Quotes About National Theatre

I suppose what's so amazing about working at the National Theatre is that, because it's a subsidized theatre, you're not trying to create a product that's going to have a mass market in order to make the money back.

I moved to London to work at the National Theatre and spent my first wage packet on Patti Smith, Bowie and Velvets records.

When the National Theatre was built, it was a public building. If you wander round that building now, there are bits hived off for people who pay more money. That's happening across the arts.

I spent most of my teenage years in the National Theatre.

In Britain, the theatre has traditionally been where the public goes to think about its past and debate its future. The formation of the National Theatre, at the Old Vic, near the South Bank, in 1963, institutionalized the symbolic importance of drama by giving it both a building and state funding.

I submit all my plays to the National Theatre for rejection. To assure myself I am seeing clearly.

I worked in rep for six years, then I came to London and to the National Theatre. What's better than that?

I was very lucky. I left college, and Richard Eyre was in charge of the National Theatre. I was offered the lead in 'The Seagull' with no experience and went on to do five plays there.

Places like the National Theatre or Sheffield, these great engines of theatre, make us cutting edge because they can be experimental. They can do plays that nobody else can afford to do in ways nobody else can afford to do.

I came to theatre as a teenager by going to the National Theatre when it was at the Old Vic and sitting on padded seats in the gallery for 15 pence, which was the price of a bus fare.

I was at stage school in Birmingham Rep when I was called down to London for an audition in the National Theatre. Maximilian Schell, the film actor, was casting Tales from the Vienna Woods. He was looking at me for a small, but significant, role.

When I was doing fringe theatre, my ambition was to do repertory. When I got to rep it was to do national theatre; then it was t,o get a couple of parts in television. I never had this great desire to overreach myself. I was too busy enjoying acting. I was just obsessed with it.

I spent two years in the military service, then I trudged around in repertory for quite a while. I somehow wound up at the National Theatre, though, and then I was definitely on my way.

Maybe six months out of drama school, I was working at the Dundee Rep Theatre, I worked there for about a year, and I had an audition for the National Theatre of Scotland. I went into the audition room and when I came out I realized my fly was undone. I did this whole dramatic speech with my fly hanging low.

I've done a lot of costume drama and theatre - the National Theatre and In fact, most of my work at the theatre, at the National Theatre anyway, was period.

About ten days later, it being the time of year when the National collected down and outs to walk on and understudy I arrived at the head office of the National Theatre in Aquinas Street in Waterloo.

I started elocution lessons because I was being teased, and I had a brilliant drama teacher. At the age of 14, I appeared at the National Theatre in 'The Crucible.'

My experience with the National Theatre in Kracow often involved many changes of storyline and character. This was particularly useful when working with a director such as Pawel Pawlikowski who is quite intuitive and demands flexibility in an actor.

My teachers encouraged me to audition for some professional work during our summer vacation. I landed my first job. It was for the National Theatre Company's Mimika Pantomime troupe. I ended up touring with them for the next two years.

The deaf community is in a favorable position because they have a national theatre and training groups of their own to get them started. Deaf actors have often acquired very valuable skills and experience before they get their break.

My mother would strike me off if I didn't say theatre was incredibly important, and when you see something like 'Network' at the National Theatre, my god it's important. You feel like you can't breathe.

I studied drama in high school, and when I was 18, I studied at the Actors Studio in New York. Then I moved to London when I got engaged to Bryan Ferry, and I studied at the National Theatre there.

I saw 'Othello' at the National Theatre in London, and it was so stunning. I was so moved. It's beautiful.