A Quote by Teri Garr
I'd like to play something classical. I'm in the Strindberg society, and we do readings of Strindberg plays. I'd love to do Nora in 'A Doll's House.' And Chekhov. I have been working back to back on what I call 'regular jobs,' so it's hard to do plays.
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Writers on the subject of August Strindberg have hitherto omitted to mention that he could not write. ... Strindberg, who was neither a good nor a wise man, had a stroke of luck. He went mad. He lost the power of inhibition. Everything down to the pettiest suspicion that the dog had been given the leanest mutton chop, poured out of his lips. Men of his weakness and sensuality are usually, from their sheer brutishness, unable to express themselves. But Strindberg was mad and articulate. That is what makes him immortal.
Rip Torn thought I was being a wise guy, and one afternoon he got pretty angry with me after telling me to do something and he thought I was pretending like I didn't know what he meant.But he was very frustrated. He was very frustrated as a director in trying to get his little theater group going. It was called The Sanctuary Theater Workshop, I think, and he wanted to do these classical plays by people like August Strindberg, and he was fighting hard to get his show up and be good and be professional.
Chekhov directors and Chekhov actors love working on his plays because there seems to be no end to what you can find out about the micro-narrative when you're investigating a text.
In defense of games, I want to point out that the writing in plays, including everything by August Strindberg and The Lion King, is 100% pure crap. So we're doing better than they are even though they have the benefit of mostly not being about space marines.
It honestly feels like high school or college all over again. You're comfortable; you see the game. You've seen a lot of ups and downs, a lot of good plays and bad plays. They're all in the back of your head. It's all just experience over the years. There are guys that play well as rookies, but it's hard.
If you love classical playwrights, seek out companies or places that are doing that. If you love modern playwrights, try to find groups who are writing new plays or working on new plays. If you love television, watch as much theater and film as you can.
I think more than anything, you should do what you love. If you love classical playwrights, seek out companies or places that are doing that. If you love modern playwrights, try to find groups who are writing new plays or working on new plays. If you love television, watch as much theater and film as you can.
The mirror that Strindberg held up to Nature was a cracked one. It was cracked in a double sense -- it was crazy. It gave back broken images of a world which it made look like the chaos of a lunatic dream.
Like a good play-caller, a good TV guy, if you get going on a good conversation, you can ad-lib a little bit. You keep it going. Just like in a game, if you call a couple plays and they're working, you come back to them.
I've always wanted to play 'Lady Macbeth' and Strindberg's 'Miss Julie'.
This is something particular to actors, especially in plays, and in films, too - but in plays, it's like, don't get involved with anyone in the play.
Back when you were doing plays like 'The Miracle Worker,' you had 20, 25 people in the cast. When you go to make the film, that's not such a stretch. But when you're doing plays like 'Proof,' it's just five people or something in the thing, and it gets to be a really difficult re-conception.
I'd love to tackle a classic Shakespeare play or take on Nora Helmer in 'A Doll's House.' Musical theater, it's the classics like Rodgers and Hammerstein and Cole Porter's 'Kiss Me Kate.' I'm much more a Julie Andrews-type soprano than an Idina Menzel.
I don't do enough movies that I can call it a career. It really is sort of like summer jobs or something like that. It's very much like holiday work as far as, okay, I do it, and I'm there for two weeks and hopefully am working really hard, and then it's done, and I kind of go back to what I was doing before.
The thing I know how to do most is write a play. I came up loving plays and learning about plays and writing plays. I actually feel like an outsider when I'm writing movies and television.
Obviously, like anything else, I have views on how we should play defense but I don't call the defensive plays. I have views on how I want us to run our offense but I don't call our offensive plays. It's in collaboration with Phil Snow, with Joe Brady, with all of our coaches.
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