Theatre Quotes
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In avant garde drama ... primitivism goes hand in hand with aesthetic experimentation designed to advance the technical progress of the art itself by exploring fundamental questions: What is a theatre? What is a play? What is an actor? What is a spectator? What is the relation between them all? What conditions serve this best?
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I believe this thought, of the possibility of death - if calmly realised, and steadily faced would be one of the best possible tests as to our going to any scene of amusement being right or wrong. If the thought of sudden death acquires, for you, a special horror when imagined as happening in a theatre, then be very sure the theatre is harmful for you, however harmless it may be for others; and that you are incurring a deadly peril in going.
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I get the 'Guardian' delivered every day and read it very quickly. I like it for both the TV and theatre reviews and because it's very accessible. At the weekend, I get the 'Observer' because I love the food supplement, Observer Food Monthly, and the style section. And I can't resist the News of the World.
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I did 'Degrassi' for five years in Toronto, and I made the decision to quit the show to go to theatre school, which a lot of people thought I was really crazy to do, but it was one of those major decisions in my life that I haven't regretted - hopefully I won't! I really wanted to go to school.
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When I first started acting, I was actually working with the National Youth Theatre in London doing anti-knife crime workshops, so I was listening to a lot of music that was around us all the time, around the guys I was working with, and the kids - lots of young grime artists from London.
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You can hardly be a classicist and not be interested in theatre.
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Most British playwrights of my generation, as well as younger folks, apparently feel somewhat obliged to Russian literature - and not only those writing for theatres. Russian literature is part of the basic background knowledge for any writer. So there is nothing exceptional in the interest I had towards Russian literature and theatre. Frankly, I couldn't image what a culture would be like without sympathy towards Russian literature and Russia, whether we'd be talking about drama or Djagilev.
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That's the thing - you do a job like 'Shameless,' and suddenly that's why you can get a job like 'The Virgin Queen', not because of all the classical theatre you've done. But we can be very snippy about television. It's absolutely the most potent and powerful form of storytelling we have.
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London theatre is different: it is a commercial theatre that brings the whole of society into one place. And Shakespeare grasped, better than anyone else, what it means to engage the entire audience.
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The power of the print reviewer is one of those urban myths. There have always been shows that slipped under the critical radar to become popular successes: 'Tobacco Road', 'Abie's Irish Rose' and our old friend 'Spider-Man', which got the worst reviews in theatre history and is still apparently going strong.
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I'm into parlor dramas. I'm into theatre. I'm trained for the stage. I trained to do Chekhov and Shakespeare, I was trained for the stage.
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The work of rehearsal is looking for meaning and then making it meaningful.
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I don't even think places like the National Youth Theatre (NYT) are necessarily about wanting to be an actor when you grow up. They're about meeting people from different backgrounds and different religions and different cultures, and mixing with people that you wouldn't ordinarily meet.
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There have been artists who've sold out arenas one year, and the next they can't fill a theatre. There's always more to achieve.
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When I started drama school, theatre was the main draw. I never had any movie star notions. Not that there were family ties to the theatre, either.
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One of the most beautiful sights in dance is American Ballet Theatre in full flight.
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When I was young, my mum was part of a brilliant puppet theatre that toured all over the world.
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I've never been one for late nights, which is why I have always preferred making films to theatre. A play takes over your life: you start to feel sick at lunchtime, and by mid-afternoon, you're wishing for a bomb scare so the whole thing will be called off. Of course, if the evening goes well and you get the applause, then it's wonderful.
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I knew very early what I wanted to do, and I considered myself lucky to know that's what I wanted, even in a place like Saint Lucia where there was no publishing house and no theatre.
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Theatre is a game of hide-and-seek. For both the hiders and the seekers, the thrill is in the discovery. When the rules of the game are too vague or too complicated, however, the audience can lose its urge to play; the prize no longer seems quite worth the hunt.
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Theatre is real-time - you get that real-time audience reaction, which is fantastic. And with art pieces, people don't ever have to explain themselves. You can do something and really follow a research. With architecture, you have to be much more public. You have to build consensus. You have to work within the law. There are more complexities.
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The only theatre I do is my own. Somehow, my life is the only life that I can play.
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So for me, it can be theatre or being in L.A. or in some other part of the world, as long as I can explore storytelling and human connection through storytelling, I'm quite content.
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What the American public wants in the theater is a tragedy with a happy ending.
