A Quote by William Shakespeare

As in a theatre, the eyes of men, after a well-graced actor leaves the stage, are idly bent on him that enters next. — © William Shakespeare
As in a theatre, the eyes of men, after a well-graced actor leaves the stage, are idly bent on him that enters next.
Glad tidings to the one who leaves the world before it leaves him, prepares for his grave before he enters it, and pleases his Lord before he meets Him.
In health the flesh is graced, the holy enters the world.
It is in the irony of things that the theatre should be the most dangerous place for the actor. But, then, after all, the world is the worst possible place, the most corrupting place, for the human soul. And just as there is no escape from the world, which follows us into the very heart of the desert, so the actor cannot escape the theatre. And the actor who is a dreamer need not. All of us can only strive to remain uncontaminated. In the world we must be unworldly, in the theatre the actor must be untheatrical.
I was a stage actor for 20 years or so; I was leading men in classical things. 'Shakespeare,' you know. And now, I never play leading men. I'm that kamikaze comic that comes from the left, turns the table over, and leaves, or the hyper-intelligent yuppie scumbag if it's a drama.
The whole of education should be designed so as to occupy a boy's free time in cultivation of his body. He has no right to loaf about idly; but after his day's work is done, he ought to harden his young body, so that life may not find him soft when he enters it. No one should be allowed to sin at the expense of posterity, that is, of the race.
Being an actor in TV or movies is different. A film or TV actor, if put in theatre, won't know certain dimensions, while a theatre actor won't know certain things when he comes before the camera. So I think a film actor can learn emoting from this theatre counterpart, while the theatre actor can learn about camera techniques from the film actor.
As an actor, if you have done theatre, the magic of it never leaves you.
Theatre is an actor's medium though behind the stage there is a playwright, director and perhaps in some, a music composer too, yet the actor is the one who ultimately tells the story to the viewers.
Asim has done English theatre with Naseeruddin Shah and his group, Hindi theatre with Makarand Deshpande, and Marathi theatre with me. He is a hardworking actor - I am not saying this just because he is my son but as an actor and spectator.
A man who sees nothing has no use for his eyes,” the Mountain declared. “Cut them out and give them to your next outrider. Tell him you hope that four eyes might see better than two . . . and if not, the man after him will have six.
I still feel I belong to the theatre. There is nothing more challenging and exciting for an actor than performing before a live audience. The stage is the real testing ground for an actor.
When the sun sets beautifully, other beauties rise. Nature is a theatre; when one great player leaves the scene, another great player immediately enters. The play always continues excellently.
After all, the world is not a stage-not to me: nor a theatre: nor a show-house of any sort. And art, especially novels, are not little theatres where the reader sits aloft and watches...and sighs, commiserates, condones and smiles. That's what you want a book to be: because it leaves you so safe and superior, with your two-dollar ticket to the show. And that's what my books are not and never will be...Whoever reads me will be in the thick of the scrimmage, and if he doesn't like it if he wants a safe seat in the audience-let him read someone else.
There's something about doing theatre in London - it sinks a little bit deeper into your soul as an actor. It's something about the tradition of theatre, about performing on the West End stage.
Nothing is lost upon a man who is bent upon growth; nothing wasted on one who is always preparing for - life by keeping eyes, mind and heart open to nature, men, books, experience - and what he gathers serves him at unexpected moments in unforeseen ways.
They seldom looked happy. They passed one another without a word in the elevator, like silent shades in hell, hell-bent on their next look from a handsome stranger. Their next rush from a popper. The next song that turned their bones to jelly and left them all on the dance floor with heads back, eyes nearly closed, in the ecstasy of saints receiving the stigmata.
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