Theatre Quotes
For use in newsletters, season or fundraising brochures or emails, presentations--you name it.
Category | Quote | First | Last | Source |
---|---|---|---|---|
Acting |
Preparing a character is the opposite of building--it is a demolishing, removing brick by brick everything in the actor's muscles, ideas and inhibitions that stands between him and the part, until one day, with a great rush of air, the character invades his every pore. |
Peter | Brook | |
Backstage |
Perhaps, therefore, ideal stage managers not only need to be calm and meticulous professionals who know their craft, but masochists who feel pride in rising above impossible odds. |
Peter | Hall | |
Acting, Directing |
I think actors have a greater responsibility when doing comedy. It's as easy as anything to get cheap laughs, but that's not the idea at all. "The slight trip syndrome," we call it. With tragedy one can get away with things a bit more because audiences don't always know how to react. |
Peter | Bowles | Richmond Magazine, April 2001 |
Playwriting |
Playwrights must be allowed to be at less than their best sometimes, without meeting an all-out critical assault. |
Peter | Hall | http://www.curtainup.com/quotepro.html |
Acting |
I have no intention of uttering my last words on the stage. Room service and a couple of depraved young women will do me quite nicely for an exit. |
Peter | O'Toole | |
Costumes |
Before a character even speaks, we 'read' their appearance through their costume. |
Peter Ruthven | Hall | http://www.theatredesign.org.uk/events.htm |
Set Design |
Designers play with scale and proportion, making the ordinary extraordinary by taking an object out of context and changing its scale in relation to the characters' size and appearance. |
Peter Ruthven | Hall | http://www.theatredesign.org.uk/events.htm |
Set Design |
Everything placed in the performance space, with the characters, creates a context for their story. |
Peter Ruthven | Hall | http://www.theatredesign.org.uk/events.htm |
General, Management |
The artistic director gratifies his special need to relate to people in a highly accentuated paternalistic and maternalistic fashion. |
Philip | Weissman | The Audience Book of Theatre Quotations, by Louis Phillips |
Set Design |
My process is that I will read the play a couple of times and then not do anything until I've spoken with the director, because, of course, there are 500 different ways a play can look--and still honor every word that's in those stage directions. I don't want to think about how it works until I know what the director is interested in, and if the playwright is around, what they're thinking about as they've written it. Then I go away and do my research. |
Rachel | Hauck | Interview with the set designer in Stage Directions magazine, August 2019 |
Acting |
The most precious things in speech are pauses. |
Ralph | Richardson | The Audience Book of Theatre Quotations, by Louis Phillips |
Acting |
Acting is merely the art of keeping a large group of people from coughing. |
Ralph | Richardson | http://www.quotationspage.com/subjects/acting |
Acting, Shakespeare |
In Shakespeare, keep it simple. Don't over-inflect. The speech needs to be naturalistic and simple and accessible as much as possible. |
Ralph | Fiennes | http://www.ifc.com/fix/2011/12/ralph-fiennes-coriolanus-interview |
Acting |
When you're doing a play and you're afraid of a scene, that's the scene you should embrace, because that's the scene that will tell you something about the play. |
Raul | Esparza | NY Times, 11/26/06 |
Acting, Diversity & Inclusion, Shakespeare |
In a backstage interview during “The Taming of the Shrew,” Julia exclaims, “Some people think the only way to do Shakespeare is to do it like the British do it, because the British have the answer to Shakespeare! So I would imitate all the British.” He launches into a plummy version of “Othello,” and continues, “But then afterward I started realizing that I didn’t have to do it like that. I could bring myself to it. I could bring my own culture, my own Puerto Rican background, my own Spanish culture, my own rhythms.” Shakespeare benefitted from what Julia brought to his verse, which the actress Rita Moreno describes as salero. “It just means he was spicy,” she says, in the documentary. “And sexy, and tall!” |
Raul | Julia | New Yorker article by Michael Schulman, September 13, 2019 |
General, Musical Theatre |
There is a traditional trick that theatre people have played as long as I can remember. A veteran member of a company will order a gullible newcomer to find the key to the curtain. Naturally, the joke is there is no such thing. I have been in the theatre over fifty years, and I don't think anyone would consider me naive, but all my life I've been searching for that key. And I'm still looking. . . . |
Richard | Rodgers | Musical Stages |
Playwriting |
I open with a clock striking, to beget an awful attention in the audience -- it also marks the time, which is four o clock in the morning, and saves a description of the rising sun, and a great deal about gilding the eastern hemisphere. |
Richard Brinsley | Sheridan | http://www.brainyquote.com/ |
Playwriting |
A good many young writers make the mistake of enclosing a stamped, self-addressed envelope big enough for the manuscript to come back in. This is too much of a temptation. |
Ring | Lardner | The Audience Book of Theatre Quotations, by Louis Phillips |
Backstage, Lighting, Set Design |
If I wanted to have people tell me what to do, I would have become an actor. |
Rob | Hudd | http://www.denagy.com/techiejokes/tjokes.html |
Acting |
If you achieve success, you will get applause. Enjoy it--but never quite believe it. |
Robert | Montgomery | Friendly Advice by Jon Winokur |