A Quote by Julius Charles Hare
Everybody has his own theatre, in which he is manager, actor, prompter, playwright, sceneshifter, boxkeeper, doorkeeper, all in one, and audience into the bargain.
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This whole creation is essentially subjective, and the dream is the theater where the dreamer is at once: scene, actor, prompter, stage manager, author, audience, and critic.
A playwright must be his own audience. A novelist may lose his readers for a few pages; a playwright never dares lose his audience for a minute.
I proceeded to prove everybody right as to how bad an economics student I was by failing as an assistant manager in every theatre I went to that hired me, both as an assistant manager and as an actor. I lost money and tickets, and I couldn't keep track of anything. So eventually they fired me from assistant-manager jobs, but kept me on as an actor.
Whether you are a writer or an actor or a stage manager, you are trying to express the complications of life through a shared enterprise. That's what theatre was, always. And live performance shares that with an audience in a specific compact: the play is unfinished unless it has an audience, and they are as important as everyone else.
Whether you are a writer, or an actor, or a stage manager, you are trying to express the complications of life through a shared enterprise. That's what theatre was, always. And live performance shares that with an audience in a specific compact: the play is unfinished unless it has an audience, and they are as important as everyone else.
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.
I suppose it is submerged realities that give to dreams their curious air of hyper-reality. But perhaps there is something else as well, something nebulous, gauze-like, through which everything one sees in a dream seems, paradoxically, much clearer. A pond becomes a lake, a breeze becomes a storm, a handful of dust is a desert, a grain of sulphur in the blood is a volcanic inferno. What manner of theater is it, in which we are at once playwright, actor, stage manager, scene painter and audience?
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 playwright, especially a playwright whose work deals very directly with an audience, perhaps he should pay some attention to the nature of the audience response - not necessarily to learn anything about his craft, but as often as not merely to find out about the temper of the time, what is being tolerated, what is being permitted.
With theatre, you can interpret the most complex play on stage for it have meaning to an audience because you're dealing in images, you're dealing in action, you can use different idioms to interpret and clarify something which is obscured in the reading and of course there are different kinds of play, there are mythological plays, there are what I call the dramatic sketches, direct political theatre which is virtually everybody, but I find that you can use the stage as a social vehicle, you know, which any kind of audience.
I think a playwright must be his own dramaturg. I believe in a theater where the director and the playwright work together to create what they need.
I write in order to understand the images. Being what my agent . . . somewhat ruefully calls a language playwright, is problematic because in production, you have to make the language lift off the page. But a good actor can turn it into human speech. I err sometimes toward having such a compound of images that if an actor lands heavily on each one, you never pull through to a larger idea. That's a problem for the audience. But I come to playwriting from the visual world - I used to be a painter. I also really love novels and that use of language. But it's tricky to ask that of the theatre.
An actor and a [theatre] director are both what I would call interpreters of work. We interpret a work, just as a musician will interpret a composer's work, we interpret the work of a playwright. We are servants of the theatre and I've always believed that. We must serve what has been written, that's what we're there for.
Theatre is an actor's medium. An actor has little control over a film. Which is why most actors who have done theatre, and then come to films find the former more creatively satisfying.
The door to the soul is unlocked; you do not need to please the doorkeeper, the door in front of you is yours, intended for you, and the doorkeeper obeys when spoken to.
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.
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