The whispers of shared ecstasy are choral.
It's a big flash of all these things and whatever you take out of that statement's one statement, one mind, one statement, one act, one show, and all the songs are one.
The ultimate, if distant, aim of the Bauhaus is the unified work of art - the great structure - in which there is no distinction between monumental and decorative art.
Hymns should have unity, graduation and mutual dependence in the thoughts, a conscious progress, a sense of completeness and be easily understood.
You don't stop when a musical number comes up and do the number and then take up the scene where you left off. It all moves forward. Your work as an actor was part of your work as a dancer as well. It was dialogue through movement.
We roared. We were one big animal throat, roaring.
You shouldn't separate the piece from the way it's intended. I always feel like words shouldn't be unraveled from the music. They're all linked so much together.
In a thousand voices singing the Hallelujah Chorus in Handel's "Messiah," it is possible to distinguish the leading voices, but the differences of training and cultivation between them and the voices in the chorus, are lost in the unity of purpose and in the fact that they are all human voices lifted by a high motive.
The song seraphically free Of taint of personality, So pure that it salutes the suns The voice of one for millions, In whom the millions rejoice For giving their one spirit voice.
This synchronous action then will be the Subject, which is the representative harmony.
