A Quote by Sarah Bernhardt
The theatre is the involuntary reflex of the ideas of the crowd.
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For me chivalry isn't dead; it's an involuntary reflex.
I hate jump scares. I really hate them. I think there's nothing special about being able to startle someone - that's an involuntary reflex, and it makes people laugh.
Compassion and pity are very different. Whereas compassion reflects the yearning of the heart to merge and take on some of the suffering, pity is a controlled set of thoughts designed to assure separateness. Compassion is the spontaneous response of love; pity, the involuntary reflex of fear.
To identify yourself with your personality is more or less a reflex. You must see, when the reflex comes up, that it is a kind of feeling of insecurity; you are looking for a hold.
I think the great thing about theatre, and if you start in theatre, is that it does build a confidence in poetic themes and ideas.
If we denote excitation as an end-effect by the sign plus (+), and inhibition as end-effect by the sign minus (-), such a reflex as the scratch-reflex can be termed a reflex of double-sign, for it develops excitatory end-effect and then inhibitory end-effect even during the duration of the exciting stimulus.
Thought reflexes get conditioned very strongly, and they are very hard to change. And the also interfere. A reflex may connect to the endorphins and produce an impulse to hold that whole pattern forther. In other words, it produces a defensive reflex. Not merely is it stuck because it's chemically so well built up, but also there is a defensive reflex which defends against evidence which might weaken it. Thus it all happens, one reflex after another after another. It's just a vast system of reflexes. And they form a 'structure' as they get more rigid.
Writing songs and looking for ideas is like blinking my eyes. It's an involuntary muscle. I do it without thought.
Belief is involuntary; nothing involuntary is meritorious or reprehensible. A man ought not to be considered worse or better for his belief.
I always say that the horror genre and the comedy genre are close cousins because they are the two genres where you are attempting to elicit an involuntary vocal response from a crowd of people and you instantly know whether it's working or not.
I am essentially someone who comes from the theatre. I love the theatre. Unfortunately, theatre doesn't pay the bills. Only in theatre abroad, I get a wage.
I’m not doing anything wrong, I’m not obstructing anyone’s access. When I have a crowd I make sure that the crowd makes room for people. I’m an artist who cares about the cultural fabric of New York City. I care about New York as a harbor for street culture - and I care about street culture as a base-level populist diffusion of ideas. And I believe in making those ideas accessible to everyone.
Before I worked on film, I studied the theatre, and I expected that I would spend my whole career in theatre. Gradually, I started writing for the cinema. However, I feel grateful towards the theatre. I love working with spectators, and I love this experience with the theatre, and I like theatre culture.
I tried theatre. I played Miss Hannigan for a short run of Annie at a regional theatre. That was fun. I enjoyed it! I enjoy theatre and have so much respect for theatre actors.
Theatre is expensive to go to. I certainly felt when I was growing up that theatre wasn't for us. Theatre still has that stigma to it. A lot of people feel intimidated and underrepresented in theatre.
I have played a mentally challenged person, a quadriplegic - but blind, I realised, is the most difficult because eyes are the most involuntary muscles in our body. Like, our pupils and their dilations are involuntary.
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