A Quote by Keller Easterling

It may be unfathomable in architecture, but it is very practical, or routine, for a person in theater to use action. You have the line, "Come home, son," but you can't play that line by going out and being a mother; you can't be a noun. But you can play to smother your son; you can play to grovel to your son. Again, the real information is carried in action. And, to an annoying degree, theater people talk to each other in infinitive expressions. If you don't have a vivid verb to describe what you're doing, you're probably going to be a pretty bad actress.
If I came in to recruit your son, I would tell you, your wife, and your son, that I will be the most demanding coach your son can play for.
I think my ultimate directorial style is 'play.' In reference to theater, it's called a play - I believe in that noun, and the verb that goes with it.
The whole idea of action being a carrier of information is something that comes directly from theater. That's, in some ways, the one thing I've been trying to contribute. I still write things outside of architecture - not really fiction, but not nonfiction. I like dialogue as a form, because the text is only the trace of an action. The consequential information is carried in the action you choose to put on that text.
You never find yourself involved in a single action story. Your family is always being with you. And you cannot separate whatever is going on in your life with your relationship with your son, with your wife.
Our only competition in the theater is boredom, because if I'm bored with a play, if I'm revolted by a play on stage, with the Broadway prices, especially today, I'm going to walk out and not come back and pay that price again.
I came to America to become an architect. And somewhere along the line while I was still in school, I was lured into theater, and that's how I became interested in theater. My first play was something called "A Banquet for the Moon." It was a weird play.
I came to America to become an architect. And somewhere along the line while I was still in school, I was lured into theater, and that's how I became interested in theater. My first play was something called 'A Banquet for the Moon.' It was a weird play.
There are days that I love just devoting to going to the park and playing with my son, but then sometimes you have to leave out other things, or if work is a full day of work, perhaps I miss the play time with my son, and I guess the only struggle is trying to not shortchange any of the things that you want to do.
By that time this society is going to be completely different for one thing. Your own son or your own son's son is not going to have the needs for money that you feel you have now. The society itself will be less dependent on money and currency to get along.
We also play a Father/Son at home and I play with Steve, too. I try to mix it up. We play two or three times a year, but that's about it.
So what's so enticing about doing a play is that you get to do that thing that got you into acting in the first place... There's a real attraction to being able to play, to just play. And that's something that theater affords you.
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'm doing this play right now, the new David Mamet play. It's called 'Race,' and it's very interesting how people really leave the theater filled with the desire to talk about the play and the issues and the characters, and how they're all navigating their personal views around race.
I desperately wanted to play the part of Darth Vader's mother - I think she ended up being played by a Scandinavian actress - because my son was completely crazy about 'Star Wars.'
The most likely explanation is the most practical. 'Macbeth' is a very popular play with audiences. If you want to sell out a theater, just mount a production of 'Macbeth'. It's a short play, it's an exciting play, it's easy to understand, and it attracts great acting.
I was doing this children's theater play, and it was non-Equity. We were out of town to do it at the Kennedy Center, and it was always kind of, 'Well, the producers may have to turn this into Equity,' and that's what happened. It was kind of a silly children's theater play, but that's how I got my card.
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