Kenneth Tynan Quotes

• Un crítico es un hombre que conoce el camino pero no sabe conducir el coche.

  Kenneth Tynan

  Inspiración, Vida, Belleza

  N.Y. Times, 1 Dec. 1963

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• A neurosis is a secret that you don’t know you are keeping.

  Kenneth Tynan

  Keeping Secrets, Neurosis, Sanity

  "The Life of Kenneth Tynan". Book by Katharine Tynan, p. 188, 1987.

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• How far should one accept the rules of the society in which one lives? To put it another way: at what point does conformity become corruption? Only by answering such questions does the conscience truly define itself.

  Kenneth Tynan

  Integrity, Way, Doe

  Review of Le Misanthrope, by Molière, at the Piccadilly in 1962. "Tynan Right and Left: Plays, Films, People, Places and Events". Book by Kenneth Tynan, p. 117, 1967.

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• We shall be judged by what we do, not by how we felt while we were doing it.

  Kenneth Tynan

  Felt, Judged

  Review of Altona, by Jean-Paul Sartre, in 1961. "Tynan Right and Left: Plays, Films, People, Places and Events". Book by Kenneth Tynan, p. 97, 1967.

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• Muéstrame a un fisgón congénito con los instintos de un mirón y te enseñaré cómo se hace un dramaturgo.

  Kenneth Tynan

  Theatre, Instinct, Peeping

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• Cuando una sociedad tiene dudas sobre su futuro, tiende a producir portavoces cuyo principal atractivo son las emociones, que argumentan a partir de intuiciones y cuya pretensión de ser portadores de la verdad descansa únicamente en intensos sentimientos personales.

  Kenneth Tynan

  Feelings, Doubt, Intuition

  "Tynan Right and Left : Plays, Films, People, Places and Events" by Kenneth Tynan, (p. 143), 1967.

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• El arte y la ideología a menudo interactúan entre sí, pero lo cierto es que ambos surgen de una fuente común. Ambas se basan en la experiencia humana para explicarse a sí mismas; ambas intentan, de maneras muy distintas, dar coherencia a fenómenos aparentemente inconexos; ambas nos defienden del caos.

  Kenneth Tynan

  Art, Spring, Different

  Kenneth Tynan (1961). “Curtains: Selections from the Drama Criticism and Related Writings”

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• The buttocks are the most aesthetically pleasing part of the body because they are non-functional. Although they conceal an essential orifice, these pointless globes are as near as the human form can ever come to abstract art.

  Kenneth Tynan

  Art, Essentials, Body

  "Tynan Right and Left : Plays, Films, People, Places and Events" by Kenneth Tynan, (p. 432), 1967.

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• All writing is an antisocial act, since the writer is a man who can speak freely only when alone; to be himself he must lock himself up, to communicate he must cut himself off from all communication; and in this there is something always a little mad.

  Kenneth Tynan

  Communication, Writing, Cutting

  Kenneth Tynan (1961). “Curtains: Selections from the Drama Criticism and Related Writings”

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• A good drama critic is one who perceives what is happening in the theatre of his time. A great drama critic also perceives what is not happening.

  Kenneth Tynan

  Drama, Criticism, Theatre

  'Tynan Right and Left' (1967) foreword

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• If there's one thing I can't bear, it's people who are wise during the event.

  Kenneth Tynan

  Sabio, Sabiduría, Gente

  Kenneth Tynan, John Lahr (2002). “The Diaries of Kenneth Tynan”, p.185, A&C Black

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• Art is a private thing, the artist makes it for himself; a comprehensible work is the product of a journalist. We need works that are strong, straight, precise, and forever beyond understanding.

  Kenneth Tynan

  Art, Strong, Forever

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• It is Ireland's sacred duty to send over, every few years, a playwright to save the English theater from inarticulate glumness.

  Kenneth Tynan

  Years, Sacred, Theater

  Kenneth Tynan (1964). “Tynan on theatre”

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• No veo la C.E.E. [Comunidad Económica Europea] como una gran aventura amorosa. Es más bien como nueve parejas de mediana edad con matrimonios fracasados que se reúnen en un hotel de Bruselas para echar un polvo en grupo.

  Kenneth Tynan

  Travel, Couple, Home

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• A useful word previously unknown to me: 'ergophobia', meaning 'fear or hatred of work'. At last I can define myself in one word.

  Kenneth Tynan

  Hatred, Lasts, One Word

  The Diaries of Kenneth Tynan (2001), entry for 26 Oct 1975.

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• All of life is more or less what the French would call s'imposer, to be able to create one's own terms for what one does.

  Kenneth Tynan

  Life, Doe, Able

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• The greatest films are those which show how society shapes man. The greatest plays are those which show how man shapes society.

  Kenneth Tynan

  Men, Play, Shapes

  Kenneth Tynan, John Lahr (2002). “The Diaries of Kenneth Tynan”, p.246, A&C Black

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• Ataqué a los dramaturgos occidentales que utilizan su influencia y riqueza para predicar al mundo la doctrina nihilista de que la vida es inútil e irracionalmente destructiva, y que no hay nada que podamos hacer al respecto. Hasta que todo el mundo esté alimentado, vestido, alojado y enseñado, hasta que los seres humanos tengan el mismo tiempo libre para contemplar el hecho abrumador de la mortalidad, no deberíamos (argumenté) permitirnos el lujo de la "desesperación privilegiada".

  Kenneth Tynan

  Indulge In, Luxury, Despair

  "Conference at Edinburgh (1963)". "Tynan Right and Left: Plays, Films, People, Places and Events". Book by Kenneth Tynan, p. 146, 1967.

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• I hope I never need to believe in God. It would be an awful confession of failure.

  Kenneth Tynan

  Believe, Would Be, Needs

  "Critic Kenneth Tynan Has Mellowed But Is Still England's Stingingest Gadfly" by Godfrey Smith, archive.nytimes.com. January 9, 1966.

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• Ningún teatro podía prosperar sanamente mientras no existiera una conexión umbilical entre lo que sucedía en el escenario y lo que ocurría en el mundo.

  Kenneth Tynan

  Theatre, Connections, World

  "Critic Kenneth Tynan Has Mellowed But Is Still England's Stingingest Gadfly" by Godfrey Smith, The New York Times, archive.nytimes.com. January 09, 1966.

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• Pearl is a disease of oysters. Levant is a disease of Hollywood.

  Kenneth Tynan

  Oysters, Hollywood, Pearls

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• Un villano que comparte la propia culpabilidad es inevitablemente más atractivo que un héroe convencido de la propia inocencia.

  Kenneth Tynan

  Hero, Guilt, Innocence

  Review of The Changeling, by Thomas Middleton (1961). "Tynan Right and Left: Plays, Films, People, Places and Events". Book by Kenneth Tynan, p. 75, 1967.

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• The unique thing about Margaret Rutherford is that she can act with her chin alone. Among its many moods I especially cherish the chin commanding, the chin in doubt, and the chin at bay.

  Kenneth Tynan

  Unique, Doubt, Cherish

  Kenneth Tynan (1961). “Curtains: Selections from the Drama Criticism and Related Writings”

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• Judge and prosecutor had hammered it home that Lady Chatterly was an immoral woman, that she had had sexual relations before marriage, that she had committed adultery under her husband's roof; as if these charges somehow disqualified her from participation in serious literature. Indeed, there were long periods of the trial during which an outsider might well have assumed that a divorce case was being heard.

  Kenneth Tynan

  Husband, Home, Divorce

  "Lady Chatterly's Trial (The Old Bailey, 20 October - 2 November 1960)". "Tynan Right and Left: Plays, Films, People, Places and Events". Book by Kenneth Tynan, p. 409, 1967.

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• What, when drunk, one sees in other women, one sees in Garbo sober.

  Kenneth Tynan

  Love, Art, Women

  Curtains pt. 2 (1961)

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