A Quote by Harrison Birtwistle

My operas and my theatre works are very formal pieces. — © Harrison Birtwistle
My operas and my theatre works are very formal pieces.
The trick generally is to break programs into pieces and have those pieces be individually testable and so then when you move on to the other pieces you treat it as a black box knowing that it either works or doesn't work.
I saw 'The Wild Duck' at the Belvoir St. Theatre in Sydney, and it was one of the best pieces of theatre I'd ever seen.
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.
As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.
Except for the violin pieces and a few of my orchestra pieces, all of my works from the Passacaglia on relate to the death of my mother.
As a physician, we are taught that learning and education never stop - they are lifelong. I think education comes in various forms: formal, informal, and most importantly, experiential. All of this defines who we are and gives us if you will our abilities to function as leaders. I believe all of those pieces constitute formal education - it is invaluable to who we are and how well we perform.
To save the theatre, the theatre must be destroyed, the actors and actresses must all die of the plague. They poison the air, they make art impossible. It is not drama that they play, but pieces for the theatre. We should return to the Greeks, play in the open air; the drama dies of stalls and boxes and evening dress, and people who come to digest their dinner.
I was 11 and watching soap operas with my mom, and I thought it would be cool to be an actor. I thought soap operas was going to be the dream at the time - it's obviously now not the dream, but I think soap operas are really cool. Maybe I'll go back to that.
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.
Most poetry is very formal, but when a modern poet is formal he gets more attention for it than old poets did.
'Pelleas et Melisande' is one of the saddest and most upsetting operas ever written. If you love the opera as I do, then you love it to pieces, obsessively.
The great thing about costume jewelry is that there's something for everyone - there are very humorous pieces and very extravagant and outrageous pieces.
I was obsessed with theatre and loving the work of Caryl Churchill, Edward Bond, Howard Brenton, and Howard Barker, people doing real formal experimentation. But 'Road' was the first time I'd read a play written in a very true Northern dialect that seemed to have that excitement running through it.
I've done a lot of operas. I've probably done more different kind of operas than anybody.
The universe may be timeless, but if you imagine breaking it into pieces, some of the pieces can serve as clocks for the others. Time emerges from timelessness. We perceive time because we are, by our very nature, one of those pieces.
In my opinion, there's nothing new in the theatre, ever. Theatre-makers are thieves, in the honourable tradition of charlatans. They fake it very, very well indeed for the entertainment of everybody else.
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