Tragedy, for me, is not a conflict between right and wrong, but between two different kinds of right.
Peter ShafferRead
Things rust, you know, like the heart. My cardiologist said, 'It's a pump; use it - that's the sole advice I've got to give you.' It's the same in playwriting. Don't theorise about it. Do it.
Interpretation
Creativity and passion require action rather than overthinking.
Peter Shaffer emphasizes that just as physical things can deteriorate without use, so too can talents and passions fade if they are not actively engaged. His cardiologist's advice serves as a metaphor for creative pursuits: to not dwell too much on theory but to actively create and express oneself through art.
In practice
In a workshop on creativity, I quoted Peter Shaffer to inspire participants to take action in their projects.
Tragedy, for me, is not a conflict between right and wrong, but between two different kinds of right.
I discover what I mean as I write. That can be both terrifically exciting and very dangerous, because when you look at your words later, you wonder, 'Did I really mean that, or am I just making verbal patterns?'
Rehearsing a play is making the word flesh. Publishing a play is reversing the process.
The Normal is the good smile in a child’s eyes - all right. It is also the dead stare in a million adults.
Genius creates, and taste preserves. Taste is the good sense of genius; without taste, genius is only sublime folly.
Your job is to get your audience to care about your obsessions.
I find it strangely beautiful that the camera with its inherent clarity of object and detail can produce images that in spite of themselves offer possibilities to be more than they are a photograph of nothing very important at all, nothing but an intuition, a response, a twitch from the photographer’s experience.
For the creation of a masterwork of literature two powers must concur, the power of the man and the power of the moment, and the man is not enough without the moment.
The way a small child might dream of visiting Disneyland, I dreamed of writing books. Never did I think my poems would become that.
I began to exercise a lot of cinematic muscle with the precepts I had learned in the New York art world. Film was intriguing. I began to think of art as elitist; film was not.
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