Theatre Quotes
For use in newsletters, season or fundraising brochures or emails, presentations--you name it.
Category | Quote | First | Last | Source |
---|---|---|---|---|
Acting |
For an actress to be a success she must have the face of Venus, the brains of Minerva, the grace of Terpsichore, the memory of Macaulay, the figure of Juno, and the hide of a rhinoceros. |
Ethel | Barrymore | George Jean Nathan: The Theatre in the Fifties |
Directing |
If you cast wrong, you are in a lot of trouble. |
Paul | Mazursky | Friendly Advice (book) |
Directing |
An actor entering through the door, you've got nothing. But if he enters through the window, you've got a situation. |
Billy | Wilder | Friendly Advice (book) |
Musical Theatre, Playwriting |
Musicals were never not cool to me. |
Lin-Manuel | Miranda | Financial Times, 2022 |
Acting |
I'm a skilled professional actor. Whether or not I've any talent is beside the point. |
Michael | Caine | Film Yearbook, 1985 |
Acting |
Act well your part; there all the honor lies. |
Alexander | Pope | Essay on Man, Epistle iv, line 193 |
Acting, General |
God comes to us in theater [in] the way we communicate with each other, whether it be a symphony orchestra, or a wonderful ballet, or a beautiful painting, or a play. It's a way of expressing our humanity. |
Julie | Harris | Christian Science Monitor 15 May 79 |
Acting |
I still suffer terribly from stage fright. I get sick with fear. Not every night, but at the beginning and on occasion - not necessarily when I'm expecting it. You just have to cope with it - take it on the chin and work through it, trying to use the adrenalin to perform. keyword=stagefright |
Helen | Mirren | Brainyquote.com |
Acting, Shakespeare |
You have to think about the big speeches in Shakespeare as the most important things the character has ever said; they need to be spoken with your chest cut open, your heart bare, and with tremendous passion. You need to tear the words from the sky. If you don't feel like you've run a marathon when you're done, you're not doing it right. It takes courage to open yourself up to an audience like that, letting them see your insides without desperately trying to show them--it takes practice. |
Ben | Crystal | author of Shakespeare on Toast |
Acting |
To go into acting is like asking for admission to an insane asylum. Anyone may apply, but only the certifiably insane are admitted. |
Michael | Shurtleff | Audition |
Directing, Diversity & Inclusion |
Anti-racist theatre is not about doing all the things to end oppression at once; it’s about doing what you can. Small changes in behavior and thinking can have profound impacts on you and your organizational culture. For me, when directing, those small changes have manifested in changing my adherence to the myth that there wasn’t enough time to do the work, which resulted in pleasantries before rehearsal but no time set aside during rehearsal for people to acknowledge one another. Now every rehearsal I lead begins with a check-in to acknowledge what we’re bringing into the room; access needs are shared, and we honor the indigeneity of the land. Through session agreements we collectively define how we want to do the work. I find people appreciate having the space to bring the fullness of themselves to their art making. |
Nicole | Brewer | American Theatre, September 16, 2019 [ https://www.americantheatre.org/2019/09/16/why-equity-diversity-and-inclusion-is-obsolete/ ] |
Acting |
You think, you don't just speak. The lines come off the thoughts. |
Jeremy | Irons | American Film magazine |
Acting |
The "magic if" is a tool invented by Stanislavski, the father of acting craft, is to help an actor make appropriate choices. Essentially, the "magic if" refers to the answer to the question, "What would I do if I were this character in this situation?" Note that the question is not "What would I do if I were in this situation?" What you would do may be very different from what the character would do. Your job, based on your analysis of the script, the scene, and the given circumstances regarding the who of your character, is to decide what he or she would do. |
Bruce | Miller | Acting on the Script (2014) |
Directing |
In the most basic terms, the director is a production's primary storyteller. A play has only one plot (including subplots), but it contains many potential stories. The interpretation of the primary characters largely determines the story, so in effect, every production of the same play will inevitably tell a different tale. One of the most important functions a director fulfills is determining, with the actors and designers, which story to tell and how to tell it coherently. |
Michael | Bloom | Thinking Like a Director: A Practical Handbook |
Directing |
The truth is that there is no one accepted method for directing, any more than there is for any other art. How a director fares is greatly dependent on who that person is, his collaborators, and the project at hand. To complicate matters, the relationship between product and process isnt't always a direct and causal one. Some directors work themselves to the bone, while others do very little. Paradoxically, they achieve successes and failures in both categories. But it would be naive not to believe that most successful productions occur because of the intensive efforts of a skilled director. |
Michael | Bloom | Thinking Like a Director: A Practical Handbook |
Directing |
Most directors work from inside out and from the outside in. They concentrate not only on the life of the characters but also on the play's structrual or external elements, including its central conflict, function, event, architecture, and suspense. |
Michael | Bloom | Thinking Like a Director: A Practical Handbook |
General |
A nonprofessional theatre is, simply, one comprised of people who do not derive their income from it and do not spend most of their time engaged in it. There are two distinct categories: (1) nonprofessional groups that present plays with some regularity; and (2) nonprofessional groups that are organized on a one-time basis to present a play or a show for some special purpose. The former represents what is known as community theatre, and the latter falls under the heading of amateur theatre (though both types are amateur, or nonprofessional). |
Stephen | Langley | Theatre Management & Production in America |
Playwriting |
I swear fearfully at the conventions of the stage. |
Anton | Chekhov | The Audience Book of Theatre Quotations, by Louis Phillips |
Playwriting |
Show me a congenital eavesdropper with the instincts of a Peeping Tom and I will show you the making of a dramatist. |
Kenneth | Tynan | The Audience Book of Theatre Quotations, by Louis Phillips |
Playwriting |
The Russian dramatist is one who, walking through a cemetery, does not see the flowers on the graves. The American dramatist . . . Does not see the graves under the flowers. |
George Jean | Nathan | The Audience Book of Theatre Quotations, by Louis Phillips |