A Quote by Griselda Gambaro

Theatre is very much concerned with the society, with the social situation... A theatre piece of itself, demands a confrontation with the audience. It demands that you connect with people; it demands a collective and social effort with the company and later with the audience.
In spite of all similarities, every living situation has, like a newborn child, a new face, that has never been before and will never come again. It demands of you a reaction that cannot be prepared beforehand. It demands nothing of what is past. It demands presence, responsibility; it demands you.
To attain individual morality in an age demanding social morality, to pride one's self on the results of personal effort when the time demands social adjustment, is utterly to fail to apprehend the situation.
We're telling a story. And the demands of that are different from the demands of a documentary. The audience must believe in order to keep faith in the story.
The roles of art, morality, religion, political faith, science itself are not to repair organic exhaustion nor to provide sound functioning of the organs. All this supraphysical life is built and expanded not because of the demands of the cosmic environment but because of the demands of the social environment.
Anarchy, when it works to destroy authority in all its aspects, when it demands the abrogation of laws and the abolition of the mechanism that serves to impose them, when it refuses all hierarchical organization and preaches free agreement - at the same time strives to maintain and enlarge the precious kernel of social customs without which no human or animal society can exist. Only, instead of demanding that those social customs should be maintained through the authority of a few, it demands it from the continued action of all.
A career in the theatre demands so much commitment.
To make the future demands courage. It demands work. But it also demands faith.
If misery loves company, then triumph demands an audience.
Peace demands the most heroic labor and the most difficult sacrifice. It demands greater heroism than war. It demands greater fidelity to the truth and a much more perfect purity of conscience.
As far as I'm concerned, an audience is an audience. Whether it's an audience in Hull or the National Theatre, that's who you play to. It's not money - it's good to get some, but that's not why I do it. You do it because you have to, to tell a story.
Human envy is certainly not one of the sources of discontent that a free society can eliminate. It is probably one of the essential conditions for the preservation of such a society that we do not countenance envy, not sanction its demands by camouflaging it as social justice, but treat it, in the words of John Stuart Mill, as 'the most anti-social and evil of all passions.'
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 begin by looking for megatrends, changes in the world that will create major new demands. My goal is to create a company that can be there to meet those demands.
Democracy demands trust. It demands that sense of mutual understanding. And - it's a two way street. You've got to give - as much as you take.
The point of theatre is transformation: to make an extraordinary event out of ordinary material right in front of an audience's eyes. Where the germ of the idea came from is pretty much irrelevant. What matters to every theatre maker I know is speaking clearly to the audience 'right now.'
Non-violence is a piece of theatre. You need an audience. What can you do when you have no audience?
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