Best 631 quotes in «theatre quotes» category

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.'

I'm convinced that theatre is a horrible business. Make this the headline. You have to be on the spot every night as an actor. You are damn lonesome standing out there.

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.

I'm doing The Physicists, which is great, and I do have my agent to thank for that because a lot of agents try and talk you out of doing theatre. They don't push theatre because you can make more money doing television, whereas theatre wages are pretty shocking. But it's something I've always been keen to do and have been encouraged to do so, which is nice.

I'm into parlor dramas. I'm into theatre. I'm trained for the stage. I trained to do Chekhov and Shakespeare, I was trained for the stage.

I'm looking for one of two things and sometimes they dovetail: I'm looking to go into a theatre and see a certain kind of show. And if it's not there, I'd like to do it myself so it would be there.

I'm not from a theatre background, I'm wary of rehearsals. But what I do like is hanging out together, on location.

I'm really passionate about pantomime because it is often the first introduction for a child to theatre, and if that child has a great experience at a pantomime they will continue to come year after year.

I'm thinking of doing more theatre. It makes me very happy.

In London, theatregoers expect to laugh; in Paris, they wait grimly for proof that they should.

In 1968 the Arts Council managed to get a grant from the treasury to buy up a lot of derelict touring theatres and put them back in the hands of the local authorities.

In comedy, beware the split focus. The audience should focus on the face of the actor. The audience must see the setup. If there is action elsewhere on the stage, the comic line can be lost.

In contrast, the control you have in a theatre is very attractive to me.

I'm trying to make it a little bit more personal this time. All my shows are hodge-podges, and this one is no exception but this one delves a little more deeper into my life and my world. Hopefully it's funny. I did a version of this at Birdland last January and it's similar-ish to what I've done before. But I've been working on it all year; I did it out here in Los Angeles in a theatre and kept developing it. Hopefully it'll be better.

In a good play every speech should be as fully flavored as a nut or apple.

I never thought I'd be one of those old hams who favours theatre over everything, but I'm getting that way. Telly and film seemed more fun when I was younger; turning left on planes and washing up in nice places. But there are things that you only learn in theatre.

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.

In my opinion, Christian Dior was never, ever theatre.

In the theatre, a hero is one who believes that all women are ladies, a villain one who believes that all ladies are women.

In our own, theatre can be the place where we come together, reaching with and through stories, to who we are and to who we can be.

In Shakespeare, keep it simple. Don't over-inflect. The speech needs to be naturalistic and simple and accessible as much as possible.

In the future, bands are going to have to offer more than a pop show. They are going to have to an offer a well presented theatre show

In the theatre, the actor is in total control. The director wasn't in the house last night, the designer wasn't there, the author's dead. It's just us and the audience.

In the theatre, you are in love with what is on the stage, with the moment. You just don't get that with movies or videos, or TV, where you know that what you are seeing is repeatable.

In television or a movie I bring my own ego and consequently can mess up. In the theatre I learnt very quickly to shut up and listen. Now I am able to get out of my own way.

In theatre, you've got to make the connect with your audience in the first three minutes. If you haven't, you know you've almost lost them.

In the modern media age we are rarely surprised by what we see. Whether it's on television or film or in the theatre, everything is so advertised, so trailed, that most entertainment is merely what you thought it was going to be like.

In the theatre, every form once born is mortal; every form must be reconceived, and its new conception will bear the marks of all the influences that surround it.

In the theatre you can change things ever so slightly; it's an organic thing. Whereas in film you only have that chance on the day, and you have no control over it at all.

In the theatre, words are eighty to eighty-five percent of the importance of what is happening to you for your comprehension. In film, words are about twenty percent. It's a different figure, but it's almost an opposite ratio. For the words are only a little bit of embroidery, a little bit of lacework.

I open with a clock striking, to beget an awful attention in the audience - it also marks the time, which is four o clock in the morning, and saves a description of the rising sun, and a great deal about gilding the eastern hemisphere.

I remember when people actually wore coats and ties to theatre every night. They don't anymore. It's very different.

I prefer theatre but TV keeps you well known.

I proceeded to prove everybody right as to how bad an economics student I was by failing as an assistant manager in every theatre I went to that hired me, both as an assistant manager and as an actor. I lost money and tickets, and I couldn't keep track of anything. So eventually they fired me from assistant-manager jobs, but kept me on as an actor.

I pursued a theatre career, and Hollywood came calling.

I really loved Twin Peaks. When I saw the two-hour pilot, they screened it in the big theatre. I said, I don't know what is going to happen. I'm in this and I don't understand it. This is never going to sell. Who's going to watch this thing?

I regard the theatre as a serious business, one that makes or should make man more human, which is to say, less alone.

I quite enjoy fame, especially when you go to conventions in America where they treat you like a god with stretch limos and the whole fame thing, but then when you come back to Britain, you end up changing in a toilet in a theatre off West End and that's really good, because that is what it's about.

I started off in a small theatre performance company and worked my way into commercials.

Is it not a noble farce, wherein kings, republics, and emperors have for so many ages played their parts, and to which the whole vast universe serves for a theatre?

Is she perverted like me? Would she go down on you in a theatre?

I started in theatre, and for me, it was all about transformation. You transform into the character that you're playing.

I sometimes feel that I am trying to dig in the world around me. I'm involved in another kind of archaeology to look for another kind of truth, and the moment I find, the moment I am separated from that life, the moment I am sort of in a world, every time I have gone out and performed in the, in the cinema for example, if you do two or three films on the trot you suddenly have this impression that you're becoming separate or separated from the world around you.

I started off as a theatre designer, and by some extraordinary circumstance I saw something in Stratford-upon-Avon, and realized that that's the kind of design I want, but also that that's the kind of designer I'll never be.

Is there anything more terrible than a "call"? It affords an occasion for the exchange of the most threadbare commonplaces. Calls and the theatre are the two great centers for the propagation of platitudes.

I studied at the Piccolo Teatro di Milano: I was a theatre actor.

I still think of myself as a stage actor. When I do film and television I try to implement what I was taught to do in theatre, to try to stretch into characters that are far from myself.

I submit all my plays to the National Theatre for rejection. To assure myself I am seeing clearly.

I suppose as an actor you become very sensitive to rhythm, not just rhythm as you look at it sort of from the, from the outside as a director might see it, but within yourself you become used to the idea of hearing your fellow actors, responding to them in space.

I swear fearfully at the conventions of the stage.