A Quote by Franco Nero

I studied at the Piccolo Teatro di Milano; I was a theatre actor. — © Franco Nero
I studied at the Piccolo Teatro di Milano; I was a theatre actor.

Quote Topics

I studied at the Piccolo Teatro di Milano: I was a theatre actor.
I never studied theatre; I learned it by doing it. If I had studied theatre, I would not be making the kind of theatre I am making.
Before I worked on film, I studied the theatre, and I expected that I would spend my whole career in theatre. Gradually, I started writing for the cinema. However, I feel grateful towards the theatre. I love working with spectators, and I love this experience with the theatre, and I like theatre culture.
Being an actor in TV or movies is different. A film or TV actor, if put in theatre, won't know certain dimensions, while a theatre actor won't know certain things when he comes before the camera. So I think a film actor can learn emoting from this theatre counterpart, while the theatre actor can learn about camera techniques from the film actor.
I didn't go to university. I studied theatre in high school and worked with Canberra Youth Theatre and The Street Theatre and other theatre organisations in Canberra, and that's how I got my training.
I came to Mozambique in 1986, when I first became involved with Teatro Avenida - a theatre company that stages plays concerned with political and social issues.
I studied drama in high school, and when I was 18, I studied at the Actors Studio in New York. Then I moved to London when I got engaged to Bryan Ferry, and I studied at the National Theatre there.
Asim has done English theatre with Naseeruddin Shah and his group, Hindi theatre with Makarand Deshpande, and Marathi theatre with me. He is a hardworking actor - I am not saying this just because he is my son but as an actor and spectator.
On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.
I guess I like Piccolo the most after all. Out of all the enemies, Piccolo Daimao is the one I like most, and even after that, I like Piccolo the most.
I was used to theatre classes. I studied with my mother; she was a theatre teacher and directed, too, so it was very family-like. Then I studied with a great teacher in Paris, and she was wonderful; she pushed me, but she was a warm soul.
I hadn't studied theatre and I hadn't studied actor training or anything, but I did have a sense of movement and composition, and what the final product would be like, but luckily I had friends who were good actors, who would help me get them, who would get themselves to the place where a good director should get them to build characters.
It is in the irony of things that the theatre should be the most dangerous place for the actor. But, then, after all, the world is the worst possible place, the most corrupting place, for the human soul. And just as there is no escape from the world, which follows us into the very heart of the desert, so the actor cannot escape the theatre. And the actor who is a dreamer need not. All of us can only strive to remain uncontaminated. In the world we must be unworldly, in the theatre the actor must be untheatrical.
I studied theatre at Glasgow University and then was lucky enough to land a scholarship with a theatre group in Edinburgh.
Theatre is an actor's medium. An actor has little control over a film. Which is why most actors who have done theatre, and then come to films find the former more creatively satisfying.
I studied as an actor at the theatre conservatoire in Quebec, but by the time I got to my third year, I was more interested in directing. There's more to it than helping actors get round a stage: it's a wonderful way of telling stories.
This site uses cookies to ensure you get the best experience. More info...
Got it!