Quotes About Play

I decided that I want to live the rest of my life happy with what I'm doing. So when I play tennis again, I have to play it for the right reason. I don't want to play to get my No. 1 ranking back. I don't want to play for the attention, or to earn more. I don't even want to play because the world wants to see me do it, even though it's nice to know that the world is interested. I only want to play because I love the game, which is the reason I began to play at age seven in the first place.

We don’t have to do a bunch of things to figure out how to win the Ryder Cup. Just go play golf. ... I’m a little bit too casual probably about a lot of things, but you can’t force good play. Good play comes from good hard work and actually being prepared to play, not being forced to play.

This was the kid who used to toddle over to my bed at 6 o’ clock in the morning every weekend morning to pull on my blankets so I’d get up and watch cartoons with him. This was the kid who once made me play Hungry Hungry Hippos for an hour straight, until I thought my hands were going to fall off from slamming down those dumb little levers to make the hippos’ heads move. This was the kid who had spent an entire days at a time begging me to play Chutes and Ladders with him. And now he was feeling too sick to play with me.

Our brain comes hard-wired with an urge to play, one that hurls us into sociability. A child's play both demands and creates its own safe space, one in which she can confront threats, fears, and dangers, but always come through whole. Play offers a child a natural way to manage feared separations or abandonment, rendering them instead opportunities for mastery and self-discovery.

True, I don't begin with an idea for a play - a thesis, in other words, to construct the play around. But I know a good deal about the nature of the characters. I know a great deal about their environment. And I more or less know what is going to happen in the play.

Play well, or play badly, but play truly.

There is a good deal of excellent research on child's play. It has shown conclusively that through play, with the freedom of action it allows and the stressless environment in which it occurs, children discover, relate to and define themselves and their world. ...It is, therefore, paradoxical that many educators and parents still differentiate between a time for learning and a time for play.

So, think about how you use a disc that you own of an Xbox 360 game. If I buy the disc from a store, I use that disc in my machine, I can give that disc to my son and he can play it on his 360 in his room. We both can't play at the same time, but the disc is the key to playing. I can go round to your house and give you that disc and you can play on that game as well.

In the 1990s I got to play in a group that played in prisons in California. We would play in maximum security wards. It was infuriating. Those kinds of situations stick with me. We got to come in and play music for them because that's a way of caring, just offering something, a gift, basically. They're basically the most grateful audiences I've ever experienced, because nobody's giving them anything.

The Ramones couldn't play in my key. They couldn't switch keys, so Ed Stasium literally had to play all the instruments for my version of "Rock 'N' Roll High School," and I always thought that was so weird, because it's not the Ramones playing. It's the producer, who happened to just be a musician and could play everything.

This is the evolutionary value of play- play makes us flexible. By reinterpreting reality and begetting novelty, we keep from becoming rigid. Play enables us to rearrange our capacities and our very identity so that they can be used in unforeseen ways.

Have you heard Alanis Morisette trying to play the harmonica? She doesn't know how to play the harmonica. Well guess what, Alanis, I INVENTED the 'don't-know-how-to-play-harmonica-harmonica-solo.'

I went to a Jesuit school and they did a William Shakespeare play every year. I got to know Shakespeare as parts I wanted to play. I missed out on playing Ophelia - it was an all-boys school. The younger boys used to play the girls, I played Lady Anne in Richard III and Lady Macbeth, then Richard II and Malvolio. I just became a complete Shakespeare nut, really.

My father would say, 'Play a scale,' and I'd play one and he'd say, 'What about the rest? There must be one above,' so we'd figure them out. I'd start the scale on the root of the chord and I'd go as far as my hand would reach without going out of position, say, five frets, and then I'd go all the way back. So when ! practised I'd start right away on scales. As well as the usual ones, I'd play whole tone scales, diminished, dominant sevenths, and chromatic scales. Every chord form, all the way up, and this took an hour.

I will not play just an evil part. In fact, I got offered $7 million several years ago to play the part that Faye Dunaway played in 'Supergirl.' I was kind of insulted. I was impressed with the money, but I said, 'Why are you asking me to play an evil witch? Do I come across as an evil witch to you?'

You can not say you're unhappy because you have to travel, have to play this tournament, having to play sports ... You can't because you chose to play it and you love it. I'm tremendously grateful for the support I have received from my family and the close ones.

Play fast, play smart, play aggressive, bring energy!

Never say never - and I certainly don't judge anyone who does it. But most of the characters I play are going through some kind of emotional turmoil, so my job requires me to have expression. If my face was froze, what right do I have to play that part? All the women who haven't done anything to their faces are still able to play great roles. And some of the ones who have done something have messed it up - they look freakish. Anyway, for me it's about playing women with rich lives - and the longer the life, the deeper the wrinkles.

Good work and joyous play go hand in hand. When play stops, old age begins. Play keeps you from taking life too seriously.

Play is often talked about as if it were a relief from serious learning. But for children play is serious learning. Play is really the work of childhood.

But what is work and what is not work? Is it work to dig, to carpenter, to plant trees, to fell trees, to ride, to fish, to hunt, to feed chickens, to play the piano, to take photographs, to build a house, to cook, to sew, to trim hats, to mend motor bicycles? All of these things are work to somebody, and all of them are play to somebody. There are in fact very few activities which cannot be classed either as work or play according as you choose to regard them.

We don't play slow and we don't play fast, we play half fast

I think directing is part play, part work, not just all work, because I think you always have to play. I think that's ultimately why I got into making movies, is because I love to play.

I consider myself a pretty hardworking guy and I like to play hard, play physical and play well defensively too.

If the play works in an emotional and engaging way purely from what's on the page, then what's on the stage will be the icing on the cake. If the play didn't work as a play on its own terms, none of the magic, none of the special effects or theatricality of it all, would add up to anything.

Football is a grand game for developing a lad physically and also morally, for he learns to play with good temper and unselfishness, to play in his place, and to play the game, and these are the best of training for any game of life.

Trios aren't really geared for slide unless you're gonna play chords, or play that simple George Thorogood style. It gets pretty thin when you play single note lines.

When I play that music live nowadays, there's a lot of things I feel I'd like to do - even things I don't think the audience is aware of, like layering subs underneath the kicks, and layering crisp hats underneath the muddy, trashy hats of the '90s. If I tried to play the music as it was next to my contemporary music, it just sounds like you're closing up half of the sonic spectrum.

[The child] takes his play very seriously and he expends large amounts of emotion on it. The opposite of play is not what is serious but what is real.

I found it was my good fortune to somehow be able to work in these forms that I loved when I was a kid. I love movies and I could write screenplays. I love theater and I could write plays. I mean, they would be my own, I could never write what was used to be called the well-made play. But my first play, "Little Murders," turned out to be a great success and a great influence on plays at that time.

The physical exercise and emotional stretching that children enjoy in unorganized play is more varied and less time-bound than is found in organized sports. Playtime—especially unstructured, imaginative, exploratory play—is increasingly recognized as an essential component of wholesome child development.

I just wanted to say one more thing: I also think that when you go to play music, you're there to play music.

I am here to play women's tennis. I'm a lady. Predominantly, most of the time I always like to play ladies.

Sport for me is about inspiring kids. Here's the rules, here's the play area, sometimes you win, sometimes you lose. This is all about teaching kids how to approach life. If we're not playing sport to benefit kids, I'm not really sure why we play sport.

Physically I feel pretty good; that's the main key, is just making sure your body is ready to play every night since you play so many games and I feel like I'm there.

I think the moment I discovered I definitely wanted to act was when I saw a play alone by myself when I was fourteen. Maybe it was a Moliere play? I discovered the atmosphere of the theater, and I knew I wanted to be an actor.

When I got this saxophone, it became a religion. There wasn't TV, there wasn't much money, and there was just a real dedication.... I never thought of it as an art. It was just work that I loved. Not just work, but work that I loved. I loved it so much, I would play it if nobody listened to it. Any jazz musician, if there's nobody around to listen, would play just for the sheer joy of improvising music.

I'd love to play a gangster but I think people might say I looked a bit too young and cheeky to play a character who'd just blown someones head off!

I play piano, but not well enough to play professionally.

I'd love to play someone who's insane or something, just so I can go flake out. I like a superhero. I know that's ironic. That's where we are, but seriously, it'd be really cool to play a superhero.

People say that they wouldn't pay to watch me play, but even I wouldn't pay to watch him play!

The content and thematic materials of dance is, of itself, like boxing. You play tennis and baseball. But boxing is not a sport you play: you stand up and do it.

It's never been easy. But I've always wanted to play hockey. I love hockey. I'd rather play hockey than do anything else. If you have that kind of desire, I think you can achieve what you want to achieve.

I don't think we would be specifically remaking "Child's Play 2" and "Child's Play 3". I imagine we'd be dreaming up whole new stories.

I love villains. You know, I am a character actor, and any chance to get to play a really outrageous villain. I like to play that.

It's not like I don't want to play the guy next door. But sometimes they're not the best written or the most complicated. But I am very, very particular about my bad boys. There are certain types of characters I will not play. I've said no so many times to so many parts that are just way too dark. You have to be careful.

No producer should revive a play unless they have a very good reason for it. I think there's quite enough about a good play to make it available to new audiences.

My favorite play in drama school was 'The Bacchae.' It's about a king who literally gets eaten alive by all the women in the play in a kind of orgy - it's related to the word 'bacchanal' - and I loved that idea of animalistic chaos and following our own desires.