A Quote by Tom Stoppard

In the theater there is often a tension, almost a contradiction, between the way real people would think and behave, and a kind of imposed dramaticness. — © Tom Stoppard
In the theater there is often a tension, almost a contradiction, between the way real people would think and behave, and a kind of imposed dramaticness.
The intellectual tension that seems to work its way through this society almost like fat through meat is the tension between scientific reductionism and the deeply felt intuition of most people that there is a spiritual dimension, or a hidden dimension, or a transcendental dimension.
There's a real tension between it being a collaborative art process, which is almost like performance art of yourself, and, as we talk about the movie, it's kind of a mix between melodrama and cinéma vérité. This involves ideas about playing the role of yourself and the movie of your life and all these other things.
I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on film.
As I like to say to the people in Montgomery: "The tension in this city is not between white people and Negro people. The tension is, at bottom, between justice and injustice, between the forces of light and the forces of darkness.
Grown men, he told himself, in flat contradiction of centuries of accumulated evidence about the way grown men behave, do not behave like this.
People behave more on the basis of how they feel than how they think; unless there are good feelings between people, it is almost impossible to reason intelligently.
Crying, that is, sobbing is the earliest and deepest way to release tension. Infants can cry almost from the moment of birth, and do so easily following every stress that produces a state of tension in the body... Human beings are the only creatures who can react in this way to stress and tension. Most probably, they are the only ones who need this form of release.
There is no contradiction between technology and spirit. There is no contradiction between the search for intellectual integration and understanding and the psychedelic experience. There is no contradiction between ultra-advanced hyperspacial cyber culture and Paleolithic archaic culture. We have come to the end of our sojourn in matter. We have come to the end of our separateness.
I would much rather sit, dimmed by inattention, and study the atmosphere and the silence and dance between people, but often times I’m not offered this privilege. The necessity for isolation, and the striving for popularity is the only contradiction I find in being a writer and an actress.
Most people, even in simple risky situations, don't behave the way the theory of utility would have them behave.
I think real enlightenment is total sanity, a kind of acceptance of what actually is. It does involve a kind of different way of looking at things. As I've done this Zen practice for years and years, I've acquired what I realize is an almost upside down view of life compared to what most people think, which is just what I used to think it was too. It's not really an insane view, at least I hope it's not.
I was a theater geek, and I was a surly cheerleader, and that's really kind of a contradiction.
I think it's important that we run that tension between the way things are, in terms of the way we're governed, and the way we sort of become complacent.
There's a lot of similarities, I think, between a thriller and a comedy because it's all about tension. It's about building tension and setups and payoffs and misdirections and surprising people and sort of pushing the boundary.
Printed prose is historically a most peculiar, almost an aberrant way of telling stories, and by far the most inherently anesthetic: It is the only medium of art I can think of which appeals directly to none of our five senses. The oral and folk tradition in narrative made use of verse or live-voice dynamics, embellished by gesture and expression--a kind of rudimentary theater--as do the best raconteurs of all times. Commonly there was musical accompaniment as well: a kind of one-man theater-of-mixed-means.
I do not understand those who spend hours at the theater watching scenes between people whom they would not listen to for five minutes in real life.
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