A Quote by Peter Shaffer
The rhetoric is the key to the character. It's the verbal music of the piece.
Related Quotes
Music actually inspires me a lot. I listen to a lot of music, and often I find that if I can associate mentally a song or a piece of music with a particular character or scene, it helps me get back into the head of that character.
One listens to a piece of great music, say, and feels deeply moved by it, and wants to put this feeling into words, but it can't be put into words. That's what - the music has already supplied the meaning, and words will just be superfluous after that. But it's that kind of verbal meaning that can't be verbalized that I try to get at in poetry.
Technology is a compulsive and addictive way to live. Verbal communication cannot be lost because of a lack of skill. The ability to listen and learn is key to mastering the art of communication. If you don't use your verbal skills and networking, it will disappear rapidly. Use technology wisely.
Technology is a compulsive and addictive way to live. Verbal communication cannot be lost because of a lack of skill. The ability to listen and learn is key to mastering the art of communication. If you dont use your verbal skills and networking, it will disappear rapidly. Use technology wisely.
In exorcism, a verbal argument can never do anything. You can't ever beat the entity in a verbal argument because that's what he wants. It's only through a confront, a non-verbal confront, that anything happens. It has to be non-verbal.
Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you
If I could express the same thing with words as with music, I would, of course, use a verbal expression. Music is something autonomous and much richer. Music begins where the possibilities of language end. That is why I write music.
A great piece of comedy is a verbal magic trick.
Good character is more to be praised than outstanding talent. Most talents are, to some extent, a gift. Good character, by contrast, is not given to us. We have to build it, piece by piece - by thought, choice, courage, and determination.
Many a treasure besides Ali Baba's is unlocked with a verbal key.
Arriving at a simple piece of music is a very difficult balance because, in being simple, you could easily be banal, so maybe it's more difficult to write a simple piece of music than a 12-tone piece where no one understands exactly what it is about.
I have a huge music library and deliberately choose the piece of music to match the piece I'm writing. So, every book I write has its own "soundtrack."
What I do is give Ennio Morricone suggestions and describe to him my characters, and then, quite often, he'll possibly write five themes for one character. And five themes for another. And then I'll take one piece of one of them and put it with a piece of another one for that character or take another theme from another character and move it into this character.... And when I have my characters finally dressed, then he composes.
No one is born with good character; it's not a hereditary trait. And it isn't determined by a single noble act. Character is established by conscientious adherence to moral values, not by lofty rhetoric or good intentions.
There's always someone asking you to underline one piece of yourself - whether it's Black, woman, mother, dyke, teacher, etc. - because that's the piece that they need to key in to. They want to dismiss everything else.
When we work on a piece of music, we'll often read the biographies of the composer and learn about what was going on historically and artistically. But I believe that the connection to a piece of music is something much more personal and mysterious than all of these bits of information.
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