A Quote by Jean Cocteau
Inspiration arrived as a result of profound indolence... I awoke with a start and witnessed as from a seat in a theatre, three acts of a potentially awesome play.
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Alas! I do not believe that inspiration falls from heaven. think it rather the result of a profound indolence.
I have witnessed and greatly enjoyed the first act of everything which Wagner created, but the effect on me has always been so powerful that one act was quite sufficient; whenever I have witnessed two acts I have gone away physically exhausted; and whenever I have ventured an entire opera the result has been the next thing to suicide.
Out of my entire annual output of songs, perhaps two, or at the most three, came as a result of inspiration. We can never rely on inspiration. When we most want it, it does not come.
When in doubt, the rule of threes is a rule that plays well with all of storytelling. When describing a thing? No more than three details. A character's arc? Three beats. A story? Three acts. An act? Three sequences. A plot point culminating in a mystery of a twist? At least three mentions throughout the tale. This is an old rule, and a good one. It's not universal - but it's a good place to start.
Grace. Loss. Fortune. Hardship. Victory. Sometimes the worst seat is best seat in the house and it comes as a result of leading.
Like any of life's refining fires, cancer is a potentially profound learning experience. So what did I learn? I learned that profound learning experiences are vastly overrated.
I appear African-American, so it's not until I start talking that people go, 'Hold on, there's something not right here.' But it's an awesome conversation starter. I open my mouth, they get curious, and I say, 'Got a few minutes? Have a seat.'
The theatre at my school was awesome. It was a 1,400-seat auditorium, so, being in that auditorium at 17, and having, like, 1,400 people cheer for you was, like, one of the most amazing feelings that I've ever felt, energy-wise. It just felt right.
The 16th-century theatre witnessed the particularly English manifestation of 'the history play.' There can be no doubt that Shakespeare's presentations of 'Henry V' and 'Richard III' have been incalculably more influential than any more sober historical study.
There's a rule in acting called, 'Don't play the result.' If you have a character who's going to end up in a certain place, don't play that until you get there. Play each scene and each beat as it comes. And that's what you do in life: You don't play the result.
Theatre has always been my passion. It never happened to me that theatre took a back seat in my life. I have never stopped doing it even after joining the film industry, and I intend to perform it lifelong.
I've witnessed the survival of the theatre several times when it was meant to be dying.
Then Bono arrived, and he meant to play the guitar, but he couldn't play very well, so he started to sing. He couldn't do that either. But he was such a charismatic character that he was in the band anyway, as soon as he arrived. I was in charge for the first five minutes, but as soon as Bono got there, I was out of a job.
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.
You need three things in the theatre - the play, the actors and the audience, and each must give something.
In my dreams is a country where the State is the Church and the Church the people: three in one and one in three. It is a commonwealth in which work is play and play is life: three in one and one in three. It is a temple in which the priest is the worshiper and the worshiper the worshipped: three in one and one in three. It is a godhead in which all life is human and all humanity divine: three in one and one in three.
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