The drama is a great revealer of life.

Rare is the human being, immature or mature, who has never felt an impulse to pretend he is some one or something else.

What then is tragedy? In the Elizabethan period it was assumed that a play ending in death was a tragedy, but in recent years we have come to understand that to live on is sometimes far more tragic than death.

The instinct to impersonate produces the actor; the desire to provide pleasure by impersonations produces the playwright; the desire to provide this pleasure with adequate characterization and dialogue memorable in itself produces dramatic literature.

But what is drama? Broadly speaking, it is whatever by imitative action rouses interest or gives pleasure.

When the drama attains a characterization which makes the play a revelation of human conduct and a dialogue which characterizes yet pleases for itself, we reach dramatic literature.

Out of the past come the standards for judging the present; standards in turn to be shaped by the practice of present-day dramatists into broader standards for the next generation.

Back through the ages of barbarism and civilization, in all tongues, we find this instinctive pleasure in the imitative action that is the very essence of all drama.

In all the great periods of the drama perfect freedom of choice and subject, perfect freedom of individual treatment, and an audience eager to give itself to sympathetic listening, even if instruction be involved, have brought the great results.

Acted drama requires surrender of one's self, sympathetic absorption in the play as it develops.

In reading plays, however, it should always be remembered that any play, however great, loses much when not seen in action.

The drama is a great revealer of life.

Sensitive, responsive, eagerly welcomed everywhere, the drama, holding the mirror up to nature, by laughter and by tears reveals to mankind the world of men.

We do not kill the drama, we do not really limit its appeal by failing to encourage the best in it; but we do thereby foster the weakest and poorest elements.

No drama, however great, is entirely independent of the stage on which it is given.

There is no essential difference between the material of comedy and tragedy. All depends on the point of view of the dramatist, which, by clever emphasis, he tries to make the point of view of his audience.

In the best farce today we start with some absurd premise as to character or situation, but if the premises be once granted we move logically enough to the ending.

Farce treats the improbable as probable, the impossible as possible.

Drama read to oneself is never drama at its best, and is not even drama as it should be.

I did radio back in the era when we did radio drama.

By obtaining a sense of its place in the unfolding drama of life, set in an ecological theatre, so we can understand why it has become one of the leading players.

I had an amazing experience working with great people. I had a great family, a typical family with drama in certain areas, and that's pretty much everywhere in everyone's life.

Comedy is so hard; it's so much harder than drama. The pacing of it, the energy of it.

I was always a drama queen. I remember playing in the kitchen, trying to get my mom to think I was dead and call the police. When she didn't, I would cry. I was always theatrical. I don't think any of my relatives are surprised.

You have to go to the ultimate situation in drama.

Any long work in which poetry is persistent, be it epic or drama or narrative, is really a succession of separate poetic experiences governed into a related whole by an energy distinct from that which evoked them.

The drama may be called that part of theatrical art which lends itself most readily to intellectual discussion: what is left is theater.

I think the American West really attracts me because it's romantic. The desert, the empty space, the drama.

For me, football is just a game, not a drama.

The more commercial work that is happening, the more people are operating cameras and are setting up studio lights, the greater the opportunity for drama production to happen.

I'm doing music, and we both want to do some drama.

Culture clash is terrific drama.

I want to do drama, light comedy, the whole range.

We respond to a drama to that extent to which it corresponds to our dreamlife.

I always feel like an interloper when I do serious drama. It's my own paranoia.

Michigan is two radically different places - the North and the South which makes for good drama and contrast.

When the time came to make a decision about what do in life, I found myself thinking that acting was the thing I loved to do, so I applied to drama school. And then, I didn't get in - twice.

When I read great literature, great drama, speeches, or sermons, I feel that the human mind has not achieved anything greater than the ability to share feelings and thoughts through language.

I didn't get along with Lindsay Lohan on 'Confessions Of A Teenage Drama Queen', but you have to consider that we were 16-year-old girls. I haven't seen Lindsay since then, but I imagine she's grown and become a different person. I know I have.

A good drama critic is one who perceives what is happening in the theatre of his time. A great drama critic also perceives what is not happening.

The Russian drama began at the end of 1991, when the Soviet Union mercifully ended. Russia and 14 other new countries emerged from the ruins of the Soviet Union. Every one of those 15 new states faced a profound historical, economic, financial, social and political challenge.

A drama critic is a person who surprises the playwright by informing him what he meant.

When you're young you have no worries, no drama, only your imagination. It's the best!

France, for example, loves at the same time history and the drama, because the one explores the vast destinies of humanity, and the other the individual lot of man.

Movies are immortal art - the first new art since Greek drama.

The ideal situation would be to bypass all of the drama and mayhem and just get the music right to the people. I'm confident that we'll eventually figure it out.

We just happened to come along at time where there hadn't been a new young adult drama that also could appeal to adults as well in quite some time. We sort of found a little bit of a niche.

Dance, vaudeville, drama, movies - as a child I loved everything that went on in a theater.

Overall, the anarchy was the most creative of all periods of Japanese culture for in it there appeared the greatest landscape painting, the culmination of the skill of landscape gardening and the arts of flower arrangement, and the No drama.