plays

It__ easier for me to make sense of it that way than it is for me to face the other way__eality. And yet, those evil spirits that were unleashed__e they fake entities from a stupid carnival ride, or cruel malevolencies from dark spiritual chasms of our universe__ave stayed with me all these years

Hamlet' dwarfs 'Hamilton' - it dwarfs pretty much everything - but there's a revealing similarity between them. Shakespeare's longest play leaves its audience in the dark about some basic and seemingly crucial facts. It's not as if the Bard forgot, in the course of all those words, to tell us whether Hamlet was crazy or only pretending: He wanted us to wonder. He forces us to work on a puzzle that has no definite answer. And this mysteriousness is one reason why we find the play irresistible. 'Hamilton' is riddled with question marks. The first act begins with a question, and so does the second. The entire relationship between Hamilton and Burr is based on a mutual and explicit lack of comprehension: 'I will never understand you,' says Hamilton, and Burr wonders, 'What it is like in his shoes?' Again and again, Lin distinguishes characters by what they wish they knew. 'What'd I miss?' asks Jefferson in the song that introduces him. 'Would that be enough?' asks Eliza in the song that defines her. 'Why do you write like you're running out of time?' asks everybody in a song that marvels at Hamilton's drive, and all but declares that there's no way to explain it. 'Hamilton', like 'Hamlet', gives an audience the chance to watch a bunch of conspicuously intelligent and well-spoken characters fill the stage with 'words, words, words,' only to discover, again and again, the limits to what they can comprehend.

It__ the remarkable thing about academics: they look at Shakespeare and always see their own faces in him.

If one good deed in all my life I did, I do repent it from my very soul.

Life is a tale, told by an idiot, full of sound and fury, signifying nothing

DYER. (Sits down) There was nothing that I recall save that the Sunne was a Round flat shining Disc and the Thunder was a Noise from a Drum or a Pan.VANNBRUGGHE. (Aside) What a Child is this! (To Dyer) These are only our Devices, and are like the Paint of our Painted Age.DYER. But in Meditation the Sunne is a vast and glorious Body, and Thunder is the most forcible and terrible Phaenomenon: it is not to be mocked, for the highest Passion is Terrour.

I fear that there will be no neat ending to this, in the manner of the old Greek plays. Where the Gods descend, and all is explained, and tidied away.

Under the greenwood tree,Who loves to lie with meAnd tune his merry note,Unto the sweet bird's throat;Come hither, come hither, come hither.Here shall he seeNo enemyBut winter and rough weather.

Poetry, plays, novels, music, they are the cry of the human spirit trying to understand itself and make sense of our world.

Here is all the invisible world, caught, defined, and calculated. In these books the Devil stands stripped of all his brute disguises. Here are all your familiar spirits-your incubi and succubi; your witches that go by land, by air, and by sea; your wizards of the night and of the day. Have no fear now-we shall find him out and I mean to crush him utterly if he has shown his face!

A Chinaman of the T'ang Dynasty__nd, by which definition, a philosopher__reamed he was a butterfly, and from that moment he was never quite sure that he was not a butterfly dreaming it was a Chinese philosopher. Envy him; in his two-fold security.

O, thou art fairer than the evening air____ Clad in the beauty of a thousand stars;____ Brighter art thou than flaming Jupiter____ When he appear'd to hapless Semele;____ More lovely than the monarch of the sky____ In wanton Arethusa's azur'd armsExcerpt From: Christopher Marlowe. __he Tragical History of Doctor Faustus

The plays should have the half-life of plutonium.

I knew exactly when the fever had struck. I had been reading Hamlet in an English class at school. Everyone else stumbled, puzzling over the strange words. Then it had been my turn, and the language had suddenly woken in me, so that my heart and lungs and tongue and throat were on fire. Later, I understood that this was why people spoke of Shakespeare as a god. At the time, I felt like weeping. Somebody had released me from dumbness, from utter isolation. I knew that I could live inside these words, that they would give me a a shape, a shell. I had no idea, then, that I would never play Hamlet_. I__ an actor, and in a good year I earn eleven thousand pounds for dressing up as a carrot.

The quality of a play is the quality of its ideas.

If you spend a hundred bucks, or more, to go to the theatre, something should happen to you. Maybe somebody should be asking you some questions about your values, or about the way you think about things. Maybe you should come out of the theatre, something haven happened to you. Maybe you should be changing, or thinking about changing. But if you just go there, and the only thing you worry about is where you left the damn car, then you wasted a hundred bucks.

If you spend a hundred bucks, or more, to go to the theatre, something should happen to you. Maybe somebody should be asking you some questions about your values, or about the way you think about things. Maybe you should come out of the theatre, something having happened to you. Maybe you should be changing, or thinking about changing. But if you just go there, and the only thing you worry about is where you left the damn car, then you wasted a hundred bucks.

To create, I destroyed myself; I made myself external to such a degree within myself that within myself I do not exist except in an external fashion. I am the living setting in which several actors make entrances, putting on several different plays.