I learned that there were two ways I could live my life: following my dreams or doing something else. Dreams aren't a matter of chance, but a matter of choice. When I dream, I believe I am rehearsing my future.
David CopperfieldRead
It is the unspoken ethic of all magicians to not reveal the secrets.
Interpretation
Magicians hold a code of secrecy about their tricks and illusions.
This quote emphasizes the ethical obligation that magicians hold to keep their methods and secrets hidden from the audience. This preservation of mystery not only protects their craft but also enhances the experience of wonder and amazement for those who witness their performances.
In practice
In a talk about maintaining artistic integrity, one might quote this to illustrate the importance of mystery in performance art.
I learned that there were two ways I could live my life: following my dreams or doing something else. Dreams aren't a matter of chance, but a matter of choice. When I dream, I believe I am rehearsing my future.
What I've tried to do in my stage magic is to take a trick and give it an emotional hook.
It wasn't just about doing tricks. It's about taking an audience to another place, a special place, so they can really suspend their disbelief. Its about amazing the audience as well as moving them.
I try to help people realize their dreams by using magic to tell stories that educate, move, and inspire.
The real secret of magic lies in the performance.
They ... asked me: 'How do you make your pictures?' I was puzzled ... I said, I don't know, it's not important.
It's simple: You get a part. You play a part. You play it well. You do your work and you go home. And what is wonderful about movies is that once they're done, they belong to the people. Once you make it, it's what they see. That's where my head is at.
A grain of poetry suffices to season a century.
Dance design is not simply one element; it is that without which ballet cannot exist. As aria is to opera, words to poetry, color to painting, so sequence in steps - their syntax, idiom, vocabulary - are the stuff of stage dancing.
My photographs are proof of what happened. When I go to Russia, sometimes I meet ex-soldiers... They say, 'We came to liberate you....' I say: 'Listen, I think it was quite different. I saw people being killed.' They say: 'No. We never... no shooting. No. No.' So I can show them my Prague 1968 photographs and say, 'Listen, these are my pictures. I was there.' And they have to believe me.
There's this existential argument that comes in, at some point, when you're over-thinking the songwriting process. There's no guarantee that the more time you spend or the more you concentrate on certain aspects that that's going to produce a better result, especially in the arts.
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