emotional embodiment Quotes

Emotion is created by motion. Whatever you're feeling right now is related to how you're using your body.

Don't write about a character. Become that character, and then write your story.

Well, from an acting point of view, I bear no relation, I don't look like Alfred Kinsey at all, but I thought somewhere in my artist's soul, my actor's soul, I could capture something of the spirit of the man.

Emotion arises at the place where mind and body meet. It is the body's reaction to your mind - or you might say, a reflection of your mind in the body.

The moment when a feeling enters the body/ is political. This touch is political

Disney is very much a child's theater - it's a very specific kind of acting. It's loud and boisterous with the goal to draw the attention of children and keep the attention of children, and it can kind of be cheesy and loud, and I had to unpack a lot of that, because as an actor, you kind of internalize, and you basically become a character.

The essence of acting is seeing the world from another point of view. That's what acting is.

I do believe abstraction is and was meant to embody deep emotion. I believe that's its job, in the history of art.

All the characters on the album are inside me, though none are me. They are sides of me or who I was.

If you think back to the moments when you've gone through the most pain in your life, or the most severe anxiety, your body is very much involved in that. Your body is expressing those emotions. So, when we, as actors, try to access those feelings, the body is a great tool to use.

One of the fun things for me, about acting, is trying to transform. Transformational acting was the reason why I became an actor, in the first place.

When movement becomes ecstatic, then this is dance. When the movement is so total there is no ego, then it is dance.

The body is a multilingual being. It speaks through its color and its temperature, the flush of recognition, the glow of love, the ash of pain, the heat of arousal, the coldness of nonconviction. . . . It speaks through the leaping of the heart, the falling of the spirits, the pit at the center, and rising hope.

I just like to inhabit a character really deeply.

Everything in dancing is style, allusion, the essence of many thoughts and feelings. The abstraction of many moments.

Every emotion is keyed into some bodily location, and taken all together, they form the emotional body.

I try to put myself into whatever character I play.

When I write a book, I don't have a plan or an outline. The characters move the action, and the action develops the characters. When I write a book, I become an actor, really, taking the role of the person who is speaking or acting at the time, and so their reactions to whatever they see are my reactions.

As actors, the magic is in the almost spiritual experience to really enter another world, to really enter a belief of being in another person's shoes and to really take on their experiences as someone else has written them and imagined them. It's kind of a sacred thing. It's a very spiritual experience. That in itself for me is the main thing that keeps me coming back to it. I like to travel, but for me, this is the greatest travel.

'Jelly,' more than any black musical before it, celebrated the majesty, the purity, the joy of so many artists who are unable to fully embody these same qualities in their own lives.

When you are portraying somebody that has a very specific emotional weight, you feel like you're really starting to abandon your own body and go to someplace else.

Sometimes you even start to sound like the character because you're living and breathing them every day on the set. It gets into your bones.

The only successful way to write, and the only one I have found, is to be the character. Give up on trying to control them. Writers always talk about hearing voices. That's what they mean.

Ultimately, our ideas about robots are not about robots. The robot is a canvas onto which we project our hopes and our dreams and our fears... they become embodiments of those hopes and dreams and fears.

What I do for a living is re-create human emotion, and that's a pretty weird thing to do from nine till five.