A Quote by Colin Wilson

A symphony is a stage play with the parts written for instruments instead of for actors. — © Colin Wilson
A symphony is a stage play with the parts written for instruments instead of for actors.
When I auditioned actors I never make them act. I choose a long symphony, then I tell them to sit down and I play the symphony for them. Then I sit and I look at them. I always pick a piece of music that has up and downs, very dramatic parts, very quiet parts and really sensitive parts so that it can produce different emotions.
I sometimes like to think of God as a great symphony and the various spiritual paths as instruments in an orchestra. The gift that you have is like music waiting to be played. You need only to find the instrument that will best bring it out. You alone can never play all the instruments, and your music might not find voice in all the instruments. All you can do is find the instrument that suits you best, play it as well as you can, and add your music to the great symphony of divine creation.
Composers love to write for symphony orchestras because the symphony is the Rolls Royce of musical instruments.
I always think the great parts outlive the actors that play them and that's a stage tradition, that goes back hundreds of years and it should be that way.
Writing a play, you start with less, so more is demanded of you. It's as if you have to not only write a symphony, but invent the instruments as well.
I found that golf saved me from going to the pub every day, so instead, I play golf with other unemployed actors. I'm a member of the Stage Golfing Society, and I play golf with all sorts of people.
I found that golf saved me from going to the pub every day so instead I play golf with other unemployed actors. I'm a member of the Stage Golfing Society and I play golf with all sorts of people.
They were looking for actors - real actors - who could play instruments. There was a lot of improvisation and scene work involved in addition to the music. The auditions went on for a long time.
Consciousness is somehow a by-product of the simultaneous, high frequency firing of neurons in different parts of the brain. It's the meshing of these frequencies that generates consciousness, just as tones from individual instruments produce the rich, complex, & seamless sounds of a symphony orchestra
I think it will be fun to not only play new music, but to get to play different instruments on-stage.
There are so many stage actors on TV but you wouldn't know they were stage actors. And film and TV actors are going to the stage as well, so the crossover is great now.
I've always written for actors, and if you want to write for good actors, you have to write parts that are surprising, that are human, and that allow them to go to a wide range of places.
Actors always have to fight for the good parts. There are so few good roles written for women each year, and when one is written like this every actress in town covets the role.
When I write plays, I'm already seeing the shapes on stage, of the actors and their interaction, and so on and so forth. I don't think I've ever written one play as an abstract piece, as a literary piece, floating in the air somewhere, to be flushed out later on.
I got on stage and I went, "Oh wow. No stage fright." I couldn't do public speaking, and I couldn't play the piano in front of people, but I could act. I found that being on stage, I felt, "This is home." I felt an immediate right thing, and the exchange between the audience and the actors on stage was so fulfilling. I just went, "That is the conversation I want to have."
People like to think that actors are terribly worried about ghosts of other actors in the parts they play. But you just have to get on with it.
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