11:11 Higher Consciousness
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- mikotondria30
Please.
Capitalize the first letter of each sentence http://en.wikipedia.org/wiki/Sen…)
Then end the sentence with a little dot, or period.
This will allow anyone unfortunate enough to read any of your posts the opportunity to extract the intended meaning (if any) that is available.
Also the first person pronoun 'I', is always uppercase in English.
I know what you write sounds roughly like how you speak, god forbid, but there are a few more subtle rules that seem to be evading you at this time.
You sound like a rather unwashed, very skinny, jabbery kind of person that would be found at raves about 10 years ago. Fine to 'talk' to for 5 minutes in the toilets until the unfortunate recipient of your wisdom realises that none of their input is making a blind bit of difference to anything that the other is saying.
- ribit0
Now it's time for Great Actors, introduced as usual by Alan
Semen.Alan: Sir Edwin, which has been for you the most demanding of the great Shakesperean tragic heroes that you've played?
Sir Edwin: Well, of course this is always a difficult one, but I think the answer must be Hamlet.
A: Which you played at Stratford in 1963.
E: That's right, yes, I found the role a very taxing one. I mean, er, Hamlet has eight thousand two hundred and sixty-two words, you see.
A: Really.
E: Oh yes. Othello's a bugger too, mind you - especially the cleaning up afterwards, but he has nine hundred and forty-one words less than Hamlet. On the other hand, the coon's got more pauses, sixty-two quite long ones, as I recall. But then they're not so tricky, you see - you don't have to do so much during them.
A: You don't.
E: No. No, not really. And they give you time to think what sort of face you're going to pull during the next speech so that it fits the words you're saying as far as possible.
A: How many words did you have to say as King Lear at the
Aldwitch in '52?
E: Ah, well, I don't want you to get the impression it's just a
question of the number of words... um... I mean, getting them in the right
order is just as important. Old Peter Hall used to say to me, "They're all
there already-- now we've got to get them in the right order." And, er, for
example, you can also say one word louder than another--er, "To *be* or not
to be," or "To be *or* not to be," or "To be or not to *be*"--you see? And so on.
A: Inflection.
E: And of course inflection. In fact, Lear has only seven
thousand and fifty-four words, but the real difficulty with Lear is that you've
got to play him all--you know, shaky legs and pratfalls and the dentures
falling out, 'cause he's ancient as hell, and then there's that heartrending scene when he goes right off his nut--you know, "bliddle dee dee diddle
deebibble dee dee dibble beep beep beep," and all that, which takes it out
of you, what with having the crown to keep on. So Lear is tiring, although
not difficult to act, because you've only got to do despair and a bit of
anger, and they're the easiest.
A: Are they? What are the hardest?
E: Oh... um, fear.
A: Fear?
E: Mmm, yes, never been able to get that--can't do the mouth. I
look all cross--it's a very fine line.
A: What else?
E: Apart from fear? Er, jealousy can be tricky... but for me,
the most difficult is being in love--you know, that openmouthed, vacant
look that Vanessa Redgrave's got off to a tee. Can't do that at all. And
also I'm frightfully awkward when I try that happy prancing, you know.
Which is a shame, really, because otherwise Romeo's quite good for me--
only three thousand and eight and quite a lote of climbing and kissing.
A: Sir Edwin--get stuffed.
E: I've enjoyed it.