Quote by Hubert Humphrey

To be realistic today is to be visionary. To be realistic is to be starry-eyed.


To be realistic today is to be visionary. To be realistic is

Summary

This quote challenges the traditional notion of realism, suggesting that being realistic in the present age requires having a visionary mindset. It implies that being realistic entails being open to possibilities and ambitious in one's perspectives. Instead of merely conforming to limits and practical considerations, it suggests embracing a sense of wonder and optimism, much like being starry-eyed. In essence, the quote highlights the importance of combining realism with a forward-thinking outlook to navigate the complexities of the contemporary world.

Topics

Reality
By Hubert Humphrey
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Random Quotations

The stage is a concrete physical place which asks to be filled, and to be given its own concrete language to speak. I say that this concrete language, intended for the senses and independent of speech, has first to satisfy the senses, that there is a poetry of the senses as there is a poetry of language, and that this concrete physical language to which I refer is truly theatrical only to the degree that the thoughts it expresses are beyond the reach of the spoken language. These thoughts are what words cannot express and which, far more than words, would find their ideal expression in the concrete physical language of the stage. It consists of everything that occupies the stage, everything that can be manifested and expressed materially on a stage and that is addressed first of all to the senses instead of being addressed primarily to the mind as is the language of words...creating beneath language a subterranean current of impressions, correspondences, and analogies. This poetry of language, poetry in space will be resolved precisely in the domain which does not belong strictly to words...Means of expression utilizable on the stage, such as music, dance, plastic art, pantomime, mimicry, gesticulation, intonation, architecture, lighting, and scenery...The physical possibilities of the stage offers, in order to substitute, for fixed forms of art, living and intimidating forms by which the sense of old ceremonial magic can find a new reality in the theater; to the degree that they yield to what might be called the physical temptation of the stage. Each of these means has its own intrinsic poetry.

Antonin Artaud, The Theater And