I started off in a small theatre performance company and worked my way into commercials.
But I think theatre in a repressive society is an immensely exciting event and theatre in a luxurious old, affluent old society like ours is an entertaining event.
In our own, theatre can be the place where we come together, reaching with and through stories, to who we are and to who we can be.
What draws me to the theatre, and what appealed to me about Too Much Light, is that you have no idea what's going to happen. That's the most exciting part of theatre, it's never the same. If it were, it would be like watching a movie.
I'd like to do some more classical work if I do some more theatre.
I like to use my hands. When I was in theatre in college, that was one of my biggest notes: 'You use your hands too much.
I didn't grow up a theatre kid, going to theatre camps. I played sports, and that was my main direction. But luckily, I never had to choose between sports and theatre.
I have theatre-training, I love doing theatre, I've done Broadway.
I was always very independent and looked out for myself. I think that ability really helped me in later years both in sports and in theatre.
I grew up in the theatre.
Pass the popcorn, please. Life is a film, theatre, a theatre of the soul. We play different roles on different stages. At death, we walk offstage. At birth, we walk onstage.
I started off dancing and playing sports, and I joined the drama stuff, the theatre stuff in middle school because my friends were involved, and it was kind of the cool thing to do.
But then I got a job selling coffee at the York Theatre, and when I met theatre people, something clicked. I felt comfortable with them; I felt like myself. I decided to go to drama school based just on that feeling. I had never done any acting.
I never thought I'd be one of those old hams who favours theatre over everything, but I'm getting that way. Telly and film seemed more fun when I was younger; turning left on planes and washing up in nice places. But there are things that you only learn in theatre.
As far as I'm concerned, an audience is an audience. Whether it's an audience in Hull or the National Theatre, that's who you play to. It's not money - it's good to get some, but that's not why I do it. You do it because you have to, to tell a story.
As far as I'm concerned, Cate Blanchett is a goddess, but she's really down to earth. She's got all those Oscars, she's made all those amazing films and she could spend her whole life doing that, but what does she also do? She gives birth to three boys and creates her own theatre in Sydney.
I quite enjoy fame, especially when you go to conventions in America where they treat you like a god with stretch limos and the whole fame thing, but then when you come back to Britain, you end up changing in a toilet in a theatre off West End and that's really good, because that is what it's about.
I am, it seems, an avant-garde dramatist. It would even seem obvious since I am present here at discussions on the avant-garde theatre. It is all entirely official. But what does the term avant-garde mean?
The Theatre of the Absurd ... can be seen as the reflection of what seems to be the attitude most genuinely representative of our own time.  The hallmark of this attitude is its sense that the certitudes and unshakable basic assumptions of former ages have been swept away, that they have been tested and found wanting, that they have been discredited as cheap and somewhat childish illusions.
The Theatre of the Absurd has renounced arguing about the absurdity of the human condition; it merely presents it in being - that is, in terms of concrete stage images. This is the difference between the approach of the philosopher and that of the poet; the difference, to take an example from another sphere, between the idea of God in the works of Thomas Aquinas or Spinoza and the intuition of God in those of St. John of the Cross or Meister Eckhart - the difference between theory and experience.
Particularly with the plays I choose, they're good parts, and they're parts that have been around long before a bad actor played them, and will be around long after I play them. Part of what I enjoy about the theatre and acting is that sense of history.
I always wanted to see what America was like. I had that curiosity in my 20s when I was working in the theatre here [ in London]... there was the mystery of LA and I wondered what happened over there. I wanted to go and check it out and I'm pleased that I have.
I think the great thing about theatre, and if you start in theatre, is that it does build a confidence in poetic themes and ideas.
To imagine myself in different ways comes from my beginnings in the theatre. People are more accepting when you go 'apparently', 'wildly' afield from who you are or where you were brought up.
I believe this thought, of the possibility of death - if calmly realised, and steadily faced would be one of the best possible tests as to our going to any scene of amusement being right or wrong. If the thought of sudden death acquires, for you, a special horror when imagined as happening in a theatre, then be very sure the theatre is harmful for you, however harmless it may be for others; and that you are incurring a deadly peril in going.
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