the same, maybe it's time for Democrats here to stop supporting Israel, if they care about Jews.
Everybody wants to be a critic: a critic without the actual accolades to be a critic.
I'm an actor, in particular, that likes to have a mask or something that can help me distance myself from the character. Like the moustache or an accent.
It's a terrible thing to be alone - yes it is - it is - but don't lower your mask until you have another mask prepared beneath - as terrible as you like - but a mask.
They needed to share one secret after another with a beautiful woman, to peel away layer after layer, mask after mask, and still find themselves worshiped.
Because the mask is your face, the face is a mask, so I'm thinking of the face as a mask because of the way I see faces is coming from an African vision of the mask which is the thing that we carry around with us, it is our presentation, it's our front, it's our face.
All politicians are going to mask to some degree in order to present themselves in away they think will get them votes. What's different in Obama's case is that he's wearing a racial mask, this 'bargainer's' mask, and I think very effectively, whereby he gives whites the benefit of the doubt. He's essentially saying, 'I am going to presume you are not racist, if you won't hold my race against me.' So, his mask is a distinctly racial one.
Except that it’s not really 'now' that the inner critic attacks. It’s a few seconds or a minute ago. The inner critic depends upon comparison, and when we are fully aware in the present moment, when there is no past or future in our mind’s awareness, there is nothing to compare. There is only what is, as it is. The inner critic disappears.
But I remember the morning after The Mask of Virtue-which is the first play I did at the West End-that some critics saw fit to be as foolish as to say that I was a great actress. And I thought, that was a foolish, wicked thing to say, because it put such an onus and such a responsibility onto me, which I simply wasn't able to carry. And it took me years to learn enough to live up to what they said-for those first notices. I find it so stupid. I remember the critic very well, and have never forgiven him.
It was a dance of masks and every mask was perfect because every mask was a real face and every face was a real mask so there was no mask and there was no face for there was but one dance in which there was but one mask but one true face which was the same and which was a thing without a name which changed and changed into itself over and over.
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