Theatre Quotes | Page 14 | AACT

Theatre Quotes

Words to the Wise
Quotations from a wide range of theatrical perspectives

For use in newsletters, season or fundraising brochures or emails, presentations--you name it.

Displaying 131 - 140 of 421. Show 5 | 10 | 20 | 40 | 60 results per page.
Category Quote First Last Sourcesort descending
General

We need a type of theatre which not only releases the feelings, insights and impulses possible within the particular historical field of human relations in which the action takes place, but employs and encourages those thoughts and feelings which help transform the field itself.

Bertolt Brecht www.angelfire.com/dc/musicthea/Quotes.html
Acting, Directing

Audiences know what to expect. . . and that is all they are prepared to believe in.

Tom Stoppard www.angelfire.com/dc/musicthea/Quotes.html
General

Good theater anywhere is good for theater everywhere.

Frank Schneeberger www.angelfire.com/dc/musicthea/Quotes.html
Acting

I don't care if people think I'm an overactor. People who think that would call Van Gogh an overpainter.

Jim Carey www.angelfire.com/dc/musicthea/Quotes.html
Acting

We've put a man on the moon. If you miss a cue, no one will die.

Shelli Aderman www.angelfire.com/dc/musicthea/Quotes.html
General

THEATRE LOGIC
In is down, down is front,
out is up, up is back,
off is out, on is in,
and of course -
right is left, and left is right.

A drop shouldn't and a
block and fall does neither.
A prop doesn't and
a cove has no water.

Tripping is O.K.
A running crew rarely gets anywhere.
A purchase line will buy you nothing.
A trap will not catch anything.
A gridiron has nothing to do with football.

A Strike is work
(in fact a lot of work).
And a green room, thank God, usually isn't.
Now that you are fully versed in theatrical terms,
Break a leg...
but not really!

Unknown www.angelfire.com/dc/musicthea/Quotes.html
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
Lighting

I think that the first thing that I learned about lighting design was that there are no real rules involved and that as long as I remembered this then my lighting would remain fresh and interesting to me and hopefully to the audience and to the people that I collaborate with.

Jock Munro 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
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

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