I'm at least getting my foot in the door as far as doing straight dramatic parts, which no one would have ever considered me for in the '80s. I never objected to that because I love doing comedy, and I'm not the kind of actor that insists that unless you're doing a serious dramatic role, you're not acting.
Maybe my movie isn't over, I say, because sometimes moviemakers trick the audience with a false bad ending, and just when you think the movie is going to end badly, something dramatic happens, which leads to the happy ending. This seems like a good spot for something dramatic to happen, especially since it's my birthday.
I was a very romantic, overly dramatic young lady, which served me well as a songwriter. Especially as someone who had to focus on lyrics and melody, because if you're a dramatic and romantic person, lyrics come easy, and you turn every single short-term relationship into the biggest 'Romeo-and-Juliet' story ever.
You see, for me a painting is a dramatic action in the course of which the reality finds itself split apart. For me, that dramatic action takes precedence over all other considerations. The pure plastic act is only secondary as far as I'm concerned. What counts is the drama of that plastic art, the moment at which the universe comes out of itself and meets its own destruction.
There is too great a tendency (perhaps encouraged by popular journalism) to deal with the dramatic moments, forgetting that these are not always the most significant moments. ... To find the significant rather than the dramatic features of industrial controversy, of a disagreement in regard to policy on board of directors or between managers, is essential to integrative business policies.
Mary Parker Follett
How did the hearing go?' she asked. 'We won, sort of, ' Kaldar said. 'We die at dawn.' 'The court gave the Sheeriles twenty-four hours, ' William corrected. 'Yes, but 'we die at dawn the day after tomorrow' doesn't sound nearly as dramatic.' 'Does it have to be dramatic all the time?' Catherine murmured. 'Of course. Everyone has a talent. Yours is crocheting and mine is making melodramatic statements.
How did the hearing go?" she asked. "We won, sort of," Kaldar said. "We die at dawn." "The court gave the Sheeriles twenty-four hours," William corrected. "Yes, but 'we die at dawn the day after tomorrow' doesn't sound nearly as dramatic." "Does it have to be dramatic all the time?" Catherine murmured. "Of course. Everyone has a talent. Yours is crocheting and mine is making melodramatic statements.
A mistake is the name we give to any action in which we perceive a difference between what we intended and what has occurred. Intention fuels every dramatic action, including the writing of dramatic stories, which involves a series of dramatic actions. In the course of writing, or finding, the story that wants to get itself told, it behooves the writer to liberate the characters by finding the faith and courage necessary for setting aside one's own conscious needs and expectations. Not to do so promotes 'mistakes' - i.e: confusion born of some incoherence in the emotional logic of the story). As the writer abandons his/her intentions - no matter how noble they may seem - only then does that most strange and ineffable quality we so casually refer to as 'the magic' have a chance of entering the story, and rendering even the 'mistakes' stimulating, daring and provocative.
Billy Marshall Stoneking
I really wanted to do some serious work. I really wanted to be a part of dramatic films. I wanted to show this talent, whatever that means, that I could be a dramatic actress as well. But the truth is, a) I don't know if I can, and b) I love doing comedy, and I felt almost a little embarrassed that I succumbed to the pressure. Vanity is really what it is. I feel really grateful that I am in comedy, and I love doing it.
Simply put, dramatic irony is when a person makes a harmless remark, and someone else who hears it knows something that makes the remark have a different, and usually unpleasant, meaning. For instance, if you were in a restaurant and said out loud, "I can't wait to eat the veal marsala I ordered," and there were people around who knew that the veal marsala was poisoned and that you would die as soon as you took a bite, your situation would be one of dramatic irony.
Simply put, dramatic irony is when a person makes a harmless remark, and someone else who hears it knows something that makes the remark have a different, and usually unpleasant, meaning. For instance, if you were in a restaurant and said out loud, "I can't wait to eat the veal marsala I ordered, " and there were people around who knew that the veal marsala was poisoned and that you would die as soon as you took a bite, your situation would be one of dramatic irony.
A movement with some lasting organization is a lot less dramatic than a movement with a lot of demonstrations and a lot of marching and so forth. The more dramatic organization does catch attention quicker. Over the long haul, however, it's a lot more difficult to keep together because you're not building solid...A lasting organization is one in which people will continue to build, develop and move when you are not there.
When you say 'failure,' that seems really dramatic, but a lot of failure is just really depressing and mundane. I remember the first time I ever played a concert in Italy. I played a venue that held 900 people, and I think five people showed up. It wasn't a big, 'John Carter of Mars' type failure. It wasn't dramatic; it was just depressing.
It's like Mark Twain once said to his wife, Olivia: 'How many times do I have to say it-over the top!' He wasn't talking about women being overly dramatic. He was in fact referring to the proper placement of toilet paper. And I agree to a certain extent. Women can be very dramatic at times. Quote and anecdote taken from Dora J. Arod's biography titled: 'Mark Twain's Mustache-the World's Greatest Facial Hair. Or Certainly Top Three, and No Lower Than Number Four.
In episodic television you'll have a good guy who's on every week and that's his show! He's the regular on it, and you're not going to be "gooder" than he is; I mean, he's the guy who's got to solve your problem! So if you're playing a good guy, you have to have a problem, and he's going to solve it for you. And the only really strong dramatic part is the heavy, because the meaner and crueler and rottener you are, the better the good guy looks when he whips ya' at the end because he always is gonna whip ya! So, the best dramatic guest shot is the heavy.
Too many poets write poems which are only difficult on the surface, difficult because the dramatic situation is easily misunderstood. It's not difficult to write poems that are misunderstood. A drunk, a three-year-old-they are easily misunderstood. What is difficult is being clear and mysterious at the same time. The dramatic situation needs to be as clear in a poem as it is in a piece of good journalism. The why is part of the mystery, but the who, what, where, and when should all be understood.
Nonetheless, the bigger problem has little to do with any particular product or industry, but with the way we look at risk. America takes the Hollywood approach, going to extremes to avoid the rare but dramatic risk-the chance that minutes residues of pesticide applied to our food will kill us, or that we will die in a plane crash... On the other hand, we constantly expose ourselves to the likely risks of daily life, riding bicycles (and even motorcycles) without helmets, for example. We think nothing of exceeding the speed limit, and rarely worry about the safety features of the cars we drive. The dramatic rarities, like plane crashes, don't kill us. The banalities of everyday life do.
A basic flaw in contemporary American educational philosophy as much as it is under the influence of the late John Dewey, is it s failure to grasp the essentially artistic character of teaching. Due to an inflated opinion of "science" and all things supposedly "scientific, " educators have been loathe to admit that teaching is an art, not a science. The art of teaching is a mingling of the liberal and the dramatic arts. Above and beyond the subject matter, the teacher actually needs but two assets: (a) a grasp of the liberal arts of grammar, rhetoric, and logic; (b) a mastery of the dramatic art of presentation." - pg 126 footnote 1.
Frederick D. Wilhelmsen