A Quote by Rajesh Khattar

My foundation in acting has been serious theatre: Albert Camus, Arthur Miller, Shakespeare. It's really the best medium to learn the craft. — © Rajesh Khattar
My foundation in acting has been serious theatre: Albert Camus, Arthur Miller, Shakespeare. It's really the best medium to learn the craft.
Before acting, I was always attracted to words, to literature - be they the words of Williams, Arthur Miller, Shakespeare or Moliere.
Henry Miller, Jack Kerouac, Albert Camus, Graham Greene - they influenced my life to a profound extent.
The person whose work introduced me to the craft was Lorraine Hansberry. The person who taught me to love the craft was Tennessee Williams. The person who really taught me the power of the craft was August Wilson, and the person who taught me the political heft of the craft was Arthur Miller.
Albert Camus wrote that the only serious question is whether to kill yourself or not. Tom Robbins wrote that the only serious question is whether time has a beginning and an end. Camus clearly got up on the wrong side of bed, and Robbins must have forgotten to set the alarm. There is only one serious question. And that is: Who knows how to make love stay? Answer me that and I will tell you whether or not to kill yourself.
We learned out craft. Acting is a craft and you must learn it. I see a lot of talent today in the kids but they don't know how to work. They don't know the craft of acting and you can only get that on the stage in theater. You cannot learn how to act in movies or in television.
[Albert Camus] was viewed by many as an austere moralist, but it was on the football pitch and in the theatre that he learnt his 'morality'. It's something sensed, it won't pass uniquely through thought. It couldn't possibly.
I pay lots of homages. I wanted to pay tribute to a leading Iranian writer, Gholam - Hossein Sa'edi, who is buried in Paris - he is an Iranian Arthur Miller. He is of a similar stature, and his work is similar to that of Arthur Miller.
Albert Camus was never abandoned by his readers. Camus is enormously read. He's the highest selling author in the entire Gallimard collection, and has been for some years now. Sales haven't ever stopped, so to talk about rediscovering him would suggest that he isn't read anymore and that's not true.
I started out as a singer and a musician, and I was taught that your job is just to get out of the way of Brahms or Arthur Miller or Shakespeare and convey the brilliance that they created.
I was crazy into performing when I was younger. I was obsessed with the craft of acting, and theatre, and stage. You know the term 'theatre geek?' I am the extreme theatre geek.
The Outsider isn't [Albert] Camus, but in The Outsider there are parts of Camus. There's this impression of exile.
[Albert Camus] is The First Man because he is poor, which has never been much to human beings.
I think [Albert Camus] wanted to write something to explain who he was, and how he was different from the age that had been conferred upon him.
I would have started writing a lot earlier if I hadn't been [Arthur Miller's daughter].
Arthur Miller wouldn't have married me if I had been nothing but a dumb blonde.
During the '80s, those you would call the young philosophers of France, such as Bernard-Henri Lévy and [André ] Gluxman, pointed out that Camus had said things no one wanted to hear in the political arena. They said it was [Albert] Camus who was right, not those who had slid under the influence of Sartre, that is to say an unconditional devotion to Communism as seen in the Soviet Union. And ever since then the evaluation of Camus has continued to modify up until today
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