Theatrical Quotes
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Be reflective...and stay away from the theater as much as you can. Stay out of the theatrical world, out of its petty interests, its inbreeding tendencies, its stifling atmosphere, its corroding influence. Once become
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My parents are not theatrical people, but my dad took me to the theater.
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I guess I always leaned to the theatrical.
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I think my manager of 30-some odd years now, Tom Hammond. He's as fine a person as you could ever meet. And he's had great theatrical taste and has influenced me that way.
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If you want more people to come to the theatre, don't put the prices at £50. You have to make theatre inclusive, and at the moment the prices are exclusive. Putting TV stars in plays just to get people in is wrong. You have to have the right people in the right parts. Stunt casting and being gimmicky does the theatre a great disservice. You have to lure people by getting them excited about a theatrical experience.
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I don't write songs apart from theatrical pieces. I'm not interested in writing songs qua songs.
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But I always wanted to do a theatrical stuff. But when you're in a metal band of course you're limited because five people in the band, um, you've got no keyboards... you're limited. And I wanted... to go over-the-top, you know. Literally. I wanted to make an album that people would either hate or love.
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My father is a very theatrical and dramatic person.
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I've made a number of independent films that didn't receive theatrical distribution, that a lot of people haven't heard of, and as a result, I've conditioned myself to go into small independent films with the expectation that they will not, and therefore, I have to find my reward elsewhere.
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You had to make everything much more truthful for the camera. With the stage it's a given that it's going to be theatrical.
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It's almost like I get to be more theatrical when I work in voiceover.
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'Babel' is a continuation of a project; it's not like now we are more theatrical. We've grown up, seen places, been places, and that is shown in this album.
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And I don't consider Broadway the acropolis of theatrical art. I mean Broadway is commercial - that's what it is. It's expensive seats and a lot of them that have to be filled every night. Off-Broadway and off-off Broadway as far as I'm concerned is in New York the pride of New York theater.
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We actually have been toying around with a theatrical element. We even had outfits that we wore on stage for the last tour. But I think when people come to see us they ultimately expect a rock show, so we're pulling back on that aspect a bit. We do play in front of a backdrop, though.
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Theatrical work means too much work or none.
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A lot of my shows in the past have been more theatrical than others, but you really get the bug for it when you direct on stage.
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If this life is not a real fight, in which something is eternally gained for the universe by success, it is no better than a game of private theatricals from which one may withdraw at will. But it feels like a real fight.
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You’re better off - theatrical folk are nothing but a bundle of monologues and anxiety headaches.
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The fellows who amuze me are the Albanians. An Albanian on the mash is almost exactly like the medieval swells of the Italian frescoes & the first ones we met quite startled us. They wear the tight-fitting trunk hose made of woolen stuff hooked up the back of the leg. It is white with long black stripes of embroidery down the leg & at the top in front the shirt is pulled through slashes. They are long slim chaps with dandy little moustaches & are most theatrical in effect.
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I don't think we'll ever get too theatrical on stage. I can't see us using exotic props or fancy stages. Of course, we want to put on the best show possible, but we want the music to be the star of the show, not the stage set.
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The actor who lets the dust accumulate on his Ibsen, his Shakspere [sic], and his Bible, but pores greedily over every little column of theatrical news, is a lost soul.
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Small spaces allow me the intimacy, but make it more of a challenge for the more theatrical pieces.
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I think that when you do any kind of theatrical form, (you can't really do this in the theater) the task as an artist is to reach some form of catharsis yourself, and express something that allows an audience to have some form of catharsis. If there's no discovery in what you do, if there's no struggle in what you do to have that discovery, then, there's no meaning in what you do.
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Direction is the most invisible part of the theatrical art. It's not like the conductor in the symphony orchestra performance because he's standing in front of you waiving his arms. You now what he's doing. You don't know what the director is doing unless you know a lot about theater and even then you can only deduce it. You know it when you go to rehearsal. You really know it when they are rehearsing something of yours. I learned more in the rehearsals for The Letter than I have ever dreamed of know in the theater as a critic. If it doesn't make me a better critic, I'm an idiot.
