Christianity remains to this day the greatest misfortune of humanity.
Friedrich NietzscheRead
In song and dance, man forgets how to walk and speak and is on the way into flying into the air, dancing... his very gestures express enchantment.
Interpretation
The quote highlights how artistic expression through song and dance allows humans to transcend ordinary experiences.
Friedrich Nietzsche emphasizes the transformative power of art, specifically song and dance, in enabling individuals to lose themselves in creativity. In moments of artistic expression, the constraints of language and physical limitations fade away, allowing for a feeling of flight and enchantment, as the body communicates deeper emotions that words often fail to capture.
In practice
In a speech about the power of art in education, one might quote Nietzsche to illustrate how creative activities can help students express themselves.
Christianity remains to this day the greatest misfortune of humanity.
That which does not kill us makes us stronger.
Hope in reality is the worst of all evils because it prolongs the torments of man.
Watch them clamber, these swift monkeys! They clamber over one another and thus drag one another into the mud and the depth. They all want to get to the throne: that is their madness β as if happiness sat on the throne. Often, mud sits on the throne β and often the throne also on mud. Mad they all appear to me, clambering monkeys and overardent. Foul smells their idol, the cold monster: foul, they smell to me altogether, these idolators.
Reason is the cause of our falsification of the evidence of the senses. In so far as the senses show becoming, passing away, change, they do not lie.
The anarchist and the Christian have a common origin.
Realism should only be the means of expression of religious genius... or, at the other extreme, the artistic expressions of monkeys which are quite satisfied with mere imitation. In fact, art is never realistic though sometimes it is tempted to be. To be really realistic a description would have to be endless.
I'm a great audience. I cry very easily. I suspend disbelief in two seconds.
I am writing for myself and strangers. This is the only way that I can do it.
Architecture should speak of its time and place, but yearn for timelessness.
Every play is rhythmic control. If you want an audience to go on a journey, it's rhythmic control. You're crafting when they lean in, when they push back, when they breathe, when they surrender.
I alter some things, eliminate and try again until I am satisfied. Then begins the mental working out of this material in its breadth, its narrowness, its height and depth.
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