A Quote by Sam Wanamaker

The Globe is a missing monument. There's no existing example of a theater from Shakespeare's time. You have Roman theaters, Greek theaters, all kinds of theaters, but none in which the plays of Shakespeare, Ben Jonson and Marlowe were performed. Scholars feel that it would be of immense value to have one.
There's more of yourself in a book than a play. that's why we know all about Dickens and not much about Shakespeare. Ben Jonson murdered people; Marlowe was a spy; Shakespeare just sat in the corner and took notes.
I've worked in a few sort of 'institutional' theaters - the Royal Shakespeare, the National Theater in England - and they're hopelessly top-heavy with bureaucracy.
My uncle Les Dolliver was a partner with the Nasser brothers, who owned a string of theaters in San Francisco, and also supplied motion picture projectors and seats for theaters. So I was always around theater people.
There is a problem on the so-called commercial stage in New York. The price of a ticket is exorbitant, and there are no longer original productions possible, apparently, on the commercial stage. They are all plays that were taken from either England or smaller theaters, off-Broadway theaters, and so on. The one justification there used to be for the commercial theater was that it originated everything we had, and now it originates nothing. But the powers that be seem perfectly content to have it that way. They don't risk anything anymore, and they simply pick off the cream.
There are two kinds of audiences. There's the ones who were in the theaters, and the ones who are outside and we want them to come inside the theater. And, it's not the same.
I was interning at a children's theater group in Kentucky - that was my first job out of college. I had jumped around a couple of regional theaters, and I was about to go back to Maine to work at a summer Shakespeare theater there. I didn't want to just jump around the country from gig to gig. I really wanted to go to a city and get involved in a theater scene and a theater community.
I grew up near New York, and there were a lot of summer stock theaters in the area. I started an apprenticing with some of the theaters. Not really acting in them - I did everything else: everything but act.
This is more than just the rebuilding of the Globe, creating some kind of monument to Shakespeare which he doesn't need. His books are his monuments. But this will be a major center for the study of Shakespeare in performance. We are making the only faithful effort to restore the theater in every respect as close to the original as possible.
When I started making films, all the theaters, the screen would slide open the widest possible point, and that would be widescreen. But now, theaters are geared up for around 16:9, so scope is now 'letterboxed.' In a way, if you want the big picture, you shoot 16:9.
I don't like to go to theaters, because I don't like the way most people behave in theaters.
They're not so much fans of independent movies are they are of independent theatres. They like small theaters with a vague, septic smell. They're not wild about the newfangled theaters with the assigned seating.
People will go to clean theaters; they don't like to go to dirty theaters.
I love the smaller clubs. I love the theaters. I love the festivals. There are things I don't like. At certain theaters, people can't get up and dance.
I started working in New York City as an actor and did many plays. I did regional theater, smaller theaters, children's theater.
I don't really like doing big stand-up. Whenever I do theaters, I don't like 'em. I don't think they're right for stand-up. I've seen people in theaters, and it just doesn't work, because you're talking to the guy next to you the whole time.
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?
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