A Quote by Nick Offerman

I worked a lot in Chicago's theater scene as a fight choreographer. And so I do have a lot of experience in stage combat and also in Kabuki dance and Kabuki theater. — © Nick Offerman
I worked a lot in Chicago's theater scene as a fight choreographer. And so I do have a lot of experience in stage combat and also in Kabuki dance and Kabuki theater.
There's hearings on everything. They're kabuki theater.
I love Kabuki, Noh theater and bunraku.
I've been to Chicago a lot - it's one of my favorite places. My wife is from Chicago, and I worked in the theater there a lot.
When I first started training to be a wrestler I was also trying my hand at acting. I was trying to get into the Chicago theater scene. It was tougher to get into the theater scene than I thought and I almost gave wrestling a try as an afterthought.
For conservative leaders, making candidates pay them court, publicly and ostentatiously, is a colossal source of their symbolic power before their followers. It's kabuki theater, mostly.
I'd always loved the theater, and I began by writing plays. I work in the theater a lot in the UK, and I've worked in the theater out here quite a bit. Everything else - the films - followed as a consequence of that.
I was a Chicago theater actress until my early 30s, so I got to do a lot of meaty stuff in theater.
I went to Northwestern in Chicago, in Evanston, and then I ended up trickling down in Chicago theater. I did a bunch of plays, but I was non-equity. For a lot of people, non-equity means you're not yet professional. But for me, if you're in a mainstream theater, you're doing something real.
I think we sublimated our Broadway desires by doing theater in Hollywood - not on stage but by doing the movies of 'Chicago' and 'Hairspray' and also musicals on TV. We did Rodgers and Hammerstein's 'Cinderella' and 'Gypsy' and 'Annie.' Even 'Smash' was like doing theater.
[Greek] Theater started off and used masks and Kabuki, in the East, they used mask-work. And then, Commedia dell'arte in Italy and then, you know, we're part of an acting tradition and, and performance capture is no different.
I've never seen a theater community to rival that of Chicago. Neither New York nor L.A. has the raw talent or integrity that Chicago theater has, and I think it's because Chicago doesn't have Broadway or the film and TV business to distract it.
I think it's a shame when pop culture forgets that theatricality is a big part of it. When Neil Young is fumbling around in his pocket looking for the right harmonica, it doesn't matter that he's a dude in the hat who is a man of the people - there's a theatricality there. You don't have to be David Bowie or the Kabuki theater to have that theatricality going on.
Whether the theater is 1,000 seats or 500 seats or 200 seats, you have to make sure the person in the back of the theater can hear you and understand you. So there's a lot of articulation and a lot of voice in theater that really just isn't necessary when it comes to dealing with the camera.
Chicago theater vs. New York theater. There's just nothing to say about it really. If you've seen Chicago theater, you know that the work is true to what is there on the page. It's not trying to present itself with some sort of flashy, concept-based thing. It's about the work, and it's about the acting you're about to watch. So acting-based theater feels like it was born there to me.
I've always wanted to do theater in Chicago. Chicago is a big theater town-and, in some ways, I think this city is savvier and smarter than New York. Sometimes, I think it's a little too chic to go to theater in New York these days.
I was afraid to board a streetcar because of the conductor; I was afraid to enter the Kabuki Theater for fear of the usherettes standing along the sides of the red-carpeted staircase at the main entrance; I was afraid to go into a restaurant because I was intimidated by the waiters furtively hovering behind me waiting for my plate to be emptied.
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