„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
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Julie Taymor photo

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

—  Julie Taymor American film and theatre director 1952
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

Julie Taymor photo

„We have a ways to go in understanding the power of puppetry“

—  Julie Taymor American film and theatre director 1952
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

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Peter Jackson photo

„I regard myself as an entertainer much more than an artist.“

—  Peter Jackson New Zealand film director, producer, actor, and screenwriter 1961
Hobbit interview http://www.youtube.com/watch?v=u3n0fNVhADE&feature=youtu.be&t=7m25s, 2012<!--?-->.

„Sgt Pepper made me more famous but it did not change me as an artist.“

—  Peter Blake British artist 1932
Colin Serjent, "Blake's 08, http://www.catalystmedia.org.uk/issues/nerve9/peter_blake.php Nerve, Autumn 2006

Anton Chekhov photo

„I would like to be a free artist and nothing else, and I regret God has not given me the strength to be one.“

—  Anton Chekhov Russian dramatist, author and physician 1860 - 1904
Letter to Alexei Pleshcheev (October 4, 1888)

Hans-Georg Gadamer photo

„The free artist creates without a commission.“

—  Hans-Georg Gadamer German philosopher 1900 - 2002
Context: The free artist creates without a commission. He seems distinguished by the complete independence of his creativity and thus acquires the characteristic social features of an outsider whose style of life cannot be measured by the standards of public morality. The concept of the bohemian which arose in the nineteenth century reflects this process. The home of the Gypsies became the generic word for the artist's way of life. But at the same time the artist, who is as "free as a bird or a fish," bears the burden of a vocation that makes him an ambiguous figure. For a cultured society that has fallen away from its religious traditions expects more from art than the aesthetic consciousness and the "standpoint of art" can deliver. The Romantic desire for a new mythology... gives the artist and his task in the world the consciousness of a new consecration. He is something like a "secular saviour' for his creations are expected to achieve on a small scale the propitiation of disaster for which an unsaved world hopes. p. 76

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