A Quote by Dagmara Dominczyk

I'm always keeping an eye out for a period piece. I was trained in theatre, so most of the things we did were classical - Shakespeare, Moliere, and Chekhov. — © Dagmara Dominczyk
I'm always keeping an eye out for a period piece. I was trained in theatre, so most of the things we did were classical - Shakespeare, Moliere, and Chekhov.
Im always keeping an eye out for a period piece. I was trained in theatre, so most of the things we did were classical - Shakespeare, Moliere, and Chekhov.
I was a musical theater major at the University of Arizona. And I primarily trained with Marsha Bagwell. It was a classical program, so we did Chekov and Moliere and a lot of Shakespeare.
I'm into parlor dramas. I'm into theatre. I'm trained for the stage. I trained to do Chekhov and Shakespeare, I was trained for the stage.
I come from the theatre where there are no boundaries to the style you're doing; you're doing Molière, then you're doing Chekhov and then you're doing Arthur Miller in a season and no-one bats an eye.
Had I not done Shakespeare, Pinter, Moliere and things such as 'Godspell' - I played Judas in a hugely successful production before I did 'Elm Street' - I'd probably be on a psychiatrist's couch saying: 'Freddy ruined me.' But I'd already done 13 movies and years of non-stop theatre.
It's a scary thing going into the workforce with a $50,000 debt and you've been trained as a classical theatre actor. There's always a depression in the theatre.
Whether they know it or not, most American playgoers owe an incalculably great debt to translators. Were it not for their work, comparatively few of us would be able to enjoy the plays of Chekhov, Ibsen or Moliere.
I can always do theater; I can do Ibsen, I can do Macbeth, I can do Chekhov, I can do Moliere, Othello, I can do Richard III.
Whether it's Shakespeare or Moliere, irony is a key component in the construction of theatre. A script would be pretty bad if it was devoid of irony.
Theatre probably originated without texts, but by the time we get to the classical Greek period, theatre has become text-based.
To be honest, I am not theatre-trained and though I am confident in my skill set, to do theatre requires a better-tuned set of muscles and I sometimes defer to actors who are better trained. But at the times I do want a shot, I'll go for it, especially if the piece speaks to me and the opportunity comes up. The immediate response from a theatre audience is so thrilling, affirming, and soul-feeding; to know how you've affected an audience at curtain can be ego-blowing, both good and bad.
I trained as a classical actor in London for three years. We did Tennessee Williams and dialect and accent classes; they were one of my favorite things to do each week. And we'd strip it down to the phonetics and listen to the sound. It was a really interesting way to look at it all.
I've done a lot of costume drama and theatre - the National Theatre and In fact, most of my work at the theatre, at the National Theatre anyway, was period.
Ibsen, Chekhov, Shakespeare, and Beckett to me are the most revolutionary.
I'd like to do a piece of Shakespeare. Any upcoming Shakespeare film. Just a bit to say I did a classic.
Atari always was a technology-driven company, and we were very keen on keeping the technological edge on everything. There's a whole bunch of things that we innovated. We made the first computer that did stamps or sprites, we did screen-mapping for the very first time, and a lot of stuff like that. We had some of the most sophisticated sound-creating systems, and were instrumental in MIDI.
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