Quotes About Drama

And let me tell you, Mr Ravenscar, that Lucius Kennet is downstairs, and if you have any notion of starting a vulgar brawl in my house, I will have you thrown out of it! There is Silas, and both the waiters, and my aunt's butler, and my brother too, so do not think I cannot do it!' 'This is very flattering,' he said, 'but I fear my fighting qualities have been exaggerated. It would not take all these people to throw me out of the house.

No, but on the other hand you don't enact me Cheltenham tragedies when I've barely swallowed my breakfast.

Ferdy, who had been standing with his mouth open, staring, suddenly rose superbly to the occasion, and offered his arm to Hero with a graceful bow. 'Let me escort you back to the ballroom!' he said. 'Yes, but- Sherry, you must not mind George's kissing me!' said Hero, looking from one to the other in a little dismay. 'Indeed, there was not the least harm in it, was there, George?' 'Dear Kitten,' promptly replied George, bowing with even more grace than Ferdy, 'there was much pleasure!

He took her face between his hands, staring down at her. She felt his fingers tremble slightly, and wondered what thoughts chased one another behind the trouble in his eyes. Suddenly his hands dropped to her shoulders, and thrust her away from him. 'No!' he said curtly.

I'll tell you something else too; by the time we're through we shall have had all we can stand of this North woman. I wouldn't mind betting she thinks we have nothing better to do than run around in circles while she gets on with this three-act problem play of hers.

I worked with Nick Hurran when I was 15 and had to remind him of this. I did a drama for ITV which he directed.

Tragedy is a great storytelling form. It worked extremely well for Shakespeare. It worked extremely well for Jim Cameron with 'Titanic.'

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.

I worked on a show called 'West Wing' before. I didn't work with Aaron Sorkin, but he created the show and set the tenor of the show, which was you follow the words of the script perfectly because there's a dramaturgical thing behind it.

I've worked with a lot of wooden actors in my day, but Pinocchio is the best.

I went to the Royal Academy of Dramatic Art because it was the only drama school the social worker had ever heard of. Luckily, I got in at the first attempt.

I know what unemployment means because I was unemployed for one-and-a-half years, and I know the drama that the worker and unemployed worker faces. I know the world of the labor union better than I think anyone else does.

I've always been in school plays and performing monologues and taking drama. Now I'm in acting classes. I do it the real way. I want to be a working actor. I would love that. I just like being on a series and having a script, and I want that to be my nine-to-five.

I came from drama school, and it's a group of 18 people working together in every single production and splitting up the roles for three years, so I am very much about the team.

If you have removed those people and situations that make your life more drama-like, then you're definitely a success. After all, who doesn't enjoy a quieter home and workplace?

'Flash' has a family drama element, 'Arrow' has a epic saga/crime element, 'Supergirl' has a young-woman-in-the-city and a workplace element, and 'Legends' is like the Dirty Dozen teaming up.

Part of me isn't that interested as a person and a viewer in people's personal lives. I'm much more interested in what people do in the workplace and what goals they set themselves. I guess that's why I write a lot of precinct drama.

I write what I call precinct drama, and I tend to write things set in the workplace. Having an institution which gives a workplace its distinctive identity is really important to creating something which feels different.

We want a story that starts out with an earthquake and works its way up to a climax.

Shameless self-publicity works, of course: living your life as a soap opera.

A song in a musical works best when a character has to sing - when words won't do the trick anymore. The same idea applies to a long speech in a play or a movie or on television. You want to force the character out of a conversational pattern.

A handful of works in history have had a direct impact on social policy: one or two works of Dickens, some of Zola, 'Uncle Tom's Cabin' and, in modern drama, Larry Kramer's 'The Normal Heart.'

I danced from the age of three, so I was always going to do something performance-related. I got into the Television Workshop drama group in Nottingham when I was 11 and went there for ten years.

I was quite young when I went to a drama workshop. I was around 9 or 10. I showed interest in it. I never saw it as a career. At around 16, I knew what I wanted to do.