Theatre Quotes
For use in newsletters, season or fundraising brochures or emails, presentations--you name it.
Category | Quote | First | Last | Source |
---|---|---|---|---|
Playwriting |
Once after Barefoot In the Park had been playing for about a week I went back to see it, watching the audience, which was just falling over laughing except for one guy sitting the aisle. I was transfixed. I said to myself, there seems to be no way to get to him. No one else would I watch except this one man. My wife joined me about 20 minutes later and asked me how it was going, and I said, terrible. I really meant it. There was no way to get to this man. It destroyed me. |
Neil | Simon | Playwrights, Lyricists, Composers On Theater |
Acting |
Once in awhile, there's stuff that makes me say, That's what theatre's about. It has to be a human event on the stage, and that doesn't happen very often. |
Uta | Hagen | http://www.brainyquote.com |
Acting |
Once in awhile, there's stuff that makes me say, That's what theatre's about. It has to be a human event on the stage, and that doesn't happen very often. |
Uta | Hagen | |
Playwriting |
One begins with two people on a stage, and one of them had better say something pretty quick. |
Moss | Hart | The Audience Book of Theatre Quotations, by Louis Phillips |
Acting |
One mustn't allow acting to be like stockbroker -- you must not take it just as a means of earning a living, to go down every day to do a job of work. The big thing is to combine punctuality, efficiency, good nature, obedience, intelligence, and concentration with an unawareness of what is going to happen next, thus keeping yourself available for excitement. |
John | Gielgud | |
Directing |
One of the issues peculiar to community theater is dealing with inexperienced or outright bad actors who are so unimaginative, so lacking in energy, that no matter what devices you use, you just don't seem to be helping them that much. They will improve. It is your rseponsibility that the actor should ever feel that he or she has failed. |
Ann | Jellicoe | Stage Directions Guide to Directing |
Acting |
One of the things about acting is it allows you to live other people's lives without having to pay the price. I've never been one of those actors who has touted myself as a fascinating human being. I had to decide early on whether I was to be an actor or a personality. |
Robert | De Niro | |
Acting |
Onstage, nothing is as important as truth, nothing. As soon as you lie, they know it. |
Elaine | Stritch | It Happened On Broadway |
Acting |
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. |
Carol | Channing | It Happened On Broadway |
Acting, Directing, General |
Opening Night: The night before the play is ready to open. |
George Jean | Nathan | The Audience Book of Theatre Quotations, by Louis Phillips |
Critics |
People have pointed out evidences of personal feeling in my notices as if they were accusing me of a misdemeanor, not knowing that criticism written without personal feeling is not worth reading. It is the capacity for making good or bad art a personal matter that makes a man a critic. |
George Bernard | Shaw | http://www.curtainup.com/quotepro.html |
Playwriting |
People often ask me how long it takes me to write a play, and I tell them 'all of my life.' |
Edward | Albee | http://www.curtainup.com/quotepro.html |
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 |
Play well, or play badly, but play truly. |
Konstantin | Stanislavsky | Friendly Advice by Jon Winokur |
Acting, Shakespeare |
Playing Shakespeare is very tiring. You never get to sit down, unless you're a king. |
Josephine | Hull | The Audience Book of Theatre Quotations, by Louis Phillips |
Acting, Shakespeare |
Playing Shakespeare requires technique. You don't play a Bach toccata by getting in the mood. |
Kevin | Kline | The Audience Book of Theatre Quotations, by Louis Phillips |
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 |
Playwriting |
Playwriting isn't a calling so much as it is a hazing process. |
Paula | Vogel | The Audience Book of Theatre Quotations, by Louis Phillips |
Acting |
Pray to God and say the lines. |
Bette | Davis | Friendly Advice by Jon Winokur |
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 | |
Playwriting |
Remember! the word is playwright --W-R-I-G-H-T -- like wheelwright. A play is not so much written as wrought. it's designed and built and shaped; it's carved out. |
Garson | Kanin | |
Critics |
Reviewers must normally function as huff-and-puff artists blowing laggard theatergoers stageward. |
Walter | Kerr | http://www.brainyquote.com/quotes/authors/w/walter_kerr.html |
Directing, Musical Theatre |
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. |
Ernest | Gold | Playwrights, Lyricists, Composers On Theater |
Playwriting, Shakespeare |
Shakespeare's plays are bad enough, but yours are even worse. [Tolstoy to Chekov] |
Leo | Tolstoy | Partial Payments: Essays on Writers and Their Lives, by Joseph Epstein |
Acting |
She stopped the show--but then the show wasn't traveling very fast. |
Noel | Coward | www.musicals101.com/noelquot.htm |
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 |
Some mystery should be left in the revelation of character in a play, just as a great deal of mystery is always left in the revelation of character in life, even in one's own character to himself. |
Tennessee | Williams | |
General, Management |
Someone once said that being an artistic director is the intelligent exercise of one's own taste. And that is what I believe with all my heart and soul. If you start second-guessing yourself in advance, I think you're done for. |
Andre | Bishop | The Audience Book of Theatre Quotations, by Louis Phillips |
Lighting |
Stage lighting is no longer a matter of simple illumination as it was less than 100 years ago. Today, the lighting designer is expected to be a master of art, science, history, psychology, communications, politics and sometimes even mind reading. |
Bill | Williams | http://www.mts.net/%7Ewilliam5/sld/sld-100.htm |
Lighting |
Stage lighting is no longer a matter of simple illumination as it was less than 100 years ago. Today, the lighting designer is expected to be a master of art, science, history, psychology, communications, politics, and sometimes even mind reading. |
Bill | Williams | http://www.mts.net/%7Ewilliam5/sld/sld-100.htm |
Acting |
Talent is an amalgam of high sensitivity; easy vulnerability; high sensory equipment (seeing, hearing, touching, smelling, tasting intensely); a vivid imagination as well as a grip on reality; the desire to communicate one's own experience and sensations, to make one's self heard and seen. |
Uta | Hagen | |
Acting |
Talk low, talk slow, and don't say too much. |
John | Wayne | Friendly Advice by Jon Winokur |
Backstage, Management |
Tell me and I'll forget, show me and I may remember, involve me and I'll understand. |
Chinese Proverb | ||
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) |
Acting |
The actor creates with his own flesh and blood all those things which all the arts try in some way to describe. |
Lee | Strasberg | |
Acting |
The Actor should make you forget the existence of author and director, and even forget the actor. |
Paul | Scofield | The Audience Book of Theatre Quotations, by Louis Phillips |
General |
The aim of art is to represent not the outward appearance of things, but their inward significance. |
Aristotle | The Audience Book of Theatre Quotations, by Louis Phillips | |
Acting |
The appearance and retirement of actors are the great events of the theatrical world; and their first performances fill the pit with conjecture and prognostication, as the first actions of a new monarch agitate nations with hope and fear. |
Samuel | Johnson | |
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 |
General |
The arts are at the very center of community development in this time of change...change for the better. The frontier and all that it once meant in economic development and in the sheer necessity of building a nation is being replaced by the frontier of the arts. In no other way can Americans so well express the core and blood of their democracy; for in the communities lies the final text of the acceptance of the arts as a necessity of everyday life. In terms of American democracy, the arts are for everyone. They are not reserved for the wealthy, or for the well-endowed museum, the gallery, or the ever-subsidized regional professional theater. As America emerges into a different understanding of her strength, it becomes clear that her strength is in the people and the places where the people live. The people, if shown the way, can create art in and of themselves. |
Robert | Gard |