Quotes of All Topics . Occasions . Authors
Shakespeare had found language for the agony of living with one's own mistakes. There were words for finding yourself isolated with your failures. Phrases for discovering that you were wrong, all, all wrong, wrong, wrong.
My background is somewhat unusual, as I trained to be a ballet dancer. I worked in the theatre for eight or nine years as a contemporary dancer. But as an actor one does read Shakespeare and does try to learn the classics.
The forest has always been a place, in fairy tales and in Shakespeare, where you go and discover who you are. You get stripped of everything you thought you were, some type of ordeal takes place, and you come out stronger.
In many ways, 'William Shakespeare's Star Wars' is modeled on Shakespeare's Henry V, which relied on a chorus to explain in words the battles of Harfleur and Agincourt that could never be captured on the Elizabethan stage.
Normally, I could hit hard enough, as anyone who studied my fights might have known. But the impression was that I was essentially defensive, the very reverse of a killer, the prize fighter who read books, even Shakespeare.
With 'True Grit,' the language was very specific, as is Shakespeare. You couldn't really improvise, nor would you really ever have to. I never felt the need to. It was all so beautifully written, and it was all right there.
I hated teaching Shakespeare. In order for the students to understand what was going on, you had to tell them the story of 'Macbeth' or whatever. Shakespeare is about character and language, and they didn't get any of that.
Whether it is the cavemen in the caves thousands of years ago, Shakespeare plays, television, movies and books, stories and characters take us on a journey. All I do is tell those stories without scripts and without actors.
I do believe, and I will always believe, that Shakespeare on film is really something that should be tried more often because it is an opportunity to take the humanity that Shakespeare writes into characters and express it.
The difficulty with poetry is that it doesn't have the life that Shakespeare or Jane Austen have beyond the page. You can't make a costume drama out of it. There's no place for it to go except trapped inside its little book.
I think nobody since has written such extraordinary work as Shakespeare writes. The characters he writes are full of inconsistencies, which is a great human quality - I mean, we're all very inconsistent in the way we behave.
You may be able to read Bernard Shaw's plays, you may be able to quote Shakespeare or Voltaire or some new philosopher; but if you in yourself are not intelligent, if you are not creative, what is the point of this education?
It is not that Shakespeare's art is in technicolor and fancy, and that real life is black and white and tedious. The life that Shakespeare was living was the only life he had, and he had to use it to create what he was doing.
When you can type a few words into a search engine and land on your topic - or when you can scan a Shakespeare play for specific words or symbols - what opportunities might you miss to expand your thinking in unexpected ways?
A book is sent out into the world, and there is no way of fully anticipating the responses it will elicit. Consider the responses called forth by the Bible, Homer, Shakespeare - let alone contemporary poetry or a modern novel.
I believe that it is a whole lifetime of work on Shakespeare's part that enabled him to do what he did. But the question is how you can explain this whole lifetime in such a way to make it accessible and available to us, to me.
I apologize for being obvious, but every time I watch the curtain come down on even a halfway decent production of a Shakespeare play I feel a little sorrowful that I'll never know the man, or any man of such warm intelligence.
To my mind, 'Dear Brutus' stands halfway between Shakespeare's 'A Midsummer Night's Dream' and Stephen Sondheim and James Lapine's 'Into the Woods'. Like them, it is a play about enchantment and disillusion, dreams and reality.
In my gap year between college and drama school, I taught art at a hospice and worked at a little coffee shop across the street from Shakespeare's Globe Theatre in London when everything around it was still a construction zone.
If you're going to do Shakespeare, do Shakespeare. There's a reason why he's been performed for hundreds of years. His words affect people on a very deep level. He's the true humanist. That all comes through his text, his words.
When Shakespeare begins his exposition thus he generally at first makes people talk about the hero, but keeps the hero himself for some time out of sight, so that we await his entrance with curiosity, and sometimes with anxiety.
William Shakespeare was a brilliant writer and he only wrote the truth. So, if I don't believe it, I have to work really hard to see what that truth is so that I do; that's the only way I can make it believable for the audience.
We cannot deny that 80 or even 90 percent of the spiritual treasures from the past 3,000 years have come from Europe. There is no other Greek theatre anywhere else in the world. There is no other Shakespeare, Dante or Cervantes.
A Shakespeare could have arisen only on English soil. In the same way, your great dramatists and poets express the nature and essence of the Norwegian people, but they also express that which is universally valid for all mankind.
If you grow up in Britain, you just do Shakespeare. If you go and work in a theater once or twice or three times in your life, you're going to end up doing a Shakespeare, because he's obviously such a brilliant, brilliant writer.
I grew up with Shakespeare, and there are so many wonderful teachings in those plays. The stories are all so unique and timeless. There is just so much learning in that body of work, and that is something I will always go back to.
You could say Shakespeare is so extraordinary precisely because he was so ordinary. He had all the usual anxieties and understandings of what it is to have children, lose children, get married, struggle to make a living and so on.
In high school, my English teacher Celeste McMenamin introduced me to the great novels and Shakespeare and taught me how to write. Essays, poetry, critical analysis. Writing is a skill that was painful then but a love of mine now.
My father started out as a riveter, but he had the soul of an artist. He worshiped Shakespeare and had aspirations to be an actor. He claimed that from the first day he laid eyes on me, I was going to be this great dramatic actress.
If Shakespeare thought comedy worthwhile, that means the rest of us can take a break from tragedy now and then without betraying our calling, even if the modern professional intellectual, a poseur by nature, has yet to discover this.
Peter Brook's 'Midsummer Night's Dream,' I remember seeing. That was pretty early on. And suddenly, I realized how theatrical Shakespeare is, how alive, how wonderful it is when it's opened up by a great director and a great company.
No writer besides Shakespeare has created more memorable characters attached to vices and virtues. In even their least sympathetic characters, one senses a kind of helplessness to passion quivering between the poles of good and evil.
There is nothing new, from Greek mythology to Shakespeare to every romcom ever made, we're just reimagining the same 12 story plots over and over again - so what makes people keep watching and listening? It's all about the character.
If Antarctica were music it would be Mozart. Art, and it would be Michelangelo. Literature, and it would be Shakespeare. And yet it is something even greater; the only place on earth that is still as it should be. May we never tame it.
In my mind's eye, Shakespeare is a huge, hot sea-beast, with fire in his veins and ice on his claws and inscrutable eyes, who looks like an inchoate hump under the encrustations of live barnacle-commentaries, limpets and trailing weeds.
I realized that after years of studying Shakespeare and Chekhov and regional repertory theater, what I really wanted to do was bust in and rob a bank and jump in the screaming getaway car and tear through the city and get in a shootout.
It's good to have a lot of once-in-a-lifetimes in your lifetime. If you get the chance to skydive, go skydiving. If you're offered a part in a weird Shakespeare play in San Diego, slap on some tights and rock out some iambic pentameter.
English dramatic literature is, of course, dominated by Shakespeare; and it is almost inevitable that an English reader should measure the value of other poetic drama by the standards which Shakespeare has already implanted in his mind.
The conventional wisdom with David Mamet is, you do not change a word. And that agrees with me. If you want to change any of David's words, it's like wanting to change the iambic pentameter in Shakespeare - you should do something else.
At the beginning of my acting career, I worked for two seasons at the RSC and spent a lot of time in the Cotswolds exploring Shakespeare's countryside. It's my kind of English landscape, with its tiny villages and one-room thatched pubs.
The records - what little we know about Shakespeare, including the records of the plays in his playhouse - were often the story of how quickly they came off if they didn't work. They had to move on. They were absolutely led by box office.
By the time I was seven, I did a sonnet at Shakespeare's Globe theatre for Shakespeare's birthday because my dad had been at the first season of the Globe and was friends with the artistic director. Somehow, that lead to me doing a sonnet!
It is no exaggeration to say that the English Bible is, next to Shakespeare, the greatest work in English literature, and that it will have much more influence than even Shakespeare upon the written and spoken language of the English race.
Personally, speaking as a historian and a storyteller, when it comes to inaccuracy in historical fictioneering, I follow the Shakespeare principle: I'm willing to overlook gobs of mistaken detail if the poetic valence is basically correct.
I was the lead in 'Interview With The Vampire', until Tom Cruise decided he was interested. I was in 'The Wings Of The Dove' with Uma Thurman, until that got cancelled. I was in 'Shakespeare In Love' with Julia Roberts, until that fell apart.
When you study, as I did, every theatrical beginning in this country, none of them have been greeted well. The Royal Shakespeare Company was a disaster, Peter Hall was a disaster, Richard Eyre was a disaster, Trevor Nunn was always a disaster.
Because Shakespeare's language is so expansive, we're under this misconception that it's difficult. But I discovered that it's easy because it's so brilliantly written. The words are perfect, and the language is intelligent and very emotional.
One year at the SAG Awards, somebody practically knocked me over, and it was Helen Mirren. She was like, 'Oh my God - is it really you? I'm your biggest fan.' I was like, 'Wait, aren't you supposed to be home reading Shakespeare or something?'
I love e-books. I can carry the complete works of William Shakespeare around with me all the time. Just think about that. Whether I'm on an airplane or wherever. Being able to have a library in your back pocket basically is something I support.
I could hear music playing in the background of works by certain authors, like Poe and Shakespeare. And I discovered Nikki Giovanni when I was in eighth grade. Her writing has a musical energy with pulse and rhythm, almost like jazz or hip-hop.