A Quote by Diana Rigg

These days, it's perfectly normal to move between the theatre and television. — © Diana Rigg
These days, it's perfectly normal to move between the theatre and television.
To move from a discussion of the early relationship between theatre and television to an examination of the current situation of live performance is to confront the irony that whereas television initially sought to replicate and, implicitly, to replace live theatre, live performance itself has developed since that time toward the replication of the discourse of mediatization.
Theatre, film and television are all modes of storytelling, and many of us are fortunate enough to move freely among them without feeling that we've 'left' or need to 'go back' to one or the other. In fact, if the theatre is to avoid a brain drain, this kind of fluidity is increasingly necessary.
Maybe if I'd gone in younger, I wouldn't have had that feeling, but I've seen an enormous amount of changes since the early-'70s in how this stuff is shot. I did the first TV movie ever shot in 18 days; before this film the normal length of shooting a TV movie was between 21 and 26 days. We shot a full-up, two-hour TV movie in 18 days with Donald Sutherland playing the lead, who had never worked on television before.
On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.
In much postmodern theatre ... the line between theatre and non-theatre is deliberately erased.
It's perfectly ordinary to be a socialist. It's perfectly normal to be in favor of fire departments.
Theatre is done largely for the love of the craft. Television makes you famous. And films immortalize you. That's the relationship between the three.
Television theatre, as is implied in its name, should rely on adaptations of scripts written for the theatre.
I grew up seeing a lot of theatre, and it was theatre that really seduced me into acting - not film or television.
When I first came to New York, I knew some painters older than myself. I was kind of the kid who was allowed to hang out with them. That is more the way people talked in those days, it was perfectly normal to question a work's fundamental premises and its fundamental visual manifestations. It was perfectly okay to say, "Oh, that should have been red" or something like that. In a funny way, the way artists talk about art is to de-privilege it.
Radio, newspapers, they were normal parts of my life. In those days, you had to go somewhere to watch television and leave something to see it.
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 grew up in the theatre. It's where I got my start. Writing a television drama with theatrical dialogue about the theatre is beyond perfection.
It's all good fun - television and movies and so on - but the good thing in theatre is there's nothing and no one between you and the audience so you can do what you want really.
I think there was certainly contact between the Trump campaign and Russians, which is perfectly normal. All campaigns in the modern age have contact with representatives of foreign governments.
I used to do theatre in school and college. When I started working on television, only the camera was new. Theatre experience really helps one lose inhibitions.
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