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I think all in all, one thing a lot of plays seem to be saying is that we need to, as black Americans, to make a connection with our past in order to determine the kind of future we're going to have. In other words, we simply need to know who we are in relation to our historical presence in America.
I'm baffled when young actors aren't familiar with current film, television and theater, or aren't interested in older films or plays and the history of the craft in general. If you don't know what's out there, and what came before, then how can you picture yourself working, and how can anyone else?
I first started acting in primary school, just doing little plays. And from the moment I began, something just went 'click' inside me. Suddenly I wasn't shy anymore. Instead I felt confident and happy. I can remember the enormous sense of relief it gave me. I loved the feeling of making people laugh.
I can't find anything wrong with Ashton Kutcher. I think he's great. It's odd that in America there's a very mixed reaction to him. I think those that have only seen him on 'Punk'd' or 'That 70s Show' get him wrong. There's much more to him than those characters or that persona he plays in those shows.
When I was younger, I was an avid science girl. I was all about, 'I'm going to be a doctor.' Even when I graduated, I was like, 'I'm going to be a doctor.' Even though I did acting and I was in plays and drama clubs in high school and college, I still didn't think I was going to take it on as a career.
As an actor, to go and see those shows - great plays like 'Who's Afraid of Virginia Woolf?' and Clifford Odets's 'Golden Boy' - it's so exhilarating. I'd personally love to perform the role of Jerry in Edward Albee's 'The Zoo Story.' He's a transient, lost soul, and an example of humanity at its rawest.
Northeastern conservatism is moderate, accepts the modern welfare state, and dislikes mixing religion with politics. Western conservatism is hawkish, hates government, and embraces individual freedom. Southern conservatism is populist, draws on evangelical Christianity, and plays upon racial resentments.
'Rhye' clearly plays with notions of sexual identity, and it has made a concerted effort to keep its own identity mysterious. Its love songs are gender-neutral, the members have declined to appear in their own videos, and you'd be hard-pressed to find a photo of the duo that doesn't cast them in shadows.
The idea behind reinforcement learning is you don't necessarily know the actions you might take, so you explore the sequence of actions you should take by taking one that you think is a good idea and then observing how the world reacts. Like in a board game where you can react to how your opponent plays.
Ever since I was 7 years old, I was writing. I remember being in the basement of my house, this dank, horrible basement, putting on plays with not-very-willing participants, and I would promise kids in the neighborhood that I'd play Nintendo 64 with them after we'd rehearse this stupid play that I wrote.
In high school, I got into a speech class run by a nun who used to put on plays. She put me in a oratorical competitive program. You would tell a story, and they were very corny, something like 'My Childhood Hero.' It was something out of 'Readers Digest.' I always thought it was too much and too dramatic.
Hedge funds try to produce above-average investment returns using tactics ranging from traditional stock-picking to complex derivative and arbitrage plays. High minimum investments, redemption restrictions and aggressive strategies make them suitable mainly for more sophisticated and well-heeled investors.
I have a friend who is very successful in business, and his motto is, 'Don't do what you can do. Do what only you can do.' First of all, you have to know what your specific, unique gift is and then you do that... every actor does that but every once in a while an actor plays a part that only they can play.
I got down to business and started writing furiously. I wore my fingers down to a callous state writing with every Tom, Dick and Harry around the world, including a chap named Charlie who plays for a man named Bob, to wrestle my emotions and bring out the raw grit hiding in my tightly guarded sub-conscious.
I can't think of a single one of my plays that does not represent a coincidence between an external and an internal event. Something outside of me, outside even my own life, something I read in a newspaper or witness on the street, something I see or hear, fascinates me. I see it for its dramatic potential.
I was brought up to believe that it's family first. Of all the people my parents knew, the family was most important. You always turn to your family, and the family supports you. We do what we can to support our young and go and see the grandchildren if they're doing plays at school and their sports events.
My grandfather, Arthur Baskerville, he played and still plays a little bit piano and trombone, and so when I was a kid, I always heard jazz around the house, but I also went to his gigs, whether it be a Saturday brunch in my hometown Columbus, Ohio. We'd go and hear him play with some of the local musicians.
Laurence Olivier said in an interview once that when he plays a tragedy he always aims for the funny parts, and the other way around. Because in a comedy you look for what's serious. I think that's true. Sometimes things are really funny if you're absolutely earnest. If you're really serious, it's hilarious.
I went to university in the north of England at University of Birmingham to do an English literature degree, and I knew I could do extracurricular stuff with theater and drama. I started a theater company, called Article 19, and I did it with a bunch of friends. I wrote and directed plays. I had a radio show.
If you take the '70s with Blaxploitation pictures, there was a proliferation of black-content films and motion pictures, television, stage plays and so forth at a time when Hollywood was in trouble financially, and it was cheaper to do black films to keep the lights on until they could reestablish themselves.
I went to drama school for four years at Carnegie Mellon, conservatory training before television comedy. I was doing Shakespeare and Chekov plays. It's about delivering on the promise of a $100,000 education and taking the shackles off and trying the hand at my craft. I'm thrilled with what I've seen so far.
The guitar is such an incredible instrument; it plays classical, flamenco, jazz, country, bluegrass, rock, acid, blues. You'll never see a clarinet playing Black Sabbath. But you will see a guitar in a clarinet band playing rhythm. It is the most popular instrument in the world; it is the one everybody loves.
Making movies is a very different experience in a lot of ways. It's difficult when you're used to owning the copyright and having a landlord's possessory rights - I rent my plays to the companies that do them and, if I'm upset, I can pull the play. But the only two directors I've worked with are pretty great.
We prided ourselves at Oregon, where teams said they were going to try to beat us down and try to manhandle us, and maybe in the first quarter they were running with us, but it was just, 'Let's see how they are come the fourth quarter when they're tired, and they've had 70 to 80 plays coming at them non-stop.'
'Moonlight' undoes our expectations as viewers, and as human beings, too. As we watch, another movie plays in our minds: real-life footage of the many forms of damage done to black men, which can sometimes lead them to turn that hateful madness on their own kind, passing on the poison that was their inheritance.
Plays have a celebratory nature that no other form has. Theater always meant celebration, a birthday, a reward for good grades. I felt at home in a theater. I loved being part of an audience. All the rules - the audience has to see the play on a certain date at a certain time in a certain place in a certain seat.
I didn't always want to act. My passion was writing, and it still is one of my primary passions to this day, but it wasn't until high school when I started acting in plays that it became a thought of something I might want to do. And when I applied to colleges, at NYU, I was able to study both writing and acting.
Depending on what happens with my directing career, I don't think I'll stop writing, even if I crash and burn in movies and TV. I'll go back to plays. Even if I crash and burn there, I'll write a novel. That's the great thing about writing is that you don't have to wait for people to give you permission to do it.
A play is basically a long, formalistic polemic. You can write it without the poetry, and if you do, you may have a pretty good play. We know this because we see plays in translation. Not many people speak Norwegian or Danish or whatever guys like Ibsen spoke, or Russian - yet we understand Chekhov and the others.
I've done maybe twelve of Shakespeare's plays. I was with the Royal Shakespeare Company for years. Whatever influence that has never leaves you. If you learn to drive a car, and you learn the right way if there is ever a right way. You learn the good aspects, you learn to drive properly. And that never leaves you.
My father's father wrote for a Philadelphia newspaper and aspired to be a playwright. We had in our house a couple of crazy unproduced plays that he had written. For the one creative writing class I took in my life, I didn't do any writing - I decided that I would plagiarize his terrible play to not fail the class.
Human bodies are designed for regular physical activity. The sedentary nature of much of modern life probably plays a significant role in the epidemic incidence of depression today. Many studies show that depressed patients who stick to a regimen of aerobic exercise improve as much as those treated with medication.
From Borges, those wonderful gaucho stories from which I learned that you can be specific as to a time and place and culture and still have the work resonate with the universal themes of love, honor, duty, betrayal, etc. From Amiri Baraka, I learned that all art is political, although I don't write political plays.
I went to Dartmouth College so simply by being an Indian-American woman, I was already so statistically interesting. And then the fact that I didn't want to do anything science-related, and I wanted to write comedy plays and act little bit - I mean, I became deeply interesting in college because of how rare that was.
I worked on 'Blue Peter' and 'Tonight' and lots of TV plays, filmed people like Rudolf Nureyev and Ted Heath, and ended up a senior cameraman with my own crew. I'd had my first short story published in 1947, and when my writing really started to take off I decided to go freelance, and eventually left the BBC in 1965.
Adele was introduced to me by a guitarist named Mike Hartnett that plays for a band called Rehab. We was just riding around, and he was like, 'Man have you heard this soul singer Adele?' and I was like 'Nah!' and we just rode to the whole CD, and it got to 'Hometown Glory,' and I was like, 'Man I have to sample that!'
I make a playlist for every character I portray. Music plays a huge part in helping me understand a character. Every time I get a new role, I will take a chunk of time to just sit and listen to a bunch of songs and select the ones that make sense in my mind for that character. I can't even explain how much it helps me.
The Bible app is designed to make absorbing the Word as frictionless as possible. For example, to make the Bible app habit easier to adopt, a user who prefers to not read at all can simply tap a small icon, which plays a professionally produced audio track, read with all the dramatic bravado of Charlton Heston himself.
When you audition for shows in Hollywood, you go in, you do your scene, maybe you get an adjustment. It's sort of easy, and a lot of times it just feels sort of rote and simple. Whereas when you go to New York and you audition for plays, you walk out sweaty and intimidated and nervous and doubting yourself as an actor.
My mom had done some TV and commercials before I was born, and so when I was born, she knew I had a really big interest in acting because I was always acting in plays with my dolls, and they were sort of boring, because I've seen them on tape; they always involved a lot of singing and dragging them around by their hair.
I believe there is something going on in a conscious being, which includes many animals, as well as ourselves, that is not a computational activity. And to be conscious at all is not a quality that a computer as such will ever possess - no matter how complicated, no matter how well it plays chess or any of these things.
I started playing in '98, but I got hooked by playing celebrity golf tournaments. Tiger had a lot to do with it - his passion, the way that he plays. He's unique and different, and he inspired a lot of my passion. It's a sport you can't master. If you're an athlete, you can do almost anything, but golf is not like that.
Design is the fundamental soul of a man-made creation that ends up expressing itself in successive outer layers of the product or service. The iMac is not just the color or translucence or the shape of the shell. The essence of the iMac is to be the finest possible consumer computer in which each element plays together.
Acting is all about relating to the people on stage with you, even in plays that break the fourth wall. Clowning, for the most part, is the opposite. If somebody in the audience sneezes, I can count on it: I don't even have to look at Shiner; he'll have his handkerchief out. It's all about all of us in the room together.
If you made me the national commissioner of football, I'd tell you one thing that I would mandate. The second Saturday in September, we're going to have conference day. Everybody from the SEC plays a Big 12 team. Everybody from the Big Ten is going to play the ACC. Everybody from the Big East is going to play the Pac-10.
Part of the core information that I've been purveying is that identity politics is a sick game. You don't play racial, ethnic, and gender identity games. The Left plays them on behalf of the oppressed, let's say, and the Right tends to play them on behalf of nationalism and ethnic pride. I think they're equally dangerous.
'Glee' is very easy to clown because I feel like it's just crumbling. 'Smash!' 'Smash' is the ultimate. I love it because I'm all about theater. I did plays in high school and college, and it totally brings me back to that feeling: how excited you get on opening night, how it sucks when you're not learning the dance moves.
But I still read Shaw on a regular basis. What I love is the nakedness of the polemic and the irresistible good humour. For me, 'Major Barbara' is the greatest of all the plays in that it starts from the rational and proceeds to the ecstatic in a spectacular way, and leaves you very confused if you cling to Euclidean logic.
I know it affected me when I saw certain actors growing up. I had a drama teacher that would take us to see plays in New York, and it was seeing James Earl Jones and Raul Julia - I mean, this guy comes from the place my mother comes from. He's doing Shakespeare right now, and it doesn't seem to matter that he has an accent.
The role that blood plays in Christian iconography is huge - the washing of the blood, the shedding of blood, the blood of the cross, the crucifixion, the violence of that imagery. These are horrific, and yet they are at the center of the Christian faith. There is a place where beauty and terror merge, and it's at the cross.