A Quote by Phyllida Lloyd

Onstage, there's a separation between character and audience; onscreen, you can go to a deeper place. — © Phyllida Lloyd
Onstage, there's a separation between character and audience; onscreen, you can go to a deeper place.
I've done stand-up since I was 18 years old, and I absolutely love it, but I used to go onstage, and the audience was my peers. Now I go onstage, and I could be their mother.
I just want my music to involve an audience in what's taking place onscreen.
The theater is a communal experience, and whatever the emotional connection between an audience member and the actors onstage, it ripples through the whole audience. Part of the fun of the play is being a part of that audience.
There's always been a separation between fashion and what I call my deeper work.
Two of the many areas of conflict between Judeo-Christian values and leftism concern the separation between the holy and the profane and the separation between humans and animals.
We owe it to the audience to put more characters onscreen that reflect them and that speak to issues of race and gender as well as to a character's sexual preference.
There's a pressure to be the wrestler that you are, that character that you've created 24 hours a day 7 days a week. It's tough for wrestlers sometimes to sort of have that separation between person and character.
I love the chemistry that can be created onstage between the actors and the audience. It's molecular even, the energies that can go back and forth. I started in theater and when I first went into movies I felt that my energy was going to blow out the camera.
I love the chemistry that can be created onstage between the actors and the audience. It's molecular, even, the energies that can go back and forth. I started in theater, and when I first went into movies, I felt that my energy was going to blow out the camera.
There is no separation between being and the manifested world, between the manifested and the unmanifested. But the unmanifested is so much vaster, deeper, and greater than what happens in the manifested.
In films, you are a commodity. You are a look, something that the camera really likes, something that has struck an audience in a certain way. It's not really so much about transforming yourself the way actors do onstage. I think there's a difference between the skill of acting in movies and onstage.
I will say that, I, being a Jew, experience unease before I go onstage; and after I go onstage, and in general. But luckily the forty-five minutes to an hour that I'm onstage I usually forget everything else and I just press play.
I always knew that I could go deep. How deep? I don't know. But it always seems that with each character I take on, I'm challenged to go deeper than the last time, and then again deeper than the last time. This is the deepest I've ever been asked to dive. And to see how deep I actually went for this, and that I wasn't afraid to go there in order to give Tyler exactly what he envisioned for the character, which was pretty deep, that's what I discovered about myself.
As long as I don't go onstage completely normal and then jump into character onstage, I assume that most fans would be able to accept me as the creator. I can comment on the work the same way a director would on his movie.
When you go onstage, you go on there to have a good time, and you smile and you engage with the audience and you invite them in.
Ten years of character development affords you a lot. You get a chance to dig deeper and deeper and deeper into a person.
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