Quotes About Theatre

I owe my entire to theatre. Simply because, I got so many chances to practice. Playing the same character for days, I could understand and practice on how to build that emotional arc.

What I've created comedically owes a lot to my ignorance of comedy and love of making theatre stuff.

Because I'd done 30 plays or so at Oxford, I thought that I was an actress anyway because that's what I was doing!

When I first looked at 'Travesties,' I thought, 'I don't know what to make of the first page of this, let alone 80 pages.' But I just thought, 'Well, I'll go along for the audition because I love all the people involved.'

I feel like I've cheated. I never knew what to do. I was never a good enough painter to earn a living, and so I drifted into the theatre, and I've had a successful life. I feel guilty that I've never done a day's work in my life!

A painter has his brushes, a musician his instrument and as an actor you use your body.

Now I'm on television, I'm far more conscious of my skin than I used to be - I would often leave the theatre with layers of pancake make-up still on my face, but on a medium such as TV, I have to be more fastidious.

When I didn't work on TV, that was OK because I was doing lots of theatre but I did begin to panic a bit.

We used to have front-row seats for the Grand Opera House pantomime every year, and once the dame May McFettridge got me up on-stage.

I've done the gay, over-the-top guy. I want to jump into another show where I wear pants for the majority of the time.

I first got really interested in Noh in about 1977. There was an independent bookstore in Bloomington, Indiana where I was going to high school. It was a really nice place. There was a New Directions paperback. It was the Pound/Fenollosa book, 'The Classic Noh Theatre of Japan.'

I left 'Death in Paradise' because I wanted to get back on stage.

I'm excited about the idea of an act of theatre triggering a parallel creative act of writing.

They're so effusive with their love... theatre fans. I'm a big comic book fan and there's a lot of parallels with them that they're just dedicated and loyal.

The reason I stopped music for a while and concentrated on theatre was that it was more conducive to parenting; having the days free was quite handy. I love them both. I hope I don't have to compromise one for the other.

To come to the theatre, people have to make arrangements, change their clothes, find a babysitter, find a parking space - and they don't come after hard work to hear a lecture.

I started doing amateur theatre and played Rosa Parks at the age of 12 or 13. At 16, I decided it was what I wanted to do.

I often joke with my husband and say to him, 'You know I have two theatre degrees, right? That's all I know how to do.' LOL! He went to Pepperdine Law School, has four degrees, and passed the California Bar first time around, so I always make sure he doesn't expect too much from me.

In his treatise on the battles between the gods underlying ancient Dionysian theatre, the young Nietzsche notes: 'Alas! The magic of these struggles is such, that he who sees them must also take part in them.' Similarly, an anthropology of the practising life is infected by its subject. Dealing with practices, asceticisms and exercises, whether or not they are declared as such, the theorist inevitably encounters his own inner constitution, beyond affirmation and denial.

In theatre, presence is the matrix of power; the postmodern theatre of resistance must therefore both expose the collusion of presence with authority and resist such collusion by refusing to establish itself as the charismatic Other.

To move from a discussion of the early relationship between theatre and television to an examination of the current situation of live performance is to confront the irony that whereas television initially sought to replicate and, implicitly, to replace live theatre, live performance itself has developed since that time toward the replication of the discourse of mediatization.

Esos innovadores del teatro, Jerzy Grotowski, el director polaco de teatro experimental y autor de Hacia un teatro pobre, Peter Brook, el director inglés, y el Living Theater, el grupo de teatro experimental fundado por Julian Beck

William Leonard Courtney (then sixty-one-year-old theatre and literary editor of the Daily Telegraph, he had been an Oxford professor of philosophy until forced to resign when his homosexuality became public knowledge)

Poetry is emotional in nature and theatrical in operation.