Best 631 quotes in «theatre quotes» category

I trained in the theatre and I love the theatre. I get such a thrill seeing anything in the theatre.

I trust Angela Merkel, she is a very open person. She is also subject to certain constraints and limitations. But she is honestly trying to settle the crisis, also in the south-east of Ukraine. However, what the European Union is doing with those sanctions is nothing but a theatre of the absurd.

I try to see as much dance, theatre and films as I can because all of it feeds me in a way that I need feeding for what I do.

It's a beautiful city, and the waterfront area is fantastic. I haven't had time to visit the theatre, but I find it remarkable that Toronto has the third-largest English-speaking theatre district in the world, after New York and London. I once noticed a fellow sitting on a bench, then I realized it was a statue of Glenn Gould. It's very realistic.

It's all good fun - television and movies and so on - but the good thing in theatre is there's nothing and no one between you and the audience so you can do what you want really.

It's a scary thing going into the workforce with a $50,000 debt and you've been trained as a classical theatre actor. There's always a depression in the theatre.

It's a whole different kind of anxiety. But the great thing about doing a theatre job is that once the ball starts rolling you just have to go with it, it's inexorable.

It's cold out there, colder than a ticket taker's smile at the Ivar Theatre on a Saturday night.

It seems to me that you are solving a problem which goes beyond the limits of physiology in too simple a way. Physiology has realized its problem with fortitude, breaking man down into endless actions and counteractions and reducing him to a crossing, a vortex of reflex acts. Let it now permit sociology to restore him as a whole. Sociology will wrest man from the anatomical theatre and return him to history.

It's great to be in a film that's able to have people really want to become socially conscious, to walk out of the theatre and want to do something.

It's very hard to just break into movies. I always felt like it would be giving up a theatre career to go and try and be in movies. So, I thought I'd exhaust the theatre thing, go as far as I can, and originate roles, be on Broadway, maybe win some Tony Awards, and then hopefully some door would open. Luckily, it did.

It was sort of in the jam-band era and it was at the Capitol Theatre in Port Chester [New York], right where I grew up. I actually went back there a couple years ago when I was on tour for Kroll Show. I performed at that theater, which was really cool to go back to the first place I'd gone to a concert.

I've done a lot of costume drama and theatre - the National Theatre and In fact, most of my work at the theatre, at the National Theatre anyway, was period.

It was very natural for me to want to disappear into the theatre, I am really very shy.

I've actually been looking at plays, and I have read a bunch of stuff. I would love to do it. I have thought about theatre on and off over the years, but other things kept getting in the way. Maybe now's the time.

I've always loved musical theatre. I've always been a big kind of closeted musical theatre nerd. I really have always dreamed about being able to do musical theatre.

I've come to view screenwriting assignments as playwriting grants, because they provide a considerable financial cushion. However, they can also be extremely time-consuming. Film projects tend to drag on and on, which takes me away from the theatre, and then they don't get made. At the same time, the screenplays that have come my way have been quite challenging, for the most part, and even enjoyable.

I've found that the only way to make theatre that gets the audience thinking is when I feel uncomfortable making it.

It was progressively more difficult to find work in the theatre, as well.

I used to entertain myself - I taught myself to use stilts and juggle and ride a unicycle. But I was never immediately interested in theatre.

I've been told if you're an actress you can't sing, if you're a dancer you can't act, you can't do theatre and be respected if you've done a TV soap, you can't have a No. 1 record. All these different things they've told me I can't do, but I wanted to do them, so I've done them.

I've done panel shows, which I enjoy, and on those you're recording half-an-hour of TV and sometimes they film for two hours. But with 'Britain's Got Talent,' you're on camera for eight hours, with a large theatre audience watching - and in between you're being filmed for ITV2 as you eat your lunch.

I've met actors where you think, if only you could just clean up your act and get it together, people would want to work with you. Some people are so difficult, it's just not worth working with them.

I want my audience to leave the theatre with positive emotions through this sensorial journey in the world of precious and fragile teenage beauty. And also the idea that the difficulties that we have to go through help us reveal who we really are.

I've never quite understood the idea of a "season." Whenever an artistic director says to me, 'I have this slot,' I always start to feel we're parking cars or something.

I've taught both screenwriting and playwriting, and playwriting is both much harder and much more rewarding. One can teach people how to tell a story in cinematic ways, but theater is a much more elusive craft.

I've played a lot of roles I haven't wanted to play, either because they needed someone in the theatre or because they couldn't do it without me 'cause they don't have anyone else the right age.

I want everyone to feel as much as possible as if they inhabit the same space. They more fluid the relationship between actor and audience, the better.

I want to do movies that I'm proud of where my kids, at some point, can see and I can feel comfortable sitting there watching it with them. And just that move people. That make people feel a little bit better about themselves when they leave the theatre.

I want you to feel happy and enjoy the theatre of my life the way that I do. No matter what happens with my music and wherever I go - that heart of that glamorous girl in New York will never be gone.

I want to make the audience laugh and cry within ten seconds, to show just how close those emotions are.

I was very interested in theatre, mostly in stage design. I did a little bit of acting.

I was never the class clown or anything like that. When I was growing up and doing theatre in Seattle I was always doing very dramatic work... Now I can’t get a dramatic role to save my life!

I was born and raised in Las Vegas, and then I left there to go to the University of Evansville where I majored in theatre.

I was interested in opera and it seemed to me that the only possible theatre for contemporary opera would be television. So I started working towards a kind of television kind of opera.

I was prepared for the theatre, but not for the nuts and bolts.

I was on a founding members of the Canadian theatre movement in the late 60's till the mid 70's and performed theatre from Halifax to Vancouver and all places in between.

I was truly thrilled when Alex-Zsolt played for my tribute concert titled, 'A Tribute to Richard M. Sherman.'  This special concert event was held at Disney's Historic El Capitan Theatre in Hollywood, CA.   Alex was great and he played my songs very musically and in supercalifragilisticexpialidocious style!

I went to the University/Resident Theatre Association auditions. Deans come and watch you in this theater. You have three minutes, and you have to do two contrasting monologues - at that time, this is 2003 - one classical and one contemporary.

Learning to write for the theatre is learning to be a human being, because the theatre by its very nature makes you deal with other human beings.

I would be so curious to wire my brain up and see what's occurring when I act, because a performance is such a heightened state. I've always found that with doing theatre especially. It's so hard to come down.

Keep your head when all about you are losing theirs and blaming it on you.

I would like to be going all over the kingdom...and acting everywhere. There's nothing in the world equal to seeing the house rise at you, one sea of delightful faces, one hurrah of applause!

Life in the theatre isn't necessarily when you get money from performing. It isn't when you sign a contract. It isn't even when you are in a play. It's when you understand it. If you understand it, you'll know why you want to act.

Lighting is not about function. It's much more about the mood and the emotion that the playwright and the director are trying to create. Our job is to support their poetic direction.

Life is but a memory Happened long ago. Theatre full of sadness For a long forgotten show.

Listen carefully to first criticisms made of your work. Note just what it is about your work that critics don't like - then cultivate it. That's the only part of your work that's individual and worth keeping.

Lon Chaney and Boris Karloff didn't like the word 'horror'. They, like I, went for the French description: 'the theatre of the fantastique'.

Long experience has taught me that in England nobody goes to the theatre unless he or she has bronchitis.

Look, I'm over 40, I'm single, and I work in musical theater - you do the math!