A good performance, like a human life, is a temporal affair--a process in time. It is good as a whole through being good in its pa...rts, and through their good order to one another. It cannot be called good as a whole until it is finished. During the process all we can say of it, if we speak precisely, is that it is becoming good. The same is true of a whole human life. Just as the whole performance never exists at any one time, but is a process of becoming, so a human life is also a performance in time and a process of becoming. And just as the goodness that attaches to the performance as a whole does not attach to any of its parts, so the goodness of a human life as a whole belongs to it alone, and not to any of its parts or phases.LESSATTRIBUTION DETAIL »
Art to me was a state, it didn't need to be an accomplishment. By any of the standards of production, achievement, performance, I ...was not an artist. But I always thought of myself as one.LESSATTRIBUTION DETAIL »
What the statesman is most anxious to produce is a certain moral character in his fellow citizens, namely a disposition to virtue ...and the performance of virtuous actions.LESSATTRIBUTION DETAIL »
"Theater of cruelty" means a theater difficult and cruel for myself first of all. And, on the level of performance, it is not the ...cruelty we can exercise upon each other by hacking at each other's bodies, carving up our personal anatomies, or, like Assyrian emperors, sending parcels of human ears, noses, or neatly detached nostrils through the mail, but the much more terrible and necessary cruelty which things can exercise against us. We are not free. And the sky can still fall on our heads. And the theater has been created to teach us that first of all.LESSATTRIBUTION DETAIL »
Analogies between the stage and the screen assume that they deal with the same material. But they don't. The material of the scree...n is not actual objects but images fixed on the film. And the very fact that they have their being on film endows these images with properties which are never found in actual objects. For instance, on the stage the actor moves in real space and time. He cannot even cross the room without performing a definite number of movements. On the screen an action may be shown only in terminal points with all its intervening moments left out. Similarly, in watching a performance on the stage the spectator is governed by the actual conditions of space and time. Not so in the case of the movie spectator. Thanks to the moving camera he is able to view the scene from all kinds of angles, leaping from a long-distance view to a close-range inspection of every detail. It is obvious that with this extraordinary power of handling space and time--by elimination and emphasis, according to its dramatic needs--the motion picture can never be content with modeling itself after the stage.LESSATTRIBUTION DETAIL »
There are people who think that wrestling is an ignoble sport. Wrestling is not sport, it is a spectacle, and it is no more ignobl...e to attend a wrestled performance of suffering than a performance of the sorrows of Arnolphe or Andromaque.LESSATTRIBUTION DETAIL »
The Yuppies are not defectors from revolt, they are a new race, assured, amnestied, exculpated, moving with ease in the world of p...erformance, mentally indifferent to any objective other than that of change and advertising.LESSATTRIBUTION DETAIL »
The way to go to the circus, however, is with someone who has seen perhaps one theatrical performance before in his life and that ...in the High School hall.... The scales of sophistication are struck from your eyes and you see in the circus a gathering of men and women who are able to do things as a matter of course which you couldn't do if your life depended on it.LESSATTRIBUTION DETAIL »
The artistic performance of a stage actor is definitely presented to the public by the actor in person; that of the screen actor, ...however, is presented by a camera, with a twofold consequence. The camera that presents the performance of the film actor to the public need not respect the performance as an integral whole. Guided by the cameraman, the camera continually changes its position with respect to the performance. The sequence of positional views which the editor composes from the material supplied him constitutes the completed film. It comprises certain factors of movement which are in reality those of the camera, not to mention special camera angles, close-ups, etc.... Also, the film actor lacks the opportunity of the stage actor to adjust to the audience during his performance, since he does not present his performance to the audience in person. This permits the audience to take the position of a critic, without experiencing any personal contact with the actor. The audience's identification with the actor is really an identification with the camera.LESSATTRIBUTION DETAIL »