A Quote by Diana Rigg

I don't mean to be oily, but critics are very much part of the theatre. — © Diana Rigg
I don't mean to be oily, but critics are very much part of the theatre.
I used to do puppet theatre and also mime and musical theatre in Florida for competitions and festivals, which was great. I was very much involved in theatre when I was in college.
I would rather be 'oily' than 'dry' on pretty much any part of my body.
I tried not to listen very much to the critics. I know that whenever you do something, you must have a lot of critics, or it means that you haven't done anything. I never really bothered much and I don't care.
I read reviews of critics I respect and feel I can learn something from. Right now there are a lot of bottom-feeder critics who just have access to a computer and don't necessarily have an academic or cinema background that I can detect, so I tend to ignore that and stay with the same top-tier critics that I've come to respect. I like reading a good review - it doesn't have to be favorable, but a well-thought-out one - because I very much appreciate the relationship of directors and critics.
I'm not sure I approve of theatre as a university course. I think theatre's something you do. I mean, literature is a subject; theatre is practical.
I tried theatre. I played Miss Hannigan for a short run of Annie at a regional theatre. That was fun. I enjoyed it! I enjoy theatre and have so much respect for theatre actors.
Well, I think critics are very useful. But I think that they, in a way, betray their position when they stop people looking for themselves. Judgment is very easy, but I think, on the whole, professional critics maybe see too much, and compare too much, and forget the joy of actually looking and contemplating for its own sake.
I pretty much got into theatre to do community theatre and things, but then I went to Williamstown and found an agent. I then went to New York and did a lot of theatre there, so I started doing only theatre.
There are two kinds of theatre, good and bad. Much as I should like to see theatre in America, I would rather have no theatre than bad theatre. What we must strive for is perfection and come as close to it as is humanly possible.
What draws me to the theatre, and what appealed to me about Too Much Light, is that you have no idea what's going to happen. That's the most exciting part of theatre, it's never the same. If it were, it would be like watching a movie.
I had become mean and stupid and deliberately hurtful because that is what is expected of restaurant critics. Of critics in general.
Some critics say I spent too much time on politics. I don't put much stock in the critics.
I mean I have had a very combative relationship with critics because I'm very impatient with people that don't give my work the respect I feel it deserves.
In much postmodern theatre ... the line between theatre and non-theatre is deliberately erased.
Opera is musical theatre, and the music can teach you so much about the theatre. Very often I use musical terms to think about how I comport myself on stage: I employ 'rubati,' 'ostinati,' 'cadenze.' Finding these parallels is very fascinating for me.
I started - well, in England it works a little bit differently. You have to do Fringe theatre, which is basically free theatre. You do it in pubs and small theaters and village halls across the country, and you work for a theatre company. You're part of a troupe.
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