A Quote by Sarah Lancashire

But I am Northern myself, and there is a certain rhythm of Northern speech that is very comical: that combination of the choice of language and the speech rhythm, which in itself is very funny.
One of the things that distinguishes poetry from ordinary speech is that in a very few number of words, poetry captures some kind of deep feeling, and rhythm is the way to get there. Rhythm is the way the poetry carries itself.
I've always felt, even as a songwriter, that the rhythm of speech is in itself a language for me.
The Gaelic language itself depends very much on ear and rhythm, and when those who are thinking in Gaelic speak in English, they get the same rhythm.
My point is there's a hidden Scotland in anyone who speaks the Northern Ireland speech. It's a terrific complicating factor, not just in Northern Ireland, but Ireland generally.
People in Israel would write in a high register, they wouldn't write colloquial speech. I do a special take on colloquial speech. When I started writing, I thought [the language] was telling the story of this country: old people in a young nation, very religious, very conservative, very tight-assed, but also very anarchistic, very open-minded. It's all in the language, and that's one thing that doesn't translate.
A speech is poetry: cadence, rhythm, imagery, sweep! A speech reminds us that words, like children, have the power to make dance the dullest beanbag of a heart.
Language is legislation, speech is its code. We do not see the power which is in speech because we forget that all speech is a classification, and that all classifications are oppressive.
Whether I'm performing or directing, I'm aways thinking about rhythm; sometimes it's nailing the right rhythm, and sometimes it's intentionally breaking the rhythm. Those two things are what make something funny or not. How long a shot is and where you put the camera are all part of that rhythm of directing.
Style is a very simple matter; it is all rhythm. Once you get that, you can't use the wrong words. But on the other hand here am I sitting after half the morning, crammed with ideas, and visions, and so on, and can't dislodge them, for lack of the right rhythm. Now this is very profound, what rhythm is, and goes far deeper than any words. A sight, an emotion, creates this wave in the mind, long before it makes words to fit it.
When people are faced with a choice between the Northern Ireland they have got and the perfect Northern Ireland, they complain. But in the real world that isn't the choice.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
One very important side of my playing lies in rhythm; I have a very percussive style. It's one I've developed with Dream Theater over the years, and requires the guitar to be very locked into the rhythm of the drums... way more than what would normally entail.
The rhythm is below me, the rhythm of the heat. The rhythm is around me, the rhythm has control. The rhythm is inside me, the rhythm has my soul.
I think a lot of people are very good, but I don't think anybody could do my rhythm. I was thinking, "If you want my rhythm" - and when I was writing, I was writing them for myself - "why am I watching another actor doing what I should be doing?" It was just a really unpleasant experience.
Poems are a dance of language that comes out when my body taps into the rhythm of language. Rhythm gets us naked and exposes our selves completely.
All language begins with speech, and the speech of common men at that, but when it develops to the point of becoming a literary medium it only looks like speech.
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