Quotes of All Topics . Occasions . Authors
People know that they're going to see something which is entertaining but challenging as well because of the form it's in. It's dance theatre and it requires you to use your imagination - it's not straight forward.
I have a very 'theatre' face. I have what they call a wide mask. I probably would have been a big film star in the '20s with the silent films where they used a lot of key lighting, and make-up carved out your face.
The theatre demanded of its members stamina, good digestion, the ability to adjust, and a strong sense of humor. There was no discomfort an actor didn't learn to endure. To survive, we had to be horses and we were.
That's opera! I just love it. It just thrills me! And it's very different than theatre, and sometimes it can be frustrating because when you come in the first day of rehearsals obviously you're an opera fan, right?
It seems like pop singing has sort of influenced musical theatre in so many ways - you could argue good or bad, really - and musical theatre is written for that style so often, which is a completely different style.
My voice triggers people into recognising me, often at the weirdest times. If I'm in the theatre and talking while in line to go to the loo, the rest of the queue will turn around and say, 'Wait a minute. It's you.'
I'm the classic example of alienation: I grew up in a middle-class household without art or books. I was going to be a chemical engineer until I went to the theatre for the first time at 16 and was blown away by it.
If the theatre has taught me anything, it's that when things change in the body, in the body politic, in the body of the world, in the body of the earth, in the body of the person, there's change. You never go back.
The bad things about theatre get balanced by the good things in film and vice versa. So to tell you the truth, I love it when I can go back and forth - it feeds different parts of you and exercises different muscles.
I did theatre a lot when I was a kid. Then I went to acting school in New York. I did a lot of behind the scenes in college. I wanted to learn while I had the time. I studied theatre and film in different capacities.
The first time I came to London on my own, I was 15. I was absolutely oblivious to so many things. I had no expectations, no fears. I just came to do a National Youth Theatre season one summer. It was just brilliant.
The audience will teach you how to act and the audience will teach you how to write and to direct. The classroom will teach you how to obey, and obedience in the theatre will get you nowhere. It’s a soothing falsity.
We talk about theatre museums filled with old costumes and things. What we also need is a theatre museum of the old routines on videotape. We are only the custodians of those techniques, and they should be preserved.
My father is a visual artist, so I was influenced by him, and my mother is an English teacher who forced me to read a lot of books and poetry and get involved in theatre. I developed a varied taste for different arts.
There's all that brain work involved, remembering all those lines in a script. I find I have to eat a lot of fish, late - but not too late - in the afternoon. Doing theatre, you need to be like an athlete in training.
There is a lot of interest in the arts, music, theatre, filmmaking, engineering, architecture and software design. I think we have now transitioned the modern-day version of the entrepreneur into the creative economy.
Firstly I did it in this huge theatre in Avignon, then to smaller places, then bigger places. You have to change the volume of the voice, give more or less. The way you have to relate to space makes it like sculpture.
I always thought that it was every performer's dream. That's the epitome of being an artist, being able to express song, dance and acting in a live theatre setting and really connecting with an audience on that level.
Theatre has always been better disposed to colourblind casting than telly or film. Given that most television is contemporary, and it reaches 56 million people, I am disappointed there still isn't more representation.
My advice to young actors is probably to do some theatre; definitely do that. I keep running into these actors who have never been on stage, and it's invaluable for an actor. What you will learn about yourself is huge.
There is no more reason for a room on a stage to be a reproduction of an actual room than for an actor who plays the part of Napoleon to be Napoleon, or for an actor who plays Death in the old morality play to be dead.
A stage set should not make a pretty picture of its own. The empty stage should look formal and pleasing, but should seem to be waiting for the action to complete it; it should not hold definite significance in itself.
People come to the Fountain Theatre because they've got hearts that are working and they've got heads that are working. They use the Fountain Theatre because it puts them in touch with the world that they're living in.
Theatre, in which actors take on changing roles, has among its many functions the examination of identity. For the individual, theatre is a kind of identity laboratory in which social roles can be examined vicariously.
Don't write stage directions. If it is not apparent what the character is trying to accomplish by saying the line, tell us how the character said it or whether or not she moved to the couch isn't going to aid the case.
Once you get into your stride, the camera becomes like another person in the room. It's like being in a very small theatre where there is no getting away with anything because the audience is centimetres away from you.
I'm definitely nervous and excited. I feel like I've been playing off-Broadway, not to say that Boston doesn't have a great theatre district or great theatre, but it's not going to Broadway; it's just a different city.
If you give an answer to your viewer, your film will simply finish in the movie theatre. But when you pose questions, your film actually begins after people watch it. In fact, your film will continue inside the viewer.
Before our eyes is fought a battle of symbols... for there can be theatre only from the moment when the impossible really begins and when the poetry that occurs on the stage sustains and superheats the realized symbols.
The theatre is the best way of showing the gap between what is said and what is seen to be done, and that is why, ragged and gap-toothed as it is, it has still a far healthier potential than some poorer, abandoned arts.
A prose writer never sees a reader walk out of a book; for a playwright, it's another matter. An audience is an invaluable education. In my experience, theatre artists don't know what they've made until they've made it.
I studied at the Bristol Old Vic Theatre School, which was founded by Laurence Olivier and has alumni like Jeremy Irons and Daniel Day Lewis. It's a very erudite institution; its ethos, really, was always theatre-based.
I have lots of ambitions. I'd love to do theatre. I'd like to be in 'Tea With Mussolini 2;' I'd like to touch Meryl Streep - which would involve being with her in some exotic location. I have lots of fantastical dreams.
My father being a theatre person used to compose music for his plays. He noticed me singing one of his compositions at a young age and he was amazed. From then on, he taught me the little things that he knew about music.
A theatre is not a blank page for editorial, it is not a soapbox or a Tannoy system: it is a conscience that wakes with what is happening in the space, and wakes further still in response to what people are making of it.
Theatre is a living organism. You only know if your show is working when you see it with an audience. You can also tell when it isn't working - it's horrible, and you desperately try to figure out how to make it connect.
Postmodern theatre seems unwilling to listen to talk about textual or theatrical heritage, which it treats as no more than memory in the technical sense of that word, as an immediately available and reusable memory bank.
'The Taming Of The Shrew' is probably the first time I've worked in this country for about ten years, apart from theatre, and it's not for want of trying. It was so fantastic to work in London - it felt really glamorous.
I'm basically a writer, it's who I am. I direct and I like theatre directing very much. But I've done 17 movies, they don't say 'Let's get Garry, he'll make a helicopter shot,' they say 'Get Garry, he'll fix the script.'
We need the daring visions. To go to theatre must be different than to go to shopping. We adventure together, we journey through the mindful and emotional landscapes, we create together an event, unique and unrepeatable.
The theater has to impose itself on the public, and not the public on the theater... The word "Art" should be written everywhere, in the auditorium and in the dressing rooms, before the word "Business" gets written there.
Acting is a trick word invented in the festival of Dionysus, before Christ, in Greece at a fertility festival. That's where theatre came from: a fertility festival. No women were allowed. All the men played all the parts.
To me, most theatre looks ridiculous. I find it very difficult to do. Personally, if I ever try to do serious stuff, I always end up looking like an asshole, so I might as well try and do comedy, because I'm good at that.
I always wanted to be an actor, so I began to prepare myself for a career in acting. I did a course at Kishore Namit Kapoor's acting school. I was with Shiamak Davar's dance school and also did theatre with Nadira Babbar.
Infinity is a way to describe the incomprehensible to the human mind. In a way it notates a mystery. That kind of mystery exists in relationships. A lifetime is not enough to know someone else. It provides a brief glimpse.
I've had the good fortune of working with some amazing people. I mean, my first Broadway show was with Elizabeth Taylor and Maureen Stapleton. Maureen Stapleton, a legend in the theatre; Elizabeth Taylor, a legend, period.
One of the things he liked about playwriting as to any other kind of writing is that a playwright is a w-r-i-g-h-t, not a w-r-i-t-e; in other words, that a playwright is more of a craftsman than an artist of the big novel.
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.
Boxing is my real passion. I can go to ballet, theatre, movies, or other sporting events... and nothing is like the fights to me. I'm excited by the visual beauty of it. A boxer can look so spectacular by doing a good job.
I don't like the idea of stepping-stones in art forms: that you do your time at a regional theatre, and then you work in London and go to the West End, and then you do films. I've never felt like following that trajectory.