A Quote by Simon Conway Morris

By obtaining a sense of its place in the unfolding drama of life, set in an ecological theatre, so we can understand why it has become one of the leading players. — © Simon Conway Morris
By obtaining a sense of its place in the unfolding drama of life, set in an ecological theatre, so we can understand why it has become one of the leading players.
Now, drama is quite useful at helping us to understand what our position is and, conversely, we might then understand why our theatre is being destroyed
Now, drama is quite useful at helping us to understand what our position is and, conversely, we might then understand why our theatre is being destroyed.
Compare the cinema with theatre. Both are dramatic arts. Theatre brings actors before a public and every night during the season they re-enact the same drama. Deep in the nature of theatre is a sense of ritual. The cinema, by contrast, transports its audience individually, singly, out of the theatre towards the unknown.
I believe a lot of what contributes to the sadness and downward-spiraling in our lives is a sense of hopelessness. We become resentful when circumstances aren't unfolding as we want, leading us to doubt whether we will ever get what we want.
Film has become a very passive experience, but with theatre, there is a contract made with the audience, where they participate. That's why my parents' puppet theatre was such a special place - people used their imaginations. It's a muscle that needs using.
We need all three senses of time - a sense of the future, a sense of the present, and a sense of the past - at all times to understand or experience what's happening right now. It's constantly unfolding that way.
The world has never before had as much drama as today. Radio, films, television and video inundate us with drama. But while these forms can engage or even enrage the audience, in none of them can the viewer’s response alter the artistic event itselfThat is why theatre is signing its own death warrant when it tries to play too safe. On the other hand, that is also the reason why, although its future often seems bleak, theatre will continue to live and to provoke.
Life in the theatre isn't necessarily when you get money from performing. It isn't when you sign a contract. It isn't even when you are in a play. It's when you understand it. If you understand it, you'll know why you want to act.
I understand regicide as a means of obtaining vengeance for the ruin of our lives, but regicide as a means of obtaining political freedom I could never understand.
All drama teachers are very effusive, very emotionally open, very big, and gesticulate a lot, and are very physical. Those people don't work in banks and they don't work for pharmaceutical companies. They teach drama, or they may be theatre directors. That's why I love people who are openly gay in theatre, because they have license to do what they like, and there's a kind of artistic liberal tolerance thing that goes on.
Theatre is my first love. I don't understand why people say that theatre can't give you money.
I'm naive. I will admit that I'm naive. There's a part of me, honestly, to the depths of my soul, that doesn't understand why people hate this country. Intellectually, I understand it. I understand the politics of grievance, and I understand the way people have been taught, but compared to every other place human beings have lived before this country and since it was founded, it makes no common sense to hate this place, and yet people do.
Having a place means that you know what a place means...what it means in a storied sense of myth, character and presence but also in an ecological sense...Integrating native consciousness with mythic consciousness
I've done a lot of costume drama and theatre - the National Theatre and In fact, most of my work at the theatre, at the National Theatre anyway, was period.
To save the theatre, the theatre must be destroyed, the actors and actresses must all die of the plague. They poison the air, they make art impossible. It is not drama that they play, but pieces for the theatre. We should return to the Greeks, play in the open air; the drama dies of stalls and boxes and evening dress, and people who come to digest their dinner.
Places come to exist in our imaginations because of stories, and so do we. When we reach for a "sense of place," we posit an intimate relationship to a set of stories connected to a particular location, such as Hong Kong or the Grand Canyon or the bed where we were born, thinking of histories and the evolution of personalities in a local context. Having "a sense of self" means possessing a set of stories about who we are and with whom and why.
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