Discover the most popular and inspiring quotes and sayings on the topic of Dramatizing. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Dramatizing Quotes And Sayings by 90 Authors including Abhinavagupta,Jonis Agee,Marieta Maglas,George Bernard Shaw,Gore Verbinski for you to enjoy and share.
Drama is like a dream, it is not real, but it is really felt.
Drama is a gun that doesn't go off.
Generally, the lie is a denatured truth.Drama occurs when this truth is still nonexistent, and it must become exitent for the human being.
The great dramatist has something better to do than to amuse either himself or his audience. He has to interpret life.
Drama is drama, and it's really ... if it's something small, you put a magnifying glass up to it; if it's something big, you use a wide lens.
Now, drama is quite useful at helping us to understand what our position is and, conversely, we might then understand why our theatre is being destroyed.
So the real drama for me is balancing live performances and writing, and one of the ways I balance it is I write in hotel rooms. That's not exactly balancing. Actually, writing in hotel rooms means that I'm refusing to deal with the problem.
A lot of the distinctions that we make between drama and documentary are spurious. We're deeply confused about these issues. About the difference between the two, about where documentary ends and drama begins.
New dramatic writing has banished conversational dialogue from the stage as a relic of dramaturgy based on conflict and exchange: any story, intrigue or plot that is too neatly tied up is suspect.
I made mistakes in drama. I thought drama was when actors cried. But drama is when the audience cries.
A dramatist is one who believes that the pure event, an action involving human beings, is more arresting than any comment that can be made upon it.
Drama is based on the Mistake.
Abused as we abuse it at present, dramatic art is in no sense cathartic; it is merely a form of emotional masturbation ...
The office of drama is to exercise, possibly to exhaust, human emotions. The purpose of comedy is to tickle those emotions into an expression of light relief; of tragedy, to wound them and bring the relief of tears. Disgust and terror are the other points of the compass.
The combination of a frivolous form and a serious subject immediately unmasks the truth about our dramas.
Drama is made up of what people most fear and deny in themselves. The taboos. The secrets. The devils and the demons. The only reason they let us live, I suppose, is because somebody has to confront what those things are like and tell other people about them.
It's that drama that drives authors, you know.
To be in front of an audience and pretending, and to lie, this is the principle of acting.
Drama don't arrive by surprise; it is summoned, undisguised.
The essence of drama is that man cannot walk away from the consequences of his own deeds.
Lives are staged from within.
Only in the problem play is there any real drama, because drama is no mere setting up of the camera to nature: it is the presentation in parable of the conflict between Man's will and his environment: in a word, of problem.
One of the great things about drama is that it makes you feel like you're not a crackpot, and that there are other people who think and feel the way you do.
I try to bring the audience's own drama - tears and laughter they know about - to them.
Drama criticism ... is a self-knowing account of the way in which one's consciousness has been modified during an evening at the theatre.
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.
I've always wanted to create drama in my pictures, which is why I paint people. It's people who have brought drama to pictures from the beginning. The simplest human gestures tell stories.
The world is a drama, staged in a dream
At the heart of drama is conflict.
Drama usually has some sort of intense conflict.
The art of the dramatist is very like the art of the architect. A plot has to be built up just as a house is built-story after story; and no edifice has any chance of standing unless it has a broad foundation and a solid frame.
When looking out the window and watching the water becomes a drama, then literally everything is a drama.
Show me a congenital eavesdropper with the instincts of a Peeping Tom and I will show you the making of a dramatist.
Acting is reacting.
In drama, I think, the audience is a willing participant. It's suspending a certain kind of disbelief to try to get something out of a story.
It's not some big event that creates the drama, it's the little things of everyday life that bring about that drama.
...uncorny, human sized drama
Drama aids self-discovery like nothing else. In removing it from our schools, we remove the inestimable benefits of it from our society. No amount of studying oxbow lakes was ever going to help me emotionally through the death of my father.
Drama belongs in fiction.
The most difficult thing to do is drama.
The real object of the drama is the exhibition of human character.
The answer to the question, 'where's the drama?' is another question: 'what's the problem?
Drama is something that lets you know you're still alive.
I often think that drama helps people feel less lonely about things.
I found out that drama was a fascinating exercise as a way to get out of my self and into somebody else's head.
The joy of writing drama is putting yourself into different people's heads.
Dramatic. A well developed sense of the dramatic has values beyond what people usually imagine. One of these is to realise the limitations of a sense of the dramatic.
Acting is behaving truthfully under imaginary circumstances.
One of the difficulties of being a writer must be that you create drama that you can't live out. That's one of the wonderful things about acting.
Storytelling reveals meaning without committing the error of defining it.
Drama is hate. Drama is pushing your pain onto others. Drama is destruction. Some take pleasure in creating drama while others make excuses to stay stuck in drama. I choose not to step into a web of drama that I can't get out of.
Drama began as the act of a whole community. Ideally, there would be no speculators. In practice, every member of the audience should feel like an understudy.
Drama lives on conflict. If you're trying to deal with social issues seriously, there's no way of avoiding violence, which is so present in society.
Drama is promised to everyone no matter how humble you are.
As a playwright, you are a torturer of actors and of the audience as well. You inflict things on people.
Drama assumes an order. If only so that it might have - by disrupting that order - a way of surprising.
The Jungian view of drama would be that it affects all of our imaginations and somehow taps into our hidden, ancient, primordial memories.
As a writer, you get to bring attention to something without preaching. I don't believe in being didactic. So if you dramatize something, you automatically bring attention to it if people read it.
When you lose your simplicity, you lose your drama.
The theater, bringing impersonal masks to life, is only for those who are virile enough to create new life: either as a conflict of passions subtler than those we already know, or as a complete new character.
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.
That's the wonderful thing about drama and writing and fiction: it's this wonderful shared experience that we all have. We can see into each other's lives.
You have to go to the ultimate situation in drama.
We need a type of theatre which not only releases the feelings, insights and impulses possible within the particular historical field of human relations in which the action takes place, but employs and encourages those thoughts and feelings which help transform the field itself.
The human mind is a dramatic structure in itself and our society is absolutely saturated with drama.
The magic of drama is infinitely more powerful than the magic of trickery. It is as available to the conjurer as it is to the actor. The only difference is that actors take it for granted, whereas few conjurers are even aware that it exists.
I write the drama, I don't live it.
Acting isn't necessarily pretending. It's storytelling. It's giving someone your perspective on something.
Tragedy is an imitation not of men but of a life, an action
Acted drama requires surrender of one's self, sympathetic absorption in the play as it develops.
If these elements of beauty are real, the whole thing simply appeals to our sense of dramatic effect. Suddenly we find that we are no longer the actors, but the spectators of the play. Or rather we are both. We watch ourselves, and the mere wonder of the spectacle enthralls us. In
(Writing is) the transformation, through an elaborate impersonation, of a personal emergency into a public act (in both senses of that word).
Drama - what literature does at night.
In a drama, you don't make a fool of yourself.
Drama is something I'm good at, I guess.
The theatre has always been voraciously omnivorous. Dramatists have always raided every medium to find grist to their mill: myths, folk tales, newspapers, novels, films, works of art of all kinds.
A book becomes something else once it's dramatized.
The central drama of my life is about being a fraud, alas. That's a complete lie, really; the central drama of my life is actually about being lonely, and staying thin, but fraudulence gets a fair amount of play.
Conflict is drama.
One of the greatest things drama can do, at it's best, is to redefine the words we use every day such as love, home, family, loyalty and envy. Tragedy need not be a downer.
I never can resist a touch of the dramatic.
There is a fine line I have to walk throughout the writing process in a novel. It is this line between drama and melodrama, and it is this line between evoking genuine emotional power and being manipulative.
Narrative living is the beginning of rhetoric.
A real theatrical experience shakes the calm of the senses, liberates the compressed unconscious and drives towards a kind of potential revolt ...
I'm manipulating the audience. I'm making sure people sympathize.
The actor's life offers, on a daily basis, the simulacrum of love; a mask can be satisfied, or at least consoled, by the echo of what it seeks.
The subject of drama is The Lie. At the end of the drama THE TRUTH
which has been overlooked, disregarded, scorned, and denied
prevails. And that is how we know the Drama is done.
The cat is, above all things, a dramatist.
Good drama should sandpaper the mind.
I'd always liked the idea that drama acts at its best as a kind of arena for debate, not just about the thing itself, but also producing aesthetic, stylistic, political and moral discussions.
Creating a scene is thus the staging of a desire.
I love drama - mum calls me a Drama Queen!
Suddenly we find that we are no longer the actors, but the spectators
You don't need to over-dramatise life, you can just reflect it. It's more interesting, in a way, if it appears to ring true.
In the end, it's acting, it's not real. But every director will tell you that you have to create conditions that create tension, because tension is what makes drama feel real.
The cheap drama brings cause and effect, will power and action, once more into relation and gives a man the thrilling conviction that he may yet be master of his fate.
The essence of dramatic tragedy is not unhappiness. It resides in the solemnity of the remorseless working of things.
A good play puts the audience through a certain ordeal.
The dramatist's function is (1) to earn a living for his family and himself and (2) to try to entertain people for a few hours.
You can choose to create a drama and get what you acted for or remain silent and get what you planned for.