Peter Brook Quotes
Theatres, actors, critics and public are interlocked in a machine that creaks but never stops. There is always a new season in hand and we are to busy to ask the only vital question which measures the whole structure. Why theatre at all? What for? Is it an anachronism, a superannuated oddity? Surviving like an old monument or a quaint custom? Why do we applaud and what? Has the stage a real place in our lives? What function can it have? What could it serve? What could it explore? What are its special properties?
Quotes to Explore
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'Skins' is about a group of teenagers in Bristol, and it's all about what they get up to and all the different things they do. I think it's a good show because it's come from a very real place, and there's a lot of young people involved in the writing.
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Today's kids aren't taking up arms against their parents; they're too busy texting them.
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President Obama has contempt for real money.
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Being listened to and being heard is an experience that doesn't happen terribly often. To listen compassionately or nonjudgmentally to another person - not to get too heavy about it - but I once heard somebody say that was a form of real prayer.
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Sometimes the kids come up with better endings than the real story.
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So I didn't have anything to do with picking the songs, but I got to musically take them in places I thought might be interesting, so it was a real neat collaboration among the three of us.
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Being bi-racial and being from the country, I can talk to guys like Travis Frederick from Wisconsin and Doug Free from Wisconsin. And then I can go over and talk to Dez Bryant. I mean, think about the two different standpoints you need to have a real conversation with both, to really understand what they've been through.
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If you get a guy that can play a couple positions, it helps you out a real lot.
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When I write for kids, I have to make sure they know what can't happen. They have to know it's a fantasy. But when I write for adults, they have to think it's real. Every detail has to be real or they won't buy it.
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When you're guest-starring, it's very nice, but you're there very briefly, and it's right there in the name: You're a guest. It's very hard to get a real sense of belonging. With recurring and regular roles, at least you have a sense that this is a home and a steady place.
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I'm not busy... a woman with three children under the age of 10 wouldn't think my schedule looked so busy.
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I did a drama degree, went to secretarial college, then got a job with a theatre company in Birmingham. It's been a slow burn, which doesn't seem to have gone out.
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We saw very little of the real Jack Buck behind the microphone. He would touch people in ways that we will never know. Jack was much more than just an announcer.
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Be reactionary. React to what the market wants. And the market wants one-on-one real time engagement. Now that we have the tools to engage, I'm going to continue fighting for the end user.
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Real love is a permanently self-enlarging experience.
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Christmas is not a time nor a season, but a state of mind. To cherish peace and goodwill, to be plenteous in mercy, is to have the real spirit of Christmas.
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I've wanted to be a writer since I was a boy, though it seemed an unlikely outcome since I showed no real talent. But I persevered and eventually found my own row to hoe. Ignorance of other writers' work keeps me from discouragement and I am less well-read than the average bus driver.
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You need to feel that the game is important to you. Lose that feeling and you lose your edge. There's no faking that kind of emotion. You can't invent the feeling. It's got to be natural, real.
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'It's the questions we can't answer that teach us the most. They teach us how to think. If you give a man an answer, all he gains is a little fact. But give him a question and he'll look for his own answers.
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Coltrane came to New Orleans one day and he was talking about the jazz scene. And Coltrane mentions that the problem with jazz was that there were too few groups.
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By the time we went to Doctor Simon I think Barney had been totally disabled for at least six months.
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Monarchs do this quite a bit but we don't how much they do it.
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Theatres, actors, critics and public are interlocked in a machine that creaks but never stops. There is always a new season in hand and we are to busy to ask the only vital question which measures the whole structure. Why theatre at all? What for? Is it an anachronism, a superannuated oddity? Surviving like an old monument or a quaint custom? Why do we applaud and what? Has the stage a real place in our lives? What function can it have? What could it serve? What could it explore? What are its special properties?
