Top 1200 Stage Play Quotes & Sayings

Our only competition in the theater is boredom, because if I'm bored with a play, if I'm revolted by a play on stage, with the Broadway prices, especially today, I'm going to walk out and not come back and pay that price again.

If the play works in an emotional and engaging way purely from what's on the page, then what's on the stage will be the icing on the cake. If the play didn't work as a play on its own terms, none of the magic, none of the special effects or theatricality of it all, would add up to anything.

Plays are literature: the word, the idea. Film is much more like the form in which we dream - in action and images (Television is furniture). I think a great play can only be a play. It fits the stage better than it fits the screen. Some stories insist on being film, can't be contained on stage. In the end, all writing serves to answer the same question: Why are we alive? And the form the question takes - play, film, novel - is dictated, I suppose, by whether its story is driven by character or place.

Look, I play all these tough guys and thugs and strong, complex characters. In real life, I am a cringing, neurotic Jewish mess. Can't I for once play that on stage?

I dropped out in middle school. I dropped out in, towards the beginning of the ninth grade. And then I started studying -I started taking acting classes at a, well first I was like in a community theater at that time in Torrance, California, so I finished up like my season with that community theater just acting in, you know, acting in a small part on this play or a big part on that play or a stage manager or assistant stage manager in another play.

In my opinion, the only way to conquer stage fright is to get up on stage and play. Every time you play another show, it gets better and better.

I feel like a lot of my work on stage, I've gotten to play a wider range of characters than I have on film. This feels closer to who I am than stuff I've played on stage, or, like, Olive Kitteridge.

It's not most important to communicate myself on stage as it is to be as funny or interesting as I possibly can on stage. I feel more like I'm doing a play whose main character just happens to share my name.

Each department of knowledge passes through three stages. The theoretic stage; the theological stage and the metaphysical or abstract stage.

It is now up to us to see that we embark on the next stage leading to political unity, which I think is the consequence of economic unity, so that Europe can in the future also play a political role on the international stage, leading even as far as a common defence policy.

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've reached the stage of my life where learning is so important to me. I go through the past enough when I play my old songs on stage. And I don't mind doing that. But I want to think about the future.

Now I'm able to play on the main stage and play my own tracks and the crowd likes them. I feel like a lot the other DJs play a lot of the same songs, and not to knock them, but it's important to me to go up there and sort of sneak in a bunch of stuff the other guys aren't playing.

I found that golf saved me from going to the pub every day, so instead, I play golf with other unemployed actors. I'm a member of the Stage Golfing Society, and I play golf with all sorts of people.

There are bands that I am friends with, who will invite me up on stage. Like Les Savy Fav, who have had me on stage, and I have played on their record. There are a couple of bands like that. Yo La Tengo has invited me to play with them.

When I was about five my dad built a stage for me in our basement. A full stage, with a curtain, a backdrop and a dressing room. There were three colored spotlights - a red one, a white one, and a blue one. Blue was for nighttime scenes, and red was for when we were in hell. If the neighborhood kids wanted to use the stage, they had to incorporate me into the play.

I play the piano a lot at home. I write songs on the piano and guitar. I would like to actually play piano on stage. I don't think I'll get the chance for a while.

Morality is a venereal disease. Its primary stage is called virtue; its secondary stage, boredom; its tertiary stage, syphilis.

But how can the characters in a play guess the plot? We are not the playwright, we are not the producer, we are not even the audience. We are on the stage. To play well the scenes in which we are "on" concerns us much more than to guess about the scenes that follow it.

Most of my music theory knowledge is based on piano. But I write on guitar a lot, too. I'm not a great guitar player by any means. I'm not a great instrumentalist. I play piano on stage. I don't play guitar on stage, but I use it to write quite a lot.

We are fast approaching the stage of the ultimate inversion: the stage where the government is free to do anything it pleases, while the citizens may act only by permission; which is the stage of the darkest periods of human history, the stage of rule by brute force.

It was great to play for a live audience on a stage.

My grandmother took me to a play, and... there was a little girl on stage. And as soon as I saw her on stage, I thought, 'This is my job'... I was probably, like, 7 or 8. I was very young... It was 'Joseph and the Amazing Technicolor Dreamcoat'.

I've been on stage plenty of times, and one of the things about being a stage actress is you have a 3-month run to revisit the story nightly and play it again.

I don't walk on stage unless I'm playing with a orchestra. But when I play a recital, I'm sort of on a scooter, and I just scoot very quickly on stage, and they're saying, wow, look at this. He's so fast.

I got on stage and I went, "Oh wow. No stage fright." I couldn't do public speaking, and I couldn't play the piano in front of people, but I could act. I found that being on stage, I felt, "This is home." I felt an immediate right thing, and the exchange between the audience and the actors on stage was so fulfilling. I just went, "That is the conversation I want to have."

It's been very important throughout my career that I've met all the guys I've copied, because at each stage they've said, 'Don't play like me, play like you.'

I think it will be fun to not only play new music, but to get to play different instruments on-stage.

International friendlies, they mean something, but what you want is to play on the biggest stage, play under the lights.

When a theater goes dark for the night, a stagehand leaves a lighted lamp on stage. No one knows why any more, but some old timers say it is to keep the ghosts away. Others say it lights the stage for the ghosts to play. Whichever theory one adheres to, most people agree: a great theater is haunted.

Where I teach students in drama school, there's a course called Dramatics. In this course, all students must put on a play. However, acting majors are not supposed to act. They can write the play, for example, and the writers may work on stage art. Likewise, stage art majors may become actors, and in this way you put on a show.

I'll always be back to the stage. I have no doubt that the stage will always call me back. There will always be a character that no one else can play, and I'll be back to play it.

I play the piano a lot at home, I write songs on the piano and guitar. I would like to actually play piano on stage... I don't think I'll get the chance for a while.

I think more obvious to others, is that I'm most vulnerable on stage. Even though I know which songs I'm going to play, I try and keep it loose and base my stage time more on what the audience is requesting of me.

You've got to love the villain if you have to play him. You've got to find something that you can live with in yourself if you're going to play the villain in a play on stage.

On stage I'm slightly nervous than when I'm in front of camera. Because when on the stage, the mind can't waiver but at the same time, the energy to be on the stage makes me feel alive.

We played it as long as we could play it on that CD and I think it might be 50 minutes, maybe. What you have to do is play a couple of songs and then get off the stage because everything that trails it sounds stupid.

The only tool we have as artists is selectivity. If you're a painter, you select the color, the lines, how severe they should be. As an actor you develop how angry you should be. You select how angry you should be. You listen to the other actor and then you react. In film, sometimes the other actor isn't even there. You have to play the scene. What I do is I call on my experience on the stage. I play the scene and I hope that I reach a certain level of integrity because that's what I learned on the stage.

The normative theoretical claim that a higher stage is philosophically a better stage is one necessary part of a psychological explanation of sequential stage movement.

I think I play tennis for, to against a big legend, big court, short time. That's what I train for. That's why every day I wake up and I wish I could play those matches, you know. It's like, for me it's the best thing can happen is to play against that guy on that stage, you know.

When we are little, we always dream, and the first teams that come into your head are those on the world stage for their marketing, their image, their publicity. That makes you dream about how nice it would be to play for Real Madrid, to play for Barcelona.

When I play live, it doesn't look like I'm interacting with the crowd that much because I'm looking at the controllers and I'm concentrating, but I really like it, for me it's easier to play live than to work in the studio, it's more natural to be on stage improvising.

I started in '88 to play House music, it was a huge revolution for me. I went to London and I saw a DJ on stage and that was crazy at the time. I was one of the really respected and famous DJs in Paris, but they would never show me. I was hidden. A DJ on stage and people dancing and facing the DJ, looking at him? I was like 'wow!'

Robinson did not merely play at center stage. He was center stage; and wherever he walked, center stage moved with him.

It seemed fun to play a villain on stage and I wanted my jokes to be so good that I could just calmly tell them on stage.

Go on stage and stomp my foot on stage and play my guitar and sing my guts out because I love to entertain people. That's what makes me happy.

I've always felt kind of safe on stage, protected. I've talked to other performers about this and they feel the same things, particularly in the live arena. I never get nervous going on stage to do a play. Doing film or television I'll have more butterflies.

I remember John walking on and starting to play, and my mouth sort of dropped open in disbelief at the power of the playing coming across the stage - and the technique! I've never, ever seen another drummer play quite the way he did.

I will have a playlist ready that I'll play out to the audience before I walk on stage, and I'll listen to that same playlist in the room, so by the time I walk on stage, I'm in the same frame of mind the audience is.

The first stage play I ever did was a school play called 'The Wishing Chair.'

I don't want to restrict the life of a play to a particular production. The original actors might leave after the first six months, and I want the play to last 30 or 40 years. You write for the character, not the actor on the stage.

That's one thing you learn as a quarterback: focus. The better you are at focusing and the more you can continue to stay focused for a four-hour stage and really be zeroed in on what is happening, the better you play, the longer you play.

The stage is like a laboratory where you can run theatrical experiments, imposing interesting conditions on the cast or story and seeing how they pan out. Each new play is like creating a tiny virtual universe enclosed by the confines of the stage.

But basketball was always something I was good at, that I was passionate about. I just didn't have the confidence to play in front of people at the time, at that early age. Now, I feel like I'm ready to play in front of people and play on the big stage.

When I'm on stage, the songs that we've chosen to play from the back catalog are things that still resonate with me, and matter to me. And the songs that I couldn't be a part of, we don't play anymore.

A stage play is beautiful only when it is seen as a stage play, just like you cannot get the same effect of a live Bharatanatyam performance in a recording.

I love being on stage. There's nothing better than that feeling; ever since the first time I was on stage, I was like, 'Oh, this is what it means to be fully alive and satisfied.' I don't think anything's as satisfying as a play.

I found that golf saved me from going to the pub every day so instead I play golf with other unemployed actors. I'm a member of the Stage Golfing Society and I play golf with all sorts of people.

A lot of the time, you're supposed to play to the top of your intelligence, as truthful as possible. But when you're on stage making people laugh, you're still acting. I think it helped me a bunch to go on stage two or three times a week.

My father wanted me to play pro football, and he didn't like the fact that I'd left school. And he said, "It takes a man to play football. And any fool can go up on the stage and make an ass of himself.