A Quote by Glenda Jackson

I studiously avoid any academic dissections of the play and any kind of previous experience of playing. For me, it's all in the play. — © Glenda Jackson
I studiously avoid any academic dissections of the play and any kind of previous experience of playing. For me, it's all in the play.
I'm a natural piano player. So all the practicing I do at this point is in my head. If I don't play for a year, my chops aren't going to get any worse. I've spent my time playing scales, and I don't necessarily want to play any faster than I play. So everything I do at this point is more philosophical.
I feel very fortunate for audiences to have been so gracious as to allow me to do pretty much any role that I felt I could do. They let me play a president. They let me play a lawyer. They let me play a hit man. They let me play a father. They let me play Howard Saint.
If everybody'd agree to quit using money, I'd be happy to play for free every day for awhile. But I don't play benefits or any kind of fund-raisers. I prefer to play at hospitals, for people who otherwise can't see us. But I can't see playing for causes, whatever the cause may be.
I never know who's influencing me at any time. I mean, I can take a play by Brecht and adapt it, I'm consciously adapting that play, or, as I've done with the Greek classics, Euripides and Oedipus, and I'm consciously adapting that play. Whether it influences me or not, I think it's the critics, the analysts who have to decide that. Me, I don't feel that I'm under the influence of any such sources.
I have no memory, any at all, of actually performing the play, no recall in terms of the lines. I can't tell you any line from any play I've ever done.
The main problem is to free your mind when you play. I find that in my own playing, whenever I feel any kind of tension, I'm restricted to playing the most fundamental kinds of things.
I was a kid who loved to play games. Any kind of game, any kind of ball. Give me a baseball, give me a basketball, give me something I can bounce and throw.
Charlie Christian had no more impact on my playing than Django Reinhardt or Lonnie Johnson. I just wanted to play like him. I wanted to play like all of them. All of these people were important to me. I couldn't play like any of them, though.
If you're playing Hitler, you don't play Hitler as an asshole. Hitler believed what he was doing was right. Any of those monsters and any serial killer believes in what they're doing. I play it subjectively.
I still do miss the freedom to play any kind of character I wanted to play.
At the end of the day, I think having some life experience is helpful to play any kind of music.
When I was a kid, I liked the newer music that was coming out. I have never really felt confined by any style of music. I would play in bands that were soul bands or that played standards - any kind of music that I enjoyed playing.
Playing at different positions is a challenge, and I've always believed that I can play in any situation and at any number in the batting order.
It's like creating an artificial loop saying, 'You didn't play the game the way I wanted you to play, so now you're punished and you're going to come back and play it again until you do what I want you to do.' In an action game, I can get that – why not? It's all about skills. But in a story-driven experience it doesn't make any sense.
I definitely like to play characters that don't fit any kind of mold; that are slightly offbeat, because it's more fun to play.
If you compromise in any kind of movement or any kind of wave of revolution, if you sort of play the game, things are gonna change far more slowly than you need them to.
This site uses cookies to ensure you get the best experience. More info...
Got it!