As fascinated as I was by words on paper, it was matched by my fascination with words in people's mouths. The spoken word. And that is the world of theatre.
Athol FugardRead
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As fascinated as I was by words on paper, it was matched by my fascination with words in people's mouths. The spoken word. And that is the world of theatre.
Learn how to say no. Don't let your mouth overload your back.
I have no mouth. And I must scream.
This means that we have barely disembarked into life, that we've only just now been born, let's not fill our mouths with so many uncertain names, with so many sad labels, with so many pompous letters, with so much yours and mine, with so much signing of papers. I intend to confuse things, to unite them, make them new-born intermingle them, undress them, until the light of the world has the unity of the ocean, a generous wholeness, a fragrance alive and crackling.
My self-confidence can be measured out in teaspoons mixed into my poetry, and it still always tastes funny in my mouth.
I am deeply sensitive to the spell of nationalism. I can play about thirty Bohemian folk songs ... on my mouth-organ. My oldest friend, who is Czech and a patriot, cannot bear to hear me play them because he says I do it in such a schmalzy way, 'crying into the mouth organ'. I do not think I could have written the book on nationalism which I did write, were I not capable of crying, with the help of a little alcohol, over folk songs, which happen to be my favourite form of music.
When you think intensely and beautifully, something happens. That something is called poetry. If you think that way and speak at the same time, poetry gets in your mouth. If people hear you, it gets in their ears. If you think that way and write at the same time, then poetry gets written. But poetry exists in any case. The question is only: are you going to take part, and if so, how?
The trouble with words is that you never know whose mouths they've been in.
The word in language is half someone else’s… it exists in other people’s mouths, in other people’s contexts, serving other people’s intentions: it is from there that one must take the word, and make it one’s own.
It is impossible for an Englishman to open his mouth without making some other Englishman hate or despise him.
In short, we derive support for our preferred conclusions by listening to the words that we put in the mouths of people who have already been preselected for their willingness to say what we want to hear.
Free publicity and word of mouth is probably the best and cheapest form of advertising. Learn to use it to your advantage.
Truths cannot be acquired from words out of other people's mouths. Before Truths can be internalized, they must come from one's own realizations and practices. Through a lifetime of personal practice, human beings are capable of revealing all of the secrets of the cosmic essence. You are your own best judge.
Buddha is in our hearts. Buddha is in our mouths. Buddha is in our daily lives.
MOUTH, n. In man, the gateway to the soul; in woman, the outlet of the heart.
They will grow, deliver, and cook your food for you and (just like your mother) beg you to eat it. That they do not yet offer to insert it, pre-chewed, into your mouth is only because they have found no profitable way to do so.
Having spent so much of my life with Shakespeare’s world, passions and ideas in my head and in my mouth, he feels like a friend—someone who just went out of the room to get another bottle of wine.
I think a rotisserie is like a really morbid ferris wheel for chickens. It’s a strange piece of machinery . . . We will take the chicken, kill it, impale it, and then rotate it. And I’ll be damned if I’m not hungry! Because spinning chicken carcasses make my mouth water! I like dizzy chicken. With a side of potatoes of some sort.
Time takes a cigarette, puts it in your mouth.
Want know how I got these scars? My father was a drinker and a fiend. And one night he goes off crazier than usual. Mommy gets the kitchen knife to defend herself. He doesn't like that. Not one bit. So, me watching, he takes the knife to her, laughing while he does it. He turns to me, and he says, 'why so serious?' He comes at me with the knife. 'Why so serious?!'. He sticks the blade in my mouth. 'Let's put a smile on that face!' And why so serious?
Let me tell you what I look like: pale face, long hair, and a tiny start of a paunch. In addition, an awkward gait, and a cigar in the mouth and a pen in pocket or hand.
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