A Quote by Peter Schjeldahl
Rembrandt was way ahead of his time. It's as if he was painting an amateur theatrical, or a professional theatrical, in his studio. It's a kind of performance.
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As a child, I always thought about big screen and even played in a amateur theatrical studio.
I am in the theatrical profession myself, my wife is in the theatrical profession, my children are in the theatrical profession.I had a dog that lived and died in it from a puppy; and my chaise-pony goes on, in Timour the Tartar.
A lot of young painters love to incorporate celebrity. One idea of being a painter is to use what's happening at the time. Velázquez was painting of his time. And so was Rembrandt. And Francis Bacon was painting his time in London. He was a real mover, but he saw the insect in the rose. But yes, when I do a painting, I want to take the "I did this" out of it. That's why I started using chance, like the markings on the wood. I never wanted to compose.
Gaddafi's ability to have survived so long rests on his convenient position in not being committed to a single ideology and his use of violence in such a theatrical way.
As an amateur, you may envy the professional, wishing you could combine business with pleasure into a kind of full-time hobby, using professional equipment and facilities. However, the professional knows that much of the hidden advantage of being amateur is the freedom you have to shoot what and when you like.
To my way of thinking, the concept drawings that Rembrandt did, the drawings he made that he used to model his artists, to work out the compositions of his paintings: those are cartoons. Look at his sketch for the return of the prodigal son. The expression on the angry younger brother's face. The head is down; the eyebrow is just one curved line over the eyes. It communicates in a very shorthand way. It's beautiful, expressive, and, in a peculiar way, it's more powerful than the kind of stilted, formalized expression in the final painting.
The actor who lets the dust accumulate on his Ibsen, his Shakspere [sic], and his Bible, but pores greedily over every little column of theatrical news, is a lost soul.
For Bryan [Cranston ] to go back in time and become this larger-than-life and somewhat theatrical guy, who performed his ideas and rhetoric in public in a melodic and flashy way, was a bit of a risk.
I use cinematic things in a theatrical way on stage, and in film I use theatrical techniques in a cinematic way.
The way to go to the circus, however, is with someone who has seen perhaps one theatrical performance before in his life and that in the High School hall... The scales of sophistication are struck from your eyes and you see in the circus a gathering of men and women who are able to do things as a matter of course which you couldn't do if your life depended on it.
One of the reasons I don't like to use the word "tricks" , I do think of them as theatrical pieces, and as pretentious as that might sound, there's a real reason for it. It's not the idea of tricking you; it's the idea of taking you along on this particular journey the way you would in any other theatrical situation. But, hopefully, you're going to be fooled at the end.
Every film may not be appropriate for a theatrical release, and the theatrical business is not a very good business for anybody except the distributor.
When I started, every film got a full theatrical distribution. Today, almost no low budget films, maybe two or three a year, will get a full theatrical distribution. We've been frozen out of that, which means they must be aware that for a full theatrical distribution it either has to be something like Saw or some exploitation film of today or an extremely well made personal film.
Hitler frequently demonstrated diffidence and unease in dealings with individuals which contrasted diametrically with his self-confident mastery in exploiting the emotions of his listeners in the theatrical setting of a major speech.
When I started in the late 1950s, every film I made - no matter how low the budget - got a theatrical release. Today, less that 20-percent of our films get a theatrical release.
To our real, naked selves there is not a thing on earth or in heaven worth dying for. It is only when we see ourselves as actors in a staged (and therefore unreal) performance that death loses its frightfulness and finality and becomes an act of make-believe and a theatrical gesture. It is one of the main tasks of a real leader to mask the grim reality of dying and killing by evoking in his followers the illusion that they are participating in a grandiose spectacle, a solemn or lighthearted dramatic performance.
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