A Quote by Robert Rinder

I was in the National Youth Theatre, too, but there was no dancing there. I was doing plays like 'Julius Caesar' and playing the lute very badly. — © Robert Rinder
I was in the National Youth Theatre, too, but there was no dancing there. I was doing plays like 'Julius Caesar' and playing the lute very badly.
Julius Caesar owed two millions when he risked the experiment of being general in Gaul. If Julius Caesar had not lived to cross the Rubicon, and pay off his debts, what would his creditors have called Julius Caesar?
I was always far more into anything creative that called for a bit of active participation, like reading aloud in class. Then, having left school shortly after my GCSEs, I auditioned for the National Youth Theatre of Wales and the National Youth Theatre of Great Britain as well as the Welsh National Youth Opera. I ended up getting into all three.
The list of potential candidates for Julius Caesar is quite large. You could go, "Well, he's a Caesar." Idi Amin, or Bokassa in the Central African Empire, or in Zimbabwe, Robert Mugabe coming to power. They have all, at some point in their lives, been candidates for a casting as Julius Caesar.
I became an actor by doing school plays and youth theaters, and then National Youth Theatre of Great Britain. And then I did study at the London Academy of Music and Dramatic Arts. For me that was a good way to enter the field, to work in the theater.
I had a very nice, cozy childhood. I did lots of plays at school and worked with the National Youth Theatre as a teenager.
I don't care if it's a mystery story, a Western, or the story of Julius Caesar. To me it's the emotion, the lies, the double-cross, whether it's Brutus doing it to Caesar or Bob Stack doing it to Robert Ryan that defines what kind of drama it is.
Playing Mark Antony in Julius Caesar was the most thrilling thing I've done. You get these speeches that were written for men, and you're running around like an action hero, climbing scaffolding and beating people up. It was very freeing.
Julius Caesar's wife, who said to Julius, We are not naming our son Sid! Never got a dinner!
I still remember the moment when my teacher, Mr. Budaza, walked into class and said, 'Today we are going to study 'Julius Caesar,' one of Shakespeare's most important plays.'
I was doing a show at the National Youth Theatre, playing an old man. Before that I had played fat clowns and I thought, 'If I want to have the career I would like, I am going to have to lose weight.' I was just starting drama school, and found I was moving around a lot. I also started to eat sensibly. The weight just dropped off.
Really what Brutus and Cassius do by assassinating Caesar, is open up a vacuum into which much more ruthless people run. Julius Caesar is an amazingly contemporary, resonant, politically astute play.
I would like to thank Julius Caesar for originating my hairstyle.
I was very fortunate that a teacher saw that I read a lot and got bored very easily and had a lot of energy, so she said, 'You've got to go to this youth theater.' I joined Manchester Youth Theatre when I was really young, and I just loved putting on and being involved in plays and telling stories.
When I began playing the lute, in 1950 there were not too many lutenists around. I had to work hard, writing out music in museums and libraries. It was before the days of photocopying. And I had just picked up the lute, adapted my guitar technique to it and went from there.
When I was doing theatre in Mumbai, actors won't come because they had television. For many years, I did theatre religiously and in Mumbai, I saw people disrespecting it and it hurt me very badly.
My brother and sister were very sporty. They all did rugby. I was very into performing arts. I went to the National Youth Music Theatre. I was one of those singing, clapping children.
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