Theatre Quotes

A play should give you something to think about. When I see a play and understand it the first time then I know it can't be much good.

Every culture that has lost myth has lost, by the same token, its natural healthy creativity. Only a horizon ringed about with myths can unify a culture. The forces of imagination and the Apollonian dream are saved only by myth from indiscriminate rambling. The images of myth must be the daemonic guardians, ubiquitous but unnoticed, presiding over the growth of the child's mind and interpreting to the mature man his life and struggles.

Anna's voice wasn't a beautiful voice - rough edged and sorrowful, a bit used, somehow male and female at once. Yet it had more vibrancy to it than most Danish voices, which were often thin and white and too pretty to trigger a shiver. Anna's voice had the heat of the south; it warmed Einar, as if her throat were red with coals.

Show business is like sex. When it's wonderful it's wonderful. But when it isn't very good it's still all right.

A fan club is a group of people who tell an actor he is not alone in the way he feels about himself.

The whole motivation for any performer is 'Look at me Ma.'

The imagination is closer to the actor than real life-more agreeable, more comfortable.

Backstage was chaos distilled into a very small space.

Playing Shakespeare is very tiring. You never get to sit down unless you're a king.

What I wear on and off stage is my mask. You see, a mask doesn't hide you, it exposes you.

We number nothing that we spend for you;Our duty is so rich, so infinite,That we may do it still without accompt.Vouchsafe to show the sunshine of your face,That we, like savages, may worship it.

Satire is what closes Saturday night.

An agent is a guy who is sore because an actor gets 90% of what he makes.

Film-making has become a kind of hysterical pregnancy.

Gus is the Cat at the Theatre Door.His name, as I ought to have told you before,Is really Asparagus. That's such a fussTo pronounce, that we usually call him just Gus.His coat's very shabby, he's thin as a rake,And he suffers from palsy that makes his paw shake.Yet he was, in his youth, quite the smartest of Cats —But no longer a terror to mice or to rats.For he isn't the Cat that he was in his prime;Though his name was quite famous, he says, in his time.And whenever he joins his friends at their club(which takes place at the back of the neighbouring pub)He loves to regale them, if someone else pays,With anecdotes drawn from his palmiest days.For he once was a Star of the highest degree —He has acted with Irving, he's acted with Tree.And he likes to relate his success on the Halls,Where the Gallery once gave him seven cat-calls.But his grandest creation, as he loves to tell,Was Firefrorefiddle, the Fiend of the Fell.

Theatre is simply what cannot be expressed by any other means a complexity of words movements gestures that convey a vision of the world inexpressible in any other way.

The stage is a magic circle where only the most real things happen, a neutral territory outside the jurisdiction of Fate where stars may be crossed with impunity. A truer and more real place does not exist in all the universe.

All the world's a stage,And all the men and women merely players;They have their exits and their entrances,And one man in his time plays many parts,His acts being seven ages. At first, the infant,Mewling and puking in the nurse's arms.Then the whining schoolboy, with his satchelAnd shining morning face, creeping like snailUnwillingly to school. And then the lover,Sighing like furnace, with a woeful balladMade to his mistress' eyebrow. Then a soldier,Full of strange oaths and bearded like the pard,Jealous in honor, sudden and quick in quarrel,Seeking the bubble reputationEven in the cannon's mouth. And then the justice,In fair round belly with good capon lined,With eyes severe and beard of formal cut,Full of wise saws and modern instances;And so he plays his part. The sixth age shiftsInto the lean and slippered pantaloon,With spectacles on nose and pouch on side;His youthful hose, well saved, a world too wideFor his shrunk shank, and his big manly voice,Turning again toward childish treble, pipesAnd whistles in his sound. Last scene of all,That ends this strange eventful history,Is second childishness and mere oblivion,Sans teeth, sans eyes, sans taste, sans everything.

As good surgical doctor works on a patient in the theater with varied kinds of surgical instruments, so a true leader also needs a clean bag of leadership characters that vary from task to task. One-way leaders are obvious failures!

You need three things in the theatre - the play the actors and the audience and each must give something.

The person who wants to make it has to sweat. There are no short cuts. And you've got to have the guts to be hated.

The play was a great success but the audience was a disaster.

Sin is what is new, strong, surprising, strange. The theatre must take an interest in sin if the young are to be able to go there.

Theatre is pure teleportation by means of suspension. It’s a voyage into the archives of the human imagination. A passport to all what ifs.

So always avoid banality. That is, avoid illustrating the author's words and remarks. If you want to create a true masterpiece you must always avoid beautiful lies: the truths on the calender under each date you find a proverb or saying such as: "He who is good to others will be happy." But this is not true. It is a lie. The spectator, perhaps, is content. The spectator likes easy truths. But we are not there to please or pander to the spectator. We are here to tell the truth.

He seems, in manner and rank, above the class of young men who take that turn; but I remember hearing them say, that the little theatre at Fairport was to open with the performance of a young gentleman, being his first appearance on any stage.—If this should be thee, Lovel!—Lovel? yes, Lovel or Belville are just the names which youngsters are apt to assume on such occasions—on my life, I am sorry for the lad.

Not to go to the theatre is like making one's toilet without a mirror.

No form of art goes beyond ordinary consciousness as film does straight to our emotions deep into the twilight room of the soul.

In fact the "mask" theme has come up several times in my background reading. Richard Sennett, for example, in "The Corrosion of Character: The Personal Consequences of Work in the New Capitalism", and Robert Jackall, in "Moral Mazes: The World of Corporate managers", refer repeatedly to the "masks" that corporate functionaries are required to wear, like actors in an ancient Greek drama. According to Jackall, corporate managers stress the need to exercise iron self-control and to mask all emotion and intention behind bland, smiling, and agreeable public faces. Kimberly seems to have perfected the requisite phoniness and even as I dislike her, my whole aim is to be welcomed into the same corporate culture that she seems to have mastered, meaning that I need to "get in the face" of my revulsion and overcome it. But until I reach that transcendent point, I seem to be stuck in an emotional space left over from my midteen years: I hate you; please love me.

The intoxication with the theatre, with its limelight, costumes, and masks, and with its passions and conflicts, accords well with the adolescence of a man who was to act his role with an intense sense of the dramatic, and of whose life it might indeed be said that its very shape had the power and pattern of classical tragedy.

I AM the current curator of the black trunk and the stories it holds within.

The live entertainment Canadians like most is the intimate review a collection of songs and sketches preferably with a satirical bias.

The unencumbered stage encourages the truth operative in everyone. The less seen the more heard. The eye is the enemy of the ear in real drama.

A good actor must never be in love with anyone but himself.

It’s no longer history in the making. It’s our story we are making.

I always am in a role, lovely – for you, for them – even for myself. Yeah... Even when I’m alone, I am still in a role – and I myself am the most exacting audience I have ever had.

Music blows lyrics up very quickly, and suddenly they become more than art. They become pompous and they become self-conscious ... I firmly believe that lyrics have to breathe and give the audience's ear a chance to understand what's going on. Particularly in the theater, where you not only have the music, but you've got costume, story, acting, orchestra. There's a lot to take in.

Did I tell you what happened at the play? We were at the back of the theatre, standing there in the dark, when all of a sudden I feel one of 'em tug at my sleeve, whispers, "Trudy look!" I said, "Yeah, goosebumps. You definitely got goosebumps. You like the play that much?" They said it wasn't the play that gave 'em goosebumps, it was the audience!I'd forgot to tell them to watch the play; they'd been watching the audience! Yeah, to see a group of people sitting together in the dark, laughing and crying at the same things...well that just knocked 'em out! They said, "Trudy, the play was soup, the audience, art."So they're taking goosbumps back with 'em into space. Goosebumps! Quite a souvenir. I like to think of them out there in the dark, watching us. Sometimes we'll do something and they'll laugh. Sometimes we'll do something and they'll cry. And maybe, one day we'll do something so magnificent, the whole universe will get goosebumps.

If you give audiences a chance they'll do half your acting for you.

When you read a novel, it seems that everything is clear, trite and understandable. But when you yourself fall in love, you understand that nobody knows anything and everyone must decide for themselves.