Pastoral Resources

I sailed through my childhood with a complete lack of any drama.

If Attila the Hun were alive today, he'd be a drama critic.

To try to write a grand cosmical drama leads necessarily to myth. To try to let knowledge substitute ignorance in increasingly larger regions of space and time is science.

Comedy just pokes at problems, rarely confronts them squarely. Drama is like a plate of meat and potatoes, comedy is rather the dessert, a bit like meringue.

What allows us, as human beings, to psychologically survive life on earth, with all of its pain, drama, and challenges, is a sense of purpose and meaning.

I have yet to see a drama that puts forward women who are successful and have a family. Women are nearly always seen as victims.

The drama of life begins with a wail and ends with a sigh.

It's a lot of work and I also feel like I've done it. I miss comedy. And I also think that, from purely a logistical standpoint, that the day-to-day schedule on a comedy allows you to have a life, much more of a life, than on a drama.

I want to continue doing as big a variety of things as I can do, and if that means I have the honor of getting to do more feature work, I would love that. I know that if I make any other long-term TV commitments, it's not going to be on a drama.

An actor who is good at comedy can also be very good at drama, but not necessarily vice versa.

These wrestlers aren't organized. They have no union, no pension and no insurance. You meet wrestler after wrestler who sold out Madison Square Garden ten years ago, basically running on fumes today. There's a lot of drama there.

Nature is my springboard. From her I get my initial impetus. I have tried to relate the visible drama of mountains, trees, and bleached fields with the fantasy of wind blowing and changing colors and forms.

Most drama in our lives is really rather squalid.

But what is drama? Broadly speaking, it is whatever by imitative action rouses interest or gives pleasure.

Acted drama requires surrender of one's self, sympathetic absorption in the play as it develops.

Back through the ages of barbarism and civilization, in all tongues, we find this instinctive pleasure in the imitative action that is the very essence of all drama.

Sensitive, responsive, eagerly welcomed everywhere, the drama, holding the mirror up to nature, by laughter and by tears reveals to mankind the world of men.

In all the great periods of the drama perfect freedom of choice and subject, perfect freedom of individual treatment, and an audience eager to give itself to sympathetic listening, even if instruction be involved, have brought the great results.

No drama, however great, is entirely independent of the stage on which it is given.

When the drama attains a characterization which makes the play a revelation of human conduct and a dialogue which characterizes yet pleases for itself, we reach dramatic literature.