Quotes About Theatre

Do not leave the theatre satisfied Do not be reconciled. … You cannot live on our wax fruit Leave the theatre hungry For change —FROM EDWARD BOND, On Leaving the Theatre   I

I love theatre because that is my foundation. So, if I had to make a choice in terms of where I get the most fulfillments, it would be theatre. The reaction is so immediate, unlike with TV and film.

The cool thing is that, unlike film, the theatre roles for women get better and better as you get older.

Unlike films, theatre allows you to experiment as an actor, which is fulfilling.

Performing at Prithvi was a novel experience, because unlike other theatres, it was very different - it didn't have any curtains and the audience was at close proximity to the actors.

What we do in theatre is unlike film or any other medium. We can never really truly see the work that we made because we're in in.

Unlike movies, on stage there are no second chances. Everything is live. If someone messes up, forgets a line, gives the wrong cue, you need to have the presence of mind to move the play along.

Theatre is a very beautiful and interesting medium because it's a live show, unlike a film - once released, it's gone.

Though I acted in hundreds of productions, appeared at the Guthrie Theatre and on Broadway in Amadeus, I discovered in my thirties that I didn't really like stage acting. The presence of the audience, the eight shows a week and the possibility of a long run were all unnatural to me.

My parents lived, breathed, ate and slept theatre. Emotions were right on the surface. Growing up, the unreal had as much importance as the real.

I have done theatre, and I enjoy the process of smaller films a lot more. When I do such films, there are certain things which I get to do which are untapped. The scenes give me the liberty to play and mould the character in accordance to the director's mindset.

I've come from theatre and you have different productions of a text in theatre. It's not unusual.

My background is somewhat unusual, as I trained to be a ballet dancer. I worked in the theatre for eight or nine years as a contemporary dancer. But as an actor one does read Shakespeare and does try to learn the classics.

In Europe, it is not so unusual for directors to move between opera, theatre, and film, and I have at least three girlfriends I can think of who have directed in all three genres.

One of my first memories is running up and down the theatre at Wakefield Opera House.

As for theatre, there's ups and downs to everything. Theatre is ephemeral. But that is part of its charm because you can always say the production was better than it was.

We turned Cambridge theatre upside down, using odd spaces and devising everything collaboratively. It eventually blew apart, but I'm still proud of some of what we achieved. The style was very disciplined, and we had the sense to keep things short.

I started doing repertory theatre in upstate New York when I was 15, went back when I was 16, and by that time decided that I really wanted to study drama seriously and go to an acting conservatory called Carnegie-Mellon University in Pittsburgh.

The power of the print reviewer is one of those urban myths. There have always been shows that slipped under the critical radar to become popular successes: 'Tobacco Road', 'Abie's Irish Rose' and our old friend 'Spider-Man', which got the worst reviews in theatre history and is still apparently going strong.

The Urdu or Hindustani language we use isn't popular in theatre these days. It was a language that was being used in cinema from the 1950s until the '80s. It is a very communicative language.

We can compare classical chess and rapid chess with theatre and cinema - some actors don't like the latter and prefer to work in the theatre.

It's not just a revue where one song is done, then another. There are concepts and ideas at work.

Fifteen years before I became a screen actor, I was in the theatre. A lot of my work was comedy, which I loved doing. It's harder.

Do you know what makes a movie work? Moments. Give the audience half a dozen moments they can remember, and they'll leave the theatre happy.