A Quote by Shari Arison

For most of my life, I have received messages - images and worded communications, sometimes even in an ancient language - that came to me from above. — © Shari Arison
For most of my life, I have received messages - images and worded communications, sometimes even in an ancient language - that came to me from above.
We are what we have been told about ourselves. We are the sum of the messages we have received. The true messages. The false messages.
People are more likely to search for specific books in which they are actively interested and that justify all of that effort of reading them. Electronic images and sounds, however, thrust themselves into people's environments, and the messages are received with little effort. In a sense, people must go after print messages, but electronic messages reach out and touch people. People will expose themselves to information in electronic media that they would never bother to read about in a book.
I have received hostile voice mail messages and e-mails. They are often anonymous, I'm sad to say, as anonymous messages are delivered only by very low forms of human life, in my opinion.
This has increased with the tremendous technological advances in communications. We have a vast new world of images brought into our sitting rooms electronically. Most of the images of reality on which we base our actions are really based on vicarious experience. This has increased with the tremendous technological advances in communications. We have a vast new world of images brought into our sitting-rooms electronically.
Poetry taught me a great deal about language and images, but when it came to plotting, I was stumped. It's been very much a learn-by-doing thing for me.
You don’t have the slightest idea of what it means to write a scene and a character in the English language, with images and words chock full of received meaning.
I write in order to understand the images. Being what my agent . . . somewhat ruefully calls a language playwright, is problematic because in production, you have to make the language lift off the page. But a good actor can turn it into human speech. I err sometimes toward having such a compound of images that if an actor lands heavily on each one, you never pull through to a larger idea. That's a problem for the audience. But I come to playwriting from the visual world - I used to be a painter. I also really love novels and that use of language. But it's tricky to ask that of the theatre.
Part of what we love about poetry is the fact that it seems ancient, that it has an authority of ancient language and ancient form, and that it's timeless, that it reaches back.
I have received so many letters, messages, emails, testimonies of women whom I meet in international conferences, wherever it may be, who tell me, 'It's great that you have balanced life and work so successfully.' I now think I have underestimated that, the 'role model' aspect of my life, I must say.
When I wrote 'The Alexandria Link,' I discovered that we are only aware of about 10 percent of the knowledge of the ancient world. In the ancient world, most of the knowledge was destroyed. Every emperor of China who came in wiped out everything that came before them, to the point that the country completely forgot its past.
Rama, the ancient idol of the heroic ages, the embodiment of truth, of morality, the ideal son, the ideal husband, and above all, the ideal king, this Rama has been presented before us by the great sage Valmiki. No language can be purer, none chaster, none more beautiful, and at the same time simpler, than the language in which the great poet has depicted the life of Rama.
In the UK, most of the nasheeds that I did were in my native language, Urdu. Youngsters who could not understand the language came up to me... [and] said it was a great experience to just listen. That was actually very heart warming for me.
It has not been definitively proved that the language of words is the best possible language. And it seems that on the stage, which is above all a space to fill and a place where something happens, the language of words may have to give way before a language of signs whose objective aspect is the one that has the most immediate impact upon us.
I love poetry. It's at the heart of everything I do. Poetry transforms what we call language, and uses language as the stuff to become something else. I get spun around by what happens in words. When that occurs, it inspires images that seem so original to me as an artist, even though I'm following what the poem has offered.
I definitely have moments in my life where I discovered a film, and the language of the film itself spoke to me in a way, as if someone came up to you and started speaking a language you'd never heard but understood and was able to express things the language you knew could not.
Above all, it's hard learning to live with vivid mental images of scenes I cared for and failed to photograph. It is the edgy existence within me of these unmade images that is the only assurance that the best photographs are yet to be made.
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