Let us never, never forget that we are the masters of our destiny. No one in all the universes writes our script. We do that, in co-creation with our brothers. As we rewrite our script, our brother must do likewise or leave the stage of our drama.

The business of the dramatist is to keep himself out of sight, and to let nothing appear but his characters. As soon as he attracts notice to his personal feelings, the illusion is broken.

The drama is not a mere copy of nature, not a facsimile. It is the free running hand of genius, under the impression of its liveliest wit or most passionate impulses, a thousand times adorning or feeling all as it goes; and you must read it, as the healthy instinct of audiences almost always does, if the critics will let them alone, with a grain of allowance, and a tendency to go away with as much of it for use as is necessary, and the rest for the luxury of laughter, pity, or poetical admiration.

Drama is like life with the dull bits cut out.

Your mother won a special reward, she told me, because everyone had a head in her pictures. We all applauded.

The only thing as bad as bad comedy is bad action. Bad Boys II has plenty of both. In fact, those two things are all it has, unless you count the small helping of bad drama. When it comes to this movie, the word “bad” initially seems highly appropriate. But Bad Boys II isn’t just bad it’s a catastrophic violation of every aspect of cinema that I as a film critic hold dear. It seems to have been constructed with terms like “unwatchable” and “godawful” as its slogans. There are motion picture failures every year the resumes of Hollywood players are littered with them. But, when something this big a would-be blockbuster with recognizable names in the cast and crew collapses in such a spectacular fashion, it’s worth taking note. Think of how many starving children could have been fed with the money that was poured into [director] Michael Bay’s latest sinkhole.

Drama is based on the Mistake. I think someone is my friend when he really is my enemy, that I am free to marry a woman when in fact she is my mother, that this person is a chambermaid when it is a young nobleman in disguise, that this well-dressed young man is rich when he is really a penniless adventurer, or that if I do this such and such a result will follow when in fact it results in something very different. All good drama has two movements, first the making of the mistake, then the discovery that it was a mistake.

But it was drama, high drama: fires at night, the fires that burned people’s houses away; bombs fell and left exotically shaped fragments in the form of shrapnel. And we collected it and traded it. As long as we were not hurt — and I wasn’t — life seemed wonderful.

Never trust a pretty girl with an ugly secret.

War is the supreme drama of a completely mechanized society.

Drama is something people go through everyday. Change of character is nothing more than mood swings.

The real object of the drama is the exhibition of the human character.

Drama is every aspect of life.

Life is like an overlong drama through which we sit being nagged by the vague memories of having read the reviews.

I said the first thing that came into my head unfortunately. Save the drama for your mama I told her just like an eleven-year-old.

Drama is theater, life, an escape from life, happiness, and sadness all rolled into one.

By whatever means it is accomplished, the prime business of a play is to arouse the passions of its audience so that by the route of passion may be opened up new relationships between a man and men, and between men and Man. Drama is akin to the other inventions of man in that it ought to help us to know more and not merely to spend our feelings.

The trade of critic, in literature, music, and the drama, is the most degraded of all trades?

To see your drama clearly is to be liberated from it.

A drama critic is a man who leaves no turn unstoned.

A passion for the dramatic art is inherent in the nature of man.

A talent for drama is not a talent for writing, but is an ability to articulate human relationships.

In a drama of the highest order there is little food for censure or hatred; it teaches rather self-knowledge and self-respect.

Callin my ex-girl or e-mailin my mama, youre the only one thats causin me this drama.

When you make a drama, you spend all day beating a guy to death with a hammer, or what have you. Or, you have to take a bite out of somebody’s face. On the other hand, with a comedy, you yell at Billy Crystal for an hour, and you go home.

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.

It is suicide to be abroad. But what it is to be at home, … what it is to be at home? A lingering dissolution.

A great biography should, like the close of a great drama, leave behind it a feeling of serenity. We collect into a small bunch the flowers, the few flowers, which brought sweetness into a life, and present it as an offering to an accomplished destiny. It is the dying refrain of a completed song, the final verse of a finished poem.

This used to be about sex. The literature of my people was pornography, filled with cries for mercy, drama enacted on people without prolonged negotiation, partners engaged in a dance in the middle of a bonfire. Now, it’s 300-page manuals about how to make sure nothing bad will happen.

Every one of us is a minor tragedy. Most of us learn to cope.

I made mistakes in drama. I thought drama was when actors cried. But drama is when the audience cries.

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

Without a measureless and perpetual uncertainty, the drama of human life would be destroyed.

When he kisses me again, the last part of me that could stand myself dies.

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

The drama is the book of the people.

I never travel without my diary. One should always have something sensational to read in the train.

Love means never having to say you’re sorry.

I try to bring the audience’s own drama – tears and laughter they know about – to them.

The drama embraces and applies all the beauties and decorations of poetry. The sister arts attend and adorn it. Painting, architecture, and music are her handmaids. The costliest lights of a people’s intellect burn at her show. All ages welcome her.

A little rudeness and disrespect can elevate a meaningless interaction to a battle of wills and add drama to an otherwise dull day.

The theater is a communal event, like church. The playwright constructs a mass to be performed for a lot of people. She writes a prayer, which is really just the longings of one heart.

The stage is a magic circle where only the most real things happen, a neutral territory outside the jurisdiction of Fate where stars may be crossed with impunity. A truer and more real place does not exist in all the universe.

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

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.

We are only victims if we allow ourselves to be.

Baseball is drama with an endless run and an ever-changing cast.

The drama is the looking-glass in which we see the hideousness of vice and the beauties of virtue.

The drama of life begins with a wail and ends with a sigh.

There ought to be a law that allows eavesdroppers to sue.

It’s the uncertainty of being accepted that creates the drama in our lives.

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

Jean-Eugne Robert-Houdin, the extraordinary father of modern conjuring, made the salient point that a magician is an actor playing the part of a magician. This is a very good description. However, an actor takes for granted how to create drama in every word, movement and look. The average magician is barely aware of its existence.

Anger precedes hate, while love vicariously hangs in the balance.

It’s hard enough to write a good drama, it’s much harder to write a good comedy, and it’s hardest of all to write a drama with comedy. Which is what life is.

The trade of critic, in literature, music, and the drama, is the most degraded of all trades