A Quote by Terry Teachout
Unlike film, live theater is an anti-naturalistic medium in which character is mainly illuminated through speech and movement.
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Unlike film and TV, theater is a luxury object, but one that ordinary middle-class people can still afford. Above all, it isn't a mass medium: Live theater is a small-scale, handmade art form. Intimacy is what makes it special.
There is one place left in which open racism can be practiced institutionally in the U.S. today, that is through this diversity/equity movement, in which it appears to be that you can be openly anti-white, openly anti-straight, openly anti-male, and this is considered progressive.
They say that theater is the actor's medium, television is the writer's medium and film is the director's medium, and it's really true.
Variety is very, very good. Going from medium to medium, if you get the chance to do it, from theater to television to film, which are all distinctly different, keeps me sharp. What works in one doesn't work in the other, and you have to be looking for the truth of the performance, whatever way that medium might demand.
I think movies are a director's medium in the end. Theater is the actor's medium. Theater is fast, and enjoyable, and truly rewarding. I believe in great live performance.
Variety is very, very good. Going from medium to medium, if you get the chance to do it, from theater to television to film, which are all distinctly different, keeps me sharp.
I looked at theater, in the sense that theater is unmanipulated. If I want to pay more attention to one character on stage than another, I can. I think there's not enough theater in film and not enough film in theater, in a way.
Theatre is a very beautiful and interesting medium because it's a live show, unlike a film - once released, it's gone.
The adrenaline of a live performance is unlike anything in film or theater. I can see why it's so addictive.
The feminist anti-pornography movement, no less than the feminist movement of a century ago, encourages the assumption that male and female sexuality, and possibly morality, are as unlike as yin and yang.
I'm a character actor but unlike a lot of character actors, I don't look radically different from film to film and there was a bunch of them at once.
Theater is still a medium which attracts young writers. You'd think that it would be all over by now, with television and film. But it's not.
I think film is a world of directors. Theater is a world of actors. Or, theater is for actors as cinema is for directors. I started in theater. Filming is as complete as directing film. In theater, you are there, you have a character, you have a play, you have a light, you have a set, you have an audience, and you're in control, and every night is different depending on you and the relationship with the other actors. It's as simple as that. So, you are given all the tools.
By 1949, there was no more work for me out there, and I went to New York in 1950 and just did whatever I could. Mainly television. Some Broadway. A lot of dinner theater work, which is not a very satisfactory medium.
The evil eye is the fascinum, it is that which has the effect of arresting movement and, literally, of killing life. At the moment the subject stops, suspending his gesture, he is mortified. This anti-life, anti-movement function of the terminal point is the fascinum, and it is precisely one of the dimensions in which the power of the gaze is exercised directly.
For me, the challenge of a period film is that, unlike a contemporary film where the character can be very free-form when it comes to the acting, there's a burden to acting in a period film because you have to stay within the character's historical background and the gestures of certain periods.
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