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S. I. Hayakawa

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In the case of drama (stage, movies, television ), there appear to be people in almost every audience who never quite fully realize that a play is a set of fictional, symbolic representations. An actor is one who symbolizes other people, real or imagined. [...] Also some years ago it was reported that when Edward G. Robinson, who used to play gangster roles with extraordinary vividness, visited Chicago, local hoodlums would telephone him at his hotel to pay their professional respects. (p.27-28)

 
S. I. Hayakawa

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... administration is not unlike play-acting. The task of the good actor is to know and play his role, although different roles may differ greatly in content. The effectiveness of the performance will depend on the effectiveness of the play and the effectiveness with which it is played. The effectiveness of the administrative process will vary with the effectiveness of the organization and the effectiveness with which its members play their parts.

 
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I'm really lucky that I've got open-minded people out there who listen and come check out my gig. I wish the people in the audience would realize that they have so much more power than they think they have. They think it's just lights and smoke hypnotizing everybody, but really, the guy on that stage doesn't have the world by the balls or the tail — he's there by the audience's whim, they have the power. They put him there, they can take him out. I wish they'd realize that they have a low esteem, confidence problem about that. They think its all being run by marionette people — but only if they let that happen.

 
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"I suppose he had the good luck to be executed, no? I had an hour's chat with him in Buenos Aires. He struck me as a kind of play actor, no? Living up to a certain role. I mean, being a professional Andalusian... But in the case of Lorca, it was very strange because I lived in Andalusia and the Andalusians aren't a bit like that. His were stage Andalusians. Maybe he thought that in Buenos Aires he had to live up to that character, but in Andalusia, people are not like that. In fact, if you are in Andalusia, if you are talking to a man of letters and you speak to him about bullfights, he'll say, 'Oh well, that sort of this pleases people, I suppose, but really the torero works in no danger whatsoever. Because they are bored by these things, because every writer is bored by the local color in his own country. Well, when I met Lorca, he was being a professional Andalusian... Besides, Lorca wanted to astonish us. He said to me that he was very troubled about a very important figure in the contemporary world. A character in whom he could see all the tragedy of American life. And then he went on in this way until I asked him who was this character and it turned out this character was Mickey Mouse. I suppose he was trying to be clever. And I thought, 'That's the kind of thing you say when you are very, very young and you want to astonish somebody.' But after all, he was a grown man, he had no need, he could have talked in a different way. But when he started in about Mickey Mouse being a symbol of America, there was a friend of mine there and he looked at me and I looked at him and we both walked away because we were too old for that kind of game, no? Even at that time."

 
Jorge Luis Borges
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