I guess you get pigeon-holed in Hollywood, but I'm ok with that because I've been able to do a lot. I started in the theater, then I went to stand-up comedy, and then when I went into the movies to do comedy and drama and big movies and small movies.
In my experience in series TV if you have a good crew and a great cast it's going to be a great group - similar to the theater where it's a bunch of people who are really talented and go to work each day and challenge each other and if you are lucky enough to get a hit then it's five or six or seven years of this kind of work.
The biggest battle for a lot of people who come out of the theater, which is where I was trained, is that they can never forget that a camera is pointed at them.
I was raised around a lot of artists, musicians, photographers, painters and people that were in theater. Just having the art-communal hippie experience as a child, there wasn't a clear line that was drawn. We celebrated creative experience and creative expression. We didn't try and curtail it and stunt any of that kind of growth.
I've done classical theaters. I played Hamlet myself and Romeo.
I'm a very shy person and I never tried to do theater.
Unless an entire row of people got up in the middle of a performance and left the theater in disgust, I felt as though I hadn't done my job.
I write for an audience that likes what I like, reads what I read, thinks about the things I think about. In many ways, this puts me in opposition to the people who go to the theater generally.
Once you've been backstage at a theater, the theater is never the same for you. Once you've noticed the crack in the vase, the vase is never the same for. Once you've seen a friend do something appalling, the friendship is never the same. That does not mean you won't go to the theater, or keep the vase or the friend. You can choose.
I was chomping at the bit to get my career started - so after I took all the theater courses at Brooklyn College I enrolled in a two year program at AMDA in the city (The American Musical Dramatic Academy) I was there for 6 months and loved it.
Once I have the finished sculpture, I’ll put it out on the street or in nature or somewhere where it interacts with the environment. Really it’s kind of the idea of turning the street into a stage and this sort of urban theater has a life of its own. If you have creative drive, and you need to manifest it, then you need some sort of medium to do that through. For me, it worked out with sculpture, and tape just is a means of doing sculpture.
I don't mind doing the green-screen stuff at all, and in fact it's a lot like black-box theater, which I did plenty of in New York.
Along the way [Mozart] got married; fathered seven children (two of whom survived into adulthood); performed as a pianist; violinist; and conductor; maintained a successful teaching studio; wrote thousands of letters; traveled widely; attended the theater religiously; played cards, billiards, and bocce; and rode horseback for exercise. Not bad for someone portrayed as a giggling idiot in the movies.
When you go to the theater, if you're really involved in the play, you don't think about it - you're in it.
Having grown up in a racist culture where 2 and 2 are not 5, I have found life to be incredibly theatrical and theater to be profoundly lifeless.
I come from a traditional theater background.
The theater is the only branch of art much cared for by people of wealth; like canasta, it does away with the brother of talk after dinner.
In the theater, it's about taking time in a musical segment, a pause in a musical way and then moving on.
Violent resistance and nonviolent resistance share one very important thing in common: They are both a form of theater seeking an audience to their cause.
Soon I worked during twelve years in theater works of the prestigious Theatre National Populaire. It was the best time of my life, the most difficult, the most interesting, the most exciting.
When I started off as an actress, I did at a play at the Taper Too Theatre here in Los Angeles, called 'In The Abyss Of Coney Island.' That was more of a dramatic play. It was a small theater house. This was the first time I was literally on the road, doing a play, for four months.
Getting work in theater has always been sort of cyclical.
I've always loved fairy tales. I think they perhaps led me to theater rather than the other way around. As a child I wanted to invent a machine that could record my dreams, so I could watch them in the morning; or hire someone to draw the things I had in my head, because I knew I didn't have the skill to do it myself. Theater is that machine. I can make these images come to life and actually walk around inside them for a while.
One of the Age of Enlightenment's most hypnotic images is Ledoux's rendering of his neoclassical theater of 1775 - 1784 in Besancon, surreally reflected in the colossal eye of an unidentified cosmic being.
I love Back Stage. I have lots of theater friends and actors who depend on Back Stage.
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