Theatre Quotes

Use your weaknesses; aspire to the strength.

Act in your pauses.

When you go into the professional world, at a stock theater somewhere, backstage you will meet an older actor--someone who has been around awhile. He will tell you tales and anecdotes about life in the theater. He will speak to you about your performance and the performances of others, and he will generalize to you, based on his experience and his intuitions, about the laws of the stage. Ignore this man.

To be a character who feels a deep emotion, one must go into the memory's vault and mix in a sad memory from one's own life.

Talk low, talk slow, and don't say too much.

If you achieve success, you will get applause. Enjoy it--but never quite believe it.

It is a great help for a man to be in love with himself. For an actor, however, it is absolutely essential.

Actors should be overheard, not listened to, and the audience is fifty percent of the performance.

Walk in, plant yourself, look the other person in the eye, and tell the truth.

A play has two authors, the playwright and the actor.

There is a kind of classlessness in the theater. The rehearsal pianist, the head carpenter, the stage manager, the star of the show--all are family.

Oftentimes the quality of the light tells the story: the time of day, the weather, whether sun is streaming through the window. It can also help you appreciate what the actor is feeling, what the playwright wants you to feel. Any engineer can put a spot on someone.

I want to make the audience laugh and cry within ten seconds, to show just how close those emotions are.

Onstage, you just have to tell the absolute truth about the character you are playing. You hope you communicate it, and you hope it comes back like a tennis ball. If you're listening to the sound of your own voice, nobody else is. The audience knows, and they freeze on you.

The fun for me is knowing what the other person is saying and what my character would be thinking at that time. On the stage you get the chance to do all that, to analyze and build a part, to react, to contribute something no one else can--not the author, not even the director.

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. . . .

Shakespeare's plays are bad enough, but yours are even worse. [Tolstoy to Chekov]

Seen from the point of view of the composer, the most nonsensical practice is that of casting people in musicals who are unable to sing. No one would cast a dancing part with someone who cannot dance sufficiently to come up to professional standards. The same is true of acting. But when it comes to singing, more often than not it is amateur night. . . . Either musicals should be written for specified performers in the first place, or they should be cast with people who are adequate to its dancing, acting and singing demands.

An effective lighting design is like a beautiful painting. Your medium is bringing someone to an emotional state he or she would not achieve at that moment without your art. This does not and can not happen by accident.

There is no definitive list of the duties of a stage manager that is applicable to all theaters and staging environments. Regardless of specific duties, however, the stage manager is the individual who accepts responsibility for the smooth running of rehearsals and performances, on stage and backstage.

The director is responsible for interpreting the playwright's work through the cast with the help of the staff. It is the director's artistic concept of the play that the cast, staff, and crew work to obtain.

Festivals promote the improvement of theater. They give theater people the opportunity to meet, to present their dramatic skills and see what their fellow theater workers are doing (and how well). They offer opportunities for exchange of ideas, competition, and social contact. Participants get a chance to go on the road, to play in an unfamiliar environment. They have an opportunity to evaluate themselves by the reactions of judges and a new audience. Participants may also measure themselves by comparison to the other groups entered. Festivals often result in joyful, stimulating, exciting, and rewarding experiences.

The moment an actor walks on stage, an impression is made. The audience immediately gains crucial information, both about the production as a whole and the character. A costume is a transformation garment, one that assists an actor to beomce, for a time, someone else.

Bad acting, like bad writing, has a remarkable uniformity, whether seen on the French, German, or English stages; it all seems modeled after two or three types, and those the least like types of good acting. The fault generally lies less in the bad imitation of a good model, than in the successful imitation of a bad model.

I learned acting by doing it. And although I had never taken an acting class, it didn't take long to learn how to be on the stage. All you have to do is to be humiliated in front of an audience a few times. If you don't like being humiliated publicly, you learn how to act.

The main difference between the art of the actor and all other arts is that every other [non-performing] artist may create whenever he is in the mood of inspiration. But the artist of the stage must be the master of his own inspiration, and must know how to call it forth at the hour announced on the posters of the theatre. This is the chief secret of our art.

Playing Shakespeare requires technique. You don't play a Bach toccata by getting in the mood.

Being another character is more interesting than being yourself.

It is widely acknowledged to be the toughest job to get any two acting teachers to agree about anything.