A Quote by Julia Marlowe
The requirements of the theatre are very great--a strong constitution, energy and unflagging purpose, charm of feature, these alone do not necessarily mean anything, and they must not be relied upon as assurances of an easy conquest of the public heart. It is not only a question of fitness for the work, but of long years of most diligent effort to master the technique of the theatre, and to develop whatever of the art instinct we may possess upon the simplest, broadest, and most human lines.
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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've done a lot of costume drama and theatre - the National Theatre and In fact, most of my work at the theatre, at the National Theatre anyway, was period.
Don't you dare underestimate the power of your own instinct. Instinct is a lifesaver for sharks and entrepreneurs alike. Most people can recall times they ignored their gut only to regret it later. Learning to actually listen to your instinct is a great form of self-preservation. It's both incredibly easy and tough at the same time, but worth the effort to master.
Most theatre is still really bad. It has to appeal to people who do jobs and have lives. Theatre about theatre is the most awful, terminal nonsense.
Art, in the widest sense of the word, is the instrument Hellenism has used and would use for that purpose. All the arts, poetry, music, ritual, the visual arts, the theatre, must work singly and together to create the most comprehensive art of all, a humanized society, and its masterpiece, the free man.
I'm not saying that theatre is a doomed profession, but if a person wants to stay in it very long, they'd better develop theatre skills beyond just acting.
From musicals to plays, I was part of all things theatrical all through my school life in Chandigarh, and this helped me develop a strong love for theatre and acting. Even during college, I was active in the theatre scene and even founded two theatre groups.
There's a great charm in theatre; I enjoyed doing it for twelve years and did lots of plays. At this chapter of my life, I am a cinema actor, and I would like to continue to be so, and at some point I would return to the theatre.
I love theatre. I think it's the home of most actors...most actors start with it. It's so enjoyable to do and to be able to see your audience. And the process of theatre is great.
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.
Most of the theatre work that you see in India is very verbose and the visual is whatever you can create on stage.
The Theatre of the Oppressed is theatre in this most archaic application of the word. In this usage, all human beings are Actors (they act!) and Spectators (they observe!).
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.
I went to college and did theatre. After that, I spent about three years in Seattle doing French theater and community theater and sorting it all out. Then I applied to graduate school and got accepted, so I started pursuing my master's in theatre at the American Conservatory Theatre in San Francisco.
The theatre starts every night at half past seven, and I like the rhythm of going to the theatre, parking the car, going to the stage door; I've grown up with all of that. I'd love to do more theatre - I mean, I shouldn't be telling the world that I can't remember lines any more, but I find it more and more difficult, so I don't know.
Most of the people dishing out judgment have no working experience of the theatre, have not written a professional play, a sketch, or even a joke; have never worked in a theatre, taken an acting class, or published any extended piece of work. They are creative virgins; everything they know about theatre is book-learned and second-hand.
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