People From Chicago

"I didn't even know that chickens could fly, and suddenly one was landing on me. It happened when I was visiting a farm sanctuary. If I had been younger I would have asked my parents if I could take her home, please! After all, she chose me. Never mind that she chose everybody; she was a particularly friendly chicken. She made soft, strange cooing sounds and nestled into my arms like a happy kitten. … In fact she was an ordinary chicken, but simply one who had no reason to believe that people were after her. This is how chickens and humans would relate to one another if one was not exploited and the other doing the exploiting. Very much like cats and dogs. They just wait for the chance."

"Those who live with pigs often speak of them as we normally speak of dogs—intelligent, loyal, and above all, affectionate. Each one, I am continually reminded by people who know them, is a complete individual, like no other pig."

"[About pigs] … of all animals their flesh most resembles human flesh, which is somewhat disconcerting when you consider that more than 40 percent of all meat raised in the world is pork."

"There are many people who have undergone great suffering who seem to possess knowledge of the deepest recesses of human emotion unavailable to the rest of us. They may want to impart it, but we often cannot hear. Strangely enough, farm animals strike me in the same way."

"Many people feel more complete with a cat in their life, and I would not be surprised if cats felt the same way about us. I know that if I disappeared from the lives of my five cats, they would not be as happy as before. I know, because they wait for me to go on walks along the beach, though they could perfectly well go on their own. When I am with them, they react in such a strong way, gamboling, racing ahead of me, and then flopping down in my path, that it is obvious they derive great pleasure from my company. I find it hard to believe, though, that they could possibly enjoy my company as much as I enjoy theirs. This is not surprising: we domesticated cats for our benefit. While they get something from it, we probably got the better deal."

"Unlike a human smile, purring cannot be, as far as anyone knows, faked."

"The cat does not merely experience contentment, he exudes it. You cannot be in the presence of a contented cat and not have some of that contentment rub off on you. Which surely is a good part of the reason we love cats so."

"The idea, to a cat, that somebody else owns him is ludicrous."

"There is rarely an exception: once a cat makes up her mind to do something, your pleadings matter not at all. A dog, in the same circumstances, no matter how urgently he needs to do something, will change his mind if you insist. He is made for compromise, for self-sacrifice, for thinking about how you feel. Not cats."

"What happens in the ensemble work is that in a cooperative work, the power of communication in being with each other in acceptance and "yes, and"-ing each other, is that you as an individual start to believe in yourself because you begin to see yourself in the others' eyes. Your ensemble, your group, your team, your committee, is the one that's believing in you and you pull it together to do it for them. You know, it's simply recognizing you're not alone. I'm way out in theory here; it's the study of what the power is, the power in improvisation and why it changes lives.... I'm crazy about it, and that's why I've dedicated my life to the study of it. The power is love, if you want to know the truth. It's love and unconditional acceptance. You put yourself in a place of support, unconditional acceptance and love for who you are, the way you are and your uniqueness, and what you do is grow. You surround yourself with people who are truly interested in you and listen to you, and you will grow. And it doesn't take much to start advancing you, it doesn't take much of that support, it doesn't take much of that love and that care and you can do it. You can play act with people. You can be in a state of play together."

"Martin was a tremendous help to anyone who had lost their dream. He’d help them find it again, pick it up and dust it off. Maybe repair the hole where it slipped through."

"In the often unkind world of "the business," where a true friend is hard to come by, he’ll be impossible to replace. A bruised ego or shattered dream found refuge in de Maat’s gangly embrace, and found genuine affirmation in his Cheshire smile and often glass-shattering laughter. Everyone — literally everyone — was deserving, unique and special in his eyes, and everyone who wanted to play got at least one, if not one hundred, turns at bat. He believed wholeheartedly in the work’s ability to heal, to nurture, and to save your ever lovin’ soul. In his own special way, he was a missionary. He understood the slings and arrows, but never indulged a cynic for long and never gave up on his core belief that there was transcendental joy to be found in sharing (on-stage and off) that which is human, that which is true and real."

"Talk to Martin, change your life."

"You have the right to follow your dreams. I'm giving you permission to follow your dreams."

"I don't give you permission to fail."

"You don't have permission to disrespect yourself."

"I am giving you permission to succeed."

"I think many of us go through our life not fully having permission to be who we are and what we're going to become. Most of us are often looking for approval. We hate it when we're not approved of. It's that approval that has us in our minds worrying about what we're doing as we're doing it, trying to figure out whether or not it's appropriate or will be accepted. We walk through our lives like we're on our first date. Trying to see if we're appropriate and trying not to step on other peoples' toes . . . you know, cautiously, prophylactically, for fear of not being approved of. In this work, there's only approval."

"There's a lot of laughter that goes on. Since we're laughing together, we're true community. It's a very safe place to confront your fears. The minute somebody says, "Perform!" your fear comes up..."

"No one will ever follow you down the street if you're carrying a banner that says, "Onward toward mediocrity.""

"Each of us is unique, and if we don't respect that uniqueness, if we don't allow that which we are to surface, then the world doesn't have it."

"You know what intimacy is? It's into-me-you-see... it's allowing someone to know who you are when you have all these defenses to keep them from knowing."

"The beginning of this work is just how to get people to remember how to play, to be in play. Once you're in play, you're in the moment. You're not judgmental, you're enjoying each other, you're accepting of everything that goes on; you're trusting yourself and just doing the game as best as you can. Your critical mind is gone, your analytical mind is not involved. Really, it's just the flow that goes on between human beings, the group the power of the ensemble. As with any ensemble, it is the team effort or the group effort that makes the individual grow or look good. That's what the center of this work is all about, what these games and exercises are all about . . . breaking down barriers between people, empowering the individual to believe in their own associations and ideas, uncovering the courage to create, the courage to communicate."

"The base of the work is one of individuals believing in themselves, trusting themselves in the moment and being accepting of themselves and the people around them. In order to improvise in front of an audience, you have to be accepting, involved in the moment and courageous. Those issues, when transferred over to general communication, makes the communication richer and helps in all areas of life."

"You do not have the right to use this art form to feel inferior."

"The Hokey Pokey. Think about it. At the end of the song, what do we learn? What is it all about?... You put your whole self in!"

"Let’s try and create scenes that are about something... About something deeper than this ashtray."

"You are pure potential."

"We were born of risen apes, not fallen angels, and the apes were armed killers besides. And so what shall we wonder at? Our murders and massacres and missiles, and our irreconcilable regiments? Or our treaties whatever they may be worth; our symphonies however seldom they may be played; our peaceful acres, however frequently they may be converted to battlefields; our dreams however rarely they may be accomplished. The miracle of man is not how far he has sunk but how magnificently he has risen. We are known among the stars by our poems, not our corpses."

"Art is an adventure. When it ceases to be an adventure, it ceases to be art. Not all of us pursue the inaccessible landscapes of the twelve-tone scale, just as not all of us strive for inaccessible mountain-tops, or glory in storms at sea. But the human incidence is there. Could it be that these two impractical pursuits - of beauty and of adventure’s embrace - are simply two differing profiles of the same uniquely human reality?"

"The philosophy of the impossible has been the dominant motive in human affairs for the past two centuries. We have pursued the mastery of nature as if we ourselves were not a portion of that nature. We have boasted of our command over our physical environment while we ourselves have done our urgent best to destroy it."

"I find myself frequently maintaining to any young passer-by upon whose attention I can force myself that a genuinely creative career must like a milking stool stand on three legs. There must be accident, there must be sweat, there must be dissatisfaction. That one must work hard is too obvious for comment here. That one must be endowed with native dissatisfaction is very nearly as obvious, for it is the engine that drives you: dissatisfaction with the world and the arts as you find them, dissatisfaction with your own best efforts to capture the uncapturable. What is not so obvious is the support which one must gain from accident, from those dispositions of wind and stars over which one has no control."

"A skepticism concerning what one beholds - whether in the arts, in the sciences, or in the deeply etched channels of fashionable response - contains a force essential to the survival of civilized man."

"Human war ... has been the most successful of all our cultural traditions."

"There is nothing so moving - not even acts of love or hate - as the discovery that one is not alone."

"Man is neither unique nor central nor necessarily here to stay. But he is a product of circumstances special to the point of disbelief. And if man in his current predicament seeks a fair mystique to see him through, then I can only suggest that he consider his genes. For they are marked. They are graven by luck beyond explanation. They are stamped by forces that we shall never know. But even so, in the hieroglyph of the human emergence certain symbols must stand for all to read: Change is the elixir of the human circumstance, and acceptance of challenge the way of our kind. We are bad-weather animals, disaster’s fairest children. For the soundest of evolutionary reasons man appears at his best when times are worst."

"Intelligence is no human sideshow but an evolutionary main event. The power to foresee, to call upon the past in terms of the future, to evaluate, to imagine solutions, is a power flowing from old time springs. The human mind may be denied the policeman's privilege of arresting this instinct or that. It may sit as no more than a moderator in the eternal instinctual debate. But it is a moderator with unlimited investigative powers."

"Lloyd George suggested a compromise. If France relinquished her claims on the Rhine, Britain and the United States would guarantee France's boundary against future German aggression. Wilson agreed and treaties to that effect were drawn up. Marshall Foch, pressed by the uncompromising Poincaré, (former French Premier), made one last desperate effort to save for France the only natural barrier there was against the hereditary enemy. On March 31, he demanded to be heard in person by the Big Four, Wilson, Lloyd George, Clemenceau, and the Italian premier, Orlando, who were responsible for drawing up the peace terms."

"Germany agreed to restrict her Navy to one third the size of the British but was accorded the right to build submarines, explicitly denied her by the peace treaty, up to 60 percent of British strength, and to 100 percent in case she decided it was necessary to her security, which she shortly did. Germany also pledged that her U-boats would never attack unarmed merchant ships, a word that she went back on from the very beginning of the second war. As soon as the deal with Britain was concluded Germany laid down two battleships, the Bismarck and Tirpitz, with a displacement of over 45,000 tons. By the terms of the Washington and London naval accords, Britain, France, Italy, Japan, and the United States had to limit their battleships to 35,000 tons. Great Britain, as the French contended, had no legal right to absolve Germany from respecting the naval clauses of the Versailles Treaty. And, as many Frenchmen added, no moral right either."

"Shortly after the British government had protested Hitler's violation of the military clauses of the Versailles Treaty on March 16 and then joined Italy and France in proclaiming their determination to uphold the sanctity of treaties, it had, behind the backs of its two Stresa allies, negotiated a naval agreement which violated the naval clauses of the Versailles Treaty and gave Hitler the right and encouragement to build all the warships his shipyards could construct for at least ten years.* The Naval Pact was signed in London on June 18, 1935, without the British government having the courtesy to consult with France and Italy, or later, to inform them of the secret agreements which stipulated that the Germans could build in certain categories more powerful warships than any the three Western nations then possessed. The French regarded this as treachery, which it was. They saw it as a further appeasement of Hitler, whose appetite grew on concessions. And they resented the British agreeing, for what they thought a private gain, to scrap further the peace treaty and thus add to the growing overall military power of Nazi Germany."

"The deceit of the Allies would have fateful consequences. Germany, even under Hitler, would never have risked invading France again if her rulers and her generals had known in advance that Britain and America would oppose it by military force. The U.S. Senate's rejection of the Treaty of Guarantee brought a certain responsibility on the United States for the subsequent course of events which pushed western Europe to the brink of destruction by Germany, though this was scarcely recognized in America. The Senate's action did not spare the American republic in the end. It only made the reconquest of western Europe from the Germans, when the Second World War came, infinitely more costly in American lives and treasure than it would have been had a President's word been honored in the first place by the Senate. The United States, supremely complacent in its shortsighted isolation, was lost as a factor in guarding the peace of Europe it had helped to win, and in which its fate would always be intertwined.""

"The French regarded this as a betrayal. It was. They spoke of being cheated by their wartime allies. They were. Clemenceau whose outspoken sympathies for Britain and America (he had been a newspaper correspondent in the United States shortly after the Civil War, had learned American English and married an American) had earned charges from the Right before the war that he was an Anglo-Saxon "tool", was embittered and disillusioned. As the Premier who had pulled France together in the closing period of the war, he realized what so many Frenchmen tended to forget, that without British and American help the war could not in the end have been won. He saw too that without Anglo-American promises of military aid in the future it would be beyond France's power to repel the next German invasion. He had been promised that aid in return for giving up the security of the Rhine, which his generals had demanded. Now France had neither."

"It was a prophetic pronouncement. But Clemenceau gave in. In return for abandoning the Rhine he accepted solemn guarantees of his country's frontier from his two great allies. Neither ally kept its word. Both houses of the British parliament approved the Treaty of Guarantee in July 1919, but on the condition that the United States also ratify it. The U.S. Senate refused to approve either it or the Versailles Treaty, and the British assent was nullified."

"If we do not hold the Rhine permanently [Foch told them] there is no neutralization, no disarmament, no written clause of any nature, which can prevent Germany from breaking out across it and gaining the upper hand. No aid could arrive in time from England or America to save France from complete defeat."

"Germany was to be made one vast wasteland. Nothing was to be left with which the German people might somehow survive their defeat."

"On March 19, 1945 Hitler issued a general order that all military, industrial, transportation and communication installations as well as all stores in Germany must be destroyed in order to prevent them from falling intact into the hands of the enemy. The measures were to be carried out by the military with the help of the Nazi gauleiters and "commissars for defense." "All directives opposing this," the order concluded, "are invalid.""

"Whatever it was that darkened the love between the uncle and his niece, their quarrels became more violent and at the end of the summer of 1931 Geli announced that she was returning to Vienna to resume her voice studies. Hitler forbade her to go. The next morning Geli Raubal was found shot dead in her room. The coroner reported that a bullet had gone through her chest below the left shoulder and penetrated the heart; it seemed beyond doubt that the shot was self-inflicted. Yet for years afterward in Munich there was murky gossip that Geli Raubal had been murdered — by Hitler in a rage, by Himmler to eliminate a situation that had become embarrassing to the party. But no credible evidence ever turned up to substantiate such rumors.""

"In the summer of 1928, Hitler aged 39, was the Nazi party leader, and he fell in love with Geli Raubal, his 20 year old niece, the daughter of his widowed half-sister, Angela Raubal. He took her everywhere, to meetings and conferences, on long walks in the mountains and to the cafés and theaters in Munich. Gossip about the party leader and his beautiful blond niece was inevitable in Munich and throughout Nazi circles in southern Germany. By 1931, some deep rift whose origins and nature have never been fully ascertained grew between them."

"Hitler's native district in the Waldviertel, is a hilly, wooded country of peasant villages and small farms, and though only some fifty miles from Vienna it has a somewhat remote and impoverished air, as if the main currents of Austrian life had passed it by. The inhabitants tend to be dour, like the Czech peasants to the north of them. Intermarriage is common, as in the case of Hitler's parents, and illegitimacy is frequent.""

"Adolf Hitler was the third son and the fourth of six children of Alois Hitler (born Schicklgruber) (1837–1903), a minor customs official, and Klara Pölzl (1860-1907), his second cousin, and third wife. Alois was born illegitimate and for the first thirty-nine years of his life bore his mother's name, Schicklgruber. The name Hitler appears in the maternal and paternal line. Both Hitler's grandmother on his mother's side and his grandfather on his father's side were named Hitler, or rather variants of it, for the family name was variously written as Hiedler, Huetler, Huettler and Hitler. Because Adolf's mother was his father's second cousin, an episcopal dispensation had to be obtained for the marriage."