Quotes About Theater

Until I have a family or a mortgage, I'm trying to keep my lifestyle simple and my apartment affordable so that I can continue to focus on theater. That's as good as it gets for me.

When I was little, I saw the play 'Les Miserables' on Broadway, I thought it was the most amazing thing I have ever seen.

There was something about the Cleveland Play House that was the holiest place - you know, with the ghost light on the stage and the brick. It was just the most beautiful theater in the world.

The hardest role that I've ever tried to play was Clara Johnson in 'Light in the Piazza' at Lincoln Center. It was the least fun I've ever had, but the most beautiful experience I've ever had. I could not understand her. I could not put my feet in her shoes. I came home every night, and I was depressed.

When I saw 'Hamilton,' it changed my life. It's one of the most beautiful things I saw on stage.

The most difficult thing to do is drama.

The most difficult thing to pull off in a musical is the choreography.

The single most important thing in learning my craft was being on the stage.

I don't consider myself a great actress. I'm just trying to stay alive, actually. I think I'm good, and I've learned a lot, certainly, mostly in the theater. I've been sloughed off movies for years. But what can you do? That's life.

Fred Astaire, Gene Kelly, Donald O'Connor - those were my idols. All I ever wanted to be was a motion picture song-and-dance man. I kind of fell into other things. Did walk-ons and bits for years and worked in little theater at night.

If I could earn the living that I earn in motion pictures and television in the theater, I'd be doing theater. But you can't. Nor come even close to it.

I got fitter when I did 'Joseph and the Amazing Technicolor Dreamcoat.' I wore a loincloth - that's a lot of motivation!

The theater of man is not always 'amusing', but it is always theater, and theater can be marveled at even when its content is somber and harsh. You're acquainted with Greek tragedy?

There we were - demented children mincing about in clothes that no one ever wore, speaking as no man ever spoke, swearing love in wigs and rhymed couplets, killing each other with wooden swords, hollow protestations of faith hurled after empty promises of vengeance - and every gesture, every pose, vanishing into the thin unpopulated air. We ransomed our dignity to the clouds, and the uncomprehending birds listened. Don't you see?! We're actors - we're the opposite of people!

If you want to change something by Tuesday, theater is no good. Journalism is what does that. But, if you want to just alter the chemistry of the moral matrix, then theater has a longer half-life.

When people discuss his plays, he says that he feels like he's standing at customs watching an official ransack his luggage. He cheerfully declares responsibility for a play about two people, and suddenly the officer is finding all manner of exotic contraband like the nature of God and identity, and while he can't deny that they're there, he can't for the life of him remember putting them there. In the end, a play is not the product of an idea; an idea is the product of a play.

Tom Stoppard's other work includes: Rosencrantz and Guildenstern Are Dead, Jumpers, Travesties, Night and Day, After Magritte, The Real Thing, Enter A Free Man, Hapgood, Arcadia, Indian Ink (a stage adaptation of his own play, In the Native State) and The Invention of Love. Arcadia

GUIL (hevesen megragadja) MIT GONDOLSZ, KI VAGY TE? ROS Szónoki kérdés. Gém, meccs!

Rage has limited uses and serious flaws. It cuts off reason and displaces constructive action with mindless theater. Besides, absorbing the lies, untruths, both transparent and nuanced, of governments, their hypocrisy so polished it does not even care if it is revealed, can lead to a wearied and raveled mind.

God wants the church to be a community where real people in real relationships are meeting real needs in real ways. God did not create the church simply as a classroom where you get instruction or as a theater where you come to watch a performance.

I want to do all kinds of things. I want to do some comedy. I'd love to do a romantic comedy, and I'd love to do some period pieces with classical text. I'd love somebody to cast me as Macbeth, but for a film. I just want to be all over the place.

I didn't get into this so I could talk about my work, my movies. You become an actor to act.

The church has become the theater of the gospel, and in this theater, there are no passive spectators, only engaged participants, acting out what is in Christ.

Of course, he had heard of Virginia. He was obviously fond of the theater, fond enough to put some of his money at risk as a shareholder of the Blackfriars Theatre Company.