American theatre, to me, represents zeroing down on what the need is to get inside the personal hearts of people. I think it's really beautiful if we can keep doing that instead of just fluffing everything up and hiding again.
The whole thrust of theatre is different, just because the writing is so much more respected in a play. Whereas in movies - and having been the writer, I can say from experience - the writer is lower down on the food chain.
The excitement of theatre is palpable but the frustrations, and the complete absence of a definitive evening - the play as text means practically nothing in a way - , there's no particular performance that is definitive in the way a novel is a solid object you hold in your hands and here it is. You can't say that about a play. If the novel gives us a sense of throbbing consciousness, theater is pure soul, beautiful and elusive.
To shut yourself from history is to shut yourself off from say music or painting or the theatre, literature for the rest of your life. It would be to cheat yourself of the pleasures of life.
I've reprised roles in the theatre, which is somehow more accepted, and where one can automatically go deeper and further into the role.
I think the writer's quite low down in the hierarchy really. But the fact that they took the piss out of Nicholas [Hynter] who, besides being the director, is also director of the National Theatre is, I'd have thought, slightly more risky.
I love going to all kinds of movies, I screen DVDs in my house, but I go to the theatre a lot in the afternoon. I don't get bugged because there aren't many people around.
I think you're peripatetic when you work in this industry. My husband and I are assuming the role of co-artistic directors at the Sydney Theatre Company in 2008. But as long as the film industry will have me, I will have it.
Well, I've always thought that my career was in England, really. I used to do more in the theatre, and I felt that I should be there. It's not far is it? It's amazing the way that special FX have taken a quantum leap in what they're capable of doing.
Don't expect the theatre to satisfy the habits of its audience, but to change them.
I want my audience to leave the theatre with positive emotions through this sensorial journey in the world of precious and fragile teenage beauty. And also the idea that the difficulties that we have to go through help us reveal who we really are.
I have an Honors Degree in Drama from the University of Alberta, but when it was done I knew a life in modern theatre was not for me. While figuring out what the hell I might do instead of theatre, I spent a couple of days on a horror film doing stunt work. I'd never been behind the camera before, and I loved everything about it. I joined the local film co-op - The Film and Video Arts Society of Alberta - because you could trade skills for experience. These indie filmmakers were making their own stuff their own way, all the time. Instant education.
Growing up in Los Angeles, I was incredibly fortunate to be taken to theatre by my parents to see everything at the Music Center, at UCLA and beyond. I just adored it.
Theatre is filled w/ passion, risk and drama (as much behind-the-curtain as on stage), perfect ingredients for documentary storytelling.
Like theatre, crafting a documentary film takes tremendous commitment, patience and passion.
There was a time when all these things would have passed me by, like the flitting figures of a theatre, sufficient for the amusement of an hour. But now, I have lost the power of looking merely on the surface.
I was a football player at college and dislocated my thumb. I was out for a bit and passed the theatre and saw some lovely drama students walking into an audition for 'Much Ado About Nothing' and thought: 'That's what I'll do when I recover.' I joined that production and was hooked.
I had worked in this New York theatre company for my first eight or nine years out of college, acting and directing there, and I'd begun to write a little bit.
I played Tina Denmark in Ruthless the Musical when I was 9 at the Theatre on Broadway in Denver.
Filming is quite exciting because every day is different, but it can involve long hours standing around in chilly locations. Theatre is a very different challenge because every night you're striving to keep it fresh, even though you might have been performing the same play for months.
I started in theatre. I went to the Boston Conservatory and majored in musical theater.
I grew up in a community of theatre, and I always loved musicals. From a young age, the first present I ever wanted was a video camera. For me it was a great outlet to be creative.
My working history as an actor is definitely in the theatre; it certainly was in Australia.
I have a strong and strange character, and I've rarely met directors who knew what to do with this character. One of the few who did was my father, and in the theatre, Arthur Nauzyciel.
I left school with no qualifications, but I was doing theatre and film work and thought that was the best thing since sliced bread.
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