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Antonin Artaud

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Tragedy on the stage is no longer enough for me, I shall bring it into my own life.
--
Quoted in the memoirs of Jean-Louis Barrault, The Grenier des Grands-Augustins, pt. 2, Memories for Tomorrow (1972, trans. 1974)

 
Antonin Artaud

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Can one be fully human without experiencing tragedy? The only tragedy there is in the world is ignorance; all evil comes from that. The only tragedy there is in the world is unwakefulness and unawareness. From them comes fear, and from fear comes comes everything else, but death is not a tragedy at all. Dying is wonderful; it's only horrible to people who have never understood life. It's only when you're afraid of life that you fear death. It's only dead people who fear death.

 
Anthony de Mello
 

Tragedy occurs when a human soul awakes and seeks, in suffering and pain, to free itself from crime, violence, infamy, even at the cost of life. The struggle is the tragedy - not defeat or death. That is why the spectacle of tragedy has always filled men, not with despair, but with a sense of hope and exaltation. (pp. 4-5)

 
Whittaker Chambers
 

The Three Stages of Cultivation — The first is the primitive stage. It is a stage of original ignorance in which a person knows nothing about the art of combat. In a fight, he simply blocks and strikes instinctively without a concern for what is right and wrong. Of course, he may not be so-called scientific, but, nevertheless, being himself, his attacks or defenses are fluid. The second stage — the stage of sophistication, or mechanical stage — begins when a person starts his training. He is taught the different ways of blocking, striking, kicking, standing, breathing, and thinking — unquestionably, he has gained the scientific knowledge of combat, but unfortunately his original self and sense of freedom are lost, and his action no longer flows by itself. His mind tends to freeze at different movements for calculations and analysis, and even worse, he might be called “intellectually bound” and maintain himself outside of the actual reality. The third stage — the stage of artlessness, or spontaneous stage — occurs when, after years of serious and hard practice, the student realizes that after all, gung fu is nothing special. And instead of trying to impose on his mind, he adjusts himself to his opponent like water pressing on an earthen wall. It flows through the slightest crack. There is nothing to try to do but try to be purposeless and formless, like water. All of his classical techniques and standard styles are minimized, if not wiped out, and nothingness prevails. He is no longer confined.

 
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The Israeli-Palestinian conflict has been a tragedy, a clash between one very powerful, very convincing, very painful claim over this land and another no less powerful, no less convincing claim. Now such a clash between right claims can be resolved in one of two manners. There's the Shakespeare tradition of resolving a tragedy with the stage hewed with dead bodies and justice of sorts prevails. But there is also the Chekhov tradition. In the conclusion of the tragedy by Chekhov, everyone is disappointed, disillusioned, embittered, heartbroken, but alive. And my colleagues and I have been working, trying...not to find the sentimental happy ending, a brotherly love, a sudden honeymoon to the Israeli-Palestinian tragedy, but a Chekhovian ending, which means clenched teeth compromise.

 
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We fatuously hoped that we might pluck from the human tragedy itself a consciousness of a common destiny which should bring its own healing, that we might extract from life’s very misfortunes a power of cooperation which should be effective against them.

 
Jane Addams
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