A Quote by Steven Pressfield

The professional dedicates himself to mastering technique not because he believes technique is a substitute for inspiration but because he wants to be in possession of the full arsenal of skills when inspiration does come. The professional is sly. He knows that by toiling beside the front door of technique, he leaves room for genius to enter by the back.
I try to show good technique - boxing technique, wrestling technique, jiu jitsu technique.
Technique to me is a kind of a ... I'm reluctant to talk about it because it seems so obvious to me what good technique is. I mean, you sit down, you shut up, and you pay attention is basically the good technique. And then the footnotes add; on an empty stomach, in a dark room, feeling comfortable.
I have acting technique; I have singing technique; I don't have a writing technique to fall back on.
There's an awful lot to be desired. I've gone to places where people say to me, "What's your technique?" Technique? What the hell technique is there to acting? We're acting because even with my voice I'm giving what I think is what I want to say.
Some people when I speak of awareness of the "inner body" call it a technique. I would not call it a technique because it is too simple for that. When the oak tree feels its roots in the earth, its connectedness with the earth, it is not practicing a technique.
No technique is possible when men are free. Technique requires predictability and, no less, exactness of prediction. It is necessary, then, that technique prevail over the human being.
You have no choice as a professional chef: you have to repeat, repeat, repeat, repeat until it becomes part of yourself. I certainly don't cook the same way I did 40 years ago, but the technique remains. And that's what the student needs to learn: the technique.
Technique is what you fall back on when you run out of inspiration.
Learn technique; have full command to the extent of not being conscious of how it is done. When craftsmanship has been developed, you are free to create... technique will give way to expression!
Sahasrara is your awareness. When it is enlightened, you get into the technique of the Divine. Now there are two techniques - the technique of the Divine and the technique that you follow. You cannot act as Divine but you can use the Divine power and maneuver it.
The only craft and technique you have legitimate access to is the craft and technique you forgot, that has dissolved itself into the unconscious... Because you have learned it so well you have forgotten it.
Everywhere there is craft and technique; everywhere there is artistry and form. Art itself, technique, is ponderous and clumsy, and because of its awkwardness it obstructs that inner element.
It is a temptation to exploit one's technique because an audience is easily reached this way, but they cannot be moved by technique alone and to move an audience is the role of dance as an art.
I've studied a technique called the Sanford Miesner technique, that teaches you how to focus. It's mainly about daydreaming. And the technique's really about imaginary circumstances. Using your imagination to sort of daydream about stuff. It makes you emotional in a scene.
Technique itself springs from play, because we can acquire technique only by the practice of practice, by persistently experimenting and playing with our tools and testing their limits and resistances.
My technique is laughable at times. I have developed a style of my own, I suppose, which creeps around. I don't have to have too much technique for it. I've developed the parts of my technique that are useful to me. I'll never be a very fast guitar player. I don't really know what to say about my style. There's always a melodic intent in there.
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