Theatre Quotes - page 37
...I am an anxious person by nature, full of fear and insecurities. Those early years of figuring out how to make a living in theatre are hard and while my anxieties, fear and insecurities have not gone away, I proved to myself that I could make a living as an artist. Now I want to learn how to be a good artist, a really fucking good artist...
Vanessa Grise
I have been an early riser since the beginning. My initial life demanded labour and effort for survival, so I am very hard working by nature. I would toil more than my peers. Be it sports, theatre activities or even reading a book, I would feel I should read faster and more books than the others. Lazing around is not in my nature. Even today, I don't avail a Sunday. I remember when I was a child, during the India–China war, 50 kilometres from my village; there was a railway junction from where the army was dispersing aid to the war field. I accompanied some young men who went there to serve tea and snacks and give a pep talk to boost the soldiers' spirits. I didn't know what exactly this whole act was about, but I was there[.].
Narendra Modi
Scholars of Paderevski Foundation who were fortunate enough to have witnessed the fragments of Swapnavāsavadattam as performed by your splendid actors, were unanimous in their praise of the high cultural and aesthetic level of the Koodiyattam. It was a most enjoyable experience and the Paderevski Founadtion is proud to have co-sponsored the appearances of the Theatre in Northern India.
Mani Madhava Chakyar
The Theatre of the Absurd ... can be seen as the reflection of what seems to be the attitude most genuinely representative of our own time.  The hallmark of this attitude is its sense that the certitudes and unshakable basic assumptions of former ages have been swept away, that they have been tested and found wanting, that they have been discredited as cheap and somewhat childish illusions. The decline of religious faith was masked until the end of the Second World War by the substitute religions of faith in progress, nationalism, and various totalitarian fallacies. All this was shattered by the war.
Martin Esslin
...Truth is, my colleagues are my heroes, my fellow Latinx playwrights and directors. We've created this landscape together. We've elbowed a space for ourselves, and each other, in the American theatre. I think only we know what it was like when we could barely get a crumb, and honestly, we had to just keep going...
Elaine Romero
...There's momentum about making our presence known. We're here. We're Latino playwrights and theatre professionals. Eventually there's going to be a tipping point and more of our stories will become part of the American canon. I write what I know and for now I focus on Latinos because going through school, I longed to read about my experience...
Milta Ortiz
I've found that an actor's work has life and interest only in its execution. It seems to wither away in discussion and becomes emptily theoretical and insubstantial. It has no rules except perhaps audibility. With every play and every playwright the actor starts from scratch as if he or she knows nothing and proceeds to learn afresh every time, growing with the relationships of the characters and insights of the writer. When the play has finished its run the actor is empty until the next time...and it is the emptiness which is, I find, apparent in any discussion of theatre work.
Paul Scofield
I claim that this dinner, too much to eat and drink, was the basic reason why, for the only time in my life, I slept with Joan Robinson. Let me tell you the story. Ken Arrow was to read his famous paper - we know now that it was famous - on uncertainty and the economics of medical care, and I was one of the guests asked to come to the Arts Theatre Restaurant. It was a cold winter's night, we ate and drank a lot, and then we went into this room with a great big fire and a huge couch. Joan sat here, and I sat there, and Ken was sitting as close to me as you are now, and both Joan and I went to sleep while he read his paper.
Joan Robinson
I see everything in a grotesque way. When I go to the theatre, for example, things shape themselves before my eyes just as a I draw them - the people on the stage, the footlights, the queer faces and garb of the audience in the boxes and stalls. They all seem weird and strange to me. Things have always impressed me in this way.
Aubrey Beardsley
Alice in Chains filmed the show at Moore theatre in 1990 and that was the show this new band Mookie Blaylock opened for them. Everyone was still reeling from Andy [Andrew Wood]'s death... and they hadn't really played out yet. The band came on and Chris [Cornell] carried Eddie [Vedder] onto the stage – he was on his shoulders. It was one of those super powerful moments, where it was all a big healing for everybody. He came out as this guy who had all the credibility in the world - in terms of people in Seattle - and Malfunkshun and Mother Love Bone were loved bands. Andy was such an endearing personality. It was a hard thing to do - to show up after people die. And Chris bringing Eddie out, and pointing at him, as much to say, 'This is your guy now.'
Chris Cornell
I was one of the Asian American theatre people who protested the casting of Jonathan Pryce as the Eurasian pimp in the musical MISS SAIGON when it came to Broadway, as an example of "Yellow Face” casting.. The intensity, vehemence, and anger I felt, on both sides of that issue, left me shaken for many years afterwards. So I wrote FACE VALUE, a comedy of mistaken racial identity, to explore the question, "What does it really mean to ‘play' another race?” As noted above, FACE VALUE became an infamous flop, but the idea of doing a comedy of mistaken racial identity stayed with me for the next fifteen years or so. Eventually, I found another way to realize this notion with YELLOW FACE.
David Henry Hwang
The fascination of what's difficult
Has dried the sap out of my veins, and rent
Spontaneous joy and natural content
Out of my heart. There's something ails our colt
That must, as if it had not holy blood
Nor on Olympus leaped from cloud to cloud,
Shiver under the lash, strain, sweat and jolt
As though it dragged road-metal. My curse on plays
That have to be set up in fifty ways,
On the day's war with every knave and dolt,
Theatre business, management of men.
I swear before the dawn comes round again
I'll find the stable and pull out the bolt.
William Butler Yeats
Fully to appreciate a play we have to maintain a delicate balance between what is taking place apparently on two different levels of the mind. On one level we are involved in the drama, are living imaginatively with its characters. On the other level we are enjoying a performance by actors on a stage, being fully aware that we are in a theatre.
J. B. Priestley
The inspiration for the film came from Dadasaheb Phalke. His adventure of film making is the basis of the film, says Paresh Mokashi, director and writer of the film. Harishchandrachi Factory - which faced competition from 15 films including New York and Delhi 6 - captures the first two years of Phalke's cinematic career. The two-hour-long film starts with Phalke giving up his printing business after a fight with his partner. Soon, he accidentally comes across a tent theatre, screening a silent film. An awestruck Phalke decided to make a film and was encouraged by his wife and two enthusiastic children. The Oscar-nominated film ends with Phalke delivering Indian film industry's first hit using his advertising acumen.
Dadasaheb Phalke
