I grandi, in attesa di domani, si muovono in un presente dietro al quale c'è ieri o l'altro ieri o al massimo la settimana scorsa: al resto non vogliono pensare. I piccoli non sanno il significato di ieri, dell'altro ieri, e nemmeno di domani, tutto è questo, ora: la strada è questa, il portone è questo, le scale sono queste, questa è mamma, questo è papà, questo è il giorno, questa la notte.
In the theatre, every form once born mortal; every form must be reconceived, and its new conception will bear the marks of all the influences that surround it, In this sense, the theatre is relativity.
I never actually learned the rules of grammar, relying instead only on what sounded right, but there was something here that I was not sure sounded right...I sat by the window...and thought about the sentence. It was as close a declaration of love as J.J. was capable of making. It was not the kind of sentence, if you had written it, you would want wrong, but neither was it the kind of sentence, if that was the way you had written it, you would want changed. How had he written it? What did he have in mind? How would he want it? The decision was left to me. Any choice I made could carry the potential for abandonment, even betrayal.
"Inspiration" denotes both the physical act of breathing in, and the mental act of creating a thought. The expiration (breathing out) or expression of the thought is likewise both physical and mental.
Later [John Coltrane and Wayne Shorter] talked about improvising and language, and how it might be ideal to start a sentence in the middle, then travel backward and forward, toward both the subject and the predicate, simultaneously.