A Quote by Sam Vaknin
The ability to imagine oneself in another's place and understand the other's feelings, desires, ideas, and actions. The most obvious example, perhaps, is that of the actor or singer who genuinely feels the part he is performing.
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The two most important forms of intelligence are the ability to read other people and the ability to understand oneself.
This place was truly the highest and the lowest of all worlds - the most beautiful senses, the most exquisite emotions.. the most malevolent desires, the darkest deeds. Perhaps it was meant to be so. Perhaps without the lows, the highs could not be reached.
I'm proud of my ability to understand what somebody else is trying to do and help them achieve it, because part of the aesthetic of improvisation is service. You never say no. Serve the servant, follow the follower. And that's very valuable in your life, as well as very valuable in your actor's work. I'm damn proud of my ability to help other people achieve their ideas.
I was always one of those fortunate people who never wanted to be anything other than a singer and an actor. Most people know me as a singer, but I am also an actor.
The way to liberation lies through this realization of the Self, by God-communion and by remaining in this God-aware state of the soul while performing dutiful actions. Any individual can reach this supreme actionless state by the renunciation of all fruits of actions: performing all dutiful acts without harbouring in his heart any likes and dislikes, possessing no material desires, and feeling God, not the ego, as the Doer of all actions.
Tragedy is formed 'round ideas it does not expound, and to understand its history is, in some part, to understand those ideas and their place in the society that produced it.
Performing was always my thing, so when I act with another co-actor, perhaps that is why I never feel intimidated.
No one feels another's grief, no one understands another's joy. People imagine they can reach one another. In reality they only pass each other by.
I understand wanting to do your craft. I understand wanting to have a passion for your art and for your ability to be an actor, to be a singer, to be a dancer - that I understand. Wanting to be famous - I don't get that. But that's where we're living right now.
Perhaps the basic thing which contributes to charm is the ability to forget oneself and be engrossed in other people.
The most obvious feature of the brain is that it is not homogeneous, but composed of different regions. There are no intrinsic moving parts, no obvious way of knowing where to start to understand what is actually happening, or what functions are taking place.
To be changed by ideas was pure pleasure. But to learn ideas that ran counter to values and beliefs learned at home was to place oneself at risk, to enter the danger zone. Home was the place where I was forced to conform to someone else’s image of who and what I should be. School was the place where I could forget that self and, through ideas, reinvent myself.
Sympathy relies on a common experience. If you're clumsy, you might have sympathy for others who tend to bump into things. Empathy, on the other hand, is the ability to understand another person's feelings even if you've never experienced them yourself.
During teenager times, the feelings of longing is perhaps at its most strong and profound because everything feels multiplied by ten.
Mine is an actor's voice, not a singer's voice, but the part was written for an actor (Richard Burton), not a singer.
We are not what we seem. We are more than what we seem. The actor knows that. And because the actor knows that hidden inside himself there's a wizard and a king, he also knows that when he's playing himself in his daily life, he's playing a part, he's performing, just as he's performing when he plays a part on stage.
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