A Quote by Edward Hall

Theatre is about people, not buildings. Incalculable damage has been done to the expert talent a company needs - from wardrobe to lighting technicians. — © Edward Hall
Theatre is about people, not buildings. Incalculable damage has been done to the expert talent a company needs - from wardrobe to lighting technicians.
I always look for nature or natural lighting within buildings and within rooms that has been done by somebody else to suit their needs. I look at it very closely as a photographic thing, then enhance it.
Destroy and damage infrastructure, public buildings and government buildings. Do not leave them any place from which they can operate to damage Israel. We must be sure that Hamas will be spending many years in rebuilding Gaza and not in attacking Israel.
I have done every job in the Theatre apart from wardrobe. I was out of work more times than I was in it.
I was never a hugely successful theatre designer. I painted a lot of scenery and did the lighting, and my lighting business grew out of that.
What I have learned about museum buildings is that buildings have to have iconic presentations. The position of the art museum vis-a-vis other civic buildings needs to be hierarchal in the community. It has to be equal to the library and the courthouse.
Most of my images have been done in-studio, under very controlled lighting conditions. There have been a few that have been shot in nature, but even then they were shot almost exclusively at night, and again, under controlled lighting conditions.
But one thing I would like to certainly clarify that I am no player-manager, nor is my company a talent management company. That needs to be very clear.
What theatre people love about theatre - and I totally understand it, I just don't share it - is that they feel they mint something afresh every night. Because I would rather do something until I've done it and then know it's done. New day, next thing!
Most of my images have been done in-studio, under very controlled lighting conditions. There have been a few that have shot in nature, but even then they were shot almost exclusively at night, and again, under controlled lighting conditions.
I've never done stand-up; I came via small-scale touring theatre, through the Royal Shakespeare Company, the National Theatre, then I got employed on that as an actor who had a humorous sensibility.
Any damage that's been done, you have to fix yourself because it needs fixing and there is nobody else to do the work. Blame may well be justified, but it's not going to move you forward in your life.
I did spend about 5 years in the Griffin Theatre Company in 1978 actually , and worked therefore about 5 years on a voluntary basis. This was very much as a amateur, doing things like mopping the floor, handling props, setting up scenery, etc. I never acted, and don't think I'm an actor, but those years in the theatre taught me a lot about professional theatre.
There's nothing personal in it [THE SKRIKER]. I'm not ever inclined with any of the plays to say, This is about that, because plays are about the whole event that they are. . . . I was certainly wanting to write a play about damage - damage to nature and damage to people, both of which there's plenty of about. To that extent, I was writing a play about England now.
I think people underestimate the importance of lighting - layers of lighting, not just one light. I do a lighting seminar where I take a $300-a-yard fabric and a $3-a-yard fabric. I show what lighting can do to either one.
I generally feel like people that are doing the wardrobe know more about wardrobe than I do, and they have an overview.
The time that people aren't expecting what's going to happen, I find that's the best time to really cause the damage that needs to be done.
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