“If ever there was theatre, it is saying sir.”
Christopher Grantham, The Ancient Felonie. (1618)
Priscilla Fanning, ed., Fragments From the Jacobean Stage.
When a pose—a pretense—is indulged for too long, then what will follow?
Hilbert Kaasa, Designing Arguments.
At least a gallery full of modernist art doesn’t ask that much of you. Like time, for instance.
Rollo Marquardt, Dwelling in the Cupcake World.
More exercises for actors:
—Pretend that you are not mistaken
—Think like a dog
—Sing the Gettysburg Address aloud, in falsetto
—Sound almost convincing (but not quite)
—Weep
James Clymbie, How To Achieve Authenticity.
Just because we cannot specify our dishonesty [in a particular case] does not mean that we were not being dishonest.
Desmond W. Foote, More Pedestrian Observations.
“That, I believe, is called shallowness,” hissed Andrew. “And it is widely worshipped.”
Brock Keefle, Truthful Tom.
Anna just assumed that she sounded collected and reasonable. But it was whining, pure and simple.
Sebastian Sleeve, The Random Walk and Other Tales.
Tavinger found himself wishing for “better enemies”.
Christina Rubb, The Awful Puzzle.
603. How do we prevent the future?
Otis Oswald, 900 Delphic Questions.
…the quest—very much alive in the nineteenth century—for a primeval language. For the source of all subsequent tongues, with all their ineptitude and smudges and imperfections. The desire for one pure language….
Hildegard Spengler, Asymptotic Processes in History.
