A Quote by Colman Domingo

On stage, I have felt most fulfilled as a playwright, for everything I create gets to grow and evolve with collaboration from directors, actors, and so on. — © Colman Domingo
On stage, I have felt most fulfilled as a playwright, for everything I create gets to grow and evolve with collaboration from directors, actors, and so on.
Stage is the place of the playwright: you're guided by great actors and directors, but it's the playwright's word on the page that counts.
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."
I love actors, both my parents were actors, and the work with actors is the most enjoyable part of making a film. It's important that they feel protected and are confident they won't be betrayed. When you create that atmosphere of trust, it's in the bag - the actors will do everything to satisfy you.
The parallels between a stage and a book are compelling. You, like all authors, create 'characters' in a 'setting' who speak 'dialogue' encased in 'scenes.' Most importantly, you - like the playwright - have an 'audience.'
The computer programmer is a creator of universes for which he alone is the lawgiver. No playwright, no stage director, no emperor, however powerful, has ever exercised such absolute authority to arrange a stage or field of battle and to command such unswervingly dutiful actors or troops.
Working with actors really depends on the actor. Most of the directors I've worked with don't really know how to speak to actors, actually; some of the best directors don't.
I think that some of the writing, directing, and the content is better than a lot of movies sometimes. Actors, well artists in general - actors, writers, directors - what we all care about the most is good work and being able to create something that is really resonant and meaningful.
I worked for 20 directors as a production designer, most male. I was on the set to witness firsthand a range of sometimes atrocious emotions - well-documented firings, yellings, fights between directors and actors, hookers, abusive things, budget overages, lack of preparation. A man gets a standing ovation for crying because he's so sensitive, but a woman is shamed.
Do you know what a playwright is? A playwright is someone who lets his guts hang out on the stage.
Paris is the playwright's delight. New York is the home of directors. London, however, is the actor's city, the only one in the world. In London, actors are given their head.
I think every actor would probably say that it's always a collaboration. And if you ask directors, they'll tell you that they expect the actors to bring something. They don't want to be thinking for everybody.
I think a playwright must be his own dramaturg. I believe in a theater where the director and the playwright work together to create what they need.
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.
The only thing we are as actors are messengers. That's all we are. Correct? We are delivering the playwright's intention through the concept of the director. And I come on stage; if I feel confident in the role, then I give it away.
My whole life at a certain point was studio, hotel, stage, hotel, stage, studio, stage, hotel, studio, stage. I was expressing everything from my past, everything that I had experienced prior to that studio stage time, and it was like you have to go back to the well, in order to give someone something to drink. I felt like a cistern, dried up and like there was nothing more. And it was so beautiful.
I'm not trying to keep up or adapt. I'm allowing myself to grow, evolve and create new music.
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