Theatre Quotes | Page 30 | 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 291 - 300 of 421. Show 5 | 10 | 20 | 40 | 60 results per page.
Category Quote First Last Source
Acting

When you're a young man, Macbeth is a character part. When you're older, it's a straight part.

Laurence Olivier Theatre Arts May 58
Acting

Acting is an everlasting search for truth.

Laurence Olivier http://www.curtainup.com/quotepro.html
Critics

Asking a working writer what he thinks about critics is like asking a lamppost what it feels about dogs.

John Osborne Time, 31 October 1977
Acting

My playground was the theatre. I'd sit and watch my mother pretend for a living. As a young girl, that's pretty seductive.

Gwyneth Paltrow http://www.worldofquotes.com
General

Although one may fail to find happiness in theatrical life, one never wishes to give it up after having once tasted its fruits.

Anna Pavlova

http://en.thinkexist.com/keyword/theatrical

Set Design

I've always tended to work with the set as another character in the play.

George Pinney http://www.iu.edu/~rcapub/v29n1/sets.shtml
Playwriting

The more acute the experience, the less articulate its expression.

Harold Pinter The Audience Book of Theatre Quotations, by Louis Phillips
Playwriting

As a writer you're holding a dog. You let the dog run about. But you finally can pull him back. Finally, I'm in control. But the great excitement is to see what happens if you let the whole thing go. And the dog or the character really runs about, bites everyone in sight, jumps up trees, falls into lakes, gets wet, and you let that happen. That's the excitement of writing plays--to allow the thing to be free but still hold the final leash.

Harold Pinter http://www.curtainup.com/quotepro.html
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

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