A Quote by Voltaire

The composition of a tragedy requires testicles. — © Voltaire
The composition of a tragedy requires testicles.
It would be a miracle to solve this case. Luckily, I believed in miracles. No, wait, that was testicles. I believed in testicles.
It's better to find a composition through an instrument and to play it and record it because you have something. It's a composition, and the song is good. It lives as a song. The worst is when you have a song and nothing is working well when you produce it. It's not like what you expect in your imagination. It's the worst because it requires a lot of work.
You'd really spend about a hundred dollars for fake testicles for your cat? I'm not sure I'd spend that for fake testicles for myself.
Because men, compared to male chimps, have such relatively small testicles (large testicles indicate a species where many males mate, one after the other, with the same female), we might guess that promiscuous societies were uncommon in the immediate human past.
My hope and my intention was that people would experience the tragedy of what Chernobyl was in every regard: a scientific tragedy, a political tragedy, an emotional and personal tragedy, all of that.
Composition is a side issue. Its role in my selection of photographs is a negative one at best. By which I mean that the fascination of a photograph is not in its eccentric composition but in what it has to say: its information content. And, on the other hand, composition always also has its own fortuitous rightness.
Good composition is like a suspension bridge; each line adds strength and takes none away... Making lines run into each other is not composition. There must be motive for the connection. Get the art of controlling the observer – that is composition.
In some exquisite critical hints on "Eurythmy," Goethe remarks, "that the best composition in pictures is that which, observing the most delicate laws of harmony, so arranges the objects that they by their position tell their own story." And the rule thus applied to composition in painting applies no less to composition in literature.
Above all else, tragedy requires the finest appreciation by the writer of cause and effect.
I have changed my definition of tragedy. I now think tragedy is not foul deeds done to a person (usually noble in some manner) but rather that tragedy is irresolvable conflict.
What I end up shooting is the situation. I shoot the composition and my subject is going to help the composition or not.
To be a good improviser, you have to study composition as a parallel. Because what improvisation is, on a high level, is spontaneous composition.
There's comedy in tragedy, and tragedy in comedy. There's always light and dark in most jobs. Whether it's framed as a comedy, drama or tragedy, you try to mix it up within that. You can work on a comedy and it's not laugh-a-minute off set. You can work on a tragedy that's absolutely hilarious.
The composition is the thing seen by everyone living in the living they are doing, they are the composing of the composition that at the time they are living is the composition of the time in which they are living.
When we look at a painting, listen to a piece of music, read a novel, or watch a movie we are taking in the artist's composition. The composition is the totality of the work.
The mark of a good marriage is partnership and continuing to feel inspired by your spouse. I had that with Tao. But the end is not necessarily the tragedy. Staying in a relationship that is no longer working is the tragedy. Living unhappily - that's the tragedy.
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