Quotes About Theatre

The first rule of good theatre is 'Show, don't tell.' It applies to good political action as well.

My interest in theatre and storytelling began in my mother's kitchen. It was a meeting place for my mother's large circle of friends.

The last person to teach me how to act was my A-level Theatre Studies teacher at school, which I literally still draw on. Got an A!

I didn't grow up a theatre kid, going to theatre camps. I played sports, and that was my main direction. But luckily, I never had to choose between sports and theatre.

Mum wasn't at all religious, but she thought that going to the theatre was as important a ceremonial, communal experience that a person could have.

Having learnt my basics in theatre, I always feel film is a collaborative effort. If you do your part well and help the person in front of you in realising his or her potential, the film invariably comes out good.

I think that one of the beautiful things about theatre - and a place like 'Powerhouse' - is that who you are is informing your work. There's actually no separation from that.

Yes, it is a rehearsed show, yes, it was analogy of going to see a play at the theatre, where everything has to be in place and whole things, everything being works, all works together to get the best effect you know it's more like an actor learning a part.

I think theatre is an actor's medium, while cinema is a director's medium.

I definitely think that theatre is something I'll keep coming back to in my career for as long as I can. I also think theatre's something you have to be very fit to do. I am fairly fit, but I don't think I could do it all the time.

I realised that if I wanted to act, I needed to join theatre where I could improve my acting skills first and also show my talent.

I'm a theatre person, that's who I am. I'm happy to make sojourns into the world of movies but I'm basically a theatre director that potters off and does a couple of movies.

I'd rather do theatre and British films than move to L.A. in hopes of getting small roles in American films.

For the theatre one needs long arms... an artiste with short arms can never make a fine gesture.

Right before I graduated from the national theatre school, I got the part of Roxie Hart in 'Chicago' in Copenhagen. That led to me playing it here in London. I was 26 when I came over for that. It was the first thing I did as a professional, and it is still the experience of my life.

I feel like I've been marinated in Australian theatre.

When I realised, on 'The Straits,' that physical work in the theatre takes much longer than directing scenes, it was like a eureka moment. If you want to work physically, you have to accommodate it, and it takes a disproportionate amount of time.

I come out of repertory theatre so I've been working under pressure my whole career.

I was such a wallflower in high school. I did a lot of extracurricular theatre shows, but at school, I spent a lot of time by myself. I ate lunch by myself, and I was always okay with it. But I was definitely made fun of, and I always felt like an outsider.

When elections are not democratic, even the most populist discussions become superficial, disconnected from real power; they are theatre.

I decided to do theatre intensely. I joined Makarand Deshpande's group Ansh. He became my guru. That's where I met Anurag Kashyap and Kay Kay Menon. These were the people who supported and inspired me.

I went to drama school in Paris and started doing theatre with a friend. Then I moved into movies and slowly but surely I got roles.

Cornelia Parker has inspired a lot of my theatre work. Her art is about points of impact: it's poetic but with a strong literal story.

When I started off as an actress, I did at a play at the Taper Too Theatre here in Los Angeles, called 'In The Abyss Of Coney Island.' That was more of a dramatic play. It was a small theater house. This was the first time I was literally on the road, doing a play, for four months.