The theatre is a gross art, built in sweeps and over-emphasis. Compromise is its second name.
The theatre has built a whole art round the actor, based on the man and his double - the actor and his character.
The theater, which is in no thing, but makes use of everything -- gestures, sounds, words, screams, light, darkness -- rediscovers itself at precisely the point where the mind requires a language to express its manifestations. To break through language in order to touch life is to create or recreate the theatre.
The theater has to impose itself on the public, and not the public on the theater... The word "Art" should be written everywhere, in the auditorium and in the dressing rooms, before the word "Business" gets written there.
The subjective actress thinks of clothes only as they apply to her; the objective actress thinks of them only as they affect others, as a tool for the job.
The structure of a play is always the story of how the birds came home to roost.
|Directing, General, Playwriting||
The stage play is a trial, not a deed of violence. The soul is opened, like the combination of a safe, by means of a word. You don't require an acetylene torch.
The stage is not merely the meeting place of all the arts, but is also the return of art to life.
The stage designer quickly learns that things are not always what they appear to be. A director who asks for 'more light' on an actor, probably doesn't mean that at all. Instead he really just wants 'to see the actor better'. The designer might chose to reduce the lighting contrast around the actor, or simply ask the actor to tip his head up a bit. Both solutions solve the problem without 'adding more light'. So the lighting designer also has to be a good listener, a careful interpreter and a skilled crafts person.
|Costumes, Lighting, Set Design||
The sole aim of the arts of scene-designing, costuming, lighting, is to enhance the natural powers of the actor.
|Robert||Edmond Jones||The Audience Book of Theatre Quotations, by Louis Phillips|