Quotes About Shakespeare

When we study Shakespeare on the page, for academic purposes, we may require all kinds of help. Generally, we read him in modern spelling and with modern punctuation, and with notes. But any poetry that is performed - from song lyric to tragic speech - must make its point, as it were, without reference back.

I love that he's both comic and tragic, and highly poetic but also just dirty at times. ... I love that within the world of Shakespeare's plays, the whole world is sort of encompassed in a certain way.

The nice thing with Shakespeare from a modern point of view is that a lot of stuff that was tragic for him can read as comic for us.

I fundamentally do not believe in the patenting of software. It would be like Shakespeare patenting the tragic love story.

I'm always keeping an eye out for a period piece. I was trained in theatre, so most of the things we did were classical - Shakespeare, Moliere, and Chekhov.

I'm into parlor dramas. I'm into theatre. I'm trained for the stage. I trained to do Chekhov and Shakespeare, I was trained for the stage.

I trained in Shakespeare, and that's all comedy, even when it's tragedy.

I know that people who have been to RADA and LAMDA can smash accents and do Shakespeare: all those things that I never really trained in.

When I was prepping for my Broadway debut as Romeo, it really hit me that I had never done that. I had trained at drama school for three years in my late teens to early 20s, and I'd studied Shakespeare, of course, but I hadn't actually performed it. So to do something like Romeo for my first Broadway role was a challenge.

I went to drama school. I'm classically trained; I studied Shakespeare, blah blah blah. But I always preferred to do Oscar Wilde, or Shakespeare's comedies over his dramas.

I did 'Othello' at the Oregon Shakes - I was at the Oregon Shakespeare Festival for two and a half years. That's where my training is.

Taking trains and trams in Berlin, I noticed people reading. Books, I mean - not pocket-size devices that bleep as if censorious, on which even Shakespeare scans like a spreadsheet.

I feel like Shakespeare is so epic, in a way that sci-fi genre stuff is epic, it transcends the mundane, and it takes you to this place of real passion and real beauty.

I learned from master teachers at the University of Evansville, at Juilliard, at Shakespeare festivals all over the country, eventually landing at Shakespeare in the Park in N.Y.C. That show transferred, so I got to make my Broadway debut doing 'The Tempest' with Patrick Stewart.

I'd read Shakespeare in school, translated into isiXhosa, and loved the stories, but I hadn't realised before I started reading the English text how powerful the language was - the great surging speeches Othello has.

Said Hamlet to Ophelia, I'll draw a sketch of thee. What kind of pencil shall I use? 2B or not 2B?

I thought I'd begin by reading a poem by Shakespeare, but then I thought, why should I? He never reads any of mine.

In the early 1950s the Brattle Theater in Cambridge, Massachusetts, tried something old. Like many another venue for productions of Shakespeare, Chekhov, and Shaw, the Brattle had become a film house in the early 1950s. But it was a film house unlike any other. It had a rear-screen projector, rather than the standard setup that beamed movies on a screen above the audience. And it had owners who believed that the past could be more alluring than the present.

She liked to watch her father as he read, and to listen to the smoothly rolling tones; she felt no curiosity about what the words meant. It was only Shakespeare and she was used to him.

The reason we constantly discover new truth in Shakespeare is that his complete understanding of the particular includes the universal.

All theatre has truth, from Theatre in Education to panto to Shakespeare.

How much more doth beauty beauteous seem by that sweet ornament which truth doth give!

Compared with many scientists—or for that matter many spiritual types—Roland Griffiths possesses a large measure of what Keats, referring to Shakespeare, described as "negative capability," the ability to exist amid uncertainties, mysteries, and doubt without reaching for absolutes, whether those of science or spirituality.

Desire of having is the sin of covetousness.