A Quote by Oscar Wilde
In designing the scenery and costumes for any of Shakespeare's plays, the first thing the artist has to settle is the best date for the drama. This should be determined by the general spirit of the play more than by any actual historical references which may occur in it.
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Most of my career has been spent with the RSC doing Shakespeare, and the thing you learn from Shakespeare is that his historical plays don't bear anything other than a basic resemblance to history.
The 16th-century theatre witnessed the particularly English manifestation of 'the history play.' There can be no doubt that Shakespeare's presentations of 'Henry V' and 'Richard III' have been incalculably more influential than any more sober historical study.
No isolated experiment, however significant in itself, can suffice for the experimental demonstration of any natural phenomenon; for the "one chance in a million" will undoubtedly occur, with no less and no more than its appropriate frequency, however surprised we may be that it should occur to us.
It is no matter what you teach them first, any more than what leg you shall put into your breeches first. You may stand disputing which is best to put in first, but in the mean time your breech is bare. Sir, while you are considering which of two things you should teach your child first, another boy has learned them both.
Ever since ROME, OPEN CITY, I have maintained a conscious, determined endeavor to try to understand the world in which I live, in a spirit of humility and respect for the facts and for history. What as the meaning of ROME, OPEN CITY? We were emerging from the tragedy of the war. We had all taken part in it, for we were all its victims. I sought only to picture the essence of things. I had absolutely no interest in telling a romanticized tale along the usual lives of film drama. The actual facts were each more dramatic than any screen cliche.
In experimental philosophy, we are to look upon propositions inferred by general induction from phenomena as accurately or very nearly true, notwithstanding any contrary hypotheses that may be imagined, till such time as other phenomena occur by which they may either be made more accurate or liable to exceptions.
Even if you aren't a believer, there are incredible stories in the 'good book' that I guarantee you will keep you glued to the page. The Bible is no less a part of our cultural heritage than Shakespeare is - and by the way, Shakespeare's plays are absolutely loaded with Biblical references.
If the religious spirit be ever mentioned in any historical narration, we are sure to meet afterwards with a detail of the miseries which attend it. And no period of time can be happier or more prosperous, than those in which it is never regarded or heard of.
An actor should be ready to play any role within reason. For example, I think the most ridiculous thing for me to do would be to try and play Shakespeare.
A long time ago, Trinity and I made a list of types of guys you should never date. We add to it every now and then. It includes things like never date a guy whose computer costs more than his car (you'll never get him to pay attention to you except over instant messages), never date a guy who has a pet lizard (he's probably into weird stuff in bed) and never under any circumstances go on a second date with a guy who says the word "married" on the first date (he'll turn out to be a mama's boy or a religious type)
Classical plays require more imagination and more general training to be able to do. That's why I like playing Shakespeare better than anything else.
What could be more fitting - or more exciting - than to restage Shakespeare's plays on the very spot where they were first performed, in the shape and style of theater for which they were written?
It would have been impossible, completely and entirely, for any woman to have written the plays of Shakespeare in the age of Shakespeare.
Men with common minds seldom break through general rules. Prudence is ever the resort of weakness; and they rarely go as far as as they may in any undertaking, who are determined not to go beyond it on any account.
When we play an unaccompanied Bach suite we may compare ourselves to an actor in Shakespeare's day, creating scenery which did not exist at all, through the power of declamation and suggestion. So in Bach. There is but one voice -- and many voices have to be suggested.
The first thing that any good artist has to develop is a sense of independence from the artworld. What really destroys a young artist is insecurity, the fear that everything could be taken away at any moment.
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