Best 3782 quotes in «acting quotes» category

The light was crude. It made Artaud's eyes shrink into darkness, as they are deep-set. This brought into relief the intensity of his gestures. He looked tormented. His hair, rather long, fell at times over his forehead. He has the actor's nimbleness and quickness of gestures. His face is lean, as if ravaged by fevers. His eyes do not seem to see the people. They are the eyes of a visionary. His hands are long, long-fingered. Beside him Allendy looks earthy, heavy, gray. He sits at the desk, massive, brooding. Artaud steps out on the platform, and begins to talk about " The Theatre and the Plague." He asked me to sit in the front row. It seems to me that all he is asking for is intensity, a more heightened form of feeling and living. Is he trying to remind us that it was during the Plague that so many marvelous works of art and theater came to be, because, whipped by the fear of death, man seeks immortality, or to escape, or to surpass himself? But then, imperceptibly almost, he let go of the thread we were following and began to act out dying by plague. No one quite knew when it began. To illustrate his conference, he was acting out an agony. "La Peste" in French is so much more terrible than "The Plague" in English. But no word could describe what Artaud acted out on the platform of the Sorbonne. He forgot about his conference, the theatre, his ideas, Dr. Allendy sitting there, the public, the young students, his wife, professors, and directors. His face was contorted with anguish, one could see the perspiration dampening his hair. His eyes dilated, his muscles became cramped, his fingers struggled to retain their flexibility. He made one feel the parched and burning throat, the pains, the fever, the fire in the guts. He was in agony. He was screaming. He was delirious. He was enacting his own death, his own crucifixion. At first people gasped. And then they began to laugh. Everyone was laughing! They hissed. Then, one by one, they began to leave, noisily, talking, protesting. They banged the door as they left. The only ones who did not move were Allendy, his wife, the Lalous, Marguerite. More protestations. More jeering. But Artaud went on, until the last gasp. And stayed on the floor. Then when the hall had emptied of all but his small group of friends, he walked straight up to me and kissed my hand. He asked me to go to the cafe with him.

The main goal of an audition is to prepare, execute what you have prepared and walk away without any regrets.

The main thing is the character's [Truman Capote's] interior and without getting too deep into it, there are lots of parallels in Phil's [Philip Seymour Hoffman's] life, which I knew and only became more evident with time. There was something about that character that he could own that nobody else could.

The public are a lot of jackasses. If you yell and scream and throw yourself about you'll always get a lot of damned fools to shout themselves silly. Just barnstorming, that's what you've been doing the last four nights. It was false from beginning to end." "False? But I felt every word of it." "I don't care what you felt, you weren't acting it. Your performance was a mess. You were exaggerating; you were over-acting; you didn't carry conviction for a moment. It was about as rotten a piece of ham acting as I've ever seen in my life.

[the only acting advice he would give] What is acting but lying and what is good lying but convincing lying?

The play was a great success, but the audience was a disaster.

The problem with being an adult most of your life is not having been a child long enough. (08/26/2019)

There are moments on stage when everything comes together. Then the kid in the front row coughs.

There's no use of pretending to be good in front of people who are also doing same to us.. Mutual Deceptions don't lead anywhere !!

There is a perfect rout of characters in every man—and every man is like an actor’s trunk, full of strange creatures, new & old. But an actor and his trunk are two different things

The text is your greatest enemy.

The theatre is an attack on mankind carried on by magic: to victimize an audience every night, to make them laugh and cry and suffer and miss their trains. Of course actors regard audiences as enemies, to be deceived, drugged, incarcerated, stupefied. This is partly because the audience is also a court against which there is no appeal.

This is catharsis. The act taps in, meets them where they are. It’s confusing, hollow. So incredibly sad. And so we’ll stay inside it a while. Not picking it apart. Not interrogating the hungry pain body, but just confirming. Yes. This place feels exactly this way. This is where you are. I get it.

The thing that makes you say, "I want to do something" - that is the beginning of talent.

The verbal text of a play, especially one by a genius, is the manifestation of the clarity, the subtlety, the concrete power to express invisible thoughts and feelings of the author himself. Inside each and every word there is an emotion, a thought, that produced the word and justifies its being there.

Thinking without acting makes you a coward. Acting without thinking makes you insane. You need both the thoughts and actions; they never walk alone!

The thing is', (Rufus) Stone said, 'that if you don't believe that you are an old man, or a woman, or a tramp, then how can you expect anyone else to believe you? Looking the part is just the surface; being the part is the true disguise.

We dress the way we think.

To begin an ethnographic project with a goal, with an object of research and a set of presumptions, is already to stymie the process of discovery; it blocks one's ability to learn something new that exceed the frameworks with which one enters.

Twenty years earlier, in a life [Kirsten] mostly couldn’t remember, she had had a small nonspeaking role in a short-lived Toronto production of King Lear. Now she walked in sandals whose soles had been cut from an automobile tire, three knives in her belt.

Use filmmaking to eliminate racism – use to it terminate misogyny – use it to destroy homophobia and all other primitiveness.

Thought before word. Never word before thought.

[To actor Strother Martin] You know, as character actors we play all kinds of sex psychos, nuts, creeps, perverts, and weirdos. And we laugh it off, saying what the hell it's just a character. But deep down inside, it's you, baby.

-Todo el mundo tiene algo- afirma. -¿Tú crees? -Claro que sí. Simplemente hay personas con mejores dotes de interpretación que otras.-

Totus mundus agit histrionem. (All the World's a Stage.)" [Motto of William Shakespeare's Globe Theatre (f. 1599) and its acting company, The King's Men; taken from the first play to be performed on the new stage.]

Use filmmaking for a greater purpose, than to just entertain some drowsy minds. Wake the whole world up with your movies. It has been sleeping for long. Its eternal sleep has become its darkest nemesis. Now is the time to wake it up.

We gotta be willing to let it hurt. You know, all this notion that acting is “yeah it’s pretend” and yes we enjoy it and yeah we can have a good time with it. But if you wanna LAND, you wanna make an impact, you want those FUCKERS TO REMEMBER YOU! Then you have to let it hurt sometimes. You gotta get there because that’s all an audience ever wants. Is for you to open up your chest and show them that you have a fucking heart. That’s all we want. A heart. A human being. Not an affectation.

Whatever genre you deem suitable for your taste – romance, comedy, action, mystery, sci-fi or anything else, make sure it has the plain everyday human kindness.

What does it mean to demonstrate in the streets, what is the significance of that collective activity so symptomatic of the twentieth century? In stupefaction Ulrich watches the demonstrators from the window; as they reach the foot of the palace, their faces turn up, turn furious, the men brandish their walking sticks, but “a few steps farther, at a bend where the demonstration seemed to scatter into the wings, most of them were already dropping their greasepaint: it would be absurd to keep up the menacing looks where there were no more spectators.” In the light of that metaphor, the demonstrators are not men in a rage; they are actors performing rage! As soon as the performance is over they are quick to drop their greasepaint! Later, in the 1960s, philosophers would talk about the modern world in which everything had turned into spectacle: demonstrations, wars, and even love; through this “quick and sagacious penetration” (Fielding), Musil had already long ago discerned the “society of spectacle.

When life gives you lemons...add melted butter , toasted paprike and dip some lobster in it!

What I learned as a young actor is that no matter how many times you’ve played a role, every single performance is an excavation, a rehearsal in front of an audience, where you play, dig, explore, and unleash your spontaneity to bring a fresh vitality to the character and an unpredictable magic to every moment.

What's it really like to always be the prettiest person in a room? Dos it mean you're always acting as if in a play, because no one stops looking at you?' 'Life is a play, isn't it?

When I’m given a role, the first thing I do is read the play over and over again. I scour the script and write down everything the character says about himself and everything that everyone else says about him. I immerse myself in my character and imagine what it might be like to be that person. When I played Cassio in Othello I imagined what it would be like to be a lieutenant in the Venetian navy in 1604. I sat down with Ewan McGregor and Chiwetel Ejiofor and together we decided that Othello, Iago and Cassio had soldiery in their bones. I took from the script that Cassio was talented and ambitious, with no emotional or physical guard - and that’s how I played the part. For me, acting is about recreating the circumstances that would make me feel how my character is feeling. In the dressing room, I practise recreating those circumstances in my head and I try to not get in the way of myself. For example, in act two of Othello, when Cassio is manipulated to fight Roderigo and loses his rank, some nights I would burst into tears; other nights I wouldn’t but I would still feel the same emotion, night after night. Just as in life, the way we respond to catastrophe or death will be different every time because the process is unconscious. By comparison, in Chekhov’s Ivanov I played the young doctor, Lvov. Lvov was described as “a prig and a bigot … uprightness in boots … tiresome … completely sincere”. His emotions were locked away. I worked around the key phrase: “Forgive me, I’m going to tell you plainly.” I practised speaking gravely and sincerely without emotion and I actually noticed how that carried over into my personal life: when I played the open-hearted Cassio, I felt really free; when I played the pent-up Lvov, I felt a real need to release myself from the shackles of that character. It’s exhilarating to act out the emotions of a character - it’s a bit like being a child again. You flex the same muscles that you did when you pretended to be a cowboy or a policeman: acting is a grown-up version of that with more subtlety and detail. You’re responding with real emotions to imaginary situations. When I’m in a production I never have a day when I haven’t laughed, cried or screamed. There are times when I wake up stiff from emotional exhaustion. Film is a much more intimate and thoughtful medium than theatre because of the proximity of the camera. The camera can read your thoughts. On stage, if you have a moment of vulnerability you can hide it from the other actors; on film, the camera will see you feel that emotion and try to suppress it. Similarly, if you’re pretending to feel something that isn’t there, it won’t be believable.

When life gives you lemons...add melted butter , toasted paprika and dip some lobster in it!

When I'm playing a character, I am never allowed to explicitly state the the takeaway message of the scenes I'm performing—after all, part of the dramatic conflict is that the person I'm portraying doesn't really know it yet.

When life gives you lemons...add melted butter , toasted paprik and dip some lobster in it!

When most dullards hear the words 'the theater,' they envision a twelve-screen multiplex where disaster porn entertains the culturally witless for 90 minutes at a time. Pfaugh. The word 'theater' has grandeur. Power. Back to its ancient Grecian origins, it means 'the seeing place.' A stage upon which actors and actresses use fiction to show us truths.

When my turn on the program comes, I am not nervous at all—because all this is happening out of time, out of space. I am, for a moment, a figure of my own fantasy, and I play my appointed role as if I were in the movies.

When truth and virtue are so rare in almost every area of our society the world needs theatre and the theatre needs actors who will bring the truth of the human soul to the stage. The theatre may now be the only place in society where people can go to hear the truth.

You are the actor. Your body brings in something, call it presence, and it happens by degrees. Arms, chest, haunches and thighs, calves and feet. The body, firing synapses, in between and in the gray matter. On and off. The billions of cells, the body mechanisms, the busy regulating, the adjusting, the retinas contracting and expanding, body secreting, beating, moving, breathing and pulsing. Your being registers here. Swallow. Inhale. Open mouth to press air out to touch the flesh in the throat to make sound. You are the actor. A thing of flesh and feeling. Perfect because you aren't.

When you are starting to fall in love with someone you want to know everything there is to know about them; you want to understand their world and be accepted into it. It is the same for an actor with a new role.

Who you are, how you act and present yourself to others and your deep inner-truths are calling fortune or misfortune into your life right now.

Without writers, stories would not be written, Without actors, stories could not be brought to life.

You are the antidote to any received behaviour. Take a walk when you can. Be alone when you can. Talk to people you care about when you can. We try our best, and somehow it's not enough. We are broken people, the theater shows this. Yet we don't let being inadequate keep us from giving our very best every time. If professionalism has taken the practice of performing to a place where broken human behavior is not acceptable, then it is the medium that is broken, and not the other way around. For at our essence, at our core, we are not professionals. We are amateurs. We are myth, history and advertising, but, still, we exist; we are real, and we are simply beginners. It's how we thrive. We begin and therefore perpetually remain connected to the spark. We ask questions, we thirst, and we learn. And the dissenters complete us, causing us to be better.

When you are in entertainment business, you can’t be you until you are in off-screen. You have to smile all the time and act like what they want from you. And you have to give them what they want from you. When entertaining people, you are their property. But you have to influence others when you are entertaining your fans.

Who we are usually depends on who is—or who we think is—looking at us.

Why would you want to act, anyway?" was Seth's take on the subject. "Stand there and say other people's words, let everybody else tell you what to do... Actors are just beautiful puppets.

You have done something to your brain. You have made it high. If I lay 10 mls of diazepam on you, it will do something else to your brain. You will make it low. Why trust one drug and not the other?

You face an audience and prepare to speak. Fear will be there, if you're alive. There is, of course, no shortage of feeling up there. It is an extreme act, unusual, testing you in unparalleled ways. It speaks to the core of who you are, and why you do what you do. These challenges, they exist in life and become acute on stage.

YOU HAVE TO ASK HARD QUESTIONS.