Quotes About Play

I like playing at public schools. I like when there's more of a diverse audience. I'll play wherever people want to hear my music, and I'll be glad and grateful for the opportunity, but I'd rather not play for a bunch of white privileged kids. I'm not meaning that in a disrespectful way; you go where people want to hear your music. So if that's where people want to hear me play, I'm glad to play for them. But I'd rather play for an audience where half of them were not into it than one where all of them were pretending to be into it, for fear of being uncultured.

A good play is a play which when acted upon the boards make an audience interested and pleased. A play that fails in this is a bad play.

Because of my age, the roles that I'm in doesn't have as much depth as I would like, but that will change. Halle Berry, Angelina Jolie, they play heavy, meaty roles, which are the sort that I want to play...because of what I look like, I play with my looks, which is cool, but I've done it so many times. But one day I would love to play against my looks.

What Metallica always tries to do, as we go around and play a lot of the same cities, over and over again, year after year, is to give a different experience. We try to never play the same venues, or if we play indoors, we'll play outdoors, and all that type of stuff. It's always about just trying to do a different kind of experience.

I didn't want to play a lawyer. I didn't want to play a doctor. I didn't want to play a single dad. I wanted to do something I felt I could learn from, something that would be a challenge and something that would not dry up.

In a Game Community, the rules and officials decide if the players are good enough to play. If not, they change players. In a Play Community, the players decide if the game is fun enough to play. If not, they change rules.

We also play a Father/Son at home and I play with Steve, too. I try to mix it up. We play two or three times a year, but that's about it.

When I started off as an actress, I did at a play at the Taper Too Theatre here in Los Angeles, called 'In The Abyss Of Coney Island.' That was more of a dramatic play. It was a small theater house. This was the first time I was literally on the road, doing a play, for four months.

Play well, or play badly, but play truly.

I never know who's influencing me at any time. I mean, I can take a play by Brecht and adapt it, I'm consciously adapting that play, or, as I've done with the Greek classics, Euripides and Oedipus, and I'm consciously adapting that play. Whether it influences me or not, I think it's the critics, the analysts who have to decide that. Me, I don't feel that I'm under the influence of any such sources.

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.

Some players don't like training and I've seen some players who aren't bothered if they play or not. But I want to play every game. Sometimes you have to rest in certain games, but I want to play in every game.

You have got to play the game with the cards that have been dealt to you, and it is of no use for you to bewail your fate because you don't hold different ones. Look them over, arrange them, and play. You certainly must play them before you will get any others, and you need never expect to have other people's cards.

I want to play for my country, play for everybody, and I want to be there. I just feel like I have so many feelings and I want to play in the Olympics and feel how special if I can win that tournament.

Your past history and all of your hurts are no longer here in your physical reality. Don't allow them to be here in your mind, muddying your present moments. Your life is like a play with several acts. Some of the characters who enter have short roles to play, others, much longer. But all are necessary, otherwise they wouldn't be in the play. Embrace them all, and move on to the next act.

If you play an instrument, it makes you a better singer. The more you play, the better you sing, the more you sing, the better you play.

And now, in honour of the 150th anniversary of Beethoven's death, I would like to play 'Clear the Saloon', er, 'Clair de Lune', by Debussy. I don't play Beethoven so well, but I play Debussy very badly, and Beethoven would have liked that.

It is possible to enjoy the Mozart concerto without being able to play the clarinet. In fact, you can learn to be an expert connoisseur of music without being able to play a note on any instrument. Of course, music would come to a halt if nobody ever learned to play it. But if everybody grew up thinking that music was synonymous with playing it, think how relatively impoverished many lives would be. Couldn't we learn to think of science in the same way?

See, if you put a musician in a place where he has to do something different from what he does all the time, then he can do that - but he's got to think differently in order to do it. He's got to play above what he knows - far above it. I've always told the musicians in my band to play what they know and then play above that. Because then anything can happen, and that's where great art and music happens.

I realized that many men are happy to play a supporting role to another man, but they are much less happy to play a supporting role to a woman. People are saying we need more females in our industry and we need more female-driven stories, but that takes the men of bankable star quality to come forward and play supporting roles in those films, because ultimately that's what the women have always done. We've always lent our name value to male-centric stories, and now we're going to have to ask the men to swallow their pride, because it seems that it's about pride.

I play a bunch of instruments, like piano, drums, guitar and bass. And the kazoo every now and then. I'm trying to learn how to play the trumpet and the saxophone. That's what I'm learning how to play.

A wise man once said that all human activity is a form of play. And the highest form of play is the search for Truth, Beauty and Love. What more is needed? Should there be a ‘meaning’ as well, that will be a bonus? If we waste time looking for life’s meaning, we may have no time to live — or to play.

Children need the freedom and time to play. Play is not a luxury; the time spent engaged in it is not time that could be better spent in more formal educational pursuits. Play is a necessity.

Work, as we usually think of it, is energy expended for a further end in view; play is energy expended for its own sake, as with children's play, or as manifestation of the end or goal of work, as in "playing" chess or the piano. Play in this sense, then, is the fulfillment of work, the exhibition of what the work has been done for.

The title's so upfront. It gives fair warning about the play's content. I'm writing about a kind of disenchantment, an anger, but quite a cool 90's anger, at a time when we're not very good at openly being angry. . . . I don't think I ever thought the title was titillating. I thought it was incredibly catchy. If the play is about the reduction in human relations down to a consumerist rationale, then thematically, the title is entirely linked into the thesis of the play.

What I think I've been able to do well over the years is play with pain, play with problems, play in all sorts of conditions.

Villains can often be one note and I would say in that case, it’s not fun to play the villain. It’s fun to play the villain if he a) has dimension and b) the villain gets to do all the things in the movie that in life he would get punished for. In the movie, you’re applauded for them if you do them with panache. And so that’s why it’s more fun to play the villain.

So - here I am in the dark alone, There's nobody here to see; I think to myself, I play to myself, And nobody knows what I say to myself; Here I am in the dark alone, What is it going to be? I can think whatever I like to think, I can play whatever I like to play, I can laugh whatever I like to laugh, There's nobody here but me.

Chess programs don't play chess the way humans play chess. We don't really know how humans play chess, but one of the things we do is spot some opportunity on the chess board toward a move to capture the opponent's queen.

Brian is an archetypal character, a bit like Don Juan, which is how I play him. He's a blast to play. He believes unapologetically in his freedom. He holds nothing back. Something I'm learning is, you can't hate the character you play. If I think my character is an asshole, that's all that will come across. He is drawn in an extreme way, but that doesn't mean he's not a person.

Every club if I am not playing, I leave because I want to play football. All I wanted to do since I was a kid is play football and if I wasn't at a club I'd be playing with my mates on a Sunday. I still come home and play five-a-side with my mates.

My soul, sit thou a patient looker-on; Judge not the play before the play is done: Her plot hath many changes; every day Speaks a new scene; the last act crowns the play

I would love to play Marlene Dietrich in a movie. My dad's from Germany and so I feel like that would be a really interesting person to play.

Look, I play all these tough guys and thugs and strong, complex characters. In real life, I am a cringing, neurotic Jewish mess. Can't I for once play that on stage?

When you are at the right age to play Hamlet you are still to young and immature to play it. It is much later, when you get the life experience and the emotional power, that you understand Hamlet or Macbeth.

[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.

The opposite of play is not work—the opposite of play is depression.

Having children has helped me become a better actor because they remind you to play make believe. It's the ease and naturalness of their beings. They just play and it's completely real for them at the time. As an actor, if we do it well, we make you believe.

It's a risk-reward thing. If I do go out and try and play and get hurt again, then I'm definitely out. I've got no chance to go. If I'm ready, then great. It's getting better. I've been doing a lot more in the last couple of days. I've got a day off (on Wednesday) and then hope to come back in on Thursday and really see where I am at and test it out. Hopefully I'm going to play this weekend but, in reality, we'll see.

If I feel I can play a part I do everything in my power to try to play it.

In strongly opposing the world of play to that of reality, and in stressing that play is essentially a side activity, the interference is drawn that any contamination by ordinary life runs the risk of corrupting and destroying its very nature.

The reason I play so hard is that somewhere out there is some kid who has never seen me play before, and I don't want to disappoint him.

The propensity to play is situated in very ancient regions of the brain. Rats that have had their neocortex removed still engage in normal play.

That's one thing you learn as a quarterback: focus. The better you are at focusing and the more you can continue to stay focused for a four-hour stage and really be zeroed in on what is happening, the better you play, the longer you play.

John Cassavetes wrote A Woman Under the Influence as a play. He said, "Hey, I wrote you a play." And I said, "Great, let's read it." I read it and I said, "John, I couldn't do this every night and twice on Wednesday and Saturday".

When people don't like the way a play ends, they're likely to blame the play.

The difference of great players is at a certain point in a match they raise their level of play and maintain it. Lesser players play great for a set, but then less.

I was probably 16.I played - I tried to play these songs that I had written. And, this was a common theme when I was younger: I would write a song about somebody, and they would come to my show. I wouldn't be able to play the whole thing, because, there would be some giant, loaded secret coming up in like, the third verse, or something.