Best 631 quotes in «theatre quotes» category

It hath evermore been the notorious badge of prostituted Strumpets and the lewdest Harlots, to ramble abroad to Plays, to Playhouses; whither no honest, chaste or sober Girls or Women, but only branded Whores and infamous Adulteresses, did usually resort in ancient times.

I think any classical training in the theatre is of enormous value.

I think, by and large, the level of acting is mediocre. When I go to the theatre, I get so angry. I don't go.

I think film and television are really a director's medium, whereas theatre is the actor's medium.

I think I want to pursue a movie career and maybe even pursue some theatre.

It is not theatre that is indispensable, but something quite different. To cross the frontiers between you and me.

It is brilliant going to the theatre and being forced to sit and listen and think about life. It can be almost a near-religious experience.

It is a great help for a man to be in love with himself. For an actor, however, it is absolutely essential.

I trained as a theatre actor and you had a bare stage and you had to pretend, one prop and you are in the middle of 8th Ave. and traffic is just going by.

It is very hard to cast a number of plays adequately from the same company of actors without several parts being miscast.

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

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.

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.

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

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.

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 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 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 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 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.

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

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

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

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.

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.