Theatre Quotes
For use in newsletters, season or fundraising brochures or emails, presentations--you name it.
Category | Quote | First | Last | Source |
---|---|---|---|---|
Acting |
Act in your pauses. |
Ellen | Terry | Friendly Advice by Jon Winokur |
Acting |
Imagination! Imagination! I put it first years ago, when I was asked what qualities I thought necessary for success upon the stage. And I am still of the same opinion. Imagination, industry [hard work], and intelligence--the three I's--are all indispensable to the actor, but of these three the greatest is, without any doubt, imagination. |
Ellen | Terry | The Audience Book of Theatre Quotations, by Louis Phillips |
Acting |
Acting is a matter of giving away secrets. |
Ellen | Barkin | |
General |
To save the theatre, the theatre must be destroyed, the actors and actresses must all die of the plague. They poison the air, they make art impossible. It is not drama that they play, but pieces for the theatre. We should return to the Greeks, play in the open air; the drama dies of stalls and boxes and evening dress, and people who come to digest their dinner. |
Eleanora | Duse | http://izquotes.com/ |
Acting |
Onstage, nothing is as important as truth, nothing. As soon as you lie, they know it. |
Elaine | Stritch | It Happened On Broadway |
Acting |
You can't be funny unless you're tragic, and you can't be tragic unless you're funny. |
Elaine | Stritch | |
Acting |
You cannot tell an audience a lie. They know it before you do; before it's out of your mouth, they know it's a lie. |
Elaine | Stritch | |
Acting |
Audiences are not strangers to me. They're the best friends I've got in my life. |
Elaine | Stritch | |
Acting |
These performers that go on about their technique and craft - oh, puleeze! How boring! I don't know what 'technique' means. But I do know what experience is. |
Elaine | Stritch | |
Acting, General, Playwriting |
The thing that makes a creative person is to be creative and that is all there is to it. |
Edward | Albee | wisdomquotes.com/ |
Playwriting |
A playwright is someone who lets his guts hang out on the stage. |
Edward | Albee | http://www.curtainup.com/quotepro.html |
Playwriting |
People often ask me how long it takes me to write a play, and I tell them 'all of my life.' |
Edward | Albee | http://www.curtainup.com/quotepro.html |
Acting |
If you cried a little less, the audience would cry more. |
Edith | Evans | Friendly Advice by Jon Winokur |
Acting, Costumes |
The subjective actress thinks of clothes only as they apply to her; the objective actress thinks of them only as they affect others, as a tool for the job. |
Edith | Head | |
General |
I am so used to seeing the sort of play which deals with one man and two women. They do not leave me with the feeling I have made a full theatrical meal they do not give me the experience of the multiplicity of life. |
E.M. | Forster | |
Acting |
Actors ought to be larger than life. You come across quite enough ordinary, nondescript people in daily life and I don't see why you should be subjected to them on the stage too. |
Donald | Sinden | |
General |
There is no greater gift that a person can be given than to be put in touch with his creativity. [Theatre] transformed my life. [Director Declan Donnellan on discovering theatre as a lonely 16 year old.] |
Declan | Donnellan | The Guardian |
General, Management |
I've never quite understood the idea of a "season." Whenever an artistic director says to me, 'I have this slot,' I always start to feel we're parking cars or something. |
David Henry | Hwang | The Audience Book of Theatre Quotations, by Louis Phillips |
General, Playwriting |
The theatre is the best way of showing the gap between what is said and what is seen to be done, and that is why, ragged and gap-toothed as it is, it has still a far healthier potential than some poorer, abandoned arts. |
David | Hare | |
Playwriting |
A dramatic experience concerned with the mundane may inform but it cannot release; and one concerned essentially with the aesthetic politics of its creators may divert or anger, but it cannot enlighten. |
David | Mamet | |
Acting, Playwriting |
It is the writer's job to make the play interesting. It is the actor's job to make the performance truthful. |
David | Mamet | The Audience Book of Theatre Quotations, by Louis Phillips |
Lighting |
Lights are to drama what music is to the lyrics of a song. The greatest part of my success in the theatre I attribute to my feeling for colors, translated into effects of light. |
David | Belasco | The Audience Book of Theatre Quotations, by Louis Phillips |
Playwriting |
Don't write stage directions. If it is not apparent what the character is trying to accomplish by saying the line, tell us how the character said it or whether or not she moved to the couch isn't going to aid the case. |
David | Mamet | The Audience Book of Theatre Quotations, by Louis Phillips |
General, Playwriting |
I think theatre should always be somewhat suspect. |
David | Mamet | |
Set Design |
A ground plan is important in terms of its rigor. If your plan is soggy and weak, your production will be soggy and weak. |
David | Hays | http://www.emerson.edu/emersontoday/index.cfm?action=3&articleID=678&editionID=45 |
Playwriting |
I've taught both screenwriting and playwriting, and playwriting is both much harder and much more rewarding. One can teach people how to tell a story in cinematic ways, but theater is a much more elusive craft. |
David | Ives | http://www.brainyquote.com/quotes/authors/d/david_ives.html |
Playwriting |
Writing a play, you start with less, so more is demanded of you. It's as if you have to not only write a symphony, but invent the instruments as well. |
David | Ives | http://www.brainyquote.com/quotes/authors/d/david_ives.html |
General |
The world is a complicated place, and there's a lot of division between people. The performing arts tend to unify people in a way nothing else does. |
David | Rubenstein | |
A play is a series of actions. A play is not about action, nor does it describe action. Is a fire about flames? Does it describe flames? No, a fire is flames. A play is action. Why do you think actors are called actors? And action in a play occurs when something happens that makes or permits something else to happen. |
David | Ball | Backwards & Forwards: A Technical Manual for Reading Plays | |
Acting |
The secret of staying fresh in a show is to remember that the audience you're playing for that night has never seen it before. |
Danny | Kaye | |
Acting, Directing |
All action in theatre must have inner justification, be logical, coherent, and real. |
Constantin | Stanislavski | |
Shakespeare |
Brush up your Shakespeare |
Cole | Porter | Kiss Me, Kate (musical) |
General |
I don't see why people want new plays all the time. What would happen to concerts if people wanted new music all the time? |
Clive | Barnes | |
Acting |
A good actor makes clear the meaning of the words. A better actor gives also the emotion of the part. The best actor adds emotion of which the character is unconscious. |
Clare | Eames | The Audience Book of Theatre Quotations, by Louis Phillips |
Playwriting |
In my plays I want to look at life -- at the commonplace of existence -- as if we had just turned a corner and run into it for the first time. |
Christopher | Fry | http://www.satheatre.com/quotes.htm |
Set Design |
I want everyone to feel as much as possible as if they inhabit the same space. They more fluid the relationship between actor and audience, the better. |
Christine | Jones | http://www.amrep.org/articles/5_2b/creating.html |
Set Design |
I have a large personal collection of pictures. For every project, I choose images. Usually I don't do this until I've done an extensive script breakdown and distilled the text down to poetic form. I have to plant enough seeds so that there will be vibration. |
Christine | Jones | http://www.amrep.org/articles/5_2b/creating.html |
Set Design |
If I weren't a theatre designer, I wouldn't be any other kind of designer. Design is interesting to me as it relates to narrative: the design has to support the narrative. Storytelling is the most important thing. |
Christine | Jones | http://www.amrep.org/articles/5_2b/creating.html |
Acting |
As an actor, you can't play the tragedy. You can only play the choices, the intentions of your character. |
Christine | Andreas | Notes for CD "The Garland Variations" |
Costumes |
If you do a certain amount of work on your own before consulting with the director then the process starts with the script. I tend to do a certain amount of my own work before I go into a first meeting. It is important to be open minded in your first meeting with a director but I like to be well-prepared for that meeting because sometimes that time with your director can be limited. At the time of that first meeting, I will have read the play several times and from different points of view. I might read the play once to just check how many costume changes there are. I will read it again to make a prop list. I will read it again to analyse where the entrances and exits are and also to imagine where the furniture will be. It's difficult to concentrate on all of these things in one reading so I go through these processes in separate readings. Once you have that under your belt, depending on the period of the production, I guess I start to do visual research based on my response to the text. Depending on where and when I might choose to look at photography of the period or I might choose to look at painting or I might just look at history books and look for thematic influences. That's the start and having done that you team up with your director and see what their response is to those ideas you have and then you start to form a stronger direction. [Christina Poddubiuk, Set and Costume designer] |
Christina | Poddubiuk | http://www.artsalive.ca |
Costumes, Set Design |
I think the best shows are always the ones where the elements come together very well and where the intention is realized. These are the shows in which what you set out do is what you end up with. Through very fortunate circumstances, like the combination of a good director, a good cast, and other people designing, you all manage to end up at the point that you intended when you started out. Nothing is ever perfect and there are always things that you'd perhaps do differently but I think that as long as you get a sense of fulfillment from a show then it is going to be a good experiences. [Christina Poddubiuk, Set and Costume designer] |
Christina | Poddubiuk | http://www.artsalive.ca |
Acting |
The basic essential of a great actor is that he loves himself in acting. |
Charles | Chaplin | |
Management, Volunteers |
I consider my ability to arouse enthusiasm among my people the greatest asset I possess, and the way to develop the best that is in a person is by appreciation and encouragement. |
Charles | Schwab | |
Acting |
I would like to be going all over the kingdom...and acting everywhere. There's nothing in the world equal to seeing the house rise at you, one sea of delightful faces, one hurrah of applause! |
Charles | DIckens | www.angelfire.com/dc/musicthea/Quotes.html |
Acting |
Never not dare to hang yourself. That's the only way you grow in your profession. You must continually attempt things that you think are beyond you, or you get into a complete rut. |
Charles | Laughton | Wikipedia (under Bette Davis) |
Acting |
Good actors are good because of the things they can tell us without talking. When they are talking they are the slaves of the dramatist. It is what they can show the audience when they are not talking that reveals the fine actor. |
Cedric | Hardwicke | The Audience Book of Theatre Quotations, by Louis Phillips |
Costumes, Set Design |
Be daring, be different, be impractical; be anything that will assert integrity of purpose and imaginative vision against the play-it-safers, the creatures of the commonplace, the slaves of the ordinary. Routines have their purposes, but the merely routine is the hidden enemy of high art. [Advice to theatrical designers,] |
Cecil | Beaton | The Secret of How to Startle Theatre Arts May 57 |
Acting |
Onstage, you just have to tell the absolute truth about the character you are playing. You hope you communicate it, and you hope it comes back like a tennis ball. If you're listening to the sound of your own voice, nobody else is. The audience knows, and they freeze on you. |
Carol | Channing | It Happened On Broadway |
Acting |
The "magic if" is a tool invented by Stanislavski, the father of acting craft, is to help an actor make appropriate choices. Essentially, the "magic if" refers to the answer to the question, "What would I do if I were this character in this situation?" Note that the question is not "What would I do if I were in this situation?" What you would do may be very different from what the character would do. Your job, based on your analysis of the script, the scene, and the given circumstances regarding the who of your character, is to decide what he or she would do. |
Bruce | Miller | Acting on the Script (2014) |
Acting, Directing, General |
Although the theater is not life, it is composed of fragments or imitations of life, and people on both sides of the footlight have to unite to make the fragments whole and the imitations genuine. |
Brooks | Atksinson | |
General, Playwriting |
Good plays drive bad playgoers crazy. |
Brooks | Atkinson | Theatre Arts Aug 56 |
General |
If no single reason can fully account for the lack of great work on Broadway these days, there is a factor in the discussion that is rarely mentioned but which has a bearing on what gets produced: the audience. . . It's not audience intelligence that has waned; it's audience passion -- the pro forma Broadway standing ovation now springs from duty not desire. . . If that passion exists more in the audience for The Lord of the Rings than for contemporary Broadway musicals, well, at least it is alive somewhere. |
Brendan | Lemon | http://www.curtainup.com/timelyquotes.html |
General |
If no single reason can fully account for the lack of great work on Broadway these days, there is a factor in the discussion that is rarely mentioned but which has a bearing on what gets produced: the audience. . . It's not audience intelligence that has waned; it's audience passion -- the pro forma Broadway standing ovation now springs from duty not desire.... If that passion exists more in the audience for The Lord of the Rings than for contemporary Broadway musicals, well, at least it is alive somewhere. (2003) |
Brendan | Lemon | http://www.curtainup.com/quotepro.html |
Directing |
An actor entering through the door, you've got nothing. But if he enters through the window, you've got a situation. |
Billy | Wilder | Friendly Advice (book) |
Lighting |
Lighting design is ultimately not about numbers and calculations. It is about feelings and spontaneous reactions. Although the designer can calculate how 'big and bright' a fixture will be at any distance, from the manufacturer's data sheet, eventually he must just instinctively 'know', how a specific fixture will perform at any distance. This comes from both practice and experience. |
Bill | Williams | Lighting Mechanics, by Bill Williams |
Lighting |
The first rule of stage lighting is...there aren't any. |
Bill | Williams | Lighting Mechanics, by Bill Williams |
Lighting |
Ultimately, the lighting designer must be an artist! He must understand style, composition, balance, esthetics and human emotions. He must also understand the science of light, optics, vision, the psychology of perception and lighting technology. Using these tools the lighting designer must learn to think, feel and create with his heart. |
Bill | Williams | Lighting Mechanics, by Bill Williams |
Lighting |
The lighting designer will never stop learning. Every production or project will present new challenges, new obstacles, new human dynamics and new problems to solve. There can and should be many failures along the way. This is part of the artistic process. The lighting designer shouldn't hesitate to make as many mistakes as possible - just don't make the same mistake twice. |
Bill | Williams | http://www.mts.net/%7Ewilliam5/sld/sld-100.htm |
Lighting |
Stage lighting is no longer a matter of simple illumination as it was less than 100 years ago. Today, the lighting designer is expected to be a master of art, science, history, psychology, communications, politics, and sometimes even mind reading. |
Bill | Williams | http://www.mts.net/%7Ewilliam5/sld/sld-100.htm |
Lighting |
The stage designer quickly learns that things are not always what they appear to be. A director who asks for 'more light' on an actor, probably doesn't mean that at all. Instead he really just wants 'to see the actor better'. The designer might chose to reduce the lighting contrast around the actor, or simply ask the actor to tip his head up a bit. Both solutions solve the problem without 'adding more light'. So the lighting designer also has to be a good listener, a careful interpreter and a skilled crafts person. |
Bill | Williams | http://www.mts.net/%7Ewilliam5/sld/sld-100.htm |