A good actor always sets you straight. If you've written a false moment and thought it was probably pretty great, the actor's gonna show you when he gets to that moment. They're the great test of the validity of the material.
Sam ShepardRead
I feel like the writers that I'm drawn to, the writers that I really cling to, are the writers who seem to be writing out of a desperate act. It's like their writing is part of a survival kit. Those are the writers that I just absolutely cherish and carry with me everywhere I go.
Interpretation
The quote speaks to the profound connection the speaker feels to writers whose work reflects a deep, personal struggle and need for expression.
Sam Shepard expresses admiration for writers who convey their experiences and emotions with urgency, suggesting that their writing serves as a vital lifeline or 'survival kit' for both the writer and the reader. This connection emphasizes the importance of authenticity and emotional depth in literature, revealing how such works resonate and remain significant in one's life.
In practice
In a literature class discussing the emotional depths of writing.
A good actor always sets you straight. If you've written a false moment and thought it was probably pretty great, the actor's gonna show you when he gets to that moment. They're the great test of the validity of the material.
I stay away from heavy-handed stuff, the good guy and the bad guy. It just doesn't interest me; all it does is create more fences between people, I think.
I hate endings. Just detest them. Beginnings are definitely the most exciting, middles are perplexing and endings are a disaster. … The temptation towards resolution, towards wrapping up the package, seems to me a terrible trap. Why not be more honest with the moment? The most authentic endings are the ones which are already revolving towards another beginning. That’s genius.
There are places where writing is acting and acting is writing. I'm not so interested in the divisions. I'm interested in the way things cross over.
Democracy's a very fragile thing. You have to take care of democracy. As soon as you stop being responsible to it and allow it to turn into scare tactics, it's no longer democracy, is it? It's something else. It may be an inch away from totalitarianism.
On stage, you're not limited at all because you're free in language: language is the source of the imagination. You can travel farther in language than you can in any film.
I'm not a politician. I don't know how to solve the problems of the world. But as an artist, I have one duty: to ask questions.
But beauty must be broken daily to remain beautiful.
With poets, the choice of words is invariably more telling than the story line; that's why the best of them dread the thought of their biographies being written.
A good painting to me has always been like a friend. It keeps me company, comforts and inspires.
I try to make clothes the way Lou Reed does music, with minimal chord changes. It's about giving everything I make a worn, softened feel. It's about an elegance being tinged with the barbaric, the luxury of not caring.
I hate studio. For me, studio is a trap to overproduce and repeat yourself. It is a habit that leads to art pollution.
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