A Quote by Robert Penn Warren

History is not melodrama, even if it usually reads like that. — © Robert Penn Warren
History is not melodrama, even if it usually reads like that.
I think that melodrama is a safe way of suffering, because your suffering is fake. That's why I like melodrama.
As someone who has long loved history and reads a lot of history, especially when you get a distance like 130 years, these people can seem almost mythical, and you need something tangible to make them real.
If melodrama is the quintessence of drama, farce is the quintessence of theatre. Melodrama is written. A moving image of the worldis provided by a writer. Farce is acted. The writer's contribution seems not only absorbed but translated.... One cannot imagine melodrama being improvised. The improvised drama was pre-eminently farce.
I love the flamboyance, the melodrama, the bloody theatre of Russian history.
I believe that patterns tend to repeat themselves and there are connections between the past and the present. There is the old proverb that reads, 'You can't know where you're going if you don't know where you've been'. For me, history is like that. When you take history and combine it with myth, then you get mystery.
I don't like the idea of nationalism, but on the other hand, I do see that there is a difference between British art, German art and Chinese art. This is because of the history, because each country has different history and each country reads and teaches that history differently.
I don't think 'Twilight' should be approached like 'Batman.' Because it is an invented kind of world, especially this one, I think it's got to be done with a sense of enjoyment to it I guess more than anything. So I never thought of anything as making fun of it, but kind of reveling in the melodrama of it. It's a melodrama.
History often reads as a hard and grim experience. But people are remarkably resilient and funny, even when the going is very hard.
I believe that patterns tend to repeat themselves and there are connections between the past and the present. There is the old proverb that reads, You cant know where youre going if you dont know where youve been. For me, history is like that. When you take history and combine it with myth, then you get mystery.
What can i tell you about the choices we make? Fate reads like the polar opposite of decision, and so much of life reads like fate.
Shredded feelings are the fuel that feed the machinery of melodrama. And good melodrama just has honest feelings and is honest about the way people interact.
After all, what is reading but a vice, like drink or venery or any other form of excessive self-indulgence? One reads to tickle and amuse one's mind; one reads, above all, to prevent oneself thinking.
I define melodrama as truth uninhibited. It's the kind of truth we dream about. Rather than melodrama being exaggerated, it's actually uninhibited. And it's a big difference - people look down on exaggerations, but I think they should look up to the un-inhibitions.
The parent reads the book. The kid reads the book and then they can talk about the characters instead of talking about themselves. You know there's a connection even if you don't talk about it when you read the same books.
I came to this project and 'Far from Heaven' from completely different vantage points. 'Heaven' was of course about the Douglas Sirk films of that period, with the very specific cinematic language and style of melodrama. With 'Carol,' it was presented to me already packaged, with Cate Blanchett attached and Phyllis Nagy's script complete - when it came to me it had a long history and pre-history.
Penalties are not football. They are not even as television people keep telling us, great drama. They are cheap melodrama.
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