Maria had a way of even transforming her body for the exigencies of a role, which is a great triumph. In La traviata, everything would slope down; everything indicated sickness, fatigue, softness. Her arms would move as if they had no bones, like the great ballerinas. In Medea, everything was angular. She’d never make a soft gesture; even the walk she used was like a tiger’s walk.
--
Nicola Rescigno in Callas, A Documentary (1978), Extra Features, by John Ardoin, Bel Canto Society DVD, BCS-D0194Maria Callas
You can’t make a sculpture, in my opinion, without involving your body. You move and you feel and you breathe and you touch. The spectator is the same. His body is involved too. If it’s a sculpture he has to first of all sense gravity. He’s got two feet. Then he must walk and move and use his eyes and this is a great involvement. Then if a form goes in like that – what are those holes for? One is physically involved and this is sculpture. It’s not architecture. It’s rhythm and dance and everything. It’s do with swimming and movement and air and sea and all our well-being… …Sculpture is involved in the body living in the spirit or the spirit living in the body, whichever way you like to put it.
Barbara Hepworth
The object of walking is to relax the mind. You should therefore not permit yourself even to think while you walk; but divert your attention by the objects surrounding you. Walking is the best possible exercise. Habituate yourself to walk very far. The Europeans value themselves on having subdued the horse to the uses of man; but I doubt whether we have not lost more than we have gained, by the use of this animal. No one has occasioned so much, the degeneracy of the human body. An Indian goes on foot nearly as far in a day, for a long journey, as an enfeebled white does on his horse; and he will tire the best horses. There is no habit you will value so much as that of walking far without fatigue.
Thomas Jefferson
To work with her, you had to really understand how she saw your role, not how you saw it. She had a very clear-cut understanding of her role, and you had to fit into that interpretation. She was so great, [yet] she could not distance herself from a role. It was actually quite terrifying — she would at times actually cry while singing! You must only portray the emotions, not become personally involved. But Maria always became the role. She was such a servant of the text and the composer, she would tear her voice to ribbons to accomplish it!
Maria Callas
Walk on, walk on
What you got they can't steal it
No they can't even feel it
Walk on, walk on...
Stay safe tonight.Larry Mullen
Walk on, walk on
What you got they can't steal it
No they can't even feel it
Walk on, walk on...
Stay safe tonight.Bono
Callas, Maria
Callender, James T.
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z