People will always be around to tell you you're no good or you're wrong or unwise to keep doing what you want to do. They're wrong. They're always wrong. Keep going.
Elaine StritchRead
I don't know what the hell I'm doing up there half the time. These performers that go on about their technique and craft - oh, puleeze! How boring! I don't know what technique means. But I do know what experience is. I know in my gut when I've done a scene right.
Interpretation
The quote emphasizes the importance of authenticity and feeling over technical skill in performance.
Elaine Stritch's quote highlights the value of genuine experience in the art of performance, suggesting that connecting with the audience and trusting one's instincts is far more significant than adhering to technical rules or definitions. She dismisses an overemphasis on technique, indicating that true artistry comes from a deep, instinctual understanding of the craft acquired through personal experience and emotional insight.
In practice
An actor could use this quote during a workshop to inspire fellow performers to trust their instincts.
People will always be around to tell you you're no good or you're wrong or unwise to keep doing what you want to do. They're wrong. They're always wrong. Keep going.
If having a story that's compelling - you want to know what will happen - is traditional, then ultimately I am a traditionalist. That is what readers care about. It's what I care about as a reader. Now if I can have that along with a strong girding of ideas and some kind of exciting technical forays - then that is just the jackpot.
I like Wagner's music better than anybody's. It is so loud that one can talk the whole time without other people hearing what one says.
To understand bad taste one must have very good taste.
Pain s the truth of art. Art is not a hobby or a pastime. It is the result of an internal battle royal, one between the quest for safety and the desire to matter.
They arose in my mind as 'given' things, and as they came, separately, so too the links grew. An absorbing, though continually interrupted labour (especially, even apart from the necessities of life, since the mind would wing to the other pole and spread itself on the linguistics): yet always I had the sense of recording what was already 'there', somewhere: not of 'inventing'.
Because I don't play guitar any more, African harmonies and rhythms have been an inspiration to me. I love the raw origin of the sound. It complements my voice and words naturally.
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