A Quote by Mike Bartlett
The worst thing is where the world people experience before they go into the theatre is far more interesting than what they encounter on stage.
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I always think the second worst thing in the world is to go on stage at night, and the first worst thing in the world is sitting at home at night. For me, it's scarier to not be doing it than doing it.
Once you go on stage you're essentially creating the world that people want to participate in. The worst thing you can do is go out on stage with the idea that you're going to communicate something you've learned and if you do it really well, they'll approve. If you go out in an approval process, you will be so nervous and so preoccupied you'll never get to the heart of what it is you want to make music with.
What we really are is a community of mind, knitted together by codes and symbols, intuitions, aspirations, histories, hopes - the invisible world of the human experience is far more real to us than the visible world, which is little more than a kind of stage or screen on which we move.
Certainly Christianity is an experience, but equally clearly the validity of ane experience has to be tested. There are people in lunatic asylums who have the experience of being the Emperor Napoleon or a poached egg. It is unquestionably an experience, and to them a real experience, but for all that it has no kind of universal validity. It is necessary to go far beyond simply saying that something comes from experience. Before any such thing can be evaluated at all, the source and character of the experience must clearly be investigated.
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.
People who have never done theatre before, and have only worked in front of a camera, would find it very difficult, I think, to know how to command a stage and work with the logistics of being on stage. They're very different. The theatre is quite tricky, actually.
At the Neighborhood Playhouse School of Theatre, Sanford Meisner said, 'When you go into the professional world, at a stock theatre somewhere, backstage, you will meet an older actor, someone who has been around awhile. He will tell you tales and anecdotes, about life in the theatre. He will speak to you about your performance and the performances of others, and he will generalize to you, based on his experience and his intuitions, about the laws of the stage. Ignore this man!'
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.
If you know that life is basically going to be horrendously difficult, at best, and all but unlivable at worst, or possibly even unlivable, do you go on? And the choice to go on is the only thing that I think can be called hope. Because if hope isn't forced to encounter the worst possibility, then it's a lie.
I want to keep doing interesting work with interesting people in whatever form that may take, but I want to play the big parts of classical theatre; I want to go on stage and play great Shakespearean roles and, at the same time, do amazing, challenging indie films and comedy, and I want to do it all. I am greedy.
Don't worry about this world; it is not broken. And don't worry about others. You worry more about them than they do. There are people waging war; there are people on the battlefield who are more alive than they've ever been before. Don't try to protect people from life; just let them have their experience while you focus upon your own experience.
I've gotten to go wonderful places, meet interesting and intelligent people, and I started of course in the theatre and continue to work in the theatre where there is some intelligence involved in it.
When people know what you want, they can then manipulate that to achieve the end that they seek. It's far more interesting and valuable to bear witness to a scene and make good relationships without explicitly seeking something. You're more likely to obtain a far richer and honest experience that way.
I still feel I belong to the theatre. There is nothing more challenging and exciting for an actor than performing before a live audience. The stage is the real testing ground for an actor.
I suppose the thing I most would have liked to have known or been reassured about is that in the world, what counts more than talent, what counts more than energy or concentration or commitment, or anything else - is kindness. And the more in the world that you encounter kindness and cheerfulness - which is its kind of amiable uncle or aunt - the better the world always is. And all the big words: virtue, justice, truth - are dwarfed by the greatness of kindness.
There's a loyalty attached to football, and it is more communal than theatre. If you go to the football, it is part of the structure of your life. For lots of people, theatre is a treat.
