I believe that one of the most sound ideas in dramatic writing is that in order to create the universal, you must pay very great attention to the specific. Universality, I think, emerges from truthful identity of what is.
Existence is Identity, Consciousness is Identification.
I survived my childhood by birthing many separate identities to stand in for one another in times of great stress and fear.
I do believe that half a dozen commonplace attorneys could so mystify and misconstrue the Ten Commandments, and so confuse Moses' surroundings on Mount Sinai, that the great law-giver, if he returned to this planet, would doubt his own identity, abjure every one of his deliverances, yea, even commend the very sins he so clearly forbade his people.
Sex annihilates identity, and the space given to sex in contemporary novels is an avowal of the absence of character.
Identity is a very difficult thing in the theatre. As an actor said to me one day, 'What are we doing today?' when we were doing a workshop. And I said, 'Oh, just be yourself'. And he said to me, 'I don't know who that is, I'm an actor'. And I begin to realise in fact that we seek identity because we're told we should have one, but I wonder whether it's necessary.
The arts are part of a nation's identity, they are part of a nation's soul and when we look at a country from the eyes of people overseas they are part of a nations branding in the world as it were.
The great works belong to no one nation, no one cultural tradition even. They are universal.I want an Australian vision of arts policy that is expansive, is embracing, is not narrow, is not parochial. For example, that Australians can do Shakespeare just as well as Englishmen can because we, like every civilised nation, partake of the great canonical works. It's not about Australian nationalism; it's about our identity as a culturally ambitious, culturally sophisticated nation.
American films are the best films. This is a fact. Cinema is - along with Jazz - the great American art form. And cinema in a very real sense created the American identity that has been exported around the world.
My identity depended on men for so long. You can be successful and still have the feeling that if you're not with a man you don't exist.
The desire to work with Burrows-Charles was really to change NBC's identity, to say, "We want to be in the sophisticated-adult-comedy business."
The only thing that frees you from the need to pretend in order to make people believe you are something when you are actually not is the gospel because the gospel tells you that identity, my meaning, my security, and all of those things are in Christ.
You do need some successes as a young person. They don't inflate the ego necessarily, they just give you identity and ego structure. But, don't construct your life around creating those. Or you will become narcissistic and ego-centric. That won't get you anywhere.
I think, for some artists, the fear of taking on a political identity stems from not wanting to be pigeonholed as political actor or a political musician. It becomes this thing where somehow your art can no longer exist on its own and be multifaceted.
National identity is a motion. It's something you're inside, you don't get what's happening, you can't see it from above. And that's where you have to write. You can't see what's happening now or what's going to happen, so you just dive into it and write.
Being Nigerian is a strong part of my identity. Being American is a strong part of my identity. And there are important parts of who I am that really have nothing to do with my national connection.
A writer soon discovers he has no single identity but lives the lives of all the people he creates and his weathers are independent of the actual day around him. I live with the people I create and it has always made my essential loneliness less keen.
it matters infinitely less what we do than what we are.
Every loss recapitulates earlier losses, but every affirmation of identity echoes earlier moments of clarity.
Who you are depends on who you meet.
Identity is not found, the way Pharaoh's daughter found Moses in the bulrushes. Identity is built.
As a Black lesbian feminist comfortable with the many different ingredients of my identity, and a woman committed to racial and sexual freedom from oppression, I find I am constantly being encouraged to pluck out some one aspect of myself and present this as the meaningful whole, eclipsing or denying the other parts of self. But this is a destructive and fragmenting way to live.
I am a Black Lesbian Feminist Warrior Poet Mother, stronger for all my identities, and I am indivisible.
Like the Pentagon, our social science often reduces all phenomena to dollars and body counts. Sexuality, family unity, kinship, masculine solidarity, maternity, motivation, nurturing, all the rituals of personal identity and development, all the bonds of community, seem "sexist," "superstitious," "mystical," "inefficient," "discriminatory." And, of course, they are -- and they are also indispensable to a civilized society.
I, who so love a hermit life for a good part of the day, find myself living in public, and almost losing my identity.
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