Quotes About Rehearsal

Simon and I by then were practicing to be apart, rehearsing together in the same room and often in the same conversation.

The author writes a play, then is through with it, aside from collecting royalties. Four weeks of rehearsing and the director's work is done. Theirs are creative jobs. But how would the author feel if he had to write the same play over each night for a year? Or the director to restage it before each performance? They'd be as balmy as Nijinsky in a week. Even the ushers traffic with different people every night. But the actress? She's a caged parrot.

I have ever had the conviction, resistant to all rational considerations, that at some unspecified future moment the continuous rehearsal which is my life, with its so many misreadings, is slips and fluffs, will be done with and that the real drama for which I have ever and with earnestness been preparing will at last begin. It is a common delusion.

I knew Jim was going down, but was very pleased that somehow, despite his self-destruction, when we rehearsed, wrote songs and recorded, he showed up. He pulled it together.

In the studio, you can always stop, rewind and do it again, but on stage, you can never do that - it's a different energy. It separates good bands from bad bands, being able to play, perform and really capture an audience. I think that's the hardest part.

Some of the routines come back very easily. We do it off the top of our heads.

Bob Hope was totally regimented. I go in and say a line like, 'Hi Bob' and I'd have to do it five times, and then Bob would take me to the writers to say the line different ways. He wouldn't let me ad-lib.

Memory results from a process of continual re-categorization which, by its nature, must be procedural and involve continual motor activity and repeated rehearsal.

'Grease' was my Broadway debut. That was eye-opening. At the same time, it was very familiar. It was a Broadway show, but it's kind of the same as doing a show in Minnesota. It's the same type of rehearsal process. You are doing 8 shows a week, but I worked at a theatre in Minnesota that did 11 shows a week.

Then, in 2000, John Reid, Elton John's former manager, asked me to audition for the stage version of The Graduate he was producing. So I worked on it, got the part, and after three weeks' rehearsal I was on stage!

People who have never done theatre before, and have only worked in front of a camera, would find it very difficult, I think, to know how to command a stage and work with the logistics of being on stage. They're very different. The theatre is quite tricky, actually.

My workout is ballet class and rehearsal - I've never belonged to a gym.

You need to make mistakes in rehearsal because that's how you find out what works and what doesn't.

It is quite amazing how hard the subconscious works when it is made to understand that this life is not a rehearsal, there is no safety net and no assurance of any final closure. It is also quite appalling to realize how catatonic the imagination can become when we hedge our bets, opt for the safer direction at every fork in the path.

I have a big family and had to move them all from the coast of Oregon to New York three times for the workshops and for the actual production itself, which had about a four month development rehearsal schedule.

Back in the Stone Age, before there were workshops, it was a very difficult idea to get into musical theatre. Normally, you would be a chorus girl or boy and write something. People would get their start as rehearsal pianists or dance assistants.

There is mental as well as physical fatigue. You have to cry, scream, keep on repeating the same dialogue till you get it right.

Hema ji is a dedicated artist and a perfectionist who continues to rehearse on her lines till she gets them right.

As an actor, you tend to just look at the script till you get to your stuff.

I always play every game in my mind before it begins. A lot of times in a game, a play will happen, and it will feel like deja vu, like I've seen the play happen before in my mind.

A lot of things matter in comedy - the script, the lines, your timing, the co-actor's timing, how it's shot.

During my university years, I was doing a lot of theatre acting. I would be skipping school for rehearsal. We were rehearsing at night - we finished at midnight, and I had to go to school at 8 A.M. It was very tiring.

When we get together and rehearse, which is always living with each other, we always talk about what would make it better, what would mean more, what would say more. So we're always improving and growing.

Film is a much lonelier process than theatre. You really don't have any rehearsal time in film. You don't shape it together... with theatre, there is a complete kind of family atmosphere. The sociable side of this business is the theatrical side, it really isn't the film side.