Your audience gives you everything you need. They tell you. There is no director who can direct you like an audience. You step out on the stage and you can feel it is a nervous audience. So you calm them down. I come out before an audience and maybe my house burned down an hour ago, maybe my husband stayed out all night, but I stand there. I'm still. I don't move. I wait for the introduction. Maybe I cough. Maybe I touch myself. But before I do anything, I got them with me, right there in my hand and comfortable. That's my job, to make them comfortable, because if they wanted to be nervous they could have stayed home and added up their bills.
Fanny BriceRelated topics
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At a very early stage I realised that it's a real problem to perform electronic music on stage because electronic instruments are not particularly convincing on a visual point of view: somebody behind his computer, it's not particularly visual. So I was inspired by the opera. And what was the opera in the 19th century? It was the idea for a musician to join and to work, to collaborate with a stage director, with carpenters, painters, people doing decors, graphic artists to have a visual prolongation, a visual correspondence to their work. That's what I tried to do with the tools of my generation: electronics and video and lights and all that.
Jean-Michel Jarre
This is the kingdom of the chemical elements, the substances from which everything tangible is made. It is not an extensive country, for it consists of only a hundred or so regions (as we shall often term the elements), yet it accounts for everything material in our actual world. From the hundred elements that are at the center of our story, all planets, rocks, vegetation, and animals are made. These elements are the basis of the air, the oceans, and the Earth itself. We stand on the elements, we eat the elements, we are the elements. Because our brains are made up of elements, even our opinions are, in a sense, properties of the elements and hence inhabitants of the kingdom.
Peter Atkins
Don't you drink I notice you speak slightingly of the bottle. I have drunk since I was fifteen and few things have given me more pleasure. When you work hard all day with your head and know you must work again the next day what else can change your ideas and make them run on a different plane like whisky When you are cold and wet what else can warm you Before an attack who can say anything that gives you the momentary well-being that rum does The only time it isn't good for you is when you write or when you fight. You have to do that cold. But it always helps my shooting. Modern life, too, is often a mechanical oppression and liquor is the only mechanical relief.
Ernest Hemingway
Hence the ancient architects, following in the footsteps of nature, perfected the ascending rows of seats in theatres from their investigations of the ascending voice, and by means of the canonical theory of the mathematicians and that of the musicians, endeavoured to make every voice uttered on the stage come with greater clearness and sweetness to the ears of the audience. For just as musical instruments are brought to perfection of clearness in the sound of their strings by means of bronze plates or horn, so the ancients devised methods of increasing the power of the voice in theatres through the application of harmonics.
Vitruvius
The main development I want to discuss has already occurred: Keynesian economics is dead [maybe ‘disappeared' is a better term]. I don't know exactly when this happened but it is true today and it wasn't true two years ago. This is a sociological not an economic observation, so the evidence for it is sociological. For example, you cannot find a good, under 40 economist who identifies himself and his work as ‘Keynesian'. Indeed, people even take offense if referred to in this way. At research seminars, people don't take Keynesian theorizing seriously any more-the audience starts to whisper and giggle to one another. Leading journals aren't getting Keynesian papers submitted any more.
Robert Lucas, Jr.