Quotes About Theater

There was no theater in my high school. I think even our art program was cut - it was so bad. I didn't even know that was a possibility in college or in high school; I hadn't even thought of it. It was pretty negligent. My father has run a bulldozer all of his life, and my mom is in real estate.

I can't act, and so I have to live that particular character in my real life and then exhibit it on screen.

Onstage I do all the stuff I'd never do in real life, like lashing out at people who make me mad or freaking out in a long bank lineup. Performing allows me to fulfill all the sicko fantasies I've ever had.

I've just always been interested in alter-naturalism and seeing if you can make real life interesting enough to be dramatic without enhancing it. Like, could you make a movie or write a play in which there's no compression of time, there's no enhanced event, it's just real life?

Projection of sound gives the stage a life different from real life. As actors and interpretive artists, we must not only be able to know the attitude of the script, we must also make ourselves heard - without amplification.

I definitely was inspired by drama teachers in high school named Mr. Walsh and Ms. O'Neil, and both of them were very formative in helping me sort of understand theater. But I think my biggest inspiration is that I was a high school drama teacher in real life for four years in the Bronx.

None of the characters I played was very close to me as a real person.

We really believe, existing in a climate where comic books and franchises are the order of the day, that new material and writers need to be fostered more than ever. And in the theater and in television, the idea of original writing holds real value.

I've done a lot of Shakespeare over the years. You start to realise how the plays fit together; he's always using pieces from one and slotting them into others.

I'd not really ever expected to play anything like 'Hamlet.' I hadn't seen myself as a natural Hamlet, whatever a natural Hamlet is, and I quickly realised there is no such thing.

I realised that I really liked to be on stage, and that I wanted to pursue it.

While we look to the dramatist to give romance to realism, we ask of the actor to give realism to romance.

The kind of theater that I do is sort of 'narrative realism,' which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.

I've always wanted my characters to have more dimension and realistic cores than the ingenue material often provides. It's been a challenge.

Real acting is realistic no matter what the medium.

We don't have a culture of realistic acting in India.

It's hard for me to consider something in cinema or theater as something realistic.

As an actor, my main focus is finding good writing and attacking a good role.

I went to the theater school at DePaul University in Chicago, the Goodman School.

When you're in a good play and a good production, you find that you're in something that has a life beyond you. You think, 'Oh my goodness, this play's alive.'

Every character I've played is goofy, but it has to have some type of reality.

'Miss Saigon' taught me what it means to help carry a big show, and it had some of the most gorgeous songs wrote.

I love doing costumes. The costume is an actor's first line, so it's gotta be right!

I know that one of my difficulties as an actor is to try to do too much, from all those years ago when my acting took place live on a stage. It was just my shiny face there, so you've gotta be super careful how much over-expressing you're doing with your eyes and nose and so on.