A Quote by Lesley Sharp

European shows are unafraid of investigating philosophical questions on behalf of their characters or elevating imagery or letting moments play out. — © Lesley Sharp
European shows are unafraid of investigating philosophical questions on behalf of their characters or elevating imagery or letting moments play out.
I take on a philosophical and postmodernist approach to the art-making process, investigating problems on a personal and intuitive level. This process is what fuels my mind and informs me, raises new questions, and gives my work resonance.
Quite early on, and certainly since I started writing, I found that philosophical questions occupied me more than any other kind. I hadn't really thought of them as being philosophical questions, but one rapidly comes to an understanding that philosophy's only really about two questions: 'What is true?' and 'What is good?'
I love to play humorous moments in dramatic shows. That's always the most fun: to keep the logic of the character in a show that's basically action-adventure and then play the comedy moments.
When my characters are questioning things, it's not me leading up to an answer; it's me asking those same questions and letting the characters' lives unfold and seeing where it takes them.
I knew I wanted to play around with genre-esque imagery, and the identity theft stuff came in the middle, when I was figuring out how the characters were connected to those images.
If sculpture can really deal with the body, because we all inhabit ourselves, and if sculpture can really do that, which it is supposed to be able to do, and through it ask questions, philosophical questions, about being, I think these are all things we work on, all of us in our different ways, so perhaps somewhere in there, there are moments where dumb objects can speak.
It's seldom that you find great moments in television. Usually you remember - in 'Breaking Bad' or any of these other great shows - you remember situations or characters. Not moments. But I have to say, I can make the same argument for mainstream movies, which have bad narratives and also no memorable moments.
The bravest soldiers aren't unafraid, but they're the ones who are able to harness their fear on behalf of courage.
We need a change of course in the European Union. The most important is the focus on the big questions and a European Union that steps back on the small questions.
I can do four shows in a row singing no problem. Four shows in a row stand up, my voice is destroyed. I'm a storyteller so I act out a lot of characters and I act out a lot of situations and I'm distorting my voice and imitating characters I run into. I'm actually more exhausted doing that than I am with the rock shows, believe it or not.
Theatre within theatre, when characters sees themselves on stage, always raises philosophical questions of choice and free will.
I'm not a fan of gushing emotions. I think that probably shows in all of the characters I play. I try to reinterpret the characters in my style.
What is the nature of true morality? I have argued ... that it must be a kind of ethics involving letting go of one's own interest on behalf of others, being ready if necessary to sacrifice one's own interests for them, even on behalf of an enemy.
I have a lot of real life experience that I can draw on. And I think that shows in the characters that I play because I'm always trying to find somebody - or find characters to play that I can identify with on a personal level or relate to. And I think it makes for a little bit more of an honest portrayal.
Business has to stand up on behalf of its employees, on behalf of immigration, on behalf of its customers, and on behalf of supply chain-cum-globalization.
To what extent do we self-construct, do we self-invent? How do we self-identify, and how mutable is that identity? Like, what if one could be anyone at any time? Well, my characters, like the ones in my shows, allow me to play with the spaces between those questions.
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