"art"タグの名言

Criticism talks a good deal of nonsense, but even its nonsense is a useful force. It keeps the question of art before the world, insists upon its importance.

The illiterate do not write letters; they draw them.

The notion, popularized by classicist and romanticist critics alike, of the Attic theatre as the perfect example of a national theatre, and of its audiences as realizing the ideal of a whole people united in support of art, is a falsification of historical truth.33 The festival theatre of Athenian democracy was certainly no ‘people’s theatre’ —the German classical and romantic theorists could only represent it as such, because they conceived the theatre to be an educational institution. The true ‘people’s theatre’ of ancient times was the mime, which received no subvention from the state, in consequence did not have to take instructions from above, and so worked out its artistic principles simply and solely from its own immediate experience with the audiences. It offered its public not artistically constructed dramas of tragi-heroic manners and noble or even sublime personages, but short, sketchy, naturalistic scenes with subjects and persons drawn from the most trivial, everyday life. Here at last we have to do with an art which has been created not merely for the people but also in a sense by the people. Mimers may have been professional actors, but they remained popular and had nothing to do with the educated élite, at least until the mime came into fashion. They came from the people, shared their taste and drew upon their common sense. They wanted neither to educate nor to instruct, but to entertain their audience. This unpretentious, naturalistic, popular theatre was the product of a much longer and more continuous development, and had to its credit a much richer and more varied output than the official classical theatre; unfortunately, this output has been almost completely lost to us. Had these plays been preserved, we should certainly take quite a different view of Greek literature and probably of the whole of Greek culture from that taken now. The mime is not merely much older than tragedy; it is probably prehistoric in origin and directly connected with the symbolic-magical dances, vegetation rites, hunting magic, and the cult of the dead. Tragedy originates in the dithyramb, an undramatic art form, and to all appearances it got its dramatic form—involving the transformation of the performers into fictitious personages and the transposition of the epic past into present —from the mime. In tragedy, the dramatic element certainly always remained subordinate to the lyrical and didactic element; the fact that the chorus was able to survive shows that tragedy was not exclusively concerned to get dramatic effect and so was intended to serve other ends than mere entertainment.

Design came into being in 1919, when Walter Gropius founded the Bauhaus at Weimar. Part of the prospectus of this school reads: 'The function of art has in the past been given a formal importance which has severed it from our daily life; but art is always present when a people lives sincerely and health. 'Thus our job is to invest a new system of education that may lead to a complete knowledge of human needs and a universal awareness of them.' [...] What Gropius wrote is still valid. Tis first school of design did tend to make a new kind of artist, an artist useful to society because he helps society to recover its balance, and not to lurch between a false world to live one's material life in and and ideal world to take moral revenge in.

Faced with the unfamiliar, we the public have been trained to rely on museums, like schools, to serve up art and culture like pieces of pie: little wedges of esthetics, criticism, politics and history.

It was music first of all that brought us together. Without being professionals or virtuosos, we were all passionate lovers of music; but Serge dreamed of devoting himself entirely to the art. All the time he was studying law along with us, he took singing lessons with Cotogni, the famous baritone of the Italian Opera; while for musical theory, which he wanted to master completely so as to rival Moussorgsky and Tchaikovsky, he went to the very source and studied with Rimsky-Korsakov. However, our musical tastes were not always the same. The quality our group valued most was what the Germans call Stimmung, and besides this, the power of suggestion and dramatic force. The Bach of the Passions, Gluck, Schubert, Wagner and the Russian composers – Borodin in ‘Prince Igor’, Rimsky and, above all, Tchaikovsky, were our gods. Tchaikovsky’s ‘Queen of Spades’ had just been performed for the first time at the Opera of St Petersburg, and we were ecstatic about its Hoffmannesque element, notably the scene in the old Countess’s bedroom. We liked the composer’s famous Romances much less, finding them insipid and sometimes trivial. These Romances, however, were just what Diaghilev liked. What he valued most was broad melody, and in particular whatever gave a singer the chance to display the sensuous qualities of his voice. During the years of his apprenticeship he bore our criticisms and jokes with resignation, but as he learned more about music – and about the history of art in general – he gained in self-confidence and found reasons to justify his predilections. There came a time when not only did he dare to withstand our attacks but went on to refute our arguments fiercely.

Education consists primarily in perfecting the art/science of connecting apparently disparate dots.

Watch movies. Read screenplays. Let them be your guide. […] Yes, McKee has been able to break down how the popular screenplay has worked. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars. But for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is no book on screenwriting. The best seminar is no seminar at all. To me, the writer wants to get as many outside voices OUT of his/her head as possible. Experts win by getting us to be dependent on their view of the world. They win when they get to frame the discussion, when they get to tell you there’s a right way and a wrong way to think about the game, whatever the game is. Because that makes you dependent on them. If they have the secret rules, then you need them if you want to get ahead. The truth is, you don’t. If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky’s screenplay for Network. Read it. Then watch the movie. Then read it again. If you love and want to make big blockbusters that also have great artistic merit, do the same thing with Lawrence Kasdan’s Raiders Of The Lost Ark screenplay and the movie made from it. Think about how the screenplays made you feel. And how the movies built from these screenplays did or didn’t hit you the same way. […] This sounds basic, right? That’s because it is basic. And it’s true. All the information you need is the movies and screenplays you love. And in the books you’ve read and the relationships you’ve had and your ability to use those things.

Teaching mathematics, like teaching any art, requires the ability to inspire the student. Inspiration requires marketing, and marketing requires stirring communication.

We are capable of learning any art.

There is a miracle in your mess, don't let the mess make you miss the miracle.

God is not interested in helping you finding out why you are in a mess, He is interested in fixing it.

God always sees me with no make-ups on because He knew how we started.

It’s when your plans look dead that God’s resurrection power begins to operate in your life in greater measure

Sometimes what not to do is more important than what to do. Sometimes when you are in crisis, when frustration are high or when you are under pressure, what you don't do is more important than what you do. Don't be afraid. ....

I am a bit old fashion but I believe in prayer, I believe prayer can move mountain. Prayer might not be our responsibility but it is a good starting place. It can give us heaven's prospectives on human problems. I know we need to do a bit more than pray but that doesn't mean we don't need to pray.

I do not have any trust fund, I have always trusted God for all my funds.

If you never listen, you can't see. The devil has got so many people so disconnected that they cannot even listen or even sense when the Lord is speaking.

Christians we cannot be allowed to be fractured at a time like this. There are more of us, there are more of light in us than in the agents of darkness.

I have the word of God and my bible is very interesting, this book was conceived in battle, Jesus Christ our Saviour was conceived in brokenness, out of barenness to redeem a people who were in bondage to their sin. I know exactly where to go when the people start getting confused, trading lies for truth, buying injustice for justice and even when the media starts to show me the prospectives of the world that I am living in, I have my prospective from the word of God.