Frases de Julie Taymor

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Julie Taymor

Data de nascimento: 15. Dezembro 1952

Publicidade

Julie Taymor é uma cineasta e diretora de musicais e Óperas estadunidense.

O trabalho de Taymor recebeu muitos elogios por parte dos críticos, e ela ganhou dois prêmios Tony de quatro indicações, o Drama Desk Award de Melhor Figurino, um Emmy Award e uma nomeação para Melhor Canção Original no Oscar. Ela também recebeu em 2012 o Director Award for Vision and Courage do Athena Film Festival em Barnard College, em Nova York. Ela é amplamente conhecida por dirigir a versão musical do O Rei Leão, que ela se tornou a primeira mulher a ganhar o Prêmio Tony de melhor direção em musical, além de um prêmio Tony por Melhor Figurino. Ela era a diretora do musical da Broadway Spider-Man: Turn Off the Dark. E dirigiu a aclamada produção off-broadway, Sonho de Uma Noite de Verão.

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Citações Julie Taymor

„It allows human beings to step out of their lives and to revisit it and maybe find something different about it.“

—  Julie Taymor
Context: I understood really the power of art to transform. I think transformation became the main word in my life. Transformation because you don't want to just put a mirror in front of people and say, here, look at yourself. What do you see? You want to have a skewed mirror. You want a mirror that says you didn't know you could see the back of your head. You didn't know that you could amount cubistic see almost all the same aspects at the same time. It allows human beings to step out of their lives and to revisit it and maybe find something different about it.

„I'm trying to make the theatrical experience an environmental experience.“

—  Julie Taymor
Context: I'm trying to make the theatrical experience an environmental experience. We want to have the theatre of it right in the laps of the audience … You don't know until the last half second that he's going to be that close.

Publicidade

„I put myself into situations where I'm forced to do something, to create, to respond, to see differently.“

—  Julie Taymor
Context: Where I live is not necessarily in New York City. That's where my apartment is, but I live in Mexico, or I live in Indonesia. I live in Japan. I feel as comfortable in those other cultures, because, in a way, I'm always uncomfortable. I can't explain that, exactly, but I put myself into situations where I'm forced to do something, to create, to respond, to see differently.

„We always write stories of tragedies because that's how we reach our human depth. How we get to the other side of it.“

—  Julie Taymor
Context: We always write stories of tragedies because that's how we reach our human depth. How we get to the other side of it. We look at the cruelty, the darkness and horrific events that happened in our life whether it be a miscarriage or a husband who is not faithful. Then you find this ability to transcend. And that is called the passion, like the passion of Christ. You could call this the passion of Frida Kahlo, in a way. When I talk about passion, and I'm not a religious person, but I absolutely am drawn and attracted to the power of religious art because it gets at that most extreme emotion of the human experience.

„If you don't have fear then you are not taking a chance.“

—  Julie Taymor
Context: Oh, yeah, I'm scared. If you don't have fear then you are not taking a chance. But what I do have is a team. If your collaborators are there, which is what answers the fear question, and they all are as impassioned as you are, and believe in it, then your fear is mitigated.

Publicidade

„I understood really the power of art to transform. I think transformation became the main word in my life.“

—  Julie Taymor
Context: I understood really the power of art to transform. I think transformation became the main word in my life. Transformation because you don't want to just put a mirror in front of people and say, here, look at yourself. What do you see? You want to have a skewed mirror. You want a mirror that says you didn't know you could see the back of your head. You didn't know that you could amount cubistic see almost all the same aspects at the same time. It allows human beings to step out of their lives and to revisit it and maybe find something different about it.

„You can do things that would bring people to another place and still get someone on a very daily mundane moving level but you don't have to separate art from the masses.“

—  Julie Taymor
Context: I used to say that arts were talked about in the arts and leisure page. Now, why would it be arts and leisure? Why do we think that arts are leisure? Why isn't it arts and science or arts and the most important thing in your life? I think that art has become a big scarlet letter in our culture. It's a big "A." And it says, you are an elitist, you're effete, or whatever those things... do you know what I mean? It means you don't connect. And I don't believe that. I think we've patronized our audiences long enough. You can do things that would bring people to another place and still get someone on a very daily mundane moving level but you don't have to separate art from the masses.

„I'm really a theatre maker, but there's not a word for that.“

—  Julie Taymor
Context: I've never been a puppeteer, I conceive and I write and I design and I direct. And not just puppets. I direct actors, I direct dancers, I direct singers, I direct films. I also direct puppeteers. I'm really a theatre maker, but there's not a word for that. As quoted in "Theatre Director Probes Humanism" by Christopher Reardon in The Christian Science Monitor (13 November 1992), p. 10

Publicidade

„I would never do something with just puppets. . . But I like the things puppets allow you to do.“

—  Julie Taymor
Context: I would never do something with just puppets... But I like the things puppets allow you to do. I had this puppet Dinah Donewell, and she had this hand puppet named Mr. Pleaser. He was her lap dog who was constantly under her skirt. Now if you did that with actors, people would be offended. But in this case, so what? It was a puppet with a puppet. As quoted in "New York at Work; Puppeteer Creates Shows for Grown-Ups" by N. R. Kleinfield The New York Times (2 July 1991)

„The appeal of puppetry to me is it's much more freeing for an artist“

—  Julie Taymor
Context: We have a ways to go in understanding the power of puppetry … Our problem is for too long we have thought of puppets being for children. … The appeal of puppetry to me is it's much more freeing for an artist … Puppetry is a completely controllable means to attack your characters in every possible way. The artist has the possibility to create a much larger landscape with puppetry. The human becomes more human in that sense. Another of the great things about puppetry is the ability to transform. As quoted in "New York at Work; Puppeteer Creates Shows for Grown-Ups" by N. R. Kleinfield The New York Times (2 July 1991) http://www.nytimes.com/1991/07/02/nyregion/new-york-at-work-puppeteer-creates-shows-for-grown-ups.html

„I can't design a mask and say to someone else, "Just do it."“

—  Julie Taymor
Context: I can't design a mask and say to someone else, "Just do it." It's partly because I'm a better sculptor than I am a drawer. Considering the amount of time it would take me to draw exactly what I want, I might as well sculpt it. I paint most of it too. It's incredibly time consuming so I end up turning down a lot of jobs I want to do. As quoted in "The Lively Arts" in Connoisseur No. 219 (1989), p. 72

„The artist has the possibility to create a much larger landscape with puppetry. The human becomes more human in that sense.“

—  Julie Taymor
Context: We have a ways to go in understanding the power of puppetry … Our problem is for too long we have thought of puppets being for children. … The appeal of puppetry to me is it's much more freeing for an artist … Puppetry is a completely controllable means to attack your characters in every possible way. The artist has the possibility to create a much larger landscape with puppetry. The human becomes more human in that sense. Another of the great things about puppetry is the ability to transform. As quoted in "New York at Work; Puppeteer Creates Shows for Grown-Ups" by N. R. Kleinfield The New York Times (2 July 1991) http://www.nytimes.com/1991/07/02/nyregion/new-york-at-work-puppeteer-creates-shows-for-grown-ups.html

Publicidade

„I find that I make as an artist the kind of choices that I have to be impassioned about.“

—  Julie Taymor
Context: She painted what she painted because she had to, because she was passionate about it. She didn't care at all if people bought her paintings. As she said, she painted her reality. I find that I make as an artist the kind of choices that I have to be impassioned about. I'm not going to spend two years on a film or four years on an opera if I don't feel like I can put my own self into it. That doesn't mean it has to be about myself. That's a difference. Frida painted her own reality, her life. I'm a director and I paint many other people... Other people's realities. But I do have to invest in it. On Frida Kahlo's work and her own

„The first thing I do when I’m creating, either for stage or for cinema, is to find the ideograph of the story.“

—  Julie Taymor
Context: The first thing I do when I’m creating, either for stage or for cinema, is to find the ideograph of the story. Which is; the one, simple expression that can tell everything. And at the same time be recognizable for the audience. It’s like in old Japanese paintings — if you were to paint a bamboo forest, you should be able to find its essence with only three strokes. Quoted in "Oh, girl : A Talk with Julie Taymor" at Subtitles to Cinema (2 September 2008) http://subtitlestocinema.wordpress.com/2008/09/02/oh-girl-a-talk-with-julie-taymor/

Publicidade

„She painted what she painted because she had to, because she was passionate about it.“

—  Julie Taymor
Context: She painted what she painted because she had to, because she was passionate about it. She didn't care at all if people bought her paintings. As she said, she painted her reality. I find that I make as an artist the kind of choices that I have to be impassioned about. I'm not going to spend two years on a film or four years on an opera if I don't feel like I can put my own self into it. That doesn't mean it has to be about myself. That's a difference. Frida painted her own reality, her life. I'm a director and I paint many other people... Other people's realities. But I do have to invest in it. On Frida Kahlo's work and her own

„I'm a director and I paint many other people... Other people's realities. But I do have to invest in it.“

—  Julie Taymor
Context: She painted what she painted because she had to, because she was passionate about it. She didn't care at all if people bought her paintings. As she said, she painted her reality. I find that I make as an artist the kind of choices that I have to be impassioned about. I'm not going to spend two years on a film or four years on an opera if I don't feel like I can put my own self into it. That doesn't mean it has to be about myself. That's a difference. Frida painted her own reality, her life. I'm a director and I paint many other people... Other people's realities. But I do have to invest in it. On Frida Kahlo's work and her own

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