Fierce and pure, I was the theater of a fairyland restored to life."'
Jean Genet
The peak of my school experience of Shakespeare came in my senior matriculation year; the set play was "A Midsummer Night's Dream", and it was taught by a solemn donkey who understood nothing but the political organization of fairyland. I well remember him dictating a long note which began, "The fairies live in fairyland full stop. They have a king comma and a queen."
Robertson Davies
The theater-goer in conventional dramatic theater says: Yes, I've felt that way, too. That's the way I am. That's life. That's the way it will always be. The suffering of this or that person grips me because there is no escape for him. That's great art — Everything is self-evident. I am made to cry with those who cry, and laugh with those who laugh. But the theater-goer in the epic theater says: I would never have thought that. You can't do that. That's very strange, practically unbelievable. That has to stop. The suffering of this or that person grips me because there is an escape for him. That's great art — nothing is self-evident. I am made to laugh about those who cry, and cry about those who laugh.
Bertolt Brecht
Parents always live a less pure life than their children, because they condone everything they do. The ability to condone everything in oneself but practically nothing in one's children is the boon that "experience" bestows on humanity. What parents call experience is really nothing but attempts, successful to the point of sheer cynicism, to belie everything which they found pure, true and right when they were young. They themselves don't notice the awful cynicism behind this incessant talk of "experience" being the highest aim in life: they only notice "inexperience" in their children, that is, the form of inexperience called purity and integrity, and then they get annoyed.
Stig Dagerman
Diamond, however, had not been out so late before in all his life, and things looked so strange about him! — just as if he had got into Fairyland, of which he knew quite as much as anybody; for his mother had no money to buy books to set him wrong on the subject.
George MacDonald
It is not enough to demand insight and informative images of reality from the theater. Our theater must stimulate a desire for understanding, a delight in changing reality. Our audience must experience not only the ways to free Prometheus, but be schooled in the very desire to free him. Theater must teach all the pleasures and joys of discovery, all the feelings of triumph associated with liberation.
Bertolt Brecht
Genet, Jean
Gennes, Pierre-Gilles de
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