Quotes About Rehearsal

When you prepare for something, you can then play around; you're not as worried about remembering your lines because you already know them so well. That's where you can find the freedom. So I'm all about prep work.

If you miss something in the theater, you are working through it; you'll get it tomorrow. It's easy to forgive yourself in the theater. On television, you do one shot. All you've done rehearsal-wise is be blocked. There is all this pressure to get it right then.

The way that I write is I just write a ton of music in the background of my life, and then I just bring it into rehearsal. It's, like, 'Okay, guys. It goes like this. Let's smooth it out.'

I used to practice Tony speeches in my bathroom with my hairbrush.

There is no such thing as too much rehearsal. When Daniel Day-Lewis told Steven Spielberg he needed a year for 'Lincoln,' I understand that.

Most of the parts are really gone over and over and over again with Tool. It's a very composed situation. We spend weeks if not months working on all those songs. There's not much room for improvisation.

The rehearsal period is so far away from the time when the scene will actually be shot that very little is remembered.

I think rehearsal can be important if it's done in a way that works. Often, rehearsal can be a waste of time.

To me, it's my job not to laugh, no matter what's said. By the time we shoot, I'm ready for all that's coming. I probably do most of my breaking in rehearsals, when I know that I can.

The truth needs so little rehearsal.

Lila harboured an unspoken belief that motherhood was the best possible rehearsal for a prospective police officer.. Mothers were naturals for law enforcement, because toddlers, like criminals, were often belligerent and destructive. If you could get through those early years without losing your cool or blowing your top, you might be able to deal with grown-up crime. The key was to not react, to stay adult..

Most readers will probably have experienced instances of the rehearsal function of dreams. By dreaming about a significant, upcoming event in advance, we can try out various approaches, attitudes, and behaviors, perhaps arriving at a more effective course of action than we otherwise would have. We may also be forewarned of certain potential aspects in a future situation that we otherwise would not have imagined or considered.

The more you rehearse the wrongs against you and the more you stay in that trap, the more the syringes of bitterness release their toxins into your soul.

I love the rehearsal process in the theatre, and the visceral sense of contact and communication with a live audience.

I like to give dimension to shots inside action scenes. It's demanding because you have to rehearse a lot of things happening at the same time and frame all those things in a shot. But I feel like when you accomplish that then you've got a cool action scene.

I remember when I was doing 'The Crucible' on Broadway with Laura Linney, and Arthur Miller had been in rehearsal with us and was on stage on opening night. She turned to me during the curtain call and said, 'Let's make sure we remember this.'

Really, for an actor, it's all about remembering a lot of stuff - and keeping the moustache on.

If you're a comic, you don't have a rehearsal room, you rehearse on stage. My main concern is remembering everything.

I thought acting was just going on and remembering all of one's lines.

Repetition makes perfect.

Every time I go on stage, it's like a first date. I put on my best clothes, shave, and get as handsome as I can. Then I say the cutest things I know to say, and I become the very best Bill Medley I can be because I want to win my date over. My audience is the date that I want to impress every time.

The beautiful thing about theater is every night is an opportunity to incorporate what you discovered the night before.

The dress rehearsal must have been disastrous, the reactions of the first-night audience a confirmation of this, lasting right into the second scene, even after the singing of 'Pirate Jenny' in the stable. But with the 'Cannon Song' the applause suddenly burst loose. Quite unexpectedly, inspiredly, improvisedly, management and collaborators found themselves with the greatest German hit of the 1920s on their hands.

I started as a straight actor. I'd go onstage, and I'd think, 'Wow, this is the only thing I want to work really hard at. I will rehearse fifty times on a single scene; I don't care - I'll do it again.'