We must learn to die, and to die in the fullest sense of the word. The fear of the end is the source of all lovelessness
Richard WagnerRead
I can't distract myself enough here, for sketches to a new opera are constantly buzzing around in my head, to the extent that I need all my strength to wrest myself from them.
Interpretation
The quote reflects the struggle of an artist to focus on the present while being overwhelmed by creative ideas.
Richard Wagner expresses the profound challenge that artists often face: the constant stream of creative thoughts and inspirations can be both a blessing and a distraction. In this quote, he reveals how the sketches for a new opera are incessantly occupying his mind, making it difficult for him to concentrate on anything else. This highlights the relentless nature of creativity and the inner conflict between the desire to create and the need for focus.
In practice
The quote can be used in a speech about the challenges of artistic creation.
We must learn to die, and to die in the fullest sense of the word. The fear of the end is the source of all lovelessness
The oldest, truest, most beautiful organ of music, the origin to which alone our music owes its being, is the human voice.
Here, everything is tragic through and through, and the will, that fain would shape a world according to its wish, at last can reach no greater satisfaction than the breaking of itself in dignified annulment.
Everything lives and lasts by the inner necessity of its being, by its own nature's need.
One might say that where Religion becomes artificial, it is reserved for Art to save the spirit of religion.
I believe in God, Mozart and Beethoven, and likewise their disciples and apostles; - I believe in the Holy Spirit and the truth of the one, indivisible Art; - I believe that this Art proceeds from God, and lives within the hearts of all illumined men.
Nothing convinces an artist more of the arbitrariness of the means to which he resorts to attain a goal - however permanent it may be - than the creative process itself, the process of composition.
Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.
Television shows are not like cars or operating systems, and they are not best made by engineers or coders in the same assembly line manner as consumer products which need to be of uniform size, shape, and quality.
The worst thing you can do is censor yourself as the pencil hits the paper. You must not edit until you get it all on paper. If you can put everything down, stream-of-consciousness, you'll do yourself a service.
The purpose of writing is both to keep up with life and to run ahead of it. I am little comfort to myself, although I am the only comfort I have, excepting perhaps streets, clouds, the sun, the faces and voices of kids and the aged, and similar accidents of beauty, innocence, truth and loneliness.
I've often been accused of, 'Oh the movies looked good but there's no story,' but I disagree with that in theory, and '9' is a perfect example for me because the feel, the texture, and the look of that world, and those characters, is the story. That's a major component of why you feel the way you do when you're watching it.
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