Quotes About Theatre

the theatre was the greatest of all the arts.

I was obsessed with theatre and loving the work of Caryl Churchill, Edward Bond, Howard Brenton, and Howard Barker, people doing real formal experimentation. But 'Road' was the first time I'd read a play written in a very true Northern dialect that seemed to have that excitement running through it.

When actors are talking, they are servants of the dramatist. It is what they can show the audience when they are not talking that reveals the fine actor.

I come from theatre, and I feel like I have to go back to it every few years because it's like nourishment for the soul. And, as an actor, it's the place you have most control: no one cuts or edits you, and you get to tell the story each night.

I think I started out trying to be very objective about the flow of the play.

I don't watch a lot of movies. I watch theatre, read books, and observe life.

What's exciting about theatre is observing human behaviour. You're constantly making judgments about body language, the physical, the emotional, the intellectual.

Theatre is, occasionally, capable of moments of truth.

Evet, ama bir tiyatrocu! diye düÅŸündü. Bir aile ona ne kadar uzak!

Hegel je bio taj koji je prvi primijetio da su povijest i kazalište satkani od iste materije, rekao je Sunaj. Podsjetio je da - jednako kao i kazalište i povijest dodjeljuje uloge. I kao što na kazališne daske mogu istr?ati samo oni najhrabriji, i na pozornicu povijesti izlaze samo odabrani...

Every book should begin with attractive endpapers. Preferably in a dark colour: dark red or dark blue, depending on the binding. When you open the book it's like going to the theatre. First you see the curtain. Then it's pulled aside and the show begins.

Memory is not an instrument for exploring the past but its theatre. It is the medium of past experience, as the ground is the medium in which dead cities lie interred.

He seems, in manner and rank, above the class of young men who take that turn; but I remember hearing them say, that the little theatre at Fairport was to open with the performance of a young gentleman, being his first appearance on any stage.—If this should be thee, Lovel!—Lovel? yes, Lovel or Belville are just the names which youngsters are apt to assume on such occasions—on my life, I am sorry for the lad.

To me theatricalism means dramatic embellishment: the art of the aposiopesis; the abrupt closing of a book; the lighting of a cigarette; the effects off-stage, a pistol shot, a cry, a fall, a crash; an effective entrance, an effective exit – all of which may seem cheap and obvious, but if treated sensitively and with discretion, they are the poetry of the theatre.

Theatre is life. Cinema is art. Television is furniture.

I was walking home from the theatre with Goethe this evening when we saw a small boy in a plum colored waistcoat. Youth, Goethe said, is the silky apple butter on the good brown bread of possibility

There's a tradition in British intellectual life of mocking any non-political force that gets involved in politics, especially within the sphere of the arts and the theatre.

On Monday, November 29, nineteen-year-old Eugenia Dennis, billed as the "Amazing Girl Psychic," arrived from Kansas for a week-long engagement at Seattle's Coliseum Theatre. Miss Dennis' telepathic powers had brought her international renown. No less a celebrity than Sir Arthur Conan Doyle had proclaimed her "the eighth wonder of the world.

The theatre only knows what it's doing next week, not like the opera, where they say: What are we going to do in five years' time? A completely different attitude.

I am auditioning again - getting back to theatre would be amazing.

Then I heard this genius teacher Stella Adler - I recommend you read anything you might find about her and if you have anyone interested in theatre, you get them one of her books.

All that day she had had the feeling that she was playing in the theatre with actors better than herself and that her poor playing spoiled the whole thing.

The dramas of Æschylus certainly, and perhaps also those of Sophocles and Euripides, were played not upon the stage, and not in the theatre, but, strange though it sounds to us, in the orchestra.

We know from tradition that in Athens ritual became art, a dromenon became the drama, and we have seen that the shift is symbolized and expressed by the addition of the theatre, or spectator-place, to the orchestra, or dancing-place.