Theatre Quotes
For use in newsletters, season or fundraising brochures or emails, presentations--you name it.
Category | Quote | First | Last | Source |
---|---|---|---|---|
Playwriting |
The more acute the experience, the less articulate its expression. |
Harold | Pinter | The Audience Book of Theatre Quotations, by Louis Phillips |
General, Management |
This is a non-commercial theatre. It's got to be run by a person who sees right from the start that the profits won't be money profits. [On the idea of a Federal Theatre Project, 1934] |
Harry | Hopkins | The Audience Book of Theatre Quotations, by Louis Phillips |
Acting |
I still suffer terribly from stage fright. I get sick with fear. Not every night, but at the beginning and on occasion - not necessarily when I'm expecting it. You just have to cope with it - take it on the chin and work through it, trying to use the adrenalin to perform. keyword=stagefright |
Helen | Mirren | Brainyquote.com |
Acting |
The worst constructed play is a Bach fugue when compared to life. |
Helen | Hayes | |
Acting |
Actors work and slave and it is the color of your hair that can determine your fate in the end. |
Helen | Hayes | |
Acting |
Actors cannot choose the manner in which they are born. Consequently, it is the one gesture in their lives completely devoid of self-consciousness. |
Helen | Hayes | |
Playwriting |
Before I write down one word, I have to have the character in my mind through and through. I must penetrate into the last wrinkle of his soul. |
Henrik | Ibsen | http://www.notable-quotes.com/p/playwriting_quotes.html |
General |
If politics is the art of the possible, theatre is the art of the impossible. |
Herbert | Blau | The Audience Book of Theatre Quotations, by Louis Phillips |
Directing |
Casting is instrumental in helping you understand the play. If you cast it right, as soon as the actor steps on the stage, you get certain impressions that help you understand what the play is about. |
Howard | Kissel | It Happened On Broadway |
Acting |
The important talent is the talent to develop one's talent. |
Howard | Stein | The Audience Book of Theatre Quotations, by Louis Phillips |
Acting |
Acting is experience with something sweet behind it. |
Humphrey | Bogart | |
Acting |
In the theatre, the actor is in total control. The director wasn't in the house last night, the designer wasn't there, the author's dead. It's just us and the audience. |
Ian | McKellen | The Audience Book of Theatre Quotations, by Louis Phillips |
Playwriting |
In a good play every speech should be as fully flavored as a nut or apple. |
J.M. | Synge | http://www.brainyquote.com/ |
Directing |
Don't let a single comic moment pass you by; then help the audience get the laughs. Give them permission to laugh by holding for laughter and by letting them know early on what they're in for. In the first few moments, the audience is gathering information, looking at the scenery and costumes. Create a comic moment as soon as you can. |
James | Carver | Stage Directions Guide to Directing |
Acting |
Walk in, plant yourself, look the other person in the eye, and tell the truth. |
James | Cagney | Friendly Advice by Jon Winokur |
Directing |
In comedy, beware the split focus. The audience should focus on the face of the actor. The audience must see the setup. If there is action elsewhere on the stage, the comic line can be lost. |
James | Carver | Stage Directions Guide to Directing |
Acting |
7 tips to reduce stage fright: (1) Shift the focus from yourself and your fear to your true purpose: contributing something of value to your audience. (2) Stop scaring yourself with thoughts about what might go wrong. Instead, focus your attention on thoughts and images that are calming and reassuring. (3) Refuse to think thoughts that create self-doubt and low confidence. (4) Practice ways to calm and relax your mind and body, such as deep breathing, relaxation exercises, yoga, and meditation. (5) Try to limit caffeine, sugar, and alcohol as much as possible. (6) Visualize your success: Always focus on your strength and ability to handle challenging situations. (7) Give up trying to be perfect and know that it is OK to make mistakes. Keyword=stagefright |
Janet | Esposito |
http://www.adaa.org/understanding-anxiety/social-anxiety-disorder/treatm... |
Lighting |
If I am so insistent about the bright lights, both the stage and house lights, it is because I should in some way like both actors and audience to be caught up n the same illumination, and for there to be no place for them to hide, or even half-hide. |
Jean | Genet | The Audience Book of Theatre Quotations, by Louis Phillips |
Directing, General, Playwriting |
The stage play is a trial, not a deed of violence. The soul is opened, like the combination of a safe, by means of a word. You don't require an acetylene torch. |
Jean | Giradoux | http://www.curtainup.com/quotepro.html |
Critics, Playwriting |
Listen carefully to first criticisms made of your work. Note just what it is about your work that critics don't like - then cultivate it. That's the only part of your work that's individual and worth keeping. |
Jean | Cocteau | |
Acting |
The theatre has built a whole art round the actor, based on the man and his double - the actor and his character. |
Jean-Louis | Barrault | http://www.satheatre.com/quotes.htm |
Fundraising |
If you need to raise funds from donors, you need to study them, respect them, and build everything you do around them. |
Jeff | Brooks | |
Acting |
You think, you don't just speak. The lines come off the thoughts. |
Jeremy | Irons | American Film magazine |
Acting, Directing, General |
It is not theatre that is indispensable, but something quite different. To cross the frontiers between you and me. |
Jerzy | Grotowski | |
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 |
General, Lighting |
I find that kids who take conventional approaches whereby they study in theatre schools and then become assistants to established artists at various reputed institutions like Stratford and the National Arts Centre have a kind of fast-track to the knowledge process. Very often they become very useful to the institutions for their knowledge. At the same time they are often are denied the fundamental experiences that you get when you are actually producing your own theatre and making decisions yourself among your own peers. I think it's really important to place more emphasis on that than on getting a formal training. You can probably successfully, after you've gotten the buzz and you've become intoxicated if you want to enhance your knowledge in certain areas then it's worthwhile to go back to the institutions and find a niche. I found my niche though being a stagehand. You can be an assistant. You can be a production assistant. I think the key is to be around people who really, truly love what they are doing first, although they might not necessarily know what they are doing. [Lighting designer Jock Munro] |
Jock | Munro | http://www.artsalive.ca |
Lighting |
Theatre is interesting because it's a very collaborative process. Typically I'm working with a director, a set designer, a costume designer and a sound designer too. That means that there are a number of perspectives that are brought into any particular script. Typically the director has the final say in where we go conceptually with a piece but we all have an opportunity to influence that direction and typically that direction is based on the script. As such, my studies in english and philosophy have enriched my ability to take a look at a text and react to it in my own way so that I can bring to the table what I consider to be an informed perspective. Then we negotiate the project's process and it's always quite enriching. Projects basically come out of a bond of trust that you have created. As I have progressed throughout my career I have gravitated to people who I feel a common bond with; who I seem to be able to communicate with. We establish a trust and then we go about our project. Very often I will work with someone for three or four years and we will have a particularly creative time and then, for whatever reasons, we will go our separate ways and new bonds will be established. It's an extremely communal approach to the arts. [Lighting designer Jock Munro] |
Jock | Munro | http://www.artsalive.ca |
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 |
General |
This is an extremely foolish and stupid and idiotic kind of attitude--to expect theatres to make money. Do the public schools make money? Do libraries make money? Does the zoo make money? Do the sewers make money? It's a community service. |
John | Hirsch | The Audience Book of Theatre Quotations, by Louis Phillips |
Acting |
A cat actually thinks visibly. If you watch him jump on a shelf, the wish to jump and the action of jumping are one and the same thing... It's in exactly the same way that all Brook's exercises try to train the actor. The actor is trained to become so organically related within himself, he thinks completely with his body. He becomes one sensitive, responding whole... The whole of him is one. |
John | Heilpern | |
Acting |
Talk low, talk slow, and don't say too much. |
John | Wayne | Friendly Advice by Jon Winokur |
Acting |
Being another character is more interesting than being yourself. |
John | Gielgud | The Audience Book of Theatre Quotations, by Louis Phillips |
Acting, Backstage, Directing, General |
There is a kind of classlessness in the theater. The rehearsal pianist, the head carpenter, the stage manager, the star of the show--all are family. |
John | Kander | It Happened On Broadway |
General, Playwriting |
Farce is tragedy played at a thousand revolutions per minute. |
John | Mortimer | |
Directing |
It is very hard to cast a number of plays adequately from the same company of actors without several parts being miscast. |
John | Gielgud | The Audience Book of Theatre Quotations, by Louis Phillips |
Acting |
One mustn't allow acting to be like stockbroker -- you must not take it just as a means of earning a living, to go down every day to do a job of work. The big thing is to combine punctuality, efficiency, good nature, obedience, intelligence, and concentration with an unawareness of what is going to happen next, thus keeping yourself available for excitement. |
John | Gielgud | |
Acting |
Acting is half shame, half glory. Shame at exhibiting yourself, glory when you can forget yourself. |
John | Gielgud | The Audience Book of Theatre Quotations, by Louis Phillips |
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 |
General |
The life of the arts, far from being an interruption, a distraction, in the life of a nation, is close to the center of a nation's purpose -- and is a test of the quality of a nation's civilization. |
John F | Kennedy | |
Costumes |
Next to a tenor, a wardrobe woman is the touchiest thing in show business. [Birdie, in All About Eve] |
Joseph | Mankiewicz | The Audience Book of Theatre Quotations, by Louis Phillips |