A Quote by Janet Suzman

But I think theatre in a repressive society is an immensely exciting event and theatre in a luxurious old, affluent old society like ours is an entertaining event. — © Janet Suzman
But I think theatre in a repressive society is an immensely exciting event and theatre in a luxurious old, affluent old society like ours is an entertaining event.
'Black Watch' has taken its place in the canon of Scottish theatre, and that's fantastic. It's a very particular kind of theatre. It's about the music, the movement, the whole 'event' of it.
I think theatre must be an event, an experience, not compete with cinema. When people are able to download stories on Netflix, you need to give them a good reason to jump into the car and drive two hours. It has to be something you can only see in the theatre, and it has to be worth it.
We talk about theatre museums filled with old costumes and things. What we also need is a theatre museum of the old routines on videotape. We are only the custodians of those techniques, and they should be preserved.
The old guys like me started in the theatre. I was in the theatre for nine years.
Writing 'If Chloe Can' has taken me on an amazing journey: from launching the event at Downing Street, to a performance to 1,000 inner-city school girls at a West End theatre, then to an audience of hundreds more at the Royal Society of Chemistry.
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.
Theatre is a form of knowledge; it should and can also be a means of transforming society. Theatre can help us build our future, rather than just waiting for it.
A crowded society is a restrictive society; an overcrowded society becomes an authoritarian, repressive and murderous society.
London theatre is different: it is a commercial theatre that brings the whole of society into one place. And Shakespeare grasped, better than anyone else, what it means to engage the entire audience.
The idea of making audiences feel like they matter, that the theatre matters, and that they're a partner in the event—that's what fuels me as a director . . . I believe it's actually radical to think about the audience.
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.'
I studied at the Bristol Old Vic Theatre School, which was founded by Laurence Olivier and has alumni like Jeremy Irons and Daniel Day Lewis. It's a very erudite institution; its ethos, really, was always theatre-based.
It's quite rare for a group of people to come together for a live event that isn't loud music. A live event that enables thinking to take place, to take place collectively. It's unique to theatre. It's a quality I never want to see diminished.
I came to theatre as a teenager by going to the National Theatre when it was at the Old Vic and sitting on padded seats in the gallery for 15 pence, which was the price of a bus fare.
There are two kinds of theatre, good and bad. Much as I should like to see theatre in America, I would rather have no theatre than bad theatre. What we must strive for is perfection and come as close to it as is humanly possible.
I am essentially someone who comes from the theatre. I love the theatre. Unfortunately, theatre doesn't pay the bills. Only in theatre abroad, I get a wage.
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