아서 밀러
좋은 신문이란, 자기자신과 대화를 하는 국가라고 본다.
연극의 구조는 항상 새들이 어떻게 집으로 찾아가 잠자리에 드느냐의 이야기이다.
연극은 우연이 너무나도 많기 때문에 무한히 흥미롭다. 그것은 삶과 너무 비슷하다.
아마도 우리가 할 수 있는 일이라고는 마지막에는 옳은 후회들을 할 수 있도록 희망하는 것이라고 본다.
소외 없이 정치는 존재하지 못한다.
물론 중요하지 않더라도 가장 다양한 문학적 삶의 소일거리는 작가를 찾는 게임이다.
많은 양의 말하는 질소. 그것이 우리의 전부이다.
나도 그녀를 사랑한다. 그러나 우리들의 노이로제가 서로 안 맞을 뿐이다.
끝이 보인다면, 끝에서부터 작업 할 수 있을 것이다.
그것은 아주 좋은 질문이다. 나는 그 질문에 대한 답을 모른다. 그러나 나에게 고전적인 그리스 제화공의 이름을 알려줄 수 있겠는가?
You specialize in something until one day you find it is specializing in you.
You cannot catch a child’s spirit by running after it; you must stand still and for love it will soon itself return.
Where choice begins, Paradise ends, innocence ends, for what is Paradise but the absence of any need to choose this action?
What is the most innocent place in any country? Is it not the insane asylum? These people drift through life truly innocent, unable to see into themselves at all.
Well, all the plays that I was trying to write were plays that would grab an audience by the throat and not release them, rather than presenting an emotion which you could observe and walk away from.
The problem was to sustain at any cost the feeling you had in the theater that you were watching a real person, yes, but an intense condensation of his experience, not simply a realistic series of episodes.
The number of elements that have to go into a hit would break a computer down. the right season for that play, the right historical moment, the right tonality.
The job is to ask questions-it always was-and to ask them as inexorably as I can. And to face the absence of precise answers with a certain humility.
The closer a man approaches tragedy the more intense is his concentration of emotion upon the fixed point of his commitment, which is to say the closer he approaches what in life we call fanaticism.
The best of our theater is standing on tiptoe, striving to see over the shoulders of father and mother. The worst is exploiting and wallowing in the self-pity of adolescence and obsessive keyhole sexuality. The way out, as the poet says, is always through.
The apple cannot be stuck back on the Tree of Knowledge; once we begin to see, we are doomed and challenged to seek the strength to see more, not less.
In the theater, while you recognized that you were looking at a house, it was a house in quotation marks. On screen, the quotation marks tend to be blotted out by the camera.
I’m the end of the line; absurd and appalling as it may seem, serious New York theater has died in my lifetime.
If I have any justification for having lived it’s simply, I’m nothing but faults, failures and so on, but I have tried to make a good pair of shoes. There’s some value in that.
I understand Willy Loman’s longing for immortality Willy’s writing his name in a cake of ice on a hot day, but he wishes he were writing in stone.
I think now that the great thing is not so much the formulation of an answer for myself, for the theater, or the play-but rather the most accurate possible statement of the problem.
I know that my works are a credit to this nation and I dare say they will endure longer than the McCarran Act.
I have made more friends for American culture than the State Department. Certainly I have made fewer enemies, but that isn’t very difficult.
He’s not the finest character that ever lived. But he’s a human being, and a terrible thing is happening to him. So attention must be paid.
He wants to live on through something-and in his case, his masterpiece is his son. all of us want that, and it gets more poignant as we get more anonymous in this world.
Can anyone remember love? It’s like trying to summon up the smell of roses in a cellar. You might see a rose, but never the perfume.
A playwright lives in an occupied country. And if you can’t live that way you don’t stay.
A play is made by sensing how the forces in life simulate ignorance-you set free the concealed irony, the deadly joke.
푸시킨
어떠한 나이라도 사랑에는 약한 것이다. 그러나 젊고 순진한 가슴에는 그것 이 좋은 열매를 맺는다.
인생의 상대는 돈이 아니다. 우리들의 상대는 인간이다.
정다빈
토고전 보려다 잠들었어요.
저, 유치원 가야돼요!
바둑 두는 거 좋아해요. 언니랑 대결도 하는데 내가 두번이나 이겨봤어요. 나는 28급이고 언니는 27급이에요. 처음에는 잘 몰랐는데 지금은 재미있어요.
동생이 태어나는 게 싫었다. 엄마가 동생만 돌봐줄까봐.
동생이 질투나요…
나 기절할 것 같아~
100년 뒤에 믹키유천하고 결혼하고 싶어요.