Was it always my nature to take a bad time and block out the good times, until any success became an accident and failure seemed the only truth?
Lillian HellmanRead
Failure in the theater is more dramatic and uglier than any other form of writing. It costs so much, you feel so guilty.
Interpretation
The stakes of failure in theater are high, leaving a lasting impact on those involved.
In this quote, Lillian Hellman highlights the unique pressures and emotional toll that come with failures in theater as opposed to other forms of writing. The significant financial investment and the intense emotional connection to the performance amplify feelings of guilt and disappointment, making theatrical failure particularly dramatic and painful.
In practice
During a theater workshop, an instructor might use this quote to illustrate the importance of accepting failure as part of the creative process.
Was it always my nature to take a bad time and block out the good times, until any success became an accident and failure seemed the only truth?
If I had to give young writers advice, I would say don't listen to writers talking about writing or themselves.
It is best to act with confidence, no matter how little right you have to it.
If you believe, as the Greeks did, that man is at the mercy of the gods, then you write tragedy. The end is inevitable from the beginning. But if you believe that man can solve his own problems and is at nobody's mercy, then you will probably write melodrama.
Nobody knows what you want except you. And nobody will be as sorry as you if you don't get it. Wanting some other way to live is proof enough of deserving it. Having it is hard work, but not having it is sheer hell.
It is not good to see people who have been pretending strength all their lives lose it even for a minute.
No matter how happy or hopeful I am, I always tend to drift back to that. It's underneath all the music I've ever written... An artist is trying to tell you how he's feeling. And if that accidentally becomes entertaining, it becomes a career.
Whether it's a very dramatic part or a comical role, I feel I need to create the same thing: a full-fledged, three-dimensional character that the audience can identify with.
A dead hydrangea is as intricate and lovely as one in bloom. Bleak sky is as seductive as sunshine, miniature orange trees without blossom or fruit are not defective; they are that.
There's a certain grain of stupidity that the writer of fiction can hardly do without, and this is the quality of having to stare, of not getting the point at once. The longer you look at one object, the more of the world you see in it; and it's well to remember that the serious fiction writer always writes about the whole world.
If I'm honest I have to tell you I still read fairy-tales and I like them best of all.
As long as we are engaged in storytelling that moves the culture forward, it doesn't matter what format it is.
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